April 24, 2025 • 41 mins
When an actor, producer, and director walks into a design studio, fascinating conversations emerge about how our on-screen and real-world environments come to life. Michael Manasseri, best known for his role as Wyatt Donnelly in "Weird Science" and now an award-winning filmmaker, joins us to reveal the surprising connections between film production design and interior design.
"It's all design," Michael explains, describing how production designers ask many of the same questions interior designers pose to homeowners. From creating mood boards and lookbooks to selecting the perfect accessories that reflect character personality, the processes mirror each other in remarkable ways. We explore how movies and TV shows craft their visual worlds, revealing that even something as seemingly insignificant as silverware receives careful consideration – would an 80-year-old character really use modern IKEA flatware?
The conversation takes entertaining turns through Michael's career, from Broadway performances with Yul Brynner to directing award-winning independent films. He shares a particularly memorable production crisis involving 20 pounds of stolen chicken props, demonstrating how even small design elements can impact an entire production. We also discuss the temporary nature of set design compared to home design, the challenges of working within budget constraints, and how relationships form intensely during creative projects.
For anyone who's ever wondered about the famous "Friends" couch (now mass-produced as part of a furniture collection) or how movie houses look realistic despite being just façades, this episode pulls back the curtain on the detailed design work that creates the worlds we see on screen. Whether you're a film buff, design enthusiast, or simply curious about how visual storytelling works, you'll gain new appreciation for the intentional design choices that shape both our favorite stories and our own living spaces.
Curious about Michael's recent work? Check out his award-winning film "Give Me Liberty" on streaming platforms – a feel-good comedy that won the Independent Spirit Award for best feature film made under $500,000.
Learn more at:
https://twinteriors.com/podcast/
https://scottwoolley.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Voice Over (00:00):
This is iDesign Lab, a podcast where creativity and
curiosity meet style and design.
Hosted by Tiffany Woolley, aninterior designer and a style
enthusiast, along with herserial entrepreneur husband
Scott, idesign Lab is yourultimate design podcast where we
explore the rich and vibrantworld of design and its constant
evolution in style and trends.
(00:21):
Idesign Lab provides industryinsight, discussing the latest
trends, styles and everything inbetween to better help you
style your life, through advicefrom trendsetters, designers,
influencers, innovators,fabricators and manufacturers,
as well as personal stories thatinspire, motivate and excite.
TIffany Woolley (00:40):
Welcome to the iDesign Lab podcast.
My co-host today, my darlinghusband Scott Woolley, is going
to introduce our special guest.
Scott Woolley (00:50):
Our special guest today isn't a designer or an
interior designer, but many ofour listeners have seen his work
.
His name is Michael Mandessari.
Michael's an actor, a producer,a director.
He began his acting career incommunity theater at the age of
10.
Within a few years, michaelmade his Broadway debut in
Oliver and later toured with thelate Yul Brynner in the King
(01:12):
and I.
Michael made his first bigscreen appearance as Charles in
A License to Drive, whichstarred Heather Graham, corey
Feldman and Corey Hamm.
After a number of sitcoms andguest appearances on shows such
as the Wonder Years, charles inCharge, wings, quantum Leap and
Eeyore, michael took on the rolewhich he is best known for
(01:36):
today, that of Wyatt Donnelly inthe television series Weird
Science.
By 2005, michael had jumped fromin front of the camera to
behind the camera as a producerand a director.
As a producer and a director,michael has been pumping out one
or two documentary projects andfilms each year.
Many of them have receivedgreater critical acclaim at film
(01:59):
festivals around the planet.
Michael, as a producer, andespecially as a director of a
movie, is very involved in theoverall design of the film, from
the sets the film is shot on tohow they are decorated, to how
they will be lit, to thecostumes that the actors will
wear.
All of which leads us to whyMichael is sitting in our studio
today.
(02:19):
We wanted to spend some timeexploring the design process
that a film or television showgoes through Really not that
much different than what ahomeowner goes through in
designing and decorating a home.
TIffany Woolley (02:32):
The attachment, the curation.
Michael Manasseri (02:35):
Yes, that is all correct.
Wonderful introduction there,Scott.
Thank you very much.
TIffany Woolley (02:38):
I know, and then I want to go back to a
question that we saved frombefore.
But I wanted to know hasMichael done a podcast yet?
Scott Woolley (02:46):
I have done yes, I've done a couple of podcasts,
yes, well he's probably done afew, because he just recently
won the 2020 Independent SpiritAward for a film that's out
there right now.
I think Netflix has it andAmazon.
Michael Manasseri (03:01):
It's on iTunes and Amazon, but it came
out theatrically last year.
It's called Give Me Liberty,yep, and premiered at the
Sundance Film Festival in 2019,and then we went to Cannes and
then, fortunately, this year, wewon it's called the John
Cassavetes Award, which was thebest feature film made for under
$500,000.
Scott Woolley (03:19):
So director or producer?
Michael Manasseri (03:20):
on that Producer, I was one of the
producers on that, yes, but backto what you were saying yes,
absolutely, Producing, directing, it's all about.
It really is.
It's all about design.
It's the designing of what anaudience is going to see and
take in on the screen, and allof the elements, all of the
(03:41):
questions.
They're really similar to whata designer would need to ask
from a homeowner or a client.
TIffany Woolley (03:48):
So what part do you bring in?
Your set designer, like wewould be brought in when a
client decides what plot of landthey're going to build, they've
selected an architect, abuilder.
Like that whole team comestogether at the very beginning
Wondering when does your setdesign, or is that part of?
I know when you read scriptsthey'll say oh, in a warm cozy
(04:12):
by the fire.
Michael Manasseri (04:13):
I mean part of it is indicated in the script
, usually in the scenedirections or the action
elements.
Yes, of course they talk about,they'll talk about the
environment.
They won't talk too much aboutthe environment there.
But then once you have adirector on board and then you
start in pre-production to bringyour team together, one of the
(04:34):
first people you will bring onis a production designer and
that person is responsible foreverything that you see on.
You know whether it's the wallsor in the rooms or in
everything in that scene,whether it's the walls or in the
rooms or in everything in thatscene, not the costumes, et
cetera.
But it's a collaboration betweendirector, producer, production
designer and those keydepartment heads who are going
to start asking all of thosequestions.
Scott Woolley (04:55):
So it's similar to what an interior designer
would be.
When it comes to the set design, yeah, they're picking out.
TIffany Woolley (05:05):
Well, I feel like set design probably has so
many different facets as well.
It's like a condo versus atownhouse versus a host, you
know, a single family home whenit's a movie design versus like
a sitcom.
That's always been likesomething that's intrigued me in
the background like a sitcomdesign I mean it's all going
down.
Michael Manasseri (05:24):
I mean you could have a production designer
for a sitcom and a productiondesigner for a film.
I mean it's the same title andthey'll have people under them,
just like an interior designerwill have people An assistant.
Yes, we'll have people underthem dealing with set dressing,
dealing with construction,dealing with all those different
elements of putting somethingtogether.
The production designer, withthe director, is calling all the
(05:46):
major shots and, yes, dealingwith the details as well, but
they'll delegate certain things.
TIffany Woolley (05:49):
I mean, do they really get down to details as
far as accessories or draperycolors, everything?
Michael Manasseri (05:57):
I mean, look, it depends on, for example, if
you have a homeowner.
Voice Over (05:59):
Your budget, your budget.
Michael Manasseri (06:01):
It absolutely depends on your budget and it
also depends on, you know, isyour directing producing team
fastidious?
Are they?
You know how detail-orientedare they?
There are some directors whojust might be.
I just want to.
You know, we're here, thebuilding's here, let's just
shoot, let's go.
It is what it is.
You have people like that, butusually, Even at the smallest of
(06:24):
budgets, you know if you careabout the project, like a
homeowner or someone will careabout their house and what
they're going to see everysingle day of their lives.
You know what is lying on topof the couch in this scene, what
(06:49):
is on the table, what kind ofsilverware are they using?
Well, that silverware doesn'tmatch the 80-year-old character
that we're dealing with that.
Silverware will be somethingthat a 20-year-old will get at
Ikea.
We're not going to use thatRight.
Scott Woolley (07:03):
Yeah, so there's a fair amount of research that's
needed to be done.
I was just going to ask toolike do?
TIffany Woolley (07:07):
you have a.
Does this set designer?
Do they provide a presentation,a package to bring your plan?
Do you give them like a reallygood synopsis of?
You know I do mood images totry to you know get where the
client's head's at.
Scott Woolley (07:23):
Well, it's very much like when Michael came into
the facility here today, passedone of your tables where you're
preparing for one of yourclients and you've got
everything laid out Right.
It's very similar.
Michael Manasseri (07:36):
Yes, very much.
So.
It's like if you're going tosit there and you go, well, here
are the seven materials I thinkare going to work out for the
couch, or are going to work outfor the curtains, and you're
going to want to have this lookand the room is going to.
You know, we want the trim onthe windows to match what's
going on in the walls.
All of that comes into play ina production designer.
It's a.
It's well, there's differentphases of design, let's say,
even for a movie, because in thebeginning, your director, so
(07:58):
I'm working on a film.
Right now we're going to beshooting in in spain, hopefully
sometime in the next four orfive months, depending on what's
going on in the world.
When we're making this podcast,people can, you know, remember
the pandemic of but those, sothere's a co-directing team on
this project and they'reincredibly visual.
And so when you're puttingtogether a project, in the
(08:20):
beginning and Scott knows aboutthis, but you also know about
this in terms of your particularwork you know you put together
a lookbook and that lookbook isbasically to say this is the
mood of the film, this is what,and it's everything.
It's the vibe of the entirepicture, it's the style we want
to go for, and it also comesdown to the lighting, to the
(08:43):
styles, to the sets, to what weimagine.
And then so, from there, youknow, from that, with this
script that will also go to theproduction design team and that
enables them to start nowbringing their points of view,
their talent, their experienceto the table.
Because, as a good producer, agood director, you don't want to
(09:04):
be the one who dictateseverything.
You want to come with yourideas, but you want to hire
people who also have great ideas.
Trust, yeah, trust the expertExactly.
Because otherwise you're acontrol freak and nobody wants
to work with you, and because ifyou can't, trust people Agreed,
you know what I mean and youactually miss out.
TIffany Woolley (09:19):
I feel like on something.
Michael Manasseri (09:20):
It's one of the things that person a
designer, set designer, interiordesigner trust them Because
otherwise, you're missing out onwhat you brought them to the
table for Right, you're hiringthem because of their past work
and their years of experience.
If I hire you, I want you toknow a lot more than I know.
Right you know, and so it's thesame way on a movie, if you're
(09:42):
going to hire and hopefully youcan look when you start out in
movies or start out in TV let'ssay movies because TV is a
different world in terms ofmoney and budgets that are
usually always there.
But for films or independentfilms, a lot of times, in the
beginning especially, you do nothave a lot of money.
You also may not be able towork with the most experienced
people because you don't have alot of money, and so that might
(10:04):
be….
TIffany Woolley (10:05):
It's like using the best furniture
manufacturers and the bestfabrics, right?
Michael Manasseri (10:08):
right.
So that might be a learningexperience where you know maybe
you're actually working with anart student, maybe you're
working with you know somebodywho's never production designed
but they've been an assistant onthree other projects but you're
giving them a shot and so maybein that world, they kind of
sometimes step up on that.
TIffany Woolley (10:25):
Yeah, exactly, maybe in that world they kind of
sometimes step up on that?
Scott Woolley (10:27):
Yeah, exactly Tiffany.
I think she forgets, but she'sgone through a few of those
types of projects.
So I had a project it wasactually with Don Mishner, who's
done a lot of award shows andspecials.
He had a special that he neededdone for Spike TV, the network,
and they were bringing in adesign team from LA, but the
(10:48):
budget interfered with that.
They couldn't do it.
Last second they called becauseI was producing it and they
said we need a house.
I think it was about 14,000square feet decorated.
Within like three days I turnedto Tiffany and I said you've
got a quick project 14,000 feetof furniture into a house.
Do you remember that?
TIffany Woolley (11:10):
That's crazy.
Scott Woolley (11:11):
Yeah, and that happened a lot, so that was a
staging project really.
TIffany Woolley (11:14):
Right staging versus.
Scott Woolley (11:17):
But a lot different from the normal
process that you go through,where it's pre-designed and time
is being spent and it's beinglaid out.
TIffany Woolley (11:26):
Yep, no, I was going to go back to the Spain
movie set.
So is it being shot in Spainbecause you're looking to enjoy
Spain or take in some of thatMoney?
Michael Manasseri (11:39):
budgets, film incentives, the production
company that I'm working withand all of the.
I mean this is maybe not adesign part of the conversation,
but it's basically all of the.
I mean this is maybe not adesign part of the conversation,
but it's basically because ofthe production company that I'm
working with on that that I'mpartnering with.
Scott Woolley (11:53):
So does the story set around Spain, or it could
be anywhere it could be anywhereit could be anywhere.
TIffany Woolley (12:00):
What a bummer.
Michael Manasseri (12:01):
Can't you put a?
TIffany Woolley (12:04):
twist in that.
Michael Manasseri (12:05):
Well, we might listen, certain things
might.
Actually, you know what?
Now there might actually bemore of a Spanish angle coming
to it whenever this thing getsdone.
But the point of mentioningthat project was about that
lookbook, and that really I meanto the co-directing team on it.
They're so intensely visual,wow, and so when they put their
(12:28):
lookbook together to show towhether we're showing it to
other investors or we'reactually showing it to actors,
so you know, to bring our actorson, because I mean again an
actor, not only do they have tolook, so you're enticing people
with your lookbook.
You're enticing people, justlike you're exactly Just like
when you're going to somebodywho owns a 50,000 square foot
mansion and you're like this iswhy you should hire me to design
(12:50):
this house.
TIffany Woolley (12:51):
Evoking that feeling to draw you in Also.
Going on to the design part,how is lighting design carried
on through?
Because obviously there'slighting everywhere for set
design.
I would think that has to be ahuge thing incorporated into the
I mean, it's really that scottmentioned in the beginning.
Michael Manasseri (13:13):
It's all design.
I mean you're, you're, really,really is, and it is lighting,
that's what you call it.
You call it lighting design andand so, in terms of, uh, the
director of photography, thatyou, that comes on to the
project, and again, the director.
What kind of mood does thedirector want to set for the
entire film, for certainsections of the film?
I mean, you watch a movie andsometimes everything suddenly
(13:34):
changes.
They'll go from maybe warmcolors to this intense cold blue
light, depending on what'sgoing on in the story.
So all of those design factors,I mean it really is.
It's a daily discussion ofdetail, of detail when you're in
pre-production and when you'rein production, it's it's a
(13:54):
thousand questions being askedevery day and answered when
you're shooting.
TIffany Woolley (13:58):
How closely does that look book generally
reflect the finished product?
Michael Manasseri (14:05):
I would.
I would say usually it sayusually it's really really close
.
I mean, usually, once you dothose, the directors have done
their research, they know wherethey're.
Basically what could change?
It would be Budget, budget.
Like, let's say, we had a lotof money when we designed this
and all of a sudden we only havea fifth of that now, and that
changes your locations, thatchanges people that you hire,
(14:29):
also as well in terms of skill.
Scott Woolley (14:31):
Let's say, but the lookbook also helps guide
you with the budget too.
Correct, Correct.
So if you follow that lookbook,it's going to hopefully follow
your budget.
Keep you on budget.
Michael Manasseri (14:41):
Right, you don't want to make a lookbook
for what you think is a $50million movie when you know you
only have $5 million.
TIffany Woolley (14:46):
Right.
Well, same goes for my part ofthe world too.
Voice Over (14:50):
Yeah.
TIffany Woolley (14:51):
Definitely want to stay on target.
Scott Woolley (14:53):
Yeah, the difference that you have is that
in a film or a television show,everything starts with the
budget and most interiordecorating that I've experienced
with you.
TIffany Woolley (15:05):
We don't like budget People don't.
Scott Woolley (15:06):
Well, it's not that you don't like or we don't
like.
It's the fact that most peopledon't want to discuss or even
mention what their budget is,for a number of reasons.
One is they don't want tomention it because they think
that's what you're going tospend, or try to spend a little
bit more.
Sure, they'd rather you spend alittle bit less.
TIffany Woolley (15:24):
When I'd rather know a budget myself up front
so that I can finish a productand, you know, put it together
as a cohesive plan.
Michael Manasseri (15:34):
I'm much more like that too.
I mean, I would rather havepeople.
I mean, look, sometimes I'mactually responsible for going
and finding the money or eveninvesting the money.
I'm on both sides a lot.
Sometimes I'm the investorproducer, sometimes I'm the
hired producer who comes on.
If I'm the hired producercoming on, I just want to go to
the investors and say what do wehave?
Just tell me what we have, so Ican actually do this correctly
(15:58):
From the beginning.
There's no reason that you needto keep this a secret from me.
That's how I go at it, that'show I approach it, knowing,
though, at times, like you said,they might not really be
telling me everything.
Scott Woolley (16:12):
The other aspect of budget I'll mention that I've
noticed is that in the interiordesign side, because Scott is
also crossing over.
Sure sure.
TIffany Woolley (16:22):
Scott has gone from major production background
into really really helpingdrive my bus right now.
Scott Woolley (16:30):
Right, but one of the things that I've noticed is
and you'll get a kick out ofthis, mike is that there's a
percentage of clients that don'twant to discuss the budget
because they want to project toyou that they have endless deep
pockets when they, quite frankly, have a very limited or a very
(16:51):
finite amount of money.
But they want to project to youthat money is no object for me.
I have whatever it takes.
So there's an ego aspectInteresting.
Which is very similar to us indoing projects and talking to
investors.
Michael Manasseri (17:08):
Talking to potential investors.
Scott Woolley (17:10):
Yes, we get yes yes, we sit with an investor who
really wants to get in itbecause of whatever the reason
is.
TIffany Woolley (17:18):
But at the end of the day they don't quite have
the money they claim they haveCorrect.
Michael Manasseri (17:22):
You know there will be a couple of nice
lunches.
Sometimes we will end up payingfor those lunches.
There will be a couple of nicelunches Sometimes we will end up
paying for those lunches andthen when it comes time for the
pens and the paper, things likethat, things suddenly change.
Scott Woolley (17:34):
Which is a little of what Tiffany experiences
with some clients and then shehas to work through that to try
to help them manage what theycan spend and what their
expectations are.
So for her it's a little bittougher.
At the end of the day doing amovie or a film if you don't
have it, you can't do it, rightright.
TIffany Woolley (17:55):
Have you ever personally worked with an
interior designer?
Michael Manasseri (18:01):
No, I have not.
I have not.
TIffany Woolley (18:03):
What about for a movie?
Or has there ever been thatpart?
Michael Manasseri (18:07):
I think that on some commercial work so I've
done, I mean similar to Scott,you know I've produced numerous
commercials, as well as filmsand TV.
Scott Woolley (18:18):
Michael's also started quite a bit.
He's been in a number ofcommercials himself McDonald's.
TIffany Woolley (18:25):
I'm sure you could recognize your voice
anyway, Wow you're taking itback to the beginning, man.
Michael Manasseri (18:33):
Lots of commercials, yes, but as a
producer on commercials I'veworked with some interior
designers for homes and thingslike that that we've had in
commercials, but reallyeverything else has been more of
production designers.
But again, you're designing ahouse.
(18:53):
You're designing a house.
You're going back to the sitcomto the house and the sitcom.
TIffany Woolley (19:00):
I mean it's the same question what's the couch,
what's the color?
So the houses in the sitcoms,for example, when there's a
stairs and they're goingupstairs, are they really going
upstairs?
Michael Manasseri (19:09):
They're going upstairs, but they're not going
anywhere.
They're going to a landing.
Unless it's a real house, well,but in a sitcom.
Scott Woolley (19:17):
No.
TIffany Woolley (19:19):
So sitcom is technically on a soundstage.
Michael Manasseri (19:23):
Situation comedy.
Well, I don't know, maybe now,but in the days when I was doing
situation comedies, it wasalways live audience, live
audience on the stage LikeSchitt's Creek or something like
that.
Scott Woolley (19:34):
So you, didn't have four walls that you were
dealing with to decorate as well.
Michael Manasseri (19:38):
Right, you usually had three walls.
It was more illusion, I guess.
Scott Woolley (19:42):
Or sometimes two if the budget was less.
Michael Manasseri (19:44):
So if you go to well, maybe a lot of people
have now, but we so that TV showthat I used to be on called
Weird Science.
So we shot that at UniversalStudios Real fortunate.
We were there for four yearsand almost everything was on a
soundstage.
Sometimes we'd go out into theworld, but when we didn't go out
into the world we would go tothe back lot.
Okay, okay, if you visited youknow a lot of people have
(20:06):
visited Universal Studios andgone to the back lot.
So those houses you know.
So my character lived in aneighborhood and we would, you
know, get off the bus and we'dgo to our house and then you'd
enter the house and you'd shutthe, you know, on the other side
of the house there's nothingRight.
You know it's just a facade.
TIffany Woolley (20:23):
I know so that god, so that's uh, you know some
movie magic that everybody kindof knows by now so how do they,
kind of in the scope of thetelevision world, decide what is
going to be on a sound stageand what's going to be in a like
?
I know now, like the bachelorper se has a house, like it's
now, like but for years foryears.
Michael Manasseri (20:43):
I mean, we, you know, before there were
houses.
No, it was just you would buildyour sets, right, but it all
came down to the productiondesigner.
The production designer was incharge of all of that, and then
they would delegate Again.
There would be construction,there would be a lead man, there
would be his crew, there wouldbe set dressers, there would be
plant people who would be incharge of the plants the fake
plants the real plants.
Wow, all of it.
Scott Woolley (21:04):
It's staging the prop people with all the little
accessories, right.
TIffany Woolley (21:08):
Which staging became a big thing in our
industry as well.
I don't necessarily do staging,but it definitely is another
part of interior design thatcrosses over into set design.
Yep Especially in the work ofstaging.
Scott Woolley (21:21):
Well, I consider staging to be temporary.
Temporary it is Temporaryinterior decorating To sell a
house is like the main reasonsomebody stages.
Michael Manasseri (21:30):
Sure, I would say, on sound, so you never
know how long the show's goingto be on.
Scott Woolley (21:34):
Well, it's pretty much the same Staging because
of a stage.
It's temporary, it's not therepermanently and then.
TIffany Woolley (21:39):
So like on shows, for example.
Voice Over (21:41):
I never really watched Friends myself, but like
I know people in the world did.
TIffany Woolley (21:47):
And I think I had to go to bed that time.
But how many sofas, for example, do you think really exist of
the famous red?
Michael Manasseri (21:59):
couch, I mean now.
I mean, isn't there a wholeline?
TIffany Woolley (22:02):
Right, there is Like Pottery Barn or something,
I don't know.
It is.
It absolutely is.
It's the Friends FurnitureCollection.
Michael Manasseri (22:07):
Friends Furniture Collection yes yes, so
I would think now there are alot.
Now they're mass produced in afactory somewhere, unbelievable.
Scott Woolley (22:16):
Oh, unbelievable those are trends, but for the
show itself in the beginningthere was probably one, they
probably had two, oh yeah, theyprobably beat it up and like
once a year they'd bring in anew one, just to refresh.
Michael Manasseri (22:29):
Or if they just like the beat up, look,
because it was supposed to be anapartment forever.
Scott Woolley (22:33):
So yeah, it's a lot like a movie and certain
aspects of a movie, especiallywardrobe.
Depending upon the movie, theymay have multiple jackets or
multiple, whatever it is forthat particular part.
TIffany Woolley (22:47):
So, for example , like when you were on Weird
Science for four years, did youhave the same bedroom for four
years?
Pretty much, yeah, pretty much,I mean unless you made the same
bedroom for four years?
Pretty much, yeah, pretty much,I mean.
Michael Manasseri (22:55):
Unless you made it an aspect in an episode
of the show of I want a newbedroom Right, but otherwise no.
I mean the living room, thekitchen, the fake stairs going
up the stairs to nothing.
You know that didn't change,that barely changed.
TIffany Woolley (23:12):
So the set was always in place.
Michael Manasseri (23:14):
It was always in place, but of course I mean,
if a little bit of time went by, maybe the set dresser or
production designer would say,hey, let's change up these
flowers on top of the table, orsomething like that.
I mean, if something was goingto be intensely featured in an
episode, then of course theywould just make sure that
whatever's being featured has todo with that period of time,
(23:35):
that episode, et cetera.
Scott Woolley (23:40):
Well, that's another difference of interior
decorating for home.
And then compared to theentertainment industry, because
it's all temporary, right, Imean think of.
TIffany Woolley (23:46):
you did a couple of sets for me, balancing
Act you did when we firstlaunched that, when you guys set
them up and took them downquite a bit.
Scott Woolley (23:53):
Right, you helped me.
You put together a set for theCNBC show that I did with Jack
Kemp.
Yeah, okay, that was temporary.
That lasted the same exact setfor the four years the show was
on the air.
TIffany Woolley (24:05):
And we used the chairs for the foyer of the
building.
Scott Woolley (24:08):
Right, but once the show was over, everything
either went into garbage or gotdonated or given away to someone
.
Michael Manasseri (24:16):
Repurposed.
Scott Woolley (24:17):
In Los Angeles, depending upon the studio or the
facility it goes into awarehouse to maybe be used later
on, yes, in a warehouse with2,000 other selfies.
TIffany Woolley (24:28):
And typewriters .
Whenever you see those pictures, it's like the old-fashioned
typewriters.
Michael Manasseri (24:34):
I mean, but there's also.
So, for example, this moviethat I did last year called Give
Me Liberty, that was all reallocations.
In Milwaukee we had aproduction designer, because
certainly in some of those realwell, I would say real locations
but for example, there would bea house that we would be
shooting in that would end upbeing the house for a family in
(24:56):
the movie obviously not thefamily who lived in that house.
So of course things would haveto be adjusted and redone
pictures?
TIffany Woolley (25:02):
do they do all that, all of?
That, all that stuff so do theydo pictures?
This is total sidebar.
When they're using pictures ofa real person, which is actually
an actor, do they put the oldwhen you're like so you were on
a show and in the picture frameis you as a toddler.
Is that really?
Like your mom giving themtoddler pictures For those kinds
of things.
(25:22):
Sorry to interrupt.
No, no, no, no, it's fine.
Michael Manasseri (25:24):
For those kinds of things.
They would certainly ask forold pictures and stuff like that
if they wanted to be you, orthey'll Photoshop stuff now.
TIffany Woolley (25:30):
Oh, that's true .
So give us a picture and we'llPhotoshop your head into this
other picture.
Michael Manasseri (25:37):
But again that aspect of production design
for a movie of the budget ofGive Me Liberty, which was also
everything about that movie wasauthentic.
I mean, we had two real actorsin the whole movie.
Everybody else played basicallya version of themselves, and
the two real actors that we had,they were both from Russia.
Wow, and if you see the movieby the way, please go see the
(25:58):
movie it's called Give MeLiberty, or you can click on
something now, where can?
you find it.
You can find it on iTunes,amazon, I mean, it's on almost
every platform.
TIffany Woolley (26:07):
And everybody's got a lot of sofa time right
now, so no excuses, it's afeel-good comedy there, you go,
no excuses.
It's a feel-good comedy.
Michael Manasseri (26:14):
New York Times loved it.
La Times, a lot of people lovethis movie.
But in terms of productiondesign on that, that's a you
know for what that movie is andthe authenticity of the people
and the characters in the film.
You know our productiondesigner on that one probably
had to do a completely differentstyle of research, of work,
(26:37):
than what he could have done onthe movie that he did just
before.
That, I mean, it's you knowit's.
Milwaukee 2018, blue-collarneighborhoods different cultures
.
You know there's a big Russianelement in the film.
You're also in theAfrican-American community in
the film.
We are also in theAfrican-American community in
the film.
Also, that film deals a lot.
It has a lot to do withdisabled adults and where they
(27:00):
live and where they work, and soall of these different factors,
you know, going to those realplaces.
But even within those realplaces, what are the things the
production designer has tochange for the director's vision
?
You know just so many details.
This is an aside from, let'ssay, interior design or
(27:21):
production design, but chickenplays a very big part in that
movie, literally the making ofchicken.
So there's a grandfather, aRussian grandfather character.
Is it almond chicken orwhatever.
No, no, no, but he's Russian andit's very important that he
makes his chicken.
Like the whole movie, thisguy's got this thing about
(27:44):
making chicken.
What do you mean?
Making chicken?
Cooking chicken?
Cooking chicken a certain wayPreparing the chicken and
because so in the beginning ofthe movie he should not be
cooking and he is making chickenand he's in his 80s and a
little forgetful, and let mejust say the dynamics of the
entire film shift because ofchicken.
(28:04):
But the point of this story andthis might just be an aside,
but I think this is funny andit's about independent
filmmaking it's about smallbudgets, it's about independent
filmmaking, it's about smallbudgets, it's about design.
So we are on maybe our secondor third day of shooting and we
are working in this apartmentbuilding where a lot of the film
(28:24):
was based in Milwaukee, where alot of Russian immigrants have
come over.
TIffany Woolley (28:30):
I had no idea to Milwaukee.
Michael Manasseri (28:32):
Yes, there's a Russian-American or Russian,
basically community in Milwaukee.
I didn't know this until Isigned on to the film, and so,
anyway, we were in this buildingand we were in the social room.
That's where we were basicallyhad our base camp, where we all
would meet and talk, have ourmeetings, have our lunches, etc.
And so I walked in this morning.
(28:53):
It's really early, everyone'stired and, and I see the
production designer talking tohis assistant and the look on
her face, I knew something waswrong.
She just it was just.
I mean just, you know, it's apodcast, nobody can see what I'm
doing, but my jaw dropped.
Oh my God, something is wrong.
And, as a producer, these are Ialready know immediately.
(29:15):
Well, these are the problemsthat I'm supposed to be solving.
Voice Over (29:17):
No, I don't want anybody to have a face like that
Something's wrong.
Michael Manasseri (29:22):
So I went up and I said what's going on?
And the production designerturns to me and goes somebody
stole the chicken.
TIffany Woolley (29:30):
So was he actually cooking the chicken?
Michael Manasseri (29:32):
Well, in the film the character is walking
around with chicken, a lotFrozen chicken, walking around
with chicken and then eventually, yes, the chicken gets cooked
but we had 20 pounds of frozenchicken, of chicken that was
left in the freezer that nightbecause we thought you know
where the people thought who'sgonna take 20 pounds of frozen
chicken?
But I mean, but I showed up andyou know and I this was a
(29:56):
really difficult movie to makefor many reasons and it was was
a wonderful experience and themovie turned out great.
Voice Over (30:01):
Did you taste the chicken?
Michael Manasseri (30:02):
Eventually, I had to let it go and it was
cooked, but at this point, likethat chicken, even in a
production design, a movie sense, that chicken was working in
like the next scene, that frozenchicken was supposed to be in
the next scene and we didn'thave the frozen chicken and now
we had to go out and get 20pounds of frozen chicken and he
(30:22):
only had a set budget.
TIffany Woolley (30:24):
So basically, you had to pay for the chicken.
Michael Manasseri (30:26):
Well, we had to pay for the chicken, but it
was just like it's 7 am in themorning, where are you going to
go to get 20 pounds of frozenchicken?
That's going to work at 8 amAnyway.
So that's my chicken story.
Scott Woolley (30:37):
But that's in dealing with a production
designer talking about chicken.
TIffany Woolley (30:41):
That's just so funny.
Yes, at least it wasn't pickles.
Michael Manasseri (30:48):
Ah, that was good.
That was good.
I made a pickle movie.
For those of you that just went, what are they talking about
this?
It was a pickle movie.
TIffany Woolley (30:56):
And he gave out pickle pens at the premiere.
Michael Manasseri (30:59):
I mean, I think I stole 14 of them it was
a pickle movie.
Voice Over (31:01):
And he gave out pickle pens at the premiere.
TIffany Woolley (31:02):
I mean I think I stole 14 of them.
Michael Manasseri (31:02):
It was a hilarious movie.
It was a great movie, thank you.
Scott Woolley (31:06):
It's another one people should watch.
Michael Manasseri (31:07):
There you go, you're sitting at home, you
want to watch a feel-good movie,the Pickle Recipe.
So, yes, that one I directedand dealing with production
design on that.
Similar questions, similar,similar.
You know, how do we want thepickles to look?
I mean, really, how do we wantto?
TIffany Woolley (31:21):
look what's the canister gonna look like.
What are they gonna?
Look like all that, yeah, yeahthat is just so interesting
which is one of the reasons whenI started the podcast is I just
feel like everybody has suchamazing stories to tell, and I
mean you probably could go onfor hours, with the exception of
even design just just all thestories that you daily.
Michael Manasseri (31:44):
I mean when it comes to and Scott knows this
too when it comes to production, the stories.
Actually, the stories can bemore interesting than the actual
films and TV shows that arebeing made, the stories behind
it, because the other thing-about it is.
Well, I think some people are.
But if you bring, you'rebringing 50 or 100 people
(32:05):
together to work on a project,which also means you're bringing
50 to 100 people and theirstories and their personalities
and their problems.
It is fascinating.
Scott Woolley (32:16):
And everyone works together closely, tightly.
It's a great unit, almostbecomes a family, and 30 days
later, everyone's gone.
TIffany Woolley (32:26):
Stay in touch with them.
Michael Manasseri (32:29):
It's interesting.
So some, I absolutely do.
But you do realize over time,if you've done this long enough,
that you do absolutely go.
Man, I was so close with thosepeople for two months and none
of us talk to each other anymore, Because what happens is you.
Then, if you're fortunateenough to keep doing this,
you're, you know a couple ofmonths later, you're on to the
(32:50):
next one, and you're on to thenext one and you keep.
You know, you keep having thesereally intense, almost familial
relationships and everybody'skeeps going on to the next one
and they're usually very intense, they take up all your time.
So you're really like you're init when you're in it and then
you're never, in it.
Scott Woolley (33:08):
But it's the same thing with interior decorating,
like some of the projects youhave right now.
TIffany Woolley (33:13):
I love that, Like they become family for me.
I love knowing about theirchildren.
Scott Woolley (33:17):
I love watching the other generation, but it's
also the vendors, the crew, thepeople who are the
subcontractors.
Michael Manasseri (33:25):
All of them.
Scott Woolley (33:25):
Right, and there's certain ones that you
become very friendly with, andthen a project's over and
everybody's got to move on.
Michael Manasseri (33:34):
I know Everybody's got to make a living
Right.
Scott Woolley (33:36):
But I think in the interior design side and
your side of it is the ones thatare really good you're reaching
out to them again?
TIffany Woolley (33:44):
I guess that's what I was trying to ask before.
Michael, Is there your go-tos,for example?
Michael Manasseri (33:50):
Certainly as a producer and a director.
Now it is more like that.
I mean, if I so, for example,when I went off to Milwaukee to
make Gimme Liberty, I didn'tknow any of the people in
Milwaukee.
So that group of people, theywere all new to me and they were
wonderful, incredible, and I'veworked with some of them since
then on other projects.
Um, but in terms of my regulargo-tos because for a long time
(34:11):
I've been based out of Detroit,I certainly have, you know, as a
producer.
I have directors I work withregularly.
I have other producers,production designers, et cetera.
I will keep going back to andI'm sure it's similar with you
in the business.
Once you can actually trustsomeone and if they're doing a
good job, that's important, soimportant.
So you want to keep working.
(34:32):
I mean, if you can keep workingwith friends that you trust,
that are there for you, that youcan rely on that's the best, I
agree.
Scott Woolley (34:42):
It's pretty much like for me with the specials
that I do TV specials I use thefour to five same people travel
with me that have particularimportant positions, but the
rest of the crew 50, 60 peopleare all hired first time and
typically, unfortunately, lasttime because it's typically in
another state, right, just inanother city.
50, 60 people are all hiredfirst time and typically,
unfortunately, last time becauseit's typically in another state
(35:03):
, right it's in another city.
But those four to five keypeople have been with me for
years.
TIffany Woolley (35:08):
So when you're doing set design in a key city,
do you hire the set designerfrom that area, or who do they
bring you?
Michael Manasseri (35:16):
Not necessarily, yeah not
necessarily for productiondesign.
It's a similar thing where, ifyou can bring someone you work
with and you trust in the pastand you know they're right for
this project, look, there arepeople that I've worked with who
I know are wonderful, but Iknow they're right for something
, they're not right forsomething else.
So you know, that's where Iwill depend on other people that
(35:36):
I'm working with referencesthings like that and we'll bring
somebody in that we feel isreally really right for the
project.
But usually with cities, ifyou're talking about that, that
would be locations, people,things like that.
Or maybe we'll bring in a keylocation person but then they'll
hire everybody locally becausethose local people are going to
(35:59):
know the answers to thequestions.
TIffany Woolley (36:01):
So when you do hire a location scout, do they
then look into hiring, like ifsomebody wanted to film a movie
in Delray Beach, for example?
How do you go about yourlocation?
I?
Michael Manasseri (36:15):
mean?
So let's say they wanted athree-bedroom house on the water
in Delray.
I mean the location scout wouldbe given, basically,
instructions from the locationmanager, from the production,
from the producers.
This is the kind of house we'relooking for, this is the kind
of money that we have.
So do you?
TIffany Woolley (36:34):
rent it.
Michael Manasseri (36:34):
Oh, I mean well, the scout would go out and
knock on doors, call people,leave flyers, basically oh, he
drives by a house and says, man,that house is perfect.
Usually we'll take a flyer andsay, hey, we're thinking about
filming on a property like yours.
We'd love to talk to you aboutit.
Please give us a call at suchand such number if you're
interested.
That person would call back andthen it's basically it's a
(36:57):
conversation.
You describe what the situationis and then it's basically it's
a conversation.
You describe what the situationis and then is it see inside?
And it's money.
Scott Woolley (37:05):
Most major cities have people who are location
scouts.
TIffany Woolley (37:10):
My house growing up was used for a movie.
Michael Manasseri (37:14):
Grand Rapids.
TIffany Woolley (37:15):
No, in Boca.
Michael Manasseri (37:17):
Oh, okay.
Scott Woolley (37:17):
In Boca.
TIffany Woolley (37:17):
Raton in here.
Yeah, michael and I both haveMichigan connections, but I
remember that it was LittleWomen of the 1990s or something.
Voice Over (37:27):
It was an.
TIffany Woolley (37:27):
Italian film and I, little Women.
It was an Italian, but it waslike.
Little Women of the 90s.
Michael Manasseri (37:35):
It was like a remake of Little Women Okay,
the Italian remake of LittleWomen, something like this.
That sounds hilarious.
Why did I not produce this?
TIffany Woolley (37:42):
I know and I actually want to look back and
see it these days, because theyhosted a party there and it just
was like my whole family movedout for a week.
Voice Over (37:53):
Sure.
TIffany Woolley (37:53):
But I was able to stay because my mom was like
you need to still go to school,You're in high school.
Scott Woolley (38:02):
You need to have a very unusual temperament
pertaining to owning a house andallowing a crew to come in and
take it over.
I'm just going to say this ohno, yeah, we need a new carpet.
Michael Manasseri (38:06):
I'm going to say this If you are listening,
and if somebody comes to youbecause they want to use your
house for a movie or acommercial, you probably should
just say no, that's why I saidyou need an unusual temperament,
right, or they're going to giveyou a lot of money because,
basically, your house will betaken over.
(38:27):
It will be taken over by 50human beings who might want to
be respectful of that property.
TIffany Woolley (38:33):
There was catering trucks outside.
Michael Manasseri (38:36):
But now it's just their workspace, Like
that's it.
Scott Woolley (38:39):
And they will move everything and anything and
it's a deal.
Michael Manasseri (38:45):
And they will try not to break things.
Try not to break things.
TIffany Woolley (38:50):
That's like the opposite.
Michael Manasseri (38:51):
I guess Watch I'm going to need a house for a
movie and someone's going tosay I heard you on a podcast.
Well, this is so fun.
TIffany Woolley (38:57):
Yes it is.
I know.
Well, I'll say on a podcastWell, this is so fun.
Yes, it is I know.
Michael Manasseri (39:04):
Well, I'll say one thing briefly.
So around 2004, 2005, when Iactually started to produce,
that is also right around thetime I met the Woolies.
Is that when it was yes, it wasyes.
Yes, the first movie that Iproduced.
Well, let me tell you this?
Scott Woolley (39:24):
So Santa Monica, no, not Santa Monica, melrose,
it was on Melrose, I believe.
Yes, yes and I remember pullinginto a parking lot.
Michael Manasseri (39:31):
Fred Siegel.
TIffany Woolley (39:33):
That's correct, fred Siegel the guy who owns
Fred Siegel now lives in Boca.
Ah, okay, so.
Scott Woolley (39:36):
Fred Siegel, the clothing store on Melrose.
I remember pulling in theparking lot and all the trailers
and so forth and we got guidedinto a shoe store and it was a
pretty funky.
I remember like reallyoutrageous shoe store with wild
walls and colors.
Was it Fred Siegel?
I don't think so.
Michael Manasseri (39:56):
The property was Fred Siegel was, I think.
Scott Woolley (39:59):
We took over the space and we did, and that's
where I met you, I think firsttime, yeah, in that shoe store
okay in that fake shoe store,which was a fixed, wasn't it?
Michael Manasseri (40:09):
no, it was a real, wasn't it, but it was an
interior design.
Scott Woolley (40:15):
You talk about interior design that I don't
think it was interior designedor built for.
The movie was there, I think.
But it was quite a set, anunusual set for a shoe store,
not your typical shoe store.
But it also wasn't a typicalmovie.
Michael Manasseri (40:31):
No, it was not.
Scott Woolley (40:32):
Because I remember having a conversation
with you after I met you, andthen what was it?
Jenny McCarthy comes walking byasking you a question and then
Carmen Electra comes walking inand shooting a scene.
Those were the days, guys.
Those were the days.
Yeah, it was a prettyoutrageous scene too.
Michael Manasseri (40:48):
Yes, yes, it was, that's right.
Wow, yeah, I mean, look, Iremember Fred Siegel, that's
about it.
Good memory, scott.
Scott Woolley (40:55):
All I remember is the fish.
TIffany Woolley (40:58):
Oh yes, oh my God, I kind of vaguely remember
this story.
Michael Manasseri (41:02):
This is when we changed the subject.
Yes, Back to interior designand fresh flowers, and then I
came to Delray About four monthslater I came to Delray.
Scott Woolley (41:12):
Right Then we ended up doing a project with
William Shatner together.
Yes, yes, it was a lot of fun.
TIffany Woolley (41:17):
I know we have a fun history, that's only just
begun.
Michael Manasseri (41:20):
That's right, that's right.
TIffany Woolley (41:23):
And I look forward to embarking on some
more fun.
Michael Manasseri (41:25):
I look forward to more iDesign podcasts
.
TIffany Woolley (41:28):
Thank you, yes, very much.
Thanks for joining us today.
You got it.
Voice Over (41:31):
Thanks for having me iDesign Labs Podcast is an SW
Group production in associationwith the Five Star and TW
Interiors.
To learn more about iDesign Labor TW Interiors, please visit
twinteriorscom.
This is iDesign Lab, a podcast where creativity and
curiosity meet style and design.
Hosted by Tiffany Woolley, aninterior designer and a style
enthusiast, along with herserial entrepreneur husband
Scott, idesign Lab is yourultimate design podcast where we
explore the rich and vibrantworld of design and its constant
evolution in style and trends.
(00:21):
Idesign Lab provides industryinsight, discussing the latest
trends, styles and everything inbetween to better help you
style your life, through advicefrom trendsetters, designers,
influencers, innovators,fabricators and manufacturers,
as well as personal stories thatinspire, motivate and excite.
TIffany Woolley (00:40):
Welcome to the iDesign Lab podcast.
My co-host today, my darlinghusband Scott Woolley, is going
to introduce our special guest.
Scott Woolley (00:50):
Our special guest today isn't a designer or an
interior designer, but many ofour listeners have seen his work
.
His name is Michael Mandessari.
Michael's an actor, a producer,a director.
He began his acting career incommunity theater at the age of
10.
Within a few years, michaelmade his Broadway debut in
Oliver and later toured with thelate Yul Brynner in the King
(01:12):
and I.
Michael made his first bigscreen appearance as Charles in
A License to Drive, whichstarred Heather Graham, corey
Feldman and Corey Hamm.
After a number of sitcoms andguest appearances on shows such
as the Wonder Years, charles inCharge, wings, quantum Leap and
Eeyore, michael took on the rolewhich he is best known for
(01:36):
today, that of Wyatt Donnelly inthe television series Weird
Science.
By 2005, michael had jumped fromin front of the camera to
behind the camera as a producerand a director.
As a producer and a director,michael has been pumping out one
or two documentary projects andfilms each year.
Many of them have receivedgreater critical acclaim at film
(01:59):
festivals around the planet.
Michael, as a producer, andespecially as a director of a
movie, is very involved in theoverall design of the film, from
the sets the film is shot on tohow they are decorated, to how
they will be lit, to thecostumes that the actors will
wear.
All of which leads us to whyMichael is sitting in our studio
today.
(02:19):
We wanted to spend some timeexploring the design process
that a film or television showgoes through Really not that
much different than what ahomeowner goes through in
designing and decorating a home.
TIffany Woolley (02:32):
The attachment, the curation.
Michael Manasseri (02:35):
Yes, that is all correct.
Wonderful introduction there,Scott.
Thank you very much.
TIffany Woolley (02:38):
I know, and then I want to go back to a
question that we saved frombefore.
But I wanted to know hasMichael done a podcast yet?
Scott Woolley (02:46):
I have done yes, I've done a couple of podcasts,
yes, well he's probably done afew, because he just recently
won the 2020 Independent SpiritAward for a film that's out
there right now.
I think Netflix has it andAmazon.
Michael Manasseri (03:01):
It's on iTunes and Amazon, but it came
out theatrically last year.
It's called Give Me Liberty,yep, and premiered at the
Sundance Film Festival in 2019,and then we went to Cannes and
then, fortunately, this year, wewon it's called the John
Cassavetes Award, which was thebest feature film made for under
$500,000.
Scott Woolley (03:19):
So director or producer?
Michael Manasseri (03:20):
on that Producer, I was one of the
producers on that, yes, but backto what you were saying yes,
absolutely, Producing, directing, it's all about.
It really is.
It's all about design.
It's the designing of what anaudience is going to see and
take in on the screen, and allof the elements, all of the
(03:41):
questions.
They're really similar to whata designer would need to ask
from a homeowner or a client.
TIffany Woolley (03:48):
So what part do you bring in?
Your set designer, like wewould be brought in when a
client decides what plot of landthey're going to build, they've
selected an architect, abuilder.
Like that whole team comestogether at the very beginning
Wondering when does your setdesign, or is that part of?
I know when you read scriptsthey'll say oh, in a warm cozy
(04:12):
by the fire.
Michael Manasseri (04:13):
I mean part of it is indicated in the script
, usually in the scenedirections or the action
elements.
Yes, of course they talk about,they'll talk about the
environment.
They won't talk too much aboutthe environment there.
But then once you have adirector on board and then you
start in pre-production to bringyour team together, one of the
(04:34):
first people you will bring onis a production designer and
that person is responsible foreverything that you see on.
You know whether it's the wallsor in the rooms or in
everything in that scene,whether it's the walls or in the
rooms or in everything in thatscene, not the costumes, et
cetera.
But it's a collaboration betweendirector, producer, production
designer and those keydepartment heads who are going
to start asking all of thosequestions.
Scott Woolley (04:55):
So it's similar to what an interior designer
would be.
When it comes to the set design, yeah, they're picking out.
TIffany Woolley (05:05):
Well, I feel like set design probably has so
many different facets as well.
It's like a condo versus atownhouse versus a host, you
know, a single family home whenit's a movie design versus like
a sitcom.
That's always been likesomething that's intrigued me in
the background like a sitcomdesign I mean it's all going
down.
Michael Manasseri (05:24):
I mean you could have a production designer
for a sitcom and a productiondesigner for a film.
I mean it's the same title andthey'll have people under them,
just like an interior designerwill have people An assistant.
Yes, we'll have people underthem dealing with set dressing,
dealing with construction,dealing with all those different
elements of putting somethingtogether.
The production designer, withthe director, is calling all the
(05:46):
major shots and, yes, dealingwith the details as well, but
they'll delegate certain things.
TIffany Woolley (05:49):
I mean, do they really get down to details as
far as accessories or draperycolors, everything?
Michael Manasseri (05:57):
I mean, look, it depends on, for example, if
you have a homeowner.
Voice Over (05:59):
Your budget, your budget.
Michael Manasseri (06:01):
It absolutely depends on your budget and it
also depends on, you know, isyour directing producing team
fastidious?
Are they?
You know how detail-orientedare they?
There are some directors whojust might be.
I just want to.
You know, we're here, thebuilding's here, let's just
shoot, let's go.
It is what it is.
You have people like that, butusually, Even at the smallest of
(06:24):
budgets, you know if you careabout the project, like a
homeowner or someone will careabout their house and what
they're going to see everysingle day of their lives.
You know what is lying on topof the couch in this scene, what
(06:49):
is on the table, what kind ofsilverware are they using?
Well, that silverware doesn'tmatch the 80-year-old character
that we're dealing with that.
Silverware will be somethingthat a 20-year-old will get at
Ikea.
We're not going to use thatRight.
Scott Woolley (07:03):
Yeah, so there's a fair amount of research that's
needed to be done.
I was just going to ask toolike do?
TIffany Woolley (07:07):
you have a.
Does this set designer?
Do they provide a presentation,a package to bring your plan?
Do you give them like a reallygood synopsis of?
You know I do mood images totry to you know get where the
client's head's at.
Scott Woolley (07:23):
Well, it's very much like when Michael came into
the facility here today, passedone of your tables where you're
preparing for one of yourclients and you've got
everything laid out Right.
It's very similar.
Michael Manasseri (07:36):
Yes, very much.
So.
It's like if you're going tosit there and you go, well, here
are the seven materials I thinkare going to work out for the
couch, or are going to work outfor the curtains, and you're
going to want to have this lookand the room is going to.
You know, we want the trim onthe windows to match what's
going on in the walls.
All of that comes into play ina production designer.
It's a.
It's well, there's differentphases of design, let's say,
even for a movie, because in thebeginning, your director, so
(07:58):
I'm working on a film.
Right now we're going to beshooting in in spain, hopefully
sometime in the next four orfive months, depending on what's
going on in the world.
When we're making this podcast,people can, you know, remember
the pandemic of but those, sothere's a co-directing team on
this project and they'reincredibly visual.
And so when you're puttingtogether a project, in the
(08:20):
beginning and Scott knows aboutthis, but you also know about
this in terms of your particularwork you know you put together
a lookbook and that lookbook isbasically to say this is the
mood of the film, this is what,and it's everything.
It's the vibe of the entirepicture, it's the style we want
to go for, and it also comesdown to the lighting, to the
(08:43):
styles, to the sets, to what weimagine.
And then so, from there, youknow, from that, with this
script that will also go to theproduction design team and that
enables them to start nowbringing their points of view,
their talent, their experienceto the table.
Because, as a good producer, agood director, you don't want to
(09:04):
be the one who dictateseverything.
You want to come with yourideas, but you want to hire
people who also have great ideas.
Trust, yeah, trust the expertExactly.
Because otherwise you're acontrol freak and nobody wants
to work with you, and because ifyou can't, trust people Agreed,
you know what I mean and youactually miss out.
TIffany Woolley (09:19):
I feel like on something.
Michael Manasseri (09:20):
It's one of the things that person a
designer, set designer, interiordesigner trust them Because
otherwise, you're missing out onwhat you brought them to the
table for Right, you're hiringthem because of their past work
and their years of experience.
If I hire you, I want you toknow a lot more than I know.
Right you know, and so it's thesame way on a movie, if you're
(09:42):
going to hire and hopefully youcan look when you start out in
movies or start out in TV let'ssay movies because TV is a
different world in terms ofmoney and budgets that are
usually always there.
But for films or independentfilms, a lot of times, in the
beginning especially, you do nothave a lot of money.
You also may not be able towork with the most experienced
people because you don't have alot of money, and so that might
(10:04):
be….
TIffany Woolley (10:05):
It's like using the best furniture
manufacturers and the bestfabrics, right?
Michael Manasseri (10:08):
right.
So that might be a learningexperience where you know maybe
you're actually working with anart student, maybe you're
working with you know somebodywho's never production designed
but they've been an assistant onthree other projects but you're
giving them a shot and so maybein that world, they kind of
sometimes step up on that.
TIffany Woolley (10:25):
Yeah, exactly, maybe in that world they kind of
sometimes step up on that?
Scott Woolley (10:27):
Yeah, exactly Tiffany.
I think she forgets, but she'sgone through a few of those
types of projects.
So I had a project it wasactually with Don Mishner, who's
done a lot of award shows andspecials.
He had a special that he neededdone for Spike TV, the network,
and they were bringing in adesign team from LA, but the
(10:48):
budget interfered with that.
They couldn't do it.
Last second they called becauseI was producing it and they
said we need a house.
I think it was about 14,000square feet decorated.
Within like three days I turnedto Tiffany and I said you've
got a quick project 14,000 feetof furniture into a house.
Do you remember that?
TIffany Woolley (11:10):
That's crazy.
Scott Woolley (11:11):
Yeah, and that happened a lot, so that was a
staging project really.
TIffany Woolley (11:14):
Right staging versus.
Scott Woolley (11:17):
But a lot different from the normal
process that you go through,where it's pre-designed and time
is being spent and it's beinglaid out.
TIffany Woolley (11:26):
Yep, no, I was going to go back to the Spain
movie set.
So is it being shot in Spainbecause you're looking to enjoy
Spain or take in some of thatMoney?
Michael Manasseri (11:39):
budgets, film incentives, the production
company that I'm working withand all of the.
I mean this is maybe not adesign part of the conversation,
but it's basically all of the.
I mean this is maybe not adesign part of the conversation,
but it's basically because ofthe production company that I'm
working with on that that I'mpartnering with.
Scott Woolley (11:53):
So does the story set around Spain, or it could
be anywhere it could be anywhereit could be anywhere.
TIffany Woolley (12:00):
What a bummer.
Michael Manasseri (12:01):
Can't you put a?
TIffany Woolley (12:04):
twist in that.
Michael Manasseri (12:05):
Well, we might listen, certain things
might.
Actually, you know what?
Now there might actually bemore of a Spanish angle coming
to it whenever this thing getsdone.
But the point of mentioningthat project was about that
lookbook, and that really I meanto the co-directing team on it.
They're so intensely visual,wow, and so when they put their
(12:28):
lookbook together to show towhether we're showing it to
other investors or we'reactually showing it to actors,
so you know, to bring our actorson, because I mean again an
actor, not only do they have tolook, so you're enticing people
with your lookbook.
You're enticing people, justlike you're exactly Just like
when you're going to somebodywho owns a 50,000 square foot
mansion and you're like this iswhy you should hire me to design
(12:50):
this house.
TIffany Woolley (12:51):
Evoking that feeling to draw you in Also.
Going on to the design part,how is lighting design carried
on through?
Because obviously there'slighting everywhere for set
design.
I would think that has to be ahuge thing incorporated into the
I mean, it's really that scottmentioned in the beginning.
Michael Manasseri (13:13):
It's all design.
I mean you're, you're, really,really is, and it is lighting,
that's what you call it.
You call it lighting design andand so, in terms of, uh, the
director of photography, thatyou, that comes on to the
project, and again, the director.
What kind of mood does thedirector want to set for the
entire film, for certainsections of the film?
I mean, you watch a movie andsometimes everything suddenly
(13:34):
changes.
They'll go from maybe warmcolors to this intense cold blue
light, depending on what'sgoing on in the story.
So all of those design factors,I mean it really is.
It's a daily discussion ofdetail, of detail when you're in
pre-production and when you'rein production, it's it's a
(13:54):
thousand questions being askedevery day and answered when
you're shooting.
TIffany Woolley (13:58):
How closely does that look book generally
reflect the finished product?
Michael Manasseri (14:05):
I would.
I would say usually it sayusually it's really really close
.
I mean, usually, once you dothose, the directors have done
their research, they know wherethey're.
Basically what could change?
It would be Budget, budget.
Like, let's say, we had a lotof money when we designed this
and all of a sudden we only havea fifth of that now, and that
changes your locations, thatchanges people that you hire,
(14:29):
also as well in terms of skill.
Scott Woolley (14:31):
Let's say, but the lookbook also helps guide
you with the budget too.
Correct, Correct.
So if you follow that lookbook,it's going to hopefully follow
your budget.
Keep you on budget.
Michael Manasseri (14:41):
Right, you don't want to make a lookbook
for what you think is a $50million movie when you know you
only have $5 million.
TIffany Woolley (14:46):
Right.
Well, same goes for my part ofthe world too.
Voice Over (14:50):
Yeah.
TIffany Woolley (14:51):
Definitely want to stay on target.
Scott Woolley (14:53):
Yeah, the difference that you have is that
in a film or a television show,everything starts with the
budget and most interiordecorating that I've experienced
with you.
TIffany Woolley (15:05):
We don't like budget People don't.
Scott Woolley (15:06):
Well, it's not that you don't like or we don't
like.
It's the fact that most peopledon't want to discuss or even
mention what their budget is,for a number of reasons.
One is they don't want tomention it because they think
that's what you're going tospend, or try to spend a little
bit more.
Sure, they'd rather you spend alittle bit less.
TIffany Woolley (15:24):
When I'd rather know a budget myself up front
so that I can finish a productand, you know, put it together
as a cohesive plan.
Michael Manasseri (15:34):
I'm much more like that too.
I mean, I would rather havepeople.
I mean, look, sometimes I'mactually responsible for going
and finding the money or eveninvesting the money.
I'm on both sides a lot.
Sometimes I'm the investorproducer, sometimes I'm the
hired producer who comes on.
If I'm the hired producercoming on, I just want to go to
the investors and say what do wehave?
Just tell me what we have, so Ican actually do this correctly
(15:58):
From the beginning.
There's no reason that you needto keep this a secret from me.
That's how I go at it, that'show I approach it, knowing,
though, at times, like you said,they might not really be
telling me everything.
Scott Woolley (16:12):
The other aspect of budget I'll mention that I've
noticed is that in the interiordesign side, because Scott is
also crossing over.
Sure sure.
TIffany Woolley (16:22):
Scott has gone from major production background
into really really helpingdrive my bus right now.
Scott Woolley (16:30):
Right, but one of the things that I've noticed is
and you'll get a kick out ofthis, mike is that there's a
percentage of clients that don'twant to discuss the budget
because they want to project toyou that they have endless deep
pockets when they, quite frankly, have a very limited or a very
(16:51):
finite amount of money.
But they want to project to youthat money is no object for me.
I have whatever it takes.
So there's an ego aspectInteresting.
Which is very similar to us indoing projects and talking to
investors.
Michael Manasseri (17:08):
Talking to potential investors.
Scott Woolley (17:10):
Yes, we get yes yes, we sit with an investor who
really wants to get in itbecause of whatever the reason
is.
TIffany Woolley (17:18):
But at the end of the day they don't quite have
the money they claim they haveCorrect.
Michael Manasseri (17:22):
You know there will be a couple of nice
lunches.
Sometimes we will end up payingfor those lunches.
There will be a couple of nicelunches Sometimes we will end up
paying for those lunches andthen when it comes time for the
pens and the paper, things likethat, things suddenly change.
Scott Woolley (17:34):
Which is a little of what Tiffany experiences
with some clients and then shehas to work through that to try
to help them manage what theycan spend and what their
expectations are.
So for her it's a little bittougher.
At the end of the day doing amovie or a film if you don't
have it, you can't do it, rightright.
TIffany Woolley (17:55):
Have you ever personally worked with an
interior designer?
Michael Manasseri (18:01):
No, I have not.
I have not.
TIffany Woolley (18:03):
What about for a movie?
Or has there ever been thatpart?
Michael Manasseri (18:07):
I think that on some commercial work so I've
done, I mean similar to Scott,you know I've produced numerous
commercials, as well as filmsand TV.
Scott Woolley (18:18):
Michael's also started quite a bit.
He's been in a number ofcommercials himself McDonald's.
TIffany Woolley (18:25):
I'm sure you could recognize your voice
anyway, Wow you're taking itback to the beginning, man.
Michael Manasseri (18:33):
Lots of commercials, yes, but as a
producer on commercials I'veworked with some interior
designers for homes and thingslike that that we've had in
commercials, but reallyeverything else has been more of
production designers.
But again, you're designing ahouse.
(18:53):
You're designing a house.
You're going back to the sitcomto the house and the sitcom.
TIffany Woolley (19:00):
I mean it's the same question what's the couch,
what's the color?
So the houses in the sitcoms,for example, when there's a
stairs and they're goingupstairs, are they really going
upstairs?
Michael Manasseri (19:09):
They're going upstairs, but they're not going
anywhere.
They're going to a landing.
Unless it's a real house, well,but in a sitcom.
Scott Woolley (19:17):
No.
TIffany Woolley (19:19):
So sitcom is technically on a soundstage.
Michael Manasseri (19:23):
Situation comedy.
Well, I don't know, maybe now,but in the days when I was doing
situation comedies, it wasalways live audience, live
audience on the stage LikeSchitt's Creek or something like
that.
Scott Woolley (19:34):
So you, didn't have four walls that you were
dealing with to decorate as well.
Michael Manasseri (19:38):
Right, you usually had three walls.
It was more illusion, I guess.
Scott Woolley (19:42):
Or sometimes two if the budget was less.
Michael Manasseri (19:44):
So if you go to well, maybe a lot of people
have now, but we so that TV showthat I used to be on called
Weird Science.
So we shot that at UniversalStudios Real fortunate.
We were there for four yearsand almost everything was on a
soundstage.
Sometimes we'd go out into theworld, but when we didn't go out
into the world we would go tothe back lot.
Okay, okay, if you visited youknow a lot of people have
(20:06):
visited Universal Studios andgone to the back lot.
So those houses you know.
So my character lived in aneighborhood and we would, you
know, get off the bus and we'dgo to our house and then you'd
enter the house and you'd shutthe, you know, on the other side
of the house there's nothingRight.
You know it's just a facade.
TIffany Woolley (20:23):
I know so that god, so that's uh, you know some
movie magic that everybody kindof knows by now so how do they,
kind of in the scope of thetelevision world, decide what is
going to be on a sound stageand what's going to be in a like
?
I know now, like the bachelorper se has a house, like it's
now, like but for years foryears.
Michael Manasseri (20:43):
I mean, we, you know, before there were
houses.
No, it was just you would buildyour sets, right, but it all
came down to the productiondesigner.
The production designer was incharge of all of that, and then
they would delegate Again.
There would be construction,there would be a lead man, there
would be his crew, there wouldbe set dressers, there would be
plant people who would be incharge of the plants the fake
plants the real plants.
Wow, all of it.
Scott Woolley (21:04):
It's staging the prop people with all the little
accessories, right.
TIffany Woolley (21:08):
Which staging became a big thing in our
industry as well.
I don't necessarily do staging,but it definitely is another
part of interior design thatcrosses over into set design.
Yep Especially in the work ofstaging.
Scott Woolley (21:21):
Well, I consider staging to be temporary.
Temporary it is Temporaryinterior decorating To sell a
house is like the main reasonsomebody stages.
Michael Manasseri (21:30):
Sure, I would say, on sound, so you never
know how long the show's goingto be on.
Scott Woolley (21:34):
Well, it's pretty much the same Staging because
of a stage.
It's temporary, it's not therepermanently and then.
TIffany Woolley (21:39):
So like on shows, for example.
Voice Over (21:41):
I never really watched Friends myself, but like
I know people in the world did.
TIffany Woolley (21:47):
And I think I had to go to bed that time.
But how many sofas, for example, do you think really exist of
the famous red?
Michael Manasseri (21:59):
couch, I mean now.
I mean, isn't there a wholeline?
TIffany Woolley (22:02):
Right, there is Like Pottery Barn or something,
I don't know.
It is.
It absolutely is.
It's the Friends FurnitureCollection.
Michael Manasseri (22:07):
Friends Furniture Collection yes yes, so
I would think now there are alot.
Now they're mass produced in afactory somewhere, unbelievable.
Scott Woolley (22:16):
Oh, unbelievable those are trends, but for the
show itself in the beginningthere was probably one, they
probably had two, oh yeah, theyprobably beat it up and like
once a year they'd bring in anew one, just to refresh.
Michael Manasseri (22:29):
Or if they just like the beat up, look,
because it was supposed to be anapartment forever.
Scott Woolley (22:33):
So yeah, it's a lot like a movie and certain
aspects of a movie, especiallywardrobe.
Depending upon the movie, theymay have multiple jackets or
multiple, whatever it is forthat particular part.
TIffany Woolley (22:47):
So, for example , like when you were on Weird
Science for four years, did youhave the same bedroom for four
years?
Pretty much, yeah, pretty much,I mean unless you made the same
bedroom for four years?
Pretty much, yeah, pretty much,I mean.
Michael Manasseri (22:55):
Unless you made it an aspect in an episode
of the show of I want a newbedroom Right, but otherwise no.
I mean the living room, thekitchen, the fake stairs going
up the stairs to nothing.
You know that didn't change,that barely changed.
TIffany Woolley (23:12):
So the set was always in place.
Michael Manasseri (23:14):
It was always in place, but of course I mean,
if a little bit of time went by, maybe the set dresser or
production designer would say,hey, let's change up these
flowers on top of the table, orsomething like that.
I mean, if something was goingto be intensely featured in an
episode, then of course theywould just make sure that
whatever's being featured has todo with that period of time,
(23:35):
that episode, et cetera.
Scott Woolley (23:40):
Well, that's another difference of interior
decorating for home.
And then compared to theentertainment industry, because
it's all temporary, right, Imean think of.
TIffany Woolley (23:46):
you did a couple of sets for me, balancing
Act you did when we firstlaunched that, when you guys set
them up and took them downquite a bit.
Scott Woolley (23:53):
Right, you helped me.
You put together a set for theCNBC show that I did with Jack
Kemp.
Yeah, okay, that was temporary.
That lasted the same exact setfor the four years the show was
on the air.
TIffany Woolley (24:05):
And we used the chairs for the foyer of the
building.
Scott Woolley (24:08):
Right, but once the show was over, everything
either went into garbage or gotdonated or given away to someone
.
Michael Manasseri (24:16):
Repurposed.
Scott Woolley (24:17):
In Los Angeles, depending upon the studio or the
facility it goes into awarehouse to maybe be used later
on, yes, in a warehouse with2,000 other selfies.
TIffany Woolley (24:28):
And typewriters .
Whenever you see those pictures, it's like the old-fashioned
typewriters.
Michael Manasseri (24:34):
I mean, but there's also.
So, for example, this moviethat I did last year called Give
Me Liberty, that was all reallocations.
In Milwaukee we had aproduction designer, because
certainly in some of those realwell, I would say real locations
but for example, there would bea house that we would be
shooting in that would end upbeing the house for a family in
(24:56):
the movie obviously not thefamily who lived in that house.
So of course things would haveto be adjusted and redone
pictures?
TIffany Woolley (25:02):
do they do all that, all of?
That, all that stuff so do theydo pictures?
This is total sidebar.
When they're using pictures ofa real person, which is actually
an actor, do they put the oldwhen you're like so you were on
a show and in the picture frameis you as a toddler.
Is that really?
Like your mom giving themtoddler pictures For those kinds
of things.
(25:22):
Sorry to interrupt.
No, no, no, no, it's fine.
Michael Manasseri (25:24):
For those kinds of things.
They would certainly ask forold pictures and stuff like that
if they wanted to be you, orthey'll Photoshop stuff now.
TIffany Woolley (25:30):
Oh, that's true .
So give us a picture and we'llPhotoshop your head into this
other picture.
Michael Manasseri (25:37):
But again that aspect of production design
for a movie of the budget ofGive Me Liberty, which was also
everything about that movie wasauthentic.
I mean, we had two real actorsin the whole movie.
Everybody else played basicallya version of themselves, and
the two real actors that we had,they were both from Russia.
Wow, and if you see the movieby the way, please go see the
(25:58):
movie it's called Give MeLiberty, or you can click on
something now, where can?
you find it.
You can find it on iTunes,amazon, I mean, it's on almost
every platform.
TIffany Woolley (26:07):
And everybody's got a lot of sofa time right
now, so no excuses, it's afeel-good comedy there, you go,
no excuses.
It's a feel-good comedy.
Michael Manasseri (26:14):
New York Times loved it.
La Times, a lot of people lovethis movie.
But in terms of productiondesign on that, that's a you
know for what that movie is andthe authenticity of the people
and the characters in the film.
You know our productiondesigner on that one probably
had to do a completely differentstyle of research, of work,
(26:37):
than what he could have done onthe movie that he did just
before.
That, I mean, it's you knowit's.
Milwaukee 2018, blue-collarneighborhoods different cultures
.
You know there's a big Russianelement in the film.
You're also in theAfrican-American community in
the film.
We are also in theAfrican-American community in
the film.
Also, that film deals a lot.
It has a lot to do withdisabled adults and where they
(27:00):
live and where they work, and soall of these different factors,
you know, going to those realplaces.
But even within those realplaces, what are the things the
production designer has tochange for the director's vision
?
You know just so many details.
This is an aside from, let'ssay, interior design or
(27:21):
production design, but chickenplays a very big part in that
movie, literally the making ofchicken.
So there's a grandfather, aRussian grandfather character.
Is it almond chicken orwhatever.
No, no, no, but he's Russian andit's very important that he
makes his chicken.
Like the whole movie, thisguy's got this thing about
(27:44):
making chicken.
What do you mean?
Making chicken?
Cooking chicken?
Cooking chicken a certain wayPreparing the chicken and
because so in the beginning ofthe movie he should not be
cooking and he is making chickenand he's in his 80s and a
little forgetful, and let mejust say the dynamics of the
entire film shift because ofchicken.
(28:04):
But the point of this story andthis might just be an aside,
but I think this is funny andit's about independent
filmmaking it's about smallbudgets, it's about independent
filmmaking, it's about smallbudgets, it's about design.
So we are on maybe our secondor third day of shooting and we
are working in this apartmentbuilding where a lot of the film
(28:24):
was based in Milwaukee, where alot of Russian immigrants have
come over.
TIffany Woolley (28:30):
I had no idea to Milwaukee.
Michael Manasseri (28:32):
Yes, there's a Russian-American or Russian,
basically community in Milwaukee.
I didn't know this until Isigned on to the film, and so,
anyway, we were in this buildingand we were in the social room.
That's where we were basicallyhad our base camp, where we all
would meet and talk, have ourmeetings, have our lunches, etc.
And so I walked in this morning.
(28:53):
It's really early, everyone'stired and, and I see the
production designer talking tohis assistant and the look on
her face, I knew something waswrong.
She just it was just.
I mean just, you know, it's apodcast, nobody can see what I'm
doing, but my jaw dropped.
Oh my God, something is wrong.
And, as a producer, these are Ialready know immediately.
(29:15):
Well, these are the problemsthat I'm supposed to be solving.
Voice Over (29:17):
No, I don't want anybody to have a face like that
Something's wrong.
Michael Manasseri (29:22):
So I went up and I said what's going on?
And the production designerturns to me and goes somebody
stole the chicken.
TIffany Woolley (29:30):
So was he actually cooking the chicken?
Michael Manasseri (29:32):
Well, in the film the character is walking
around with chicken, a lotFrozen chicken, walking around
with chicken and then eventually, yes, the chicken gets cooked
but we had 20 pounds of frozenchicken, of chicken that was
left in the freezer that nightbecause we thought you know
where the people thought who'sgonna take 20 pounds of frozen
chicken?
But I mean, but I showed up andyou know and I this was a
(29:56):
really difficult movie to makefor many reasons and it was was
a wonderful experience and themovie turned out great.
Voice Over (30:01):
Did you taste the chicken?
Michael Manasseri (30:02):
Eventually, I had to let it go and it was
cooked, but at this point, likethat chicken, even in a
production design, a movie sense, that chicken was working in
like the next scene, that frozenchicken was supposed to be in
the next scene and we didn'thave the frozen chicken and now
we had to go out and get 20pounds of frozen chicken and he
(30:22):
only had a set budget.
TIffany Woolley (30:24):
So basically, you had to pay for the chicken.
Michael Manasseri (30:26):
Well, we had to pay for the chicken, but it
was just like it's 7 am in themorning, where are you going to
go to get 20 pounds of frozenchicken?
That's going to work at 8 amAnyway.
So that's my chicken story.
Scott Woolley (30:37):
But that's in dealing with a production
designer talking about chicken.
TIffany Woolley (30:41):
That's just so funny.
Yes, at least it wasn't pickles.
Michael Manasseri (30:48):
Ah, that was good.
That was good.
I made a pickle movie.
For those of you that just went, what are they talking about
this?
It was a pickle movie.
TIffany Woolley (30:56):
And he gave out pickle pens at the premiere.
Michael Manasseri (30:59):
I mean, I think I stole 14 of them it was
a pickle movie.
Voice Over (31:01):
And he gave out pickle pens at the premiere.
TIffany Woolley (31:02):
I mean I think I stole 14 of them.
Michael Manasseri (31:02):
It was a hilarious movie.
It was a great movie, thank you.
Scott Woolley (31:06):
It's another one people should watch.
Michael Manasseri (31:07):
There you go, you're sitting at home, you
want to watch a feel-good movie,the Pickle Recipe.
So, yes, that one I directedand dealing with production
design on that.
Similar questions, similar,similar.
You know, how do we want thepickles to look?
I mean, really, how do we wantto?
TIffany Woolley (31:21):
look what's the canister gonna look like.
What are they gonna?
Look like all that, yeah, yeahthat is just so interesting
which is one of the reasons whenI started the podcast is I just
feel like everybody has suchamazing stories to tell, and I
mean you probably could go onfor hours, with the exception of
even design just just all thestories that you daily.
Michael Manasseri (31:44):
I mean when it comes to and Scott knows this
too when it comes to production, the stories.
Actually, the stories can bemore interesting than the actual
films and TV shows that arebeing made, the stories behind
it, because the other thing-about it is.
Well, I think some people are.
But if you bring, you'rebringing 50 or 100 people
(32:05):
together to work on a project,which also means you're bringing
50 to 100 people and theirstories and their personalities
and their problems.
It is fascinating.
Scott Woolley (32:16):
And everyone works together closely, tightly.
It's a great unit, almostbecomes a family, and 30 days
later, everyone's gone.
TIffany Woolley (32:26):
Stay in touch with them.
Michael Manasseri (32:29):
It's interesting.
So some, I absolutely do.
But you do realize over time,if you've done this long enough,
that you do absolutely go.
Man, I was so close with thosepeople for two months and none
of us talk to each other anymore, Because what happens is you.
Then, if you're fortunateenough to keep doing this,
you're, you know a couple ofmonths later, you're on to the
(32:50):
next one, and you're on to thenext one and you keep.
You know, you keep having thesereally intense, almost familial
relationships and everybody'skeeps going on to the next one
and they're usually very intense, they take up all your time.
So you're really like you're init when you're in it and then
you're never, in it.
Scott Woolley (33:08):
But it's the same thing with interior decorating,
like some of the projects youhave right now.
TIffany Woolley (33:13):
I love that, Like they become family for me.
I love knowing about theirchildren.
Scott Woolley (33:17):
I love watching the other generation, but it's
also the vendors, the crew, thepeople who are the
subcontractors.
Michael Manasseri (33:25):
All of them.
Scott Woolley (33:25):
Right, and there's certain ones that you
become very friendly with, andthen a project's over and
everybody's got to move on.
Michael Manasseri (33:34):
I know Everybody's got to make a living
Right.
Scott Woolley (33:36):
But I think in the interior design side and
your side of it is the ones thatare really good you're reaching
out to them again?
TIffany Woolley (33:44):
I guess that's what I was trying to ask before.
Michael, Is there your go-tos,for example?
Michael Manasseri (33:50):
Certainly as a producer and a director.
Now it is more like that.
I mean, if I so, for example,when I went off to Milwaukee to
make Gimme Liberty, I didn'tknow any of the people in
Milwaukee.
So that group of people, theywere all new to me and they were
wonderful, incredible, and I'veworked with some of them since
then on other projects.
Um, but in terms of my regulargo-tos because for a long time
(34:11):
I've been based out of Detroit,I certainly have, you know, as a
producer.
I have directors I work withregularly.
I have other producers,production designers, et cetera.
I will keep going back to andI'm sure it's similar with you
in the business.
Once you can actually trustsomeone and if they're doing a
good job, that's important, soimportant.
So you want to keep working.
(34:32):
I mean, if you can keep workingwith friends that you trust,
that are there for you, that youcan rely on that's the best, I
agree.
Scott Woolley (34:42):
It's pretty much like for me with the specials
that I do TV specials I use thefour to five same people travel
with me that have particularimportant positions, but the
rest of the crew 50, 60 peopleare all hired first time and
typically, unfortunately, lasttime because it's typically in
another state, right, just inanother city.
50, 60 people are all hiredfirst time and typically,
unfortunately, last time becauseit's typically in another state
(35:03):
, right it's in another city.
But those four to five keypeople have been with me for
years.
TIffany Woolley (35:08):
So when you're doing set design in a key city,
do you hire the set designerfrom that area, or who do they
bring you?
Michael Manasseri (35:16):
Not necessarily, yeah not
necessarily for productiondesign.
It's a similar thing where, ifyou can bring someone you work
with and you trust in the pastand you know they're right for
this project, look, there arepeople that I've worked with who
I know are wonderful, but Iknow they're right for something
, they're not right forsomething else.
So you know, that's where Iwill depend on other people that
(35:36):
I'm working with referencesthings like that and we'll bring
somebody in that we feel isreally really right for the
project.
But usually with cities, ifyou're talking about that, that
would be locations, people,things like that.
Or maybe we'll bring in a keylocation person but then they'll
hire everybody locally becausethose local people are going to
(35:59):
know the answers to thequestions.
TIffany Woolley (36:01):
So when you do hire a location scout, do they
then look into hiring, like ifsomebody wanted to film a movie
in Delray Beach, for example?
How do you go about yourlocation?
I?
Michael Manasseri (36:15):
mean?
So let's say they wanted athree-bedroom house on the water
in Delray.
I mean the location scout wouldbe given, basically,
instructions from the locationmanager, from the production,
from the producers.
This is the kind of house we'relooking for, this is the kind
of money that we have.
So do you?
TIffany Woolley (36:34):
rent it.
Michael Manasseri (36:34):
Oh, I mean well, the scout would go out and
knock on doors, call people,leave flyers, basically oh, he
drives by a house and says, man,that house is perfect.
Usually we'll take a flyer andsay, hey, we're thinking about
filming on a property like yours.
We'd love to talk to you aboutit.
Please give us a call at suchand such number if you're
interested.
That person would call back andthen it's basically it's a
(36:57):
conversation.
You describe what the situationis and then it's basically it's
a conversation.
You describe what the situationis and then is it see inside?
And it's money.
Scott Woolley (37:05):
Most major cities have people who are location
scouts.
TIffany Woolley (37:10):
My house growing up was used for a movie.
Michael Manasseri (37:14):
Grand Rapids.
TIffany Woolley (37:15):
No, in Boca.
Michael Manasseri (37:17):
Oh, okay.
Scott Woolley (37:17):
In Boca.
TIffany Woolley (37:17):
Raton in here.
Yeah, michael and I both haveMichigan connections, but I
remember that it was LittleWomen of the 1990s or something.
Voice Over (37:27):
It was an.
TIffany Woolley (37:27):
Italian film and I, little Women.
It was an Italian, but it waslike.
Little Women of the 90s.
Michael Manasseri (37:35):
It was like a remake of Little Women Okay,
the Italian remake of LittleWomen, something like this.
That sounds hilarious.
Why did I not produce this?
TIffany Woolley (37:42):
I know and I actually want to look back and
see it these days, because theyhosted a party there and it just
was like my whole family movedout for a week.
Voice Over (37:53):
Sure.
TIffany Woolley (37:53):
But I was able to stay because my mom was like
you need to still go to school,You're in high school.
Scott Woolley (38:02):
You need to have a very unusual temperament
pertaining to owning a house andallowing a crew to come in and
take it over.
I'm just going to say this ohno, yeah, we need a new carpet.
Michael Manasseri (38:06):
I'm going to say this If you are listening,
and if somebody comes to youbecause they want to use your
house for a movie or acommercial, you probably should
just say no, that's why I saidyou need an unusual temperament,
right, or they're going to giveyou a lot of money because,
basically, your house will betaken over.
(38:27):
It will be taken over by 50human beings who might want to
be respectful of that property.
TIffany Woolley (38:33):
There was catering trucks outside.
Michael Manasseri (38:36):
But now it's just their workspace, Like
that's it.
Scott Woolley (38:39):
And they will move everything and anything and
it's a deal.
Michael Manasseri (38:45):
And they will try not to break things.
Try not to break things.
TIffany Woolley (38:50):
That's like the opposite.
Michael Manasseri (38:51):
I guess Watch I'm going to need a house for a
movie and someone's going tosay I heard you on a podcast.
Well, this is so fun.
TIffany Woolley (38:57):
Yes it is.
I know.
Well, I'll say on a podcastWell, this is so fun.
Yes, it is I know.
Michael Manasseri (39:04):
Well, I'll say one thing briefly.
So around 2004, 2005, when Iactually started to produce,
that is also right around thetime I met the Woolies.
Is that when it was yes, it wasyes.
Yes, the first movie that Iproduced.
Well, let me tell you this?
Scott Woolley (39:24):
So Santa Monica, no, not Santa Monica, melrose,
it was on Melrose, I believe.
Yes, yes and I remember pullinginto a parking lot.
Michael Manasseri (39:31):
Fred Siegel.
TIffany Woolley (39:33):
That's correct, fred Siegel the guy who owns
Fred Siegel now lives in Boca.
Ah, okay, so.
Scott Woolley (39:36):
Fred Siegel, the clothing store on Melrose.
I remember pulling in theparking lot and all the trailers
and so forth and we got guidedinto a shoe store and it was a
pretty funky.
I remember like reallyoutrageous shoe store with wild
walls and colors.
Was it Fred Siegel?
I don't think so.
Michael Manasseri (39:56):
The property was Fred Siegel was, I think.
Scott Woolley (39:59):
We took over the space and we did, and that's
where I met you, I think firsttime, yeah, in that shoe store
okay in that fake shoe store,which was a fixed, wasn't it?
Michael Manasseri (40:09):
no, it was a real, wasn't it, but it was an
interior design.
Scott Woolley (40:15):
You talk about interior design that I don't
think it was interior designedor built for.
The movie was there, I think.
But it was quite a set, anunusual set for a shoe store,
not your typical shoe store.
But it also wasn't a typicalmovie.
Michael Manasseri (40:31):
No, it was not.
Scott Woolley (40:32):
Because I remember having a conversation
with you after I met you, andthen what was it?
Jenny McCarthy comes walking byasking you a question and then
Carmen Electra comes walking inand shooting a scene.
Those were the days, guys.
Those were the days.
Yeah, it was a prettyoutrageous scene too.
Michael Manasseri (40:48):
Yes, yes, it was, that's right.
Wow, yeah, I mean, look, Iremember Fred Siegel, that's
about it.
Good memory, scott.
Scott Woolley (40:55):
All I remember is the fish.
TIffany Woolley (40:58):
Oh yes, oh my God, I kind of vaguely remember
this story.
Michael Manasseri (41:02):
This is when we changed the subject.
Yes, Back to interior designand fresh flowers, and then I
came to Delray About four monthslater I came to Delray.
Scott Woolley (41:12):
Right Then we ended up doing a project with
William Shatner together.
Yes, yes, it was a lot of fun.
TIffany Woolley (41:17):
I know we have a fun history, that's only just
begun.
Michael Manasseri (41:20):
That's right, that's right.
TIffany Woolley (41:23):
And I look forward to embarking on some
more fun.
Michael Manasseri (41:25):
I look forward to more iDesign podcasts
.
TIffany Woolley (41:28):
Thank you, yes, very much.
Thanks for joining us today.
You got it.
Voice Over (41:31):
Thanks for having me iDesign Labs Podcast is an SW
Group production in associationwith the Five Star and TW
Interiors.
To learn more about iDesign Labor TW Interiors, please visit
twinteriorscom.
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