February 25, 2021 • 32 mins
In this episode we will introduce ourselves to you. We will discuss everything from staying creative during a pandemic to how we got into the industry.
Boss Babe Inc.
Regina Hoyles
Adullam
Hosts: Layne Marie Williams & Kat Gorospe
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Music By: Devin Delaney & Noisefloor LTD
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Layne Marie (00:10):
Hello,
Kat (00:10):
And welcome to the walkie check.
Layne Marie (00:13):
Hey folks, welcome to the walkie check.
Kat (00:15):
I'm Kat Gorospe a script supervisor from Chicago.
Layne Marie (00:17):
And I'm Layne Marie Williams, a film director in Los
Angeles, California.
Thanks for tuning in on our veryfirst episode.
We're super excited to bring youthe most creative and talented
people out there to share theirexperiences, knowledge, and
power.
Kat (00:34):
You know, even though this podcast is about all the
entrepreneurs, creatives, andartists out there, filmmaking is
our foundation.
So that's how the walkie checkcame to be.
Layne Marie (00:48):
So to get the ball rolling, we're going to start
with our very first officialepisode where we're going to be
introducing ourselves andtalking about the things that
move us, inspire us, shake us,and the wisdom that we have to
hopefully impart on ourlisteners.
Kat (01:09):
Are we going to sit back, drink some coffee, tea, and get
to know each other and maybewe'll figure out if you like us
or not.
Layne Marie (01:19):
But hashtag we've really hope you like us, here we
go.
Also prepare yourselves for lotsof word voices and noises
because that's kind of our MO.
Kat (01:28):
Yeah.
And obnoxious laughing.
I'm so sorry, just going toapologize.
Right.
Ahead of time, hahahahaha!
Layne Marie (01:46):
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So Kat, what was the first ahamoment When you decided that you
wanted to be a filmmaker?
(02:06):
For me, you know, everythingkind of started off when I did
journalism in high school and Ilove telling people's stories,
um, being able to piece allthose words together and you
know, for me, writing just kindacame like all natural, but you
know, journalism is very factualand your girl's pretty creative.
I like to think so then I waslike, you know, let's just,
(02:28):
let's just go to film school,which is very risky to just kind
of go in like that.
And then I figured out I wasreally bad at script writing.
Um, shout out to all of you, uh,screenwriters out there.
I could never do what you do.
I'm very, very poor at it.
But after that figured outscript supervision was a job and
the rest is history.
(02:49):
What about you Layne Maire?
How did you, how did you getinto this chaotic world?
Hmm well, I've been saying for along time that the whole thing
was an accident, um, which Istill sort of, I don't know that
I see it so much as an accidentanymore.
It just happened, you know, theuniverse sort of just one thing
led to another and here we are,I went to acting school.
(03:12):
I did a lot of speech and debateand theater when I was in high
school.
And, you know, definitelyexperimented in a lot of
different artistic mediums, butperformance.
I think in a lot of ways, it wasthe closest I could get to what
felt very innate in me as far aslike creating.
So after I graduated from actingschool and I had all this time
(03:32):
on my hands, so long storyshort, I turned on my Canon
power shot and started makingmore or less like an
experimental documentary aboutsome experiences I was having at
the time and showed it to mybest friend, then edited it
together.
And then I started screening it.
And then all of a sudden I wasabsolutely obsessed with making
(03:53):
films.
Kat (03:55):
Wow.
It seems so natural for you.
Layne Marie (03:58):
So natty! Kat, I'm wondering what's one of the
biggest challenges you've facedas a script supervisor in this
industry?
Kat (04:06):
I feel like my biggest challenge is getting certain
directors to take me seriously.
A lot of the times it's an olderperson who is directing or like,
you know, someone who's been inthis industry longer than I have
for sure.
And they see this little fivefoot size of a garden gnome
(04:28):
little girl, come on set and islike, hi, I'm your script
supervisor.
Uh, I can't, I can k ind o ftell you what to do.
This is what you should bedoing.
This is what you shouldn't bedoing.
I know this is how you want toshoot the scene, but it's not
going to work.
And they don't take that well.
(04:45):
Hmm.
But that's your job.
Kat (04:46):
I know.
But they don't like that.
They think because they're thedirector, they got to call all
the shots, which, you know, Ipick and choose your battles.
But I feel like that would bethe hardest thing, trying to get
people to take me seriously,regardless of my age, I'm only
23.
So a lot of the times it's 40year old people looking down on
(05:06):
me saying like, who, who isthis?
Who's this sitting next to me?
You know, if there's anythingI've learned from that it's
regardless of your age, gender,you know, stand your ground.
No.
Cause you know, you know whatyou're doing, you obviously
hired so you know how to do yourjob.
So I've, I've definitely built alot of confidence from that,
trying to stand up to olderfolks.
Layne Marie (05:29):
Yeah.
I can definitely relate to thatin a lot of different ways
Kat (05:33):
Layne Marie, has there ever been a moment on set where you
thought this project, or maybeeven just the scene or shoot
day, you didn't think it wouldwork out or you wouldn't, you
didn't think you'd get throughyour day?
Layne Marie (05:50):
Oh Gosh.
I mean, I think I always feelthat way, low key.
U m, there's certainly alwayswhere I'm like, Oh my God, we
still have so much to shoot.
You know?
And I think the hardship ofdirecting, particularly in the
indie world, the clock is verymuch working against you.
(06:11):
At least that's how I feel.
And that, that can be a realchallenge because like for
instance, I shot somethingrecently where I w ould h ave
loved to have done a couple moretakes and I actually am not a
big believer in doing a milliontakes.
However, I did feel like weneeded more and I had to have a
(06:31):
couple moments where I was justlike, you know, this is just
going to be what it is we haveto move on.
We w ould just have to move on.
So yeah, I would say, I alwaysfeel that way.
Kat (06:44):
I admire that though, that, you know, when you need to move
on and aren't taking, you know,17 takes.
Layne Marie (06:49):
Yeah.
I would say I very seldom get todouble digits with takes.
Maybe once there's moreresources and funding and time
that will, that will besomething I allow myself to do
more, but I also have to befrank, like I have very high
expectations of talent.
I'm like, if you haven't gottenthis by four or five, like, I
(07:10):
want to give everybody that,especially the DP, like time to
get in there and get what theyneed and for us to all be happy.
However, again, like there justare times where you just, okay,
the scene is going to be as goodas it's going to be and we have
to move on or we, you know,there's a chance we may not get
to rap at a decent hour or theremight be over time.
(07:30):
I mean, there's just so manyother factors.
.
Kat (07:32):
Yeah And I feel like a lot of people don't take that into
consideration or like, if you'repretty green, you don't know,
it's like a domino effect thataffects all these other things.
So I'm glad, I'm glad youacknowledge the fact that, you
know, other people are affectedby how many takes you do on set.
Layne Marie (07:48):
Definitely.
Always kind of like, okay, we'regoing to go for one more.
And then if I have to say thatagain, like after I felt, I
always feel like a little bit,like I just said that
Kat (07:57):
It was going to be the last one and it's not, I'm sorry.
Layne Marie (08:00):
You know, sometimes it's not me that needs it
sometimes like sound needsanother one or sometimes art
does.
So I think being a consideratedirector is pretty rare.
Um, and it's something I'mcertainly not perfect at, but I
am always striving to considermy team.
Kat (08:17):
That's all that matters.
(08:19):
Yeah, baby.
Okay.
My turn, your union scriptsupervisor.
Kat (08:23):
Yes I am.
(08:24):
Which is pretty dope.
Kat (08:26):
Thank you.
(08:26):
How would you describe being a union script supervisor being a
script supervisor in general, tosomeone in the industry.
That's looking to figure outwhat they want to do, but isn't
necessarily at that point yet,
Kat (08:39):
I'm in local four 76 here in Chicago.
I'm still pretty new.
I haven't worked on many setsyet as in the union because
lovely COVID hit right after Igot into the union.
Obviously a lot different thanworking your Indies.
It's a little intimidatingwalking onto set because for me
personally, all these peoplehave been doing their jobs for
(09:01):
longer than I've been alive.
Frankly, if we're being honestand that's, that's pretty
daunting.
It's also reassuring to knowthat everyone is well-oiled
knows how to do their job, knowshow to communicate with you.
And they're just constantly onit.
There've been a couple of timeswhere I worked second unit or
covered for a Chicago PD and asintimidated as I was, I was just
(09:24):
so impressed by how efficienteveryone was.
I didn't have to double checkwith art to make sure that
everything was reset properly.
Cause when I saw it on screen,it was already done.
You know, all these peopledefinitely know what they're
doing and they're in the unionfor a reason.
So it's refreshing to be able tofocus on my work rather than
(09:45):
have to worry about otherdepartments.
Yeah.
But I'm definitely impressedwith everyone's abilities onset.
I love it.
Layne Marie (09:53):
Okay.
So also like, while we're heretalking about Rona, how have you
been staying creative and busyand also what are you doing to
elevate self care and take thistime to rest and rejuvenate
Kat (10:10):
Been a wild ride.
It's been lots of ebbs and flowsof emotions.
And I will say there have beenso many times where I felt down
on myself because this isn't howI pictured it.
I didn't picture aftergraduating to be moving back
home with my parents and notworking because all throughout
college and even a little bitafterwards, like I was
(10:31):
constantly working constantlygetting gigs, trying to find
that understanding likeforgiving yourself and
understanding like, Hey, thesethings are out of your control.
These things are out of yourbubble.
So to kind of make up for allthose negative feelings I've
just been doing, you know, a lotof painting, a lot of film
(10:52):
photography, just a lot ofcreative things that aren't
related to work
Layne Marie (10:57):
That excites me a little bit.
I saw something yesterday, uh,that I felt was really
meaningful that I'd love toshare really quick.
So this is from boss, babe onInstagram, they've got a great
Instagram presence I reallyenjoy, which is their handle
boss, babe dot Inc.
And I frequently find myselfinspired and regularly sharing
(11:17):
their content on my stories.
And this one in particular Ithought of as Kat was just
talking and it is in betweenyour goals.
Remember that there's a preciousthing called life that has to be
enjoyed.
Kat (11:30):
Ohhh
(11:30):
And I think that that's such a Testament to, you know, to folks
that are artists, entrepreneurs,business owners, filmmakers,
anything in that vein.
I can only speak for myself, butI know I have absolutely had
times in my life where I wascompletely consumed with what I
do.
And I've had other bouts in mylife where I've had to really
(11:53):
ask myself while in COVID inparticular like, well, who am I
when I'm not working?
Kat (11:59):
Ooh,
(11:59):
That's one thing I would ask of our listeners is, you know,
who are you when you're notworking?
And though this pandemic hasobviously been very trying for
everyone.
And a lot of different thingshave come up and are being
addressed.
And we're really in the midst of, of creating a new world in a
lot of ways, which is it'sinvigorating, but also very
(12:20):
exhausting.
So yeah, I just share thatbecause I do think like in
between the moments of, of yourwork, you've got to have a
fulfilling life.
Otherwise like it, my opinion,at least my art certainly
suffers.
Kat (12:35):
Yeah.
(12:35):
So anyway, moving on.
Kat (12:37):
going.
Actually, no going off of that,it's funny because when I first
met you,
(12:43):
Oh Boy!
Kat (12:43):
so, um,
(12:46):
I was producing,
Kat (12:47):
yes, you were, you were producing an indie short.
(12:51):
It was a good one.
Kat (12:52):
It was a good one.
(12:53):
It's made me very happy to see.
Kat (12:55):
Adullam
(12:55):
Yeah.
Kat (12:56):
By her friend.
Regina Hoyles.
(12:57):
Yeah.
Regina Hoyles
Kat (12:58):
Yes.
(12:59):
Fabulous filmmaker.
We're definitely going to haveher on our show.
So stay tuned for that.
Kat (13:03):
Hi Regina.
(13:05):
Hiiii!
Kat (13:05):
So we were working on that and you just came on set.
I did not know who you were, butyou were wearing like this
trench coat and your arri hatand you just walked on set.
Like this was your movie.
I was just like, I don't knowwho this chick is, but I am not
messing with her, but you werealso so sweet.
You're like, hi, I'm Lynn Marie.
And I was like, hi i'm Kat andyou had like your, your
(13:31):
clipboard with your name on it.
And I was like, first thing thatcame on my head, I was like,
she's a boss.
She knows what she's doing.
I was a little intimidated, butlike in the best way possible,
how are you so confident?
You just seem so comfortablewith yourself.
And I feel like that's somethingthat everyone should b e, you
know?
Layne Marie (13:52):
So it's all act.
I'm kidding.
Um, I mean, it's not all an act.
I, I, I would say that Idefinitely have some bones in me
that allow me to embrace who Iam.
Growing up being the middlechild of two boys.
I really had to stand my ownground.
And I think that my family wasvery loving and you know, we've,
(14:17):
we've got our own stuff forcertain.
However, they did encourage thatconfidence and a lot of
different ways and certainly thespeech and debate the theater
growing up in Alabama and likealso being a little bit
different in Alabama.
Not quite feeling like Ibelonged and having different
opinions and views about theworld.
(14:38):
I had to be really strong,especially to get o ut o f
there, you know, to move awaythe way that I did.
Kat (14:44):
Yeah.
Because you've moved around alot.
You went from Alabama to Philly.
Layne Marie (14:49):
Yeah.
So Alabama Philly, Chicago, andnow LA
Kat (14:53):
Wow.
How do you say, so is nomadicthe right word.
Layne Marie (14:58):
Yeah, You know, they say digital nomads, it's
like kind of a thing.
And I've always, I've alwaysrelated to that in a lot of
ways.
Cause I would go anywhere.
The work takes me.
Kat (15:06):
Got you.
Yeah.
Because I don't know.
I mean, I feel like I'm theopposite of you because I've
been in Illinois my whole life.
I mean, going from the suburbsto the city is like nothing
compared to how much you've beenmoving around.
How do you stay so adaptable?
Layne Marie (15:19):
Well, I think I'm a very adaptable human being
already.
If somebody said like use threewords to describe you, adaptable
would definitely be one of them.
So I think that that's just inmy soul and I, I like change.
I like newness.
I like starting over.
I like not becoming complacent.
(15:41):
Yeah.
I think that that's, that'swhere that comes from.
So Kat,
Kat (15:45):
hi.
Layne Marie (15:46):
What type of folks have you worked well with and
what type of folks have you notworked well with?
I feel like this industry allowsyou to find out very quickly who
you gel with, you don't gelwith.
I've certainly discovered thatalong the way.
So I wanted to gauge yourthoughts on that.
Kat (16:03):
I do not work well with entitled people.
Layne Marie (16:08):
Mmmmm preach.
Kat (16:09):
I don't work well with close-minded people.
I think that would be the toptwo entitled people.
My favorite are departmentheads, who from a script
supervisor's mind who don't keeptrack of their own continuity.
There've been so many timeswhere, for example, let's say
it's wardrobe every single timewe reset or do a new scene, they
(16:34):
have to ask, Oh, is this theright outfit?
Is their belt looped the rightway left or right.
Whatever.
And I don't mind answering thosequestions from time to time.
Obviously that's what I'm herefor.
And giving you reference photosthat give it all to you.
I'll be your fairy godmother.
But if it's constant, it's like,you're just, I have to take the
(16:55):
extra five minutes when I couldbe helping art reset a very
intricate kitchen scene orsomething like that.
So not only am I taking care ofwardrobe and taking care of
props, makeup, making sure thatthe director is cool with
changes that we made the listcan go on.
I could talk about it all day.
Also open-minded people, I feellike this goes for anyone
(17:18):
working in any creative, in anyfield you're working with.
People got to be open-minded andunderstand that this is a team
effort.
And if you're a little toostubborn, it, it just opens a
canvas.
Layne Marie (17:33):
that's truth.
Kat (17:33):
Yeah.
It slows everything down.
You know, everyone here is herebecause they know how to do
their job well.
So yeah.
Layne Marie (17:39):
I feel you.
Yeah, it can be, it can betricky on set sometimes because
usually you've got a lot ofdifferent personalities coming
together.
I mean, I think that's onereason, again, it's so important
to find your people like as adirector, for instance, I've
definitely found folks that Iknow I regularly like to hire
now.
Is it always my call who getshired?
(18:01):
No, but I certainly always giverecommendations.
Sometimes there's already,people hired.
Sometimes they go with somebodythey know.
Kat (18:09):
Right.
Layne Marie (18:10):
That is one thing that I really love about the
position that I'm in though.
It's like, it's a hire all thepeople I adore.
Kat (18:16):
That's awesome.
That's I love being on a setwhere it's like, I know a good
handful of people already, andthen you just kind of work well
together and the vibes are thereand it's a good time.
It makes, it makes for a 12 plushours.
days a lot easier.
Layne Marie (18:29):
Yeah, absolutely.
When you look at your career sofar, was there a moment where
you were like, why, why am Ihere?
Kat (18:42):
Yeah, the very, very, very, very first film I ever worked
on.
And if we're being honest, itwas the student film back at
Columbia.
Um, I graduated Columbiacollege, Chicago class 19, and
it was my junior year.
That's when I took the scriptsupervision class.
And in order to pass, you haveto work on either, uh, directing
(19:03):
three or practicum.
I ended up working on apracticum called blood orange
with a bunch of lovely folksthat I still work with today.
But at that point I had neverbeen on a film set and I was
doing very poorly in the, in theclassroom.
It just, wasn't showing up toclass, wasn't doing the work.
And I kind of felt like I wasbeing thrown into the sharks
when I got on set.
(19:25):
And I was like, what did I getmyself into?
And I genuinely thought I wasgonna have my butt chewed out
and serve to me.
I was just so overwhelmed withthe job, ask anyone who worked
on the set.
I was a hot mess day one.
But after those three days I didthe job, I got the job done and
I was told I did decent.
(19:46):
But after that I was like, I amnever working on a film set
again.
Layne Marie (19:53):
Yeah.
I was there like at that saidI'm out.
Kat (19:55):
I'm never after ever have to do this again.
Just it for the grade, you know,helped everyone with that lovely
movie.
And Oh, also it was shot onfilm.
It wasn't digital.
Layne Marie (20:04):
Oh Wow.
Kat (20:04):
So first set shot on film.
Layne Marie (20:07):
That's a lot.
Kat (20:07):
Yeah.
There's there's no playback.
There's.
Layne Marie (20:10):
whew.
So you're just like Trying tocommunicate adjustments.
Kat (20:16):
Yes.
Yes.
Looking back now.
I love working on film.
If anyone ever asks me to do itagain.
Layne Marie (20:21):
Yes, no.
Yeah.
And I feel like that's pretty,pretty standard.
I mean your first film beingreally difficult.
Gosh.
Yeah.
I mean, that sounds, that soundsabout right.
Kat (20:34):
If you could pick one of yours to do again, which one
would it be
Layne Marie (20:37):
Just a film in general than I would.
I would recreate it.
Kat (20:40):
Yeah.
Layne Marie (20:41):
Can I say all of them?
Kat (20:44):
This is your podcast presented by legacy Marie
pictures.
You can say all of them
Layne Marie (20:48):
Yeah.
That's not really true though.
Cause at a certain point youjust have to move on, you know,
you have to like make the thingfinished, the thing, screen the
thing and all the while bemoving on.
There's actually this great AndyWarhol quote that I've been
referencing since I startedmaking films, which I'm going to
butcher, but essentially it'slike, while people are deciding
(21:09):
how they feel about the workthat you've created, you're
already making something new.
And I think that that's, it'slike such sound advice and it's
something that I definitelyremind myself of because you
know, the thing about creatingmedia is like, I often say like
it lives on and it's not liketheater where it's like, people
(21:30):
will see this one performanceand that's it.
And then it will live forever intheir minds and in their bodies
if they were affected by it.
I mean, it's this medium thatlike lives on and on and on.
And that's a beautiful thing.
And it's also hard as a creatorbecause you know, I look back at
some of my work and I don't feellike it represents me as a
director or writer or creatortoday.
(21:53):
So you have to find the partsabout it that still do, and then
chalk up the rest and move on.
So yeah, I feel like while Ijokingly say all of them at this
point, probably none of them,cause it's just, it's time to
create bigger things.
It's time to work withcollaborators that I know I
really work well with and allthat kind of stuff.
Kat (22:15):
Sometimes your projects don't represent who you are
today.
I think that's normal.
Cause we're all constantlygrowing and evolving.
Our aesthetics are changing.
Layne Marie (22:24):
So what's the most satisfying aspect of the
filmmaking process for you?
Kat (22:28):
I think my favorite part is when I have gotten to the point
where I've developed a goodrelationship with my director,
because I'm sitting next to themfor 12 plus hours a day, you
know, you really get to knowsomeone.
But my favorite is when you cansee when a director loves a
specific moment in a take, mebeing a part of filmmaking is
(22:49):
being a part of something that'sbigger than yourself.
It's a collaborative process.
And just seeing people aroundyou be so satisfied with the
product.
It's just no feeling like it.
It's what makes all the hardwork worthwhile.
Layne Marie (23:03):
I love that.
That's beautiful.
Kat.
What are you most excited aboutaccomplishing this podcast?
Kat (23:13):
I really hope that this podcast turns into something
that people will want to listento when they're getting ready in
the morning or just on the driveto work and something that makes
them laugh a little, maybe cry,a little happy tears and just
feel good.
And like you said earlier, Ihope people take something away
(23:33):
from it.
Whether or not you're in thecreative field.
Because at the end of the day, Ifeel like we have a lot of
things to relate to just ingeneral.
So I hope it becomes somethingthat people love.
What about you?
What do you hope this podcastbecomes
Layne Marie (23:48):
That it becomes a resource for folks that are
looking to fill their cup withnew information, about how to
get into the industry.
Kat (23:57):
What's your biggest advice for someone who is trying to get
into the industry?
Layne Marie (24:02):
Oh, just keep it fun.
Keep it Fun.
Have fun as much.
And as long as humanly possible,because a lot of this work is
not fun and you know, the nittygritty aspects of it, you have
to have a lot of reallydifficult conversations because
working with people is hard andthat's what filmmaking is.
(24:24):
You are again, it's a lot ofdifferent personalities mixed
together, working long hours,running on fumes, trying to
communicate, you know, likeit's, it's challenging.
It's a sport.
It's truly a sport.
Yeah.
I think keep it fun.
Know why you love it and neverlose sight of that.
Kat (24:44):
Wow.
Amen.
Layne Marie (24:46):
It's not deep, deep enough for ya.
Kat (24:47):
I love it.
I love we got, we got to go alittle deep sometimes so people
can take us seriously.
Layne Marie (24:53):
What about you?
What's your, what would be youradvice to Folks looking to break
in?
Kat (24:58):
I would Say my biggest advice is keep asking questions,
even if they're dumb, becauseyou'll, there's going to be a
time where you think, ah, I canjust like guesstimate this, but
then it turns out you cantguesstimate it and it messes
people up.
And then someone's going to belike, well, why didn't you just
ask, you're going to askyourself.
(25:19):
I didn't.
I just ask.
So I feel better to play itsafe.
If someone, if someone thinksit's a dumb question, it's not
the end of the world, but yeah.
Ask your questions and alsostand your ground regardless of
who you are, but also be nice topeople.
Geez, you can stand ground whilestill being a decent human
being.
Layne Marie (25:37):
Kindness is very important, especially in this
industry that goes a long way.
And yeah.
Kat (25:42):
People remember,
Layne Marie (25:42):
People do remember.
Kat (25:44):
people, remember how you make them feel.
Layne Marie (25:45):
I know, I remember.
Kat (25:47):
I remember a hundred percent.
So for all you listening, makesure you're nice.
Layne Marie (25:51):
Yeah.
Yeah.
And again, you know, it's,nobody's perfect.
We all have things to work onand grow from.
I think though, something I'vebeen thinking about a lot
lately, especially while beingin LA and I say this pretty
often is you never know whosomebody might become.
Kat (26:10):
Ooh,
Layne Marie (26:12):
You never know who that PA might turn around and be
someday.
So Be nice.
Wow.
Okay.
Kats.
So as a Women of color in thisindustry, what can people like
me do to better elevate andsupport you
Kat (26:26):
Hard for me to answer that because, and this is going to
sound very privileged.
There've only been a handful oftimes where ethnicity has
problems for me.
It's just the fact, you know,going back to what I said
earlier, people not taking meseriously because of my gender
age size, whatever you want tocall it, not just being a woman
(26:48):
in general has all its strugglesin the industry.
We've definitely been movingtowards getting better about it.
There's been more peoplespeaking up, which is lovely,
but I feel like women in generalneed more recognition for what
they put up with.
Layne Marie (27:07):
Yeah.
I mean, it's, it is an extremelywhite male dominated industry.
And you know, there arecertainly some fabulous allies
out there.
However, I mean, yeah, there's,it's very oversaturated.
It can be a challenge to breakinto it.
It's gotten a little bit betteras I've gotten older, but you
(27:28):
know, I've definitely hadmoments of feeling like I have
to work hard to be takenseriously, especially like for
directing.
I mean that, that role inparticular is so, I mean, it's
just what everybody wants to door they think that that's what
they want to do.
And then, you know, they do itand they're like, Oh, okay.
Maybe not.
You know?
(27:48):
Um, because at the end of theday, at least in my eyes
directing is having a lot ofpeople turning and looking at
you and being like, now what?
Kat (27:55):
Yeah, I, a hundred percent back that up.
I could see that.
What's the hardest thing for youpersonally.
Layne Marie (28:01):
There's a lot of different challenges, especially
now, again, like trying to makefilms in the time of COVID like
I did the, I did the shootrecently where I had a mask on
and I had PPE on and it wasprobably the hardest thing I've
ever done.
Please try to lead with a lot ofexuberance and fun and also
seriousness cause I'm trying to,you know, move things quickly.
Kat (28:26):
wham bam thank you mam
Layne Marie (28:26):
Exactly.
And also a place where peoplecan be like very expressive.
And I found being masked up tothat point, made it very
difficult to do all of thosethings.
Really.
The way that I work on set isI'll be up monitor, I'll say cut
I'll quickly walk over to talentand give them some notes and
(28:47):
give them some adjustments andfeedback and give them different
things to play with.
And maybe I'll give a note ortwo to camera lighting, et
cetera.
And I do a lot of that with myface.
Kat (28:58):
Ooh,
Layne Marie (28:58):
I show a lot in my face, especially with talent,
like when we're trying toachieve a certain kind of
moment, cause I'm not a believerin line readings.
Like that's the last thing Imake a very specific point to
never give talent a linereading.
So a lot of that means I have tolike, I have to change it up and
improvise a little bit so thatI'm not literally giving them a
(29:19):
line reading if, if we'reworking on like one specific
line or piece of text.
And so when I ran over, notgosh, when I quickly walked over
and was trying to communicatethings recently, I just, I was
shielded, you know, like all Ihad to work with were my eyes
(29:40):
and my voice was like muffled alittle bit too because in the
mask and then every time I wouldbrush over, I would end up
hitting myself in the face.
Cause I'm like rushing over andI'm like hitting this shield on
my face.
And so working with thoseparameters was extremely
challenging.
And I know that that's justlike, if I want to make films
right now, this is just likewhat I have to do.
(30:01):
And I'm like willing to suck itup and do it and get tested all
the time and do whatever I needto do.
It's really tough though.
Cause I, I need my face.
And then my voice.
Kat (30:11):
if those struggles With dealing with PPE in being able
to communicate with your talent,what, what have you done to kind
of work around that?
Layne Marie (30:22):
Breathe?
Kat (30:24):
Well, I hope your breathing during work.
does in general,
Layne Marie (30:28):
you breathe trust, let go.
There's only so much in yourcontrol.
I think just having a goodattitude and, and you know, I
think the biggest thing of allis just remember that nothing
lasts forever.
This too shall pass.
If you, again, if you want tomake work right now, I think
there's a certain amount ofacceptance and endurance.
(30:50):
You have to be willing to leaninto in order to accomplish
making a movie right now budgetshave increased because of COVID
and all the stipulations andprotocol that comes with that.
So be prepared to raise moremoney, set aside several
thousand dollars to just takecare of COVID alone and you
(31:11):
know, yeah.
I mean there's a certain amountof like deciding if it's worth
it.
And you know, we all got to payrent for many of us making films
is literally our life or maybenot our life, but it is our
careers.
So I've just gotten into a headspace about it where I'm like,
okay, this is just what I mustdo.
I have to try and have as goodof an attitude about it as I
(31:32):
can.
And just again, keep in mindthat hopefully a vaccine will be
here soon.
And in the meantime we got tojust Make it work.
Kat (31:42):
I wish everyone had that attitude because so many people
don't and I'm a firm believerthat you are, who you surround
yourself with.
I'm glad I'm surrounding myselfwith, you know,
Layne Marie (31:54):
so much sweetness today in the booth.
Kat (31:57):
There's gotta be.
Layne Marie (32:16):
I Just to take a special moment, To thank our
Executive Producers ofNoisefloor LTD.
If your not familiar withNoisefloor you should become
familiar with Noisefloor you cancheck out their website.
They are a post sound productionhouse, they also have fabulous
location mixers really any kindof sound service you need for
making videos this is the placeto go.
Kat (32:22):
Also, Thank you.
Thank you.
Thank you to my very good friendBrynn Wassel for giving us our
lovely logo.
I can't wait to see it as anactual neon sign one day.
Layne Marie (32:37):
We got grand plans you all.
So definitely stay tuned.
Be sure to follow us on Facebookand instagram@thewalkiecheck and
@legacymariepictures
Hello,
Kat (00:10):
And welcome to the walkie check.
Layne Marie (00:13):
Hey folks, welcome to the walkie check.
Kat (00:15):
I'm Kat Gorospe a script supervisor from Chicago.
Layne Marie (00:17):
And I'm Layne Marie Williams, a film director in Los
Angeles, California.
Thanks for tuning in on our veryfirst episode.
We're super excited to bring youthe most creative and talented
people out there to share theirexperiences, knowledge, and
power.
Kat (00:34):
You know, even though this podcast is about all the
entrepreneurs, creatives, andartists out there, filmmaking is
our foundation.
So that's how the walkie checkcame to be.
Layne Marie (00:48):
So to get the ball rolling, we're going to start
with our very first officialepisode where we're going to be
introducing ourselves andtalking about the things that
move us, inspire us, shake us,and the wisdom that we have to
hopefully impart on ourlisteners.
Kat (01:09):
Are we going to sit back, drink some coffee, tea, and get
to know each other and maybewe'll figure out if you like us
or not.
Layne Marie (01:19):
But hashtag we've really hope you like us, here we
go.
Also prepare yourselves for lotsof word voices and noises
because that's kind of our MO.
Kat (01:28):
Yeah.
And obnoxious laughing.
I'm so sorry, just going toapologize.
Right.
Ahead of time, hahahahaha!
Layne Marie (01:46):
This episode is brought to you by our friends at
quasar science, their new doublerainbow and rainbow two lights
are now available with the dualrole pixelation.
You have limitless effects foryour next project.
Visit our show notes to preorderyours today! Yeah.
So Kat, what was the first ahamoment When you decided that you
wanted to be a filmmaker?
(02:06):
For me, you know, everythingkind of started off when I did
journalism in high school and Ilove telling people's stories,
um, being able to piece allthose words together and you
know, for me, writing just kindacame like all natural, but you
know, journalism is very factualand your girl's pretty creative.
I like to think so then I waslike, you know, let's just,
(02:28):
let's just go to film school,which is very risky to just kind
of go in like that.
And then I figured out I wasreally bad at script writing.
Um, shout out to all of you, uh,screenwriters out there.
I could never do what you do.
I'm very, very poor at it.
But after that figured outscript supervision was a job and
the rest is history.
(02:49):
What about you Layne Maire?
How did you, how did you getinto this chaotic world?
Hmm well, I've been saying for along time that the whole thing
was an accident, um, which Istill sort of, I don't know that
I see it so much as an accidentanymore.
It just happened, you know, theuniverse sort of just one thing
led to another and here we are,I went to acting school.
(03:12):
I did a lot of speech and debateand theater when I was in high
school.
And, you know, definitelyexperimented in a lot of
different artistic mediums, butperformance.
I think in a lot of ways, it wasthe closest I could get to what
felt very innate in me as far aslike creating.
So after I graduated from actingschool and I had all this time
(03:32):
on my hands, so long storyshort, I turned on my Canon
power shot and started makingmore or less like an
experimental documentary aboutsome experiences I was having at
the time and showed it to mybest friend, then edited it
together.
And then I started screening it.
And then all of a sudden I wasabsolutely obsessed with making
(03:53):
films.
Kat (03:55):
Wow.
It seems so natural for you.
Layne Marie (03:58):
So natty! Kat, I'm wondering what's one of the
biggest challenges you've facedas a script supervisor in this
industry?
Kat (04:06):
I feel like my biggest challenge is getting certain
directors to take me seriously.
A lot of the times it's an olderperson who is directing or like,
you know, someone who's been inthis industry longer than I have
for sure.
And they see this little fivefoot size of a garden gnome
(04:28):
little girl, come on set and islike, hi, I'm your script
supervisor.
Uh, I can't, I can k ind o ftell you what to do.
This is what you should bedoing.
This is what you shouldn't bedoing.
I know this is how you want toshoot the scene, but it's not
going to work.
And they don't take that well.
(04:45):
Hmm.
But that's your job.
Kat (04:46):
I know.
But they don't like that.
They think because they're thedirector, they got to call all
the shots, which, you know, Ipick and choose your battles.
But I feel like that would bethe hardest thing, trying to get
people to take me seriously,regardless of my age, I'm only
23.
So a lot of the times it's 40year old people looking down on
(05:06):
me saying like, who, who isthis?
Who's this sitting next to me?
You know, if there's anythingI've learned from that it's
regardless of your age, gender,you know, stand your ground.
No.
Cause you know, you know whatyou're doing, you obviously
hired so you know how to do yourjob.
So I've, I've definitely built alot of confidence from that,
trying to stand up to olderfolks.
Layne Marie (05:29):
Yeah.
I can definitely relate to thatin a lot of different ways
Kat (05:33):
Layne Marie, has there ever been a moment on set where you
thought this project, or maybeeven just the scene or shoot
day, you didn't think it wouldwork out or you wouldn't, you
didn't think you'd get throughyour day?
Layne Marie (05:50):
Oh Gosh.
I mean, I think I always feelthat way, low key.
U m, there's certainly alwayswhere I'm like, Oh my God, we
still have so much to shoot.
You know?
And I think the hardship ofdirecting, particularly in the
indie world, the clock is verymuch working against you.
(06:11):
At least that's how I feel.
And that, that can be a realchallenge because like for
instance, I shot somethingrecently where I w ould h ave
loved to have done a couple moretakes and I actually am not a
big believer in doing a milliontakes.
However, I did feel like weneeded more and I had to have a
(06:31):
couple moments where I was justlike, you know, this is just
going to be what it is we haveto move on.
We w ould just have to move on.
So yeah, I would say, I alwaysfeel that way.
Kat (06:44):
I admire that though, that, you know, when you need to move
on and aren't taking, you know,17 takes.
Layne Marie (06:49):
Yeah.
I would say I very seldom get todouble digits with takes.
Maybe once there's moreresources and funding and time
that will, that will besomething I allow myself to do
more, but I also have to befrank, like I have very high
expectations of talent.
I'm like, if you haven't gottenthis by four or five, like, I
(07:10):
want to give everybody that,especially the DP, like time to
get in there and get what theyneed and for us to all be happy.
However, again, like there justare times where you just, okay,
the scene is going to be as goodas it's going to be and we have
to move on or we, you know,there's a chance we may not get
to rap at a decent hour or theremight be over time.
(07:30):
I mean, there's just so manyother factors.
.
Kat (07:32):
Yeah And I feel like a lot of people don't take that into
consideration or like, if you'repretty green, you don't know,
it's like a domino effect thataffects all these other things.
So I'm glad, I'm glad youacknowledge the fact that, you
know, other people are affectedby how many takes you do on set.
Layne Marie (07:48):
Definitely.
Always kind of like, okay, we'regoing to go for one more.
And then if I have to say thatagain, like after I felt, I
always feel like a little bit,like I just said that
Kat (07:57):
It was going to be the last one and it's not, I'm sorry.
Layne Marie (08:00):
You know, sometimes it's not me that needs it
sometimes like sound needsanother one or sometimes art
does.
So I think being a consideratedirector is pretty rare.
Um, and it's something I'mcertainly not perfect at, but I
am always striving to considermy team.
Kat (08:17):
That's all that matters.
(08:19):
Yeah, baby.
Okay.
My turn, your union scriptsupervisor.
Kat (08:23):
Yes I am.
(08:24):
Which is pretty dope.
Kat (08:26):
Thank you.
(08:26):
How would you describe being a union script supervisor being a
script supervisor in general, tosomeone in the industry.
That's looking to figure outwhat they want to do, but isn't
necessarily at that point yet,
Kat (08:39):
I'm in local four 76 here in Chicago.
I'm still pretty new.
I haven't worked on many setsyet as in the union because
lovely COVID hit right after Igot into the union.
Obviously a lot different thanworking your Indies.
It's a little intimidatingwalking onto set because for me
personally, all these peoplehave been doing their jobs for
(09:01):
longer than I've been alive.
Frankly, if we're being honestand that's, that's pretty
daunting.
It's also reassuring to knowthat everyone is well-oiled
knows how to do their job, knowshow to communicate with you.
And they're just constantly onit.
There've been a couple of timeswhere I worked second unit or
covered for a Chicago PD and asintimidated as I was, I was just
(09:24):
so impressed by how efficienteveryone was.
I didn't have to double checkwith art to make sure that
everything was reset properly.
Cause when I saw it on screen,it was already done.
You know, all these peopledefinitely know what they're
doing and they're in the unionfor a reason.
So it's refreshing to be able tofocus on my work rather than
(09:45):
have to worry about otherdepartments.
Yeah.
But I'm definitely impressedwith everyone's abilities onset.
I love it.
Layne Marie (09:53):
Okay.
So also like, while we're heretalking about Rona, how have you
been staying creative and busyand also what are you doing to
elevate self care and take thistime to rest and rejuvenate
Kat (10:10):
Been a wild ride.
It's been lots of ebbs and flowsof emotions.
And I will say there have beenso many times where I felt down
on myself because this isn't howI pictured it.
I didn't picture aftergraduating to be moving back
home with my parents and notworking because all throughout
college and even a little bitafterwards, like I was
(10:31):
constantly working constantlygetting gigs, trying to find
that understanding likeforgiving yourself and
understanding like, Hey, thesethings are out of your control.
These things are out of yourbubble.
So to kind of make up for allthose negative feelings I've
just been doing, you know, a lotof painting, a lot of film
(10:52):
photography, just a lot ofcreative things that aren't
related to work
Layne Marie (10:57):
That excites me a little bit.
I saw something yesterday, uh,that I felt was really
meaningful that I'd love toshare really quick.
So this is from boss, babe onInstagram, they've got a great
Instagram presence I reallyenjoy, which is their handle
boss, babe dot Inc.
And I frequently find myselfinspired and regularly sharing
(11:17):
their content on my stories.
And this one in particular Ithought of as Kat was just
talking and it is in betweenyour goals.
Remember that there's a preciousthing called life that has to be
enjoyed.
Kat (11:30):
Ohhh
(11:30):
And I think that that's such a Testament to, you know, to folks
that are artists, entrepreneurs,business owners, filmmakers,
anything in that vein.
I can only speak for myself, butI know I have absolutely had
times in my life where I wascompletely consumed with what I
do.
And I've had other bouts in mylife where I've had to really
(11:53):
ask myself while in COVID inparticular like, well, who am I
when I'm not working?
Kat (11:59):
Ooh,
(11:59):
That's one thing I would ask of our listeners is, you know,
who are you when you're notworking?
And though this pandemic hasobviously been very trying for
everyone.
And a lot of different thingshave come up and are being
addressed.
And we're really in the midst of, of creating a new world in a
lot of ways, which is it'sinvigorating, but also very
(12:20):
exhausting.
So yeah, I just share thatbecause I do think like in
between the moments of, of yourwork, you've got to have a
fulfilling life.
Otherwise like it, my opinion,at least my art certainly
suffers.
Kat (12:35):
Yeah.
(12:35):
So anyway, moving on.
Kat (12:37):
going.
Actually, no going off of that,it's funny because when I first
met you,
(12:43):
Oh Boy!
Kat (12:43):
so, um,
(12:46):
I was producing,
Kat (12:47):
yes, you were, you were producing an indie short.
(12:51):
It was a good one.
Kat (12:52):
It was a good one.
(12:53):
It's made me very happy to see.
Kat (12:55):
Adullam
(12:55):
Yeah.
Kat (12:56):
By her friend.
Regina Hoyles.
(12:57):
Yeah.
Regina Hoyles
Kat (12:58):
Yes.
(12:59):
Fabulous filmmaker.
We're definitely going to haveher on our show.
So stay tuned for that.
Kat (13:03):
Hi Regina.
(13:05):
Hiiii!
Kat (13:05):
So we were working on that and you just came on set.
I did not know who you were, butyou were wearing like this
trench coat and your arri hatand you just walked on set.
Like this was your movie.
I was just like, I don't knowwho this chick is, but I am not
messing with her, but you werealso so sweet.
You're like, hi, I'm Lynn Marie.
And I was like, hi i'm Kat andyou had like your, your
(13:31):
clipboard with your name on it.
And I was like, first thing thatcame on my head, I was like,
she's a boss.
She knows what she's doing.
I was a little intimidated, butlike in the best way possible,
how are you so confident?
You just seem so comfortablewith yourself.
And I feel like that's somethingthat everyone should b e, you
know?
Layne Marie (13:52):
So it's all act.
I'm kidding.
Um, I mean, it's not all an act.
I, I, I would say that Idefinitely have some bones in me
that allow me to embrace who Iam.
Growing up being the middlechild of two boys.
I really had to stand my ownground.
And I think that my family wasvery loving and you know, we've,
(14:17):
we've got our own stuff forcertain.
However, they did encourage thatconfidence and a lot of
different ways and certainly thespeech and debate the theater
growing up in Alabama and likealso being a little bit
different in Alabama.
Not quite feeling like Ibelonged and having different
opinions and views about theworld.
(14:38):
I had to be really strong,especially to get o ut o f
there, you know, to move awaythe way that I did.
Kat (14:44):
Yeah.
Because you've moved around alot.
You went from Alabama to Philly.
Layne Marie (14:49):
Yeah.
So Alabama Philly, Chicago, andnow LA
Kat (14:53):
Wow.
How do you say, so is nomadicthe right word.
Layne Marie (14:58):
Yeah, You know, they say digital nomads, it's
like kind of a thing.
And I've always, I've alwaysrelated to that in a lot of
ways.
Cause I would go anywhere.
The work takes me.
Kat (15:06):
Got you.
Yeah.
Because I don't know.
I mean, I feel like I'm theopposite of you because I've
been in Illinois my whole life.
I mean, going from the suburbsto the city is like nothing
compared to how much you've beenmoving around.
How do you stay so adaptable?
Layne Marie (15:19):
Well, I think I'm a very adaptable human being
already.
If somebody said like use threewords to describe you, adaptable
would definitely be one of them.
So I think that that's just inmy soul and I, I like change.
I like newness.
I like starting over.
I like not becoming complacent.
(15:41):
Yeah.
I think that that's, that'swhere that comes from.
So Kat,
Kat (15:45):
hi.
Layne Marie (15:46):
What type of folks have you worked well with and
what type of folks have you notworked well with?
I feel like this industry allowsyou to find out very quickly who
you gel with, you don't gelwith.
I've certainly discovered thatalong the way.
So I wanted to gauge yourthoughts on that.
Kat (16:03):
I do not work well with entitled people.
Layne Marie (16:08):
Mmmmm preach.
Kat (16:09):
I don't work well with close-minded people.
I think that would be the toptwo entitled people.
My favorite are departmentheads, who from a script
supervisor's mind who don't keeptrack of their own continuity.
There've been so many timeswhere, for example, let's say
it's wardrobe every single timewe reset or do a new scene, they
(16:34):
have to ask, Oh, is this theright outfit?
Is their belt looped the rightway left or right.
Whatever.
And I don't mind answering thosequestions from time to time.
Obviously that's what I'm herefor.
And giving you reference photosthat give it all to you.
I'll be your fairy godmother.
But if it's constant, it's like,you're just, I have to take the
(16:55):
extra five minutes when I couldbe helping art reset a very
intricate kitchen scene orsomething like that.
So not only am I taking care ofwardrobe and taking care of
props, makeup, making sure thatthe director is cool with
changes that we made the listcan go on.
I could talk about it all day.
Also open-minded people, I feellike this goes for anyone
(17:18):
working in any creative, in anyfield you're working with.
People got to be open-minded andunderstand that this is a team
effort.
And if you're a little toostubborn, it, it just opens a
canvas.
Layne Marie (17:33):
that's truth.
Kat (17:33):
Yeah.
It slows everything down.
You know, everyone here is herebecause they know how to do
their job well.
So yeah.
Layne Marie (17:39):
I feel you.
Yeah, it can be, it can betricky on set sometimes because
usually you've got a lot ofdifferent personalities coming
together.
I mean, I think that's onereason, again, it's so important
to find your people like as adirector, for instance, I've
definitely found folks that Iknow I regularly like to hire
now.
Is it always my call who getshired?
(18:01):
No, but I certainly always giverecommendations.
Sometimes there's already,people hired.
Sometimes they go with somebodythey know.
Kat (18:09):
Right.
Layne Marie (18:10):
That is one thing that I really love about the
position that I'm in though.
It's like, it's a hire all thepeople I adore.
Kat (18:16):
That's awesome.
That's I love being on a setwhere it's like, I know a good
handful of people already, andthen you just kind of work well
together and the vibes are thereand it's a good time.
It makes, it makes for a 12 plushours.
days a lot easier.
Layne Marie (18:29):
Yeah, absolutely.
When you look at your career sofar, was there a moment where
you were like, why, why am Ihere?
Kat (18:42):
Yeah, the very, very, very, very first film I ever worked
on.
And if we're being honest, itwas the student film back at
Columbia.
Um, I graduated Columbiacollege, Chicago class 19, and
it was my junior year.
That's when I took the scriptsupervision class.
And in order to pass, you haveto work on either, uh, directing
(19:03):
three or practicum.
I ended up working on apracticum called blood orange
with a bunch of lovely folksthat I still work with today.
But at that point I had neverbeen on a film set and I was
doing very poorly in the, in theclassroom.
It just, wasn't showing up toclass, wasn't doing the work.
And I kind of felt like I wasbeing thrown into the sharks
when I got on set.
(19:25):
And I was like, what did I getmyself into?
And I genuinely thought I wasgonna have my butt chewed out
and serve to me.
I was just so overwhelmed withthe job, ask anyone who worked
on the set.
I was a hot mess day one.
But after those three days I didthe job, I got the job done and
I was told I did decent.
(19:46):
But after that I was like, I amnever working on a film set
again.
Layne Marie (19:53):
Yeah.
I was there like at that saidI'm out.
Kat (19:55):
I'm never after ever have to do this again.
Just it for the grade, you know,helped everyone with that lovely
movie.
And Oh, also it was shot onfilm.
It wasn't digital.
Layne Marie (20:04):
Oh Wow.
Kat (20:04):
So first set shot on film.
Layne Marie (20:07):
That's a lot.
Kat (20:07):
Yeah.
There's there's no playback.
There's.
Layne Marie (20:10):
whew.
So you're just like Trying tocommunicate adjustments.
Kat (20:16):
Yes.
Yes.
Looking back now.
I love working on film.
If anyone ever asks me to do itagain.
Layne Marie (20:21):
Yes, no.
Yeah.
And I feel like that's pretty,pretty standard.
I mean your first film beingreally difficult.
Gosh.
Yeah.
I mean, that sounds, that soundsabout right.
Kat (20:34):
If you could pick one of yours to do again, which one
would it be
Layne Marie (20:37):
Just a film in general than I would.
I would recreate it.
Kat (20:40):
Yeah.
Layne Marie (20:41):
Can I say all of them?
Kat (20:44):
This is your podcast presented by legacy Marie
pictures.
You can say all of them
Layne Marie (20:48):
Yeah.
That's not really true though.
Cause at a certain point youjust have to move on, you know,
you have to like make the thingfinished, the thing, screen the
thing and all the while bemoving on.
There's actually this great AndyWarhol quote that I've been
referencing since I startedmaking films, which I'm going to
butcher, but essentially it'slike, while people are deciding
(21:09):
how they feel about the workthat you've created, you're
already making something new.
And I think that that's, it'slike such sound advice and it's
something that I definitelyremind myself of because you
know, the thing about creatingmedia is like, I often say like
it lives on and it's not liketheater where it's like, people
(21:30):
will see this one performanceand that's it.
And then it will live forever intheir minds and in their bodies
if they were affected by it.
I mean, it's this medium thatlike lives on and on and on.
And that's a beautiful thing.
And it's also hard as a creatorbecause you know, I look back at
some of my work and I don't feellike it represents me as a
director or writer or creatortoday.
(21:53):
So you have to find the partsabout it that still do, and then
chalk up the rest and move on.
So yeah, I feel like while Ijokingly say all of them at this
point, probably none of them,cause it's just, it's time to
create bigger things.
It's time to work withcollaborators that I know I
really work well with and allthat kind of stuff.
Kat (22:15):
Sometimes your projects don't represent who you are
today.
I think that's normal.
Cause we're all constantlygrowing and evolving.
Our aesthetics are changing.
Layne Marie (22:24):
So what's the most satisfying aspect of the
filmmaking process for you?
Kat (22:28):
I think my favorite part is when I have gotten to the point
where I've developed a goodrelationship with my director,
because I'm sitting next to themfor 12 plus hours a day, you
know, you really get to knowsomeone.
But my favorite is when you cansee when a director loves a
specific moment in a take, mebeing a part of filmmaking is
(22:49):
being a part of something that'sbigger than yourself.
It's a collaborative process.
And just seeing people aroundyou be so satisfied with the
product.
It's just no feeling like it.
It's what makes all the hardwork worthwhile.
Layne Marie (23:03):
I love that.
That's beautiful.
Kat.
What are you most excited aboutaccomplishing this podcast?
Kat (23:13):
I really hope that this podcast turns into something
that people will want to listento when they're getting ready in
the morning or just on the driveto work and something that makes
them laugh a little, maybe cry,a little happy tears and just
feel good.
And like you said earlier, Ihope people take something away
(23:33):
from it.
Whether or not you're in thecreative field.
Because at the end of the day, Ifeel like we have a lot of
things to relate to just ingeneral.
So I hope it becomes somethingthat people love.
What about you?
What do you hope this podcastbecomes
Layne Marie (23:48):
That it becomes a resource for folks that are
looking to fill their cup withnew information, about how to
get into the industry.
Kat (23:57):
What's your biggest advice for someone who is trying to get
into the industry?
Layne Marie (24:02):
Oh, just keep it fun.
Keep it Fun.
Have fun as much.
And as long as humanly possible,because a lot of this work is
not fun and you know, the nittygritty aspects of it, you have
to have a lot of reallydifficult conversations because
working with people is hard andthat's what filmmaking is.
(24:24):
You are again, it's a lot ofdifferent personalities mixed
together, working long hours,running on fumes, trying to
communicate, you know, likeit's, it's challenging.
It's a sport.
It's truly a sport.
Yeah.
I think keep it fun.
Know why you love it and neverlose sight of that.
Kat (24:44):
Wow.
Amen.
Layne Marie (24:46):
It's not deep, deep enough for ya.
Kat (24:47):
I love it.
I love we got, we got to go alittle deep sometimes so people
can take us seriously.
Layne Marie (24:53):
What about you?
What's your, what would be youradvice to Folks looking to break
in?
Kat (24:58):
I would Say my biggest advice is keep asking questions,
even if they're dumb, becauseyou'll, there's going to be a
time where you think, ah, I canjust like guesstimate this, but
then it turns out you cantguesstimate it and it messes
people up.
And then someone's going to belike, well, why didn't you just
ask, you're going to askyourself.
(25:19):
I didn't.
I just ask.
So I feel better to play itsafe.
If someone, if someone thinksit's a dumb question, it's not
the end of the world, but yeah.
Ask your questions and alsostand your ground regardless of
who you are, but also be nice topeople.
Geez, you can stand ground whilestill being a decent human
being.
Layne Marie (25:37):
Kindness is very important, especially in this
industry that goes a long way.
And yeah.
Kat (25:42):
People remember,
Layne Marie (25:42):
People do remember.
Kat (25:44):
people, remember how you make them feel.
Layne Marie (25:45):
I know, I remember.
Kat (25:47):
I remember a hundred percent.
So for all you listening, makesure you're nice.
Layne Marie (25:51):
Yeah.
Yeah.
And again, you know, it's,nobody's perfect.
We all have things to work onand grow from.
I think though, something I'vebeen thinking about a lot
lately, especially while beingin LA and I say this pretty
often is you never know whosomebody might become.
Kat (26:10):
Ooh,
Layne Marie (26:12):
You never know who that PA might turn around and be
someday.
So Be nice.
Wow.
Okay.
Kats.
So as a Women of color in thisindustry, what can people like
me do to better elevate andsupport you
Kat (26:26):
Hard for me to answer that because, and this is going to
sound very privileged.
There've only been a handful oftimes where ethnicity has
problems for me.
It's just the fact, you know,going back to what I said
earlier, people not taking meseriously because of my gender
age size, whatever you want tocall it, not just being a woman
(26:48):
in general has all its strugglesin the industry.
We've definitely been movingtowards getting better about it.
There's been more peoplespeaking up, which is lovely,
but I feel like women in generalneed more recognition for what
they put up with.
Layne Marie (27:07):
Yeah.
I mean, it's, it is an extremelywhite male dominated industry.
And you know, there arecertainly some fabulous allies
out there.
However, I mean, yeah, there's,it's very oversaturated.
It can be a challenge to breakinto it.
It's gotten a little bit betteras I've gotten older, but you
(27:28):
know, I've definitely hadmoments of feeling like I have
to work hard to be takenseriously, especially like for
directing.
I mean that, that role inparticular is so, I mean, it's
just what everybody wants to door they think that that's what
they want to do.
And then, you know, they do itand they're like, Oh, okay.
Maybe not.
You know?
(27:48):
Um, because at the end of theday, at least in my eyes
directing is having a lot ofpeople turning and looking at
you and being like, now what?
Kat (27:55):
Yeah, I, a hundred percent back that up.
I could see that.
What's the hardest thing for youpersonally.
Layne Marie (28:01):
There's a lot of different challenges, especially
now, again, like trying to makefilms in the time of COVID like
I did the, I did the shootrecently where I had a mask on
and I had PPE on and it wasprobably the hardest thing I've
ever done.
Please try to lead with a lot ofexuberance and fun and also
seriousness cause I'm trying to,you know, move things quickly.
Kat (28:26):
wham bam thank you mam
Layne Marie (28:26):
Exactly.
And also a place where peoplecan be like very expressive.
And I found being masked up tothat point, made it very
difficult to do all of thosethings.
Really.
The way that I work on set isI'll be up monitor, I'll say cut
I'll quickly walk over to talentand give them some notes and
(28:47):
give them some adjustments andfeedback and give them different
things to play with.
And maybe I'll give a note ortwo to camera lighting, et
cetera.
And I do a lot of that with myface.
Kat (28:58):
Ooh,
Layne Marie (28:58):
I show a lot in my face, especially with talent,
like when we're trying toachieve a certain kind of
moment, cause I'm not a believerin line readings.
Like that's the last thing Imake a very specific point to
never give talent a linereading.
So a lot of that means I have tolike, I have to change it up and
improvise a little bit so thatI'm not literally giving them a
(29:19):
line reading if, if we'reworking on like one specific
line or piece of text.
And so when I ran over, notgosh, when I quickly walked over
and was trying to communicatethings recently, I just, I was
shielded, you know, like all Ihad to work with were my eyes
(29:40):
and my voice was like muffled alittle bit too because in the
mask and then every time I wouldbrush over, I would end up
hitting myself in the face.
Cause I'm like rushing over andI'm like hitting this shield on
my face.
And so working with thoseparameters was extremely
challenging.
And I know that that's justlike, if I want to make films
right now, this is just likewhat I have to do.
(30:01):
And I'm like willing to suck itup and do it and get tested all
the time and do whatever I needto do.
It's really tough though.
Cause I, I need my face.
And then my voice.
Kat (30:11):
if those struggles With dealing with PPE in being able
to communicate with your talent,what, what have you done to kind
of work around that?
Layne Marie (30:22):
Breathe?
Kat (30:24):
Well, I hope your breathing during work.
does in general,
Layne Marie (30:28):
you breathe trust, let go.
There's only so much in yourcontrol.
I think just having a goodattitude and, and you know, I
think the biggest thing of allis just remember that nothing
lasts forever.
This too shall pass.
If you, again, if you want tomake work right now, I think
there's a certain amount ofacceptance and endurance.
(30:50):
You have to be willing to leaninto in order to accomplish
making a movie right now budgetshave increased because of COVID
and all the stipulations andprotocol that comes with that.
So be prepared to raise moremoney, set aside several
thousand dollars to just takecare of COVID alone and you
(31:11):
know, yeah.
I mean there's a certain amountof like deciding if it's worth
it.
And you know, we all got to payrent for many of us making films
is literally our life or maybenot our life, but it is our
careers.
So I've just gotten into a headspace about it where I'm like,
okay, this is just what I mustdo.
I have to try and have as goodof an attitude about it as I
(31:32):
can.
And just again, keep in mindthat hopefully a vaccine will be
here soon.
And in the meantime we got tojust Make it work.
Kat (31:42):
I wish everyone had that attitude because so many people
don't and I'm a firm believerthat you are, who you surround
yourself with.
I'm glad I'm surrounding myselfwith, you know,
Layne Marie (31:54):
so much sweetness today in the booth.
Kat (31:57):
There's gotta be.
Layne Marie (32:16):
I Just to take a special moment, To thank our
Executive Producers ofNoisefloor LTD.
If your not familiar withNoisefloor you should become
familiar with Noisefloor you cancheck out their website.
They are a post sound productionhouse, they also have fabulous
location mixers really any kindof sound service you need for
making videos this is the placeto go.
Kat (32:22):
Also, Thank you.
Thank you.
Thank you to my very good friendBrynn Wassel for giving us our
lovely logo.
I can't wait to see it as anactual neon sign one day.
Layne Marie (32:37):
We got grand plans you all.
So definitely stay tuned.
Be sure to follow us on Facebookand instagram@thewalkiecheck and
@legacymariepictures
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