Talkin with Lianne Smith Hollywood Costume Designer

In this episode of "Talent Talk", we sit down with Lianne Smith. Lianne is a costume designer for for the film and television.

Episode Transcript

(00:00):
What what is the longest you've everworked on a costume. One specific piece
I did for Underworld three was theriding coat for the main character. Um,
it's got a big Gothic hood,big massive Gothic sleeves. The back
of the coat actually goes over theass end of the horse. The back
end of the horse goes and soit drapes overtop. So it's a very

(00:24):
large piece. And when you actuallywatch it, you see it from here
from about just below the neck up, and you see it in the dark
in the forest. So all thatwork for ten days, it took me
to make this outfit and you seeit for like like a microsecond. Talent
Talk is sponsored by Company of RoguesActors Studio, New York style training for

(00:46):
actors at all stages of their journey. With our part time classes and full
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(01:10):
Rogues passionate about the art of acting. All right, hey guys, welcome

(01:42):
to Talent Talk. Thanks for joiningme. I'm your guest host, Chinghais
And before we start, we gota great guest for you. But before
we start, i'd just like youto like and subscribe like button is just
down here somewhere. Oh wait,thank you. Speaking of thanks, I'd
like to thank some of our sponsors. We have a bunch. We have
a company of Rogues, Workflow Films. I'm just going to point to the

(02:05):
guy six degrees. That's where weare today, Actor Alberta RJ Talent Counting
Coup, Indigenous Film Academy and heardof one. Thanks to all those guys.
So today we've got a great guest, Miss Leanne Smith is joining us.
She is a costumer, designer,probably other things we're going to find

(02:27):
out from her in what is goingto be known as a two shot but
not yet. Okay, gosh,I think that's about it, so please
help me. Welcome miss Leanne Smith. Hello, Hello, thank you for
joining us today. Thank you forhaving me. Oh you're welcome. Could
you briefly tell the audience what didyou do? What is it that you

(02:51):
do do? What do I do? I am a costume designer, So
basically we create the look of thefilm with the assist of the directors and
the producers. So if they havea basic script, but they want it
in a specific color, specific genre, specific, and we have conversations and
then I have to make that happenand it has to start to appear on

(03:15):
screen on time and time and inbudget under budget. Try So you've answered
my next three questions, So thankyou for that. I actually wondered how
closely you work with the director ofa production, but also like the writer,
who who is more in your ear? It depends a lot of times.

(03:36):
The writers are producers, so theyhave a vision, they've lived with
it for so many years, andthey know what that story looks like in
their head. Sometimes I wish wecould just plug something in and record it
and then it will be all good. But the directors also have an idea
of what their characters are going todo, what they're going to look like.
So I start with the script,or break the script down. How

(03:57):
many days are in the script.If it's something like a TV series of
twenty four, the entire season isone day, so it's one look whereas
other movies might cover say ten daysin a person's life. So in those
ten days you would have ten looks. You might or you might have more
than that. If you wake upin the morning in your pajamas and then
you get ready for work, godownstairs, have a cup of coffee.

(04:20):
Now you're at your office, andthen afterwards you're going to go to the
opera, so you'd put on asuit and go to the opera. So
technically you have three looks that day, so you have to kind of count
how many looks everybody has. Thenyou go to the directors and producers and
we sit around and we're like,is there a color palette that you want
one of the films I did.I did the guy all in blues and

(04:42):
navies, but they wanted touches ofred as he got more evil, So
his socks were red. You barelysaw them, but it was a touch.
Then his watch turned with a redface, and then he got a
red, red tie and a redpuff finish in his suit. That's what
I have, That's what the directorasks worth. That's what I gave them.
Um. If you go into periodpieces, there's not a lot of

(05:05):
um. Well, actually, thereis a lot of leeway. There is
period, that's the way it lookedin nineteen oh five. Um, but
then you can get stylistic. Um. For example, bridget Bridgerton is period
perfect. The costuming is amazing,but the coloring is completely stylized. So
those are discussions that we have.How do you want this to look?

(05:27):
Okay? Um, there's a lotof them, a lot to think about.
Now do you can you enjoy aBridgton? I've touched the microphone.
Um, I love I love Bridgetonbecause of it is something different. Um,
it's um. Well, sorry,before we go all the way into
it, I'm going to back itup to one. I touched the microphone.

(05:49):
I was gonna ask specifically about Bridgetonor any any type of show like
that. Can you enjoy the showjust as is? Or are you just
thinking design design, design? Likecan you divorce yourself from that? Yeah?
I mean if I go to amovie, I can watch, I'll
spot things, but I don't dwellon it. Sometimes I'll look at something
and I go, oh, that'san interesting choice. I'll have to remember

(06:11):
that when I do something because itdid make something stand out. Or for
example, Wonder Woman at the veryend, she's the only one in blue.
So as the drone goes up andthe crowd is around her, everybody's
in dark's grays, browns, andgreens. She's the only one in that
blue, so it makes her standout. I see that often, but
I don't sit there and go,oh, that's why they put her in

(06:33):
that, So yeah, I can. I can step back and just enjoy
a movie. For the movie.Okay, that's wonderful because I remember getting
a book on scriptwriting and it justbroke down when things would happen. But
in all movies, and I'm like, right, we're at seventeen minutes.
This is going to kind of changeit for me a little bit. Yeah,
Hallmark has a formula as well forclothing. There's certain colorings or certain

(06:56):
the way that they're dressed. There'sin the movie industry they like layers,
so you would have a T shirt, a shirt, and a sweater jacket.
Big Bang is a great example ofthat. You look at Leonard,
He's got the T shirt, ashirt, a hoodie and a vest,
and you know, like everybody's layered, and that's that just looks better on

(07:17):
camera. But that's kind of nowit's a industry standard. Now. I
always wonder about that when I watchI don't know. I know it's on
Arrested Development where I'm watching the thingand I'm like, they're wearing you know,
the main characters out a T shirt. I can see then this thing,
then this thing, then this thing. I'm like, how thin is?
How thin are those people? Ican't wear six layers and just walk
around like, what's that guy tryingto hide? Plenty? Yeah, anyway,

(07:42):
so let's I'm referring to my notesnow, yet, feel free to
just to talk about anything. Ohhave you worked on a Hallmark film that's
not on my notes? I'm justfalling. Yeah, I've designed seven of
them now. Um In basically they'recoming out. Unfortunately we don't I don't
have Hallmark Channel at home, soI don't get to see that too.
You don't get to see a lotof my movies. Um, A lot

(08:03):
of them are on AMC. They'reAmerican production, so that's where they're they're
placed. Okay, Hey, howabout what is the what is the longest
you've ever worked on a costume?No, I mean you can tell me
what's the longest you've ever worked ona project, but on a costume itself.
One specific piece I did for Underworldthree was the riding coat for the
main character. Um, it's gota big gothic hood, big massive gothic

(08:26):
sleeves. The back of the coatactually goes over the ass end of the
horse. The back end of thehorse, um goes and so it drapes
overtop. So it's a very largepiece in the back if and I just
touched Mike in the back there wasum what's called the princess sleeve or princess
seem but there was fifteen of them, so it actually corseted the actor.

(08:50):
And when you actually watch it,you see it from here from about just
below the neck up and you seeit in the dark in the forest.
So all that work for ten days, it took me to make this outfit
and you see it for like likea microsecond. I you know you did
the work, and they know youdid the work. I do see that.

(09:13):
You watch some TV show and yousee someone picking up a magazine or
this or that, and you're likesome graphic designer like work their asses off
on that. But it's it's notbut sometimes maybe it's for the actor.
It's for the actor to feel likethat's a real thing. I'm holding this
real thing if I sure, soas as you say, you're wearing the
thing for sure. And a lotof times the um Kanu reeves said it

(09:35):
best the he gave back to hiswardrobe team on the Matrix because what they
created for him created the character.You know, if he was in a
suit wouldn't have been the same asin that long dark jacket, right like
it what we put you in createsa character A lot of times. Oh
yeah, definitely, Um, Ithink it's I think Denaro actually works from

(09:58):
the shoes up, like it's theshoes they got to be right, and
then everything else. So he workslike with one specific costumer. Yeah on
everything doesn't matter what it's like,that's my costumer. I saw on some
of the films you're working on,some of the productions that they were from.
Was it a a one entertainment something? Something? Are you? Are
you? Do you work with thesame people? Do you? No?

(10:20):
I get it depends on who hiresme. I've worked with many different production
companies, but I'm also a unionmember with IATSI, so if there's something
coming through with them, it's aUnion shoot, but on average, it's
word of mouth. It's now IMDb. My portfolio is slowly growing, and
you know, people are getting toknow what I can do, and I

(10:43):
can cover a lot of different genres. So I enjoy that. I like
doing different things. I wouldn't liketo do the same thing over and over
again, right right, right,right, Well, you do seem very
comfortable with period piece stuff. Yeah, okay, I'm I'm seeing the commercial.
There's that heritage minute. It's wasit the Edmonton the Edmonton Grads?

(11:05):
The Edmonton Grads and uh so it'sa basketball team. I don't know when
it was set. What was itlike nineteen o five or something something?
Okay about there nineteen oh seven,okay, and both teams were wearing dark
and they were quite similar in costumes. I'm like, how many times they
passed the wrong person at this basketballgame? But all of that. Yeah,
so I wasn't I wasn't the designerfor the commercial, but I was

(11:28):
hired as a costume designer to makethat costume. So they gave us pictures,
all the historical pictures, and youhave to look at as many and
try and dig as many as youcan and come up with it. What
were the colorings were they because they'reblack and white pictures. Was it maybe
blue? Was it gray? Wasit black? Um? You know?
And then the the way that thelettering, that's how I mean they could

(11:52):
tell the difference, but it wasIt was a lot of fun doing that
one. Um. And I'm actuallyquite proud one of two of the costumes
are now in the Canadian Sports Hallof Fame because they are recreations of the
actuals. Wow. And they didn'thave any of the actuals. Just kick
still kicking around, no nothing,okay, wow. Rarely on World War

(12:13):
Two we get a lot of stufffrom the museums and the jacket will sit
in front of us on a mannequinand then the cutter will cut a pattern
for it and then we just makethem. We copy them, but like
we're not supposed to touch them,right right right. So for official titles,
you know, you're talking about beinga costumer designer, what are the

(12:35):
things you do? Like? Whatare they? What are the specific If
you had a business card, andI'm not saying you doubt, but if
you had one, what would itsay? It would say costume designer,
costume design But in the costume department. The designer oversees. If it's a
bigger production, twelve basic different areasof people, which could also be now
a team of fifty or sixty,so twelve different. Let me hear six

(13:01):
through twelve, sixteen. I don'tcare about the first month. Oh you
got your costume designer, your assistantcostume designer. Then we also have someone
that takes care of the grouping,which is a costume coordinator. Sometimes there's
a costume supervisor. You don't haveto give all of them to marry,
but I love that. And thenit goes down into breakdown. So when
we make things like we made theGhostbuster uniforms, they were brand new,

(13:22):
but they're not supposed to be brandnew. They're supposed to be from nineteen
eighty when the original, so it'ssupposed to be worn down, broken in,
hence the word breakdown. So wesam paint. There's the breakdown department.
The Last of Us is another.They were all post apocalyptic. It
can't be clean, it's got tobe dirty, it's got to be torn,
ripped. Breakdown handles all of that. There's also all the background that

(13:45):
come out, so somebody has tohandle them and make sure that they're dressed
properly. So there is quite alarge department in the costume world, and
the costume designer designs the look ofeverything. Smaller productions I now have to
handle everybody else, bigger productions.My costume coordinator can kind of take care
of those the other groups while I'mtrying to design right right. Well,

(14:07):
obviously the look the designer from thetop down, those are the most important
things. But when you say breakdown, it's funny. It is one of
the first things to take me outof watching something. You say, you're
watching a Western period piece or something, and you look and every stitch is
perfect. I'm like, no onehas worn that jacket. What are you
doing? Like where you didn't justbuy that? You know? Well,

(14:28):
there are certain things, so wehave trained you to see Western as a
certain way. Everybody's dirty, everybody'sdusty, everybody. But back in the
day, if you actually do theresearch, because they only had their best
Sunday clothes, they took very goodcare of their clothes, right, So
I want to see some mending theclothes well, because they would have to

(14:48):
mend their correct Yeah, but onceagain we've tombstone is a great example of
the wrong hats. Those are notthe right hats, those wide brim hats
that everybody wore. If you goback and do research, it's more of
a bowler hat, which is thesmaller, smaller bands not look as cool.
Yeah, Billy the Kid, ifyou look at his pictures, it's
more of a broken down fedora fora better you know, better terminology.

(15:13):
So yeah, So it's interesting howstylized shows can change what people think it's
supposed to look like. Well,movies teach us so much we should fear
movies. Like if you're if you'redealing with swords or something or something metal,
if you don't hear that weird metalthing, it doesn't do anything to
an audience. But like metal doesn'tmake a lot of sound when you know

(15:35):
whatever. I'm not sure if yougo to a police station and you're being
arrested, I'm not sure you're allowedone phone call. I think that's a
movie thing, Like legally you knowI need my phone call. I don't
think that's a thing. I don'tknow. We'll have to look into that.
If someone could, please, thankyou so much, look into that.
Um, I was gonna ask you, what do you get inspired by

(15:56):
more? Do you get inspired bywatching films with you know, incredible sort
of wardrobe and art department and stuff, or designers themselves? What what kind
of Um, yeah, i'll shipit. I'll skip that question. It
all depends on on the project.Okay. So sometimes if it if I'm
having to recreate an actual human being, it's very analytical. You go to

(16:19):
your museums. You have to dothe research. If you're doing something where
you're creating fifth element, right,you the sky's the limit. If if
they say yeah, go have fun, then then it becomes fun. Right.
Um. You know Sci Fi's creatures. We did Hellboy, um,
and it was we got to createthose creatures. Um. Wendy Partridge was

(16:41):
the designer and we were part ofthe team. Same with Underworld, Lovely
Lady Love Wendy Partridge and Um.I learned out to the Partridge Partridge and
to the Partridge family as well.Well. She just she teaches you so
much when you're there, and itwas great to work under her. And
because of a lot of the peoplethat I work with, I learned to
things from different people. So thenyou know you can get into you know,

(17:04):
designing stuff on your own, andbut I always look at four or
five different things and then I'll tryand put it together to create my own
because you, the director also havea vision. So now you got to
you got to try and go Okay, but I want to do this and
you want to do that. Canwe meet in the middle. Sometimes you
have to just say nope, thisis what thor looks like. Well,

(17:26):
yeah, I assume you have totake a back seat. Have to anyway,
That's very funny. As an actor, I do a bit of acting.
Guys, you do have to listento the director once in a while,
but not always. There's ways aroundit. I'm sorry, I'm not
from here. English is my secondlanguage. I just can't say that you

(17:47):
really have your own thing. Yeah, well, we do have stuff like
that, like this is Calgary.We can't find that kind of fabric.
Okay, we will have to comein. It won't come in in time,
you know sometimes. But that's justreminded me. I was going to
ask you are you are you afabric nerd? Now that's a technical term,
because you know, the term isfabricoholic. Fabricoholic. I'm learning so

(18:07):
much here, thank you, becauseI've got an art background. And I
love to look at paper, likeI'll go to a store even if I
don't need any I want to lookat paper. I want to look at
pens, pencils, something to makemarks with. Ye I was just wondering
about that. If you get andthen you find something on sale and you
think, oh, I could usethat for this, or I could use
that for that, and you pickup all this stuff on sale, and

(18:29):
then you look at your basement andyou now have sixty eight buckets full of
unused fabric. Hence I'm a fabricoholic. Hi, my name's leanne Um.
I love that. Yeah, Iguess you've been at this mass at twenty
years twenty eight some odd years,twenty eight years yeah, wow, But

(18:51):
it overlapped. I started a lotmore theater. I was at Stage West
for about twelve years, um,and the shows would come in and whether
it's two people or twenty people,we still only have two weeks to get
the show up and running. Thattaught me speed, So you have to
you have to move, you haveto get stuff done fast. So I'm
a very fast sewer. But butalso sewing on the emergency, Like wouldn't

(19:11):
there just like someone lunged too farand they're like, I've got to fix
that right now. In fact,keep wearing it. Did that ever happen
to you wearing that? I'll sewyou into it. Yeah, passion deal.
We had actual soldiers coming out ofthe dugout to storm across the field
and they're not I mean, stuntguys do it as well, but they

(19:33):
are not actors. They're not careful, they're just going to go. And
the wool was wet. It wasa muddy mess that they created, which
is what it was. And theamount of times the boys ripped through the
crotches in their pants was almost everytake. There was five or six out
of the fifty that would rip theirpants. So we actually have a picture.

(19:53):
I don't know where it is.I'd love to know if anybody has
it. There's about six of uson our knees with the guys standing on
and we're sewing crotches. It's it'sa great shot, um having to put
crotches back together for take two?Sure, how fast we're coming up alose
crotches? Yeah, yeah, ithappens. Nice, just takes some mud

(20:15):
on it. You don't think thoseguys in actually nineteen fifteen or whenever are
running around. Uh, you knowwhat their crotches a reality? Yeah it
is. I don't want to tellyour job. I shouldn't have written notes
in pencil while wearing contact lenses.There you go. But anyway, UM,

(20:36):
I'm gonna ask for this is afurther question. Okay, we'll just
move this to the end. I'mlooking over at the editor. Um,
do you have any tips for peopletrying to break into this part of the
industry? Um, just easy enoughto get into the union. So it's
easy to get in the union.Yeah. So if you go to IATSY
Local two one two or any ofthe locals, if you're in Vancouver Toronto,

(20:57):
go to your local and there's aplace that says want to join or
membership. And when you go intomembership, you start as a permit,
And a permit is somebody that isnew and they have to put in so
many hours in that department in orderto become a member. While you're working
as a permit, you get putwherever I need you. So if you

(21:18):
come in and I need you helpingout breakdown, I don't know how to
airbrush here. This is what youdo. I don't know how to send.
This is what you do. Weteach you as you go, and
then as you work your way up, hopefully you have enough knowledge that when
you become a member, you canshow up and say I know how to
do this, I know how todo that. So for starting, if
you've never done movies before, longhours, long days. A lot of

(21:42):
people don't realize that we do.You know, fourteen and sixteen hour days
on average in albert I think wehave a filming mandate of fourteen hours.
From the time that they say actionto the time that they say that's a
rap. They get fourteen hours.But when we have a town of two
hundred and fifty, will take usabout two and a half hours to prep
that. So we have to geteverybody dressed, get everybody through hair,

(22:04):
makeup, wardrobe, then they goto set. Then when they're done,
we got to undress everybody, hangeverything back up, you know, check
and make sure that it's all there. Somebody that actually, you know,
whoops, I forgot I have thison or that on happens and they go
home. So now you have fourteenfifteen, sixteen seventeen. That's an eighteen
hour day. And when you filmwesterns, you can't film it in the

(22:26):
city, so you have to driveout of the city by about forty five
minutes and you have to still gohome. So they're long days. So
if anybody wants to get in,that's the days that we work. You
know, that is our job.But it's an amazing job because we're making
movies. Who gets to say thatthat's to me? I'm like, I'm
just privileged every day that I getto do this. Yeah, exactly,

(22:49):
But you're right, you know,Like, so if you do want to
get into it and you don't knowabout costuming or if you know how to
sew, go to your community.Theaters, get into the community. Theaters
are always looking for volunteers to help. So help dress, help this help
that gets you an idea of what'sgoing on and what you need to know.

(23:11):
And then if you want in themovie industry, it is you know,
if you have to be a memberof the union to get into union
shows. Right, So, whenyou're talking about sewing, I was wondering,
how so how did you sort ofstart out? What was Were you
just a creative person? Did youdraw a lot? Did you just like
I'm a dancer, by trade,so I had competitions and my mom was
the sewer for our dance studio,so I learned how to put on sequen,

(23:36):
how to put on rhinestone. Andthen as you grow up in junior
high, everybody wanted the cooking classbecause we could smell the cookies in the
brownies. In order to get intothat class, you had to take sewing
in grade seven, half sewing halfcooking in grade eight, and then you
could choose sewing or cooking in gradenine. My mom's a good cook.
I don't need to know how toI don't need to learn how to cook.

(23:57):
Yeah, right, right, SoI made an apron. Yeah,
okay. We did aprons and beanbag frogs and boxer shorts and all those
kind of fun things. And asI go through school, grade twelve is
our grad dresses. So our finalmark was our grad dress, right,
And then I went off into danceworld. But of course, being on
stage, you see costumes, Isee how they're made. So when I

(24:21):
ended up finishing dancing and coming homeand went what am I going to do
now, people went, well,you know how to sew, don't you
know? I went well, yeah, they said, go in the movie
industry. I went okay, andoff I went. Twenty eight years later,
I'm still here. So it waspeer pressure. They got you.
Yeah, okay, nice good.No, um, I want to say
thank you for joining us. We'regetting very close to the end. I'm

(24:41):
going to get to some rapid firequestions. These ones I didn't even these
ones. I didn't even write.I just like their bullet points. There
you go. I wrote slinkware questionmark. So that was Smith Lalande Incorporated.
But now it's Smith Leanne Incorporated.My Lalande moved. So um,
that's congratulations or I'm so sorry.Yeah, that's where it came from.

(25:03):
So that slink where lovely? Uh? Okay. You ever see old people
at a trying to read a recipe? Do you want me to head on
to that pay? You know whatyou should? Oh, I was going
to ask you to measure me.But just do you have the capacity to
just look and be like, listen, but did you sign the NDA?

(25:23):
Go ahead and do that. Youlook like a forty two forty four jacket,
possibly about a thirty six waist.It's a forty eight, Yeah,
it's a forty eight shoulders. Fortysix shoulders are broad. You have probably
about a seventeen and a half inchneck, that's correct. I would say
approximately an eleven ten or eleven shoe, and your jeans are probably a thirty

(25:45):
six thirty two. That's a that'sa twelve shoe. I just want any
of our listeners to, oh,hey, new tech, new tech.
There's also some new tech. Youknow, the thing you print like a
three D thing? Anything major job, easier or harder? Nope? No,
actually the answer no, no,no, moving on, No,

(26:06):
no, there's there's actually if youif anybody wants to look it up on
YouTube, look up three D fashion. It's amazing. They print the costumes,
they print everything, and the wholething is made from a three D
printer. I don't think that wouldwork well in film. You know,
a sound department would hate us.You know, stuff like anything that clinks,
chinks or jingles. Nope, gotcha. Well you know what. I

(26:29):
don't know if you're allowed to talkabout anything about the thicket, but if
you are, no, actually onthat one. I was once again different
area of costume. I was therap team. So the show ran from
beginning to end with a designer thatcame in, but at the end of
the movie. All of we hadthirty two e crates, which is just

(26:52):
a fancy word for a big box. But we had fifty eight pages of
rented costumes from Los Angeles. Soyou have to go and double sided.
You have to go through and theyall have barcodes and you have to say
this pair of gloves barcode one,two three. Yep, I gotta get
in the box, right. Sothat was my whole thing with Thickett.
But I am a Peter Danklige fan. You know, I worked with him

(27:15):
before and Last Writes A Ransom Pride. He was here many many years ago
and did that movie and that wasonce again with Wendy Partridge, and so
we were lucky enough to I waslucky enough to work with him on that
one. Very nice. Yeah,we got to see him at the comic
con. I'll give you the story, but not you guys. I'm so
sorry. After. I think that'sabout it. Is there anything else you'd

(27:37):
like to say? Um? Ijust think the one thing that I would
love to get the movie industry todo. When you watch the credits go
by, you will never see myname as a stitcher. So I've made
all these amazing outfits. Yes,we there shows that you go to Walmart
or the Bay or Nordstrum's wherever,and you buy the outfit and hemmed it

(28:00):
for you. Okay, you know, But when we're doing period pieces like
Passion, Dale Into the West,Revenant, Hellboy, Underworld, all these
shows that we actually have to makethese costumes, you never see the stitchers
on it. I don't know why, but it would the one time we
did. I only saw the wordstitchers come across once, which was Underworld

(28:22):
three, and it was coming upand it said New Zealand Stitchers. We
made the stuff, just letting youknow, got shipped to New Zealand for
them to do all the finals.They cut it, they altered it to
fit the actor, they added,they did all that stuff. But we
made all the products here in Calgaryand it got sent to New Zealand.
At the very end it went NewZealand Stitchers and went, yes, we're

(28:44):
gonna get not And then it justkept right on going and our names were
not even there. They've got abetter union than you do. Possibly what
it is, But what I wouldlike the industry to do is actually either
at the beginning or at the end. Everybody always tries to wait. Is
there like a little extra something atthe end of movies? It's always fun
to see those things. How manypeople did it take to make this movie?

(29:06):
Yeah, two thousand, one hundredthirty two people made this movie from
pre to post or pre to journto post. I would love to see
somewhere a number of exactly how manypeople it takes to make a movie.
And if your name's not up there, okay, it's the number, but
it's your number in the number.Yeah, I love that. I would

(29:26):
It would just be something interesting toshow people how many people it takes to
put together, you know, aproduction, because you know, it takes
a village, a very large villageon average. Yeah, well that's perfect.
Thank you so much for joining us. Thank you. Oh my goodness,
I'm going to throw to this cameranow and say, guys, thank

(29:48):
you for joining us, for joiningLeanne and myself. And next week,
next time, Gary's going to beback with another fabulous guest on Talent Talk
season five. One last second again, like and subscribe. I'm just gonna
I'll just wait here while you doit. Perfect. Oh thanks, Hey,

(30:14):
guys, um Welcome to the clackingpart of of Leann's show. It's over.