The Prelim Podcast I Episode 20 — Edye Rice-George

0:08 All right, welcome back to the Prelimb Podcast. Um, again, uh my partner is the busiest camera assistant in Hollywood first AC. Pablo is on another job, so he can't be here again with us. But uh, you know, it's great that he's working. We're promoting work in here in LA, so uh that is awesome. Today we have a unique guest, a department of one, a department head and a department of one.

0:36 We have Edie Rice George, script supervisor. So you're our first first script supervisor. Welcome to the show. Thank you. Edie, honored. Awesome. This is gonna be fun. I've worked with you a few times. Well, throughout our career, probably many more times, and uh it's always fun because in our business, you work in a job, and next thing you know, you don't see the person for 10 years, and then they yeah, you're like, I've worked with you.

0:58 Yeah. Next thing, here we are on a podcast. Edie, where did you grow up?

1:05 Well, I I I have two growing up experiences, if you will. I mean, I my I am from Geary, Indiana. So grew up in Geary. And um well, I I I'll just say when I was 16, when I was 16, we moved to Detroit where my parents still are. My father and cousins and uh nieces and nephews are still there, but um so from Geary to Detroit.

1:42 Um fun fact, my mother was Michael Jackson's music teacher.

1:47 That is a pretty fun fact. Tell us more.

1:50 Oh you can't live that without just drop it. Let's talk about you, yeah.

1:56 Um, I mean, it well, I mean, it the the fact that, you know, Geary in Indiana, first of all, being just a small city, and the time of the Jackson Five was just like, you know, the biggest thing that ever came from that city. And um, and of course, it was as a young girl growing up, they were definitely the group that we all fanned over.

2:26 And um, and of course, it was no secret, my mother made no secret that she was their music teacher. And um, but you know, the there there's very little fun fact other than she m always said that Michael was extremely um shy. And she would be mad at at Mr. Joe Jackson for taking them out of class. Well, we know why, you know, early on.

2:52 These kids need to be unschooled. Well, we say, well, mom, clearly there was it was a bigger picture happening. They're making money. They're making well they were making money then, but it was this, you know, this is this is in their humble beginning before they started. Before we knew the Jackson 5 as the Jackson 5 we know today, or Michael, there was, you know, little boys in Gary, Indiana.

3:17 Yeah. That's funny. Now w j while we're on the Michael Jackson story, jumping way ahead, you did you do any projects? I did.

3:26 I worked on the Rock My World video.

3:28 So that must have been a full circle moment.

3:31 It it was. But there was a full circle before that, actually. Um, but I'll get back to that. Okay. But yeah, that that was because um, you know, he this is Michael at Michael's finest. And um, and Paul Hunter was director, Jeff Cronenworth was the DP. Um it was it was quite an experience.

3:58 Now I did a Michael Jackson video many years ago. And uh Which one? It was Man Mirror and Moscow or Manham. Oh, oh yeah. It was a crazy one. It was only supposed to be, I don't know, a week's worth. It turned into almost three weeks. It's a beautiful video. It's a weren't he wouldn't come to work on the third day.

4:18 Yeah. Every three he wouldn't work three days in a row, even though he's scheduled to work eight days in a row. Yeah.

4:23 So that there were a few in my song too. Yeah.

4:27 Little quirks, you know. Um I remember like one of the things that I was a PA on that job, luckily not the loader, because they shot it at like 2,000 frames a second, the whole music video. Yeah. On photosonics. It was crazy. But yeah. Yeah, it was a big, big job. None of his jobs were not big. No. No, I mean, we had so many.

4:50 I mean, being a PA back in those days, you know, like usually 20 walkies, 30 walkies to deal with. There was like over a hundred and something to walkies, and you're like, I don't want to be the walkie guy. No, that's horrible. I'm sure. Yeah, but the funny thing too, the weird thing is like as PAs, we were given notes on when he comes in, what you can and can't do.

5:09 We weren't allowed to make eye contact with him. Yes, that was he would come in the room, we'd have to turn around, face the opposite direction. All these things. I'm like, I'm not doing that. Like it's just silly, you know, but anyway. Yeah. But big time star.

5:23 Yeah, big time star, and very and I do remember he by he smelled so good. I didn't get that close to him. Yeah, I but I I was privy to that close. Uh huh. And I remember, I I um I think I said out loud and he laughed. I said, Oh my god, you smell so good. Uh-huh. And he laughed. And I said, I'm sorry, I'm so sorry.

5:43 Yeah. But he he he he he was extremely um aware of of every aspect of of what we were shooting. Like he was very involved in the creative, and it was very important um how the dance sequences were shot, obviously, because that is showcasing Michael Jackson's, you know, at his best of who Michael is. And and so, so there were so many scenes that were absolutely important to him to make sure he got hit to toe.

6:21 Um, and and just in certain angles, he reviewed playback often. And that was also kind of a treat to have Michael say, you know, hi, can I get playback? He'd only he'd only talk to me, by the way. Right, right. I don't know why. But I think and and and and I did like, you know, it was it it it was a it is one of those experiences that you know you're there to do your job, but as, you know, in a personal sense, you're trying to keep at bay your fandom.

6:54 Right. And you're, you know, enamored by what is in next, I mean, literally right next to you.

7:02 Um yeah, yeah.

7:04 I mean, even though you're dying inside. I did. I was very proud of how collect collective I was, other than the you smoke oh my god, you smell good. But um, but yeah, yeah, though the the it was it was pretty pr definitely in my in my legacy of experiences. Highlight and it's a highlight for sure.

7:25 I would have to say so too. I mean, it was as you mentioned, big. It was a huge production what we did. And I think I think that video was one of the most expensive videos never to air. It was a bomb. I mean not because of the look or the beauty, it just it just it didn't work out. So here we go. Okay, so from Indiana to Detroit, how did you make your way to LA?

7:49 So I came here to visit some cousins, actually, and my family. Um, I come from a very musical family, actually. My um my mother was a music teacher, my father was um uh a trained classical jazz pianist, he was amazing. My grandfather was the head of the music department at Lincoln University, first black man to get his PhD in music.

8:23 Awesome. He's in Who's Who, Dr. Oscar Anderson Fuller.

8:27 Wow. So was there a lot of pressure for you growing up to go into the music world? I y yes.

8:35 Let's say pressure. I I received it as pressure. It wasn't and it wasn't uh um uh put on me in a pressure situation. I was given piano lessons and all the lessons via, I mean, anything that was accessible to learn in music was certainly given to me. I took for granted that these were a part of my growing up.

9:01 So my appreciation for music is definitely astute in a different way. But my ability to play and do any of those things, sorry sadly, I did not take advantage of the lessons given. But um, but that said, my uncle, he well, we I call him Uncle Norman, but he's actually my mother's first cousin, Norman Whitfield.

9:24 And if you don't know who that is, do you know who that is? Uh he's your cousin. He's my cousin, but he is also um uh producer, composer, so songwriter for um Papa Was a Rolling Stone, Heard It Through the Grapevine, the soundtrack to scar to car wash.

9:44 Wow, yeah Summer.

9:45 Yeah, nice. Yes, like he he did you say Donna Summer? Right, car wash? No. Wait, what was it? The movie Car Wash, the soundtrack car wash. Do you know it?

9:55 I I I'm gonna do this. I know the movie.

10:00 Yes.

10:02 Car wash.

10:03 I do, but I thought talking about the car wash who sang who sang that? Who sang? Uh Rose Royce. Rose Royce. Oh, okay. I'm sorry.

10:12 You need to get that soundtrack, Tony.

10:14 I I I I'm gonna listen to it on the way home.

10:16 Yeah. Yeah.

10:17 Yeah. It's on the 101. Oh found in our I thought okay, no mistake. And the movie. Yeah. I remember it like in the 70s, late 70s. Yes. Yeah. I remember watching it when I wasn't supposed to.

10:30 Like, yeah. In fact, that that the music to that film literally changed how music was used in film as being kind of the the engine.

10:45 Driver, yeah.

10:45 Yeah, it was. It was so it was integrated so beautifully into the storyline of these characters in Car Wash. And there was a 25th anniversary, actually, just um a couple months ago that I went to and went with his son. I took his son and my cousins, and we we went to uh commemorate that. It was an an incredible night because the cast from Car Wash was there.

11:10 So it was pretty special just to be a part of of that. But to go back to how I came to Los Angeles, I came to visit that family. And um, and it was actually um, you know, it was on the coattails of a of a breakup, actually, because I was in my in college, but I had um a relationship with someone who, you know, uh when I came to LA, didn't it didn't work out.

11:43 We were we were living together. I mean, that's I I'm not gonna go into that. Yeah. Next. Um I'll just get to the fact to the point of how we uh how I got here. And that was just to come to visit my cousins. And I really wasn't sure what I wanted to do because I was at a crossroad of what am I gonna do?

12:04 Were you looking to maybe come out to LA and live?

12:07 No, I had no intention to live here. No. It was literally just to come visit. Visit, get away. Yeah. Okay. And but my Uncle Norman talked me into it. And that is actually how I started modeling because I was in a grocery store, and this sounds, it was just so typical of like, you know, some cheesy Hollywood story where you, you know, yeah, I was discovered.

12:31 Yeah. But kinda. This producer gave me uh his business card, and he said, listen, um he goes, Oh, do you model? I'm like, uh, no. And um he says, he said, Well, I'm I want to see if you'd be interested in doing the cover for one of my artists, doing the album cover for one of my artists. And I'm like, oh yeah, right.

12:57 So I just took his card, right? He goes, No, no, I I this is legit. And so I the first thing I did was take the card to Uncle Norman. And he said, Oh no, this this dude's for real. I actually know him. And and um anyway, so I met with this gosh, why can't I remember his last name, Barnum? Uh I can't remember the man's name.

13:22 Uh, because truth is, once that ent when I went to this thing, I didn't do the album, you know, it didn't happen. Uh I don't uh I met with him, took some pictures, and then, you know, that was the experience, but the album never came to happen. I don't know if the artist didn't happen, but the pictures were pretty cool, you know.

13:43 But I do remember, I'm like, well, maybe this is something I can do. I don't know. But um, it wasn't gonna pay the bills, so I just took a job as a receptionist. What well that said, then I just said, you know, uh, well, my family convinced me that just stay, Edie. What are you gonna go back to Detroit for?

14:01 There's nothing. It's cool, you know. It's cold. Yeah, and it was, that was definitely a big factor, the weather, all the things. But there's a different reality to being a tourist and visitor versus, okay, and now I'm gonna live here, now what are you gonna do? You know? And and and literally when you say I didn't have a pot to piss in, I didn't.

14:23 I had nothing, I had no, you know, I to my family's disappointment, dropped, you know, I stopped college and all the things that were expected of my want did not um to their want for me happen. But I will say it changed my life. It moving here, making the decision to say changed my life in every way.

14:51 I don't know what that narrative would have looked like if I would have, you know, continued in another direction that I thought, you know. But um, you know, but that that therein lies how life will give you what you aren't what's not so obvious.

15:08 So your your journey, you came into LA with and you stumbled on a career that you had no intention on being in. Fascinating. Because I'm the opposite. I went into a career where I thought everybody wanted to do it. So I'm shocked. Like when I meet people and like they stumbled or fell, or brother, sister got him in.

15:28 So I no, I had I'd and because I never really had an interest in modeling, like I like even that was like, I'll just do it because and and and I think I was getting work because I was so nonchalant. I would be surprised at auditions I'd go on and they're like, all right, and I'd book them. Thinking I could care, I could care, Tony, I could care less.

15:53 But it was fun and it gave me opportunity to travel, and I did, and I I mean I went to Japan and to London and to Paris and to and and I did mostly runway. So, you know, it gave me that opportunity to expose myself to be exposed to a whole nother world of afford to experience that I I would have never, you know.

16:21 So I'm grateful for that. And then it did bring me into the job I do today.

16:28 And and how did how did you transition from the runway to the Yes, this is a very compressed version, by the way.

16:35 I'm I'm literally like there's so much in-betwings, but I'm not gonna I can I can't give you all the Well, we'll tell part of the story this time and then you come back and tell the next one.

16:43 Oh, really? You won't have you back? Why not? Come on. I don't know. I don't know if I'd be that interesting, but uh Well when when when you get close to ending your days on set, then you will tell all. Yeah. And that will be a good one. But we're not doing that today. Not today. No. So how'd you how did you how did your day one get onto a set?

17:02 Um, okay, so uh so when I was modeling, I was doing some I did music video, and um I happened to do some music videos where I was in a music video with MC Hammer. Nice. Which one? Oh okay. Come on, tell all, yeah, this is great. Um no, n I was in too legit to quit.

17:31 Oh yes in too legit to uh when I came.

17:35 And um and and and I did a couple other dancers. Were you dancing too? No, no, no. No. Actually, there was a street scene and uh we were shooting downtown and I played a hooker. Okay.

17:49 Yeah. Well, I mean that's what it was. It was Hey, you didn't write it.

17:55 You just roll, but it was what it was. Anyway, that said, the director, Rupert Wainwright, who um I later became very good friends with, and who um uh through that experience, I went to him and I said, I wanted to, I said, listen, I think I want to do something in production. I don't know what, I'm clueless to any of it, but I'd like to just try to see what it is um that maybe I could do, you know, as an interest.

18:30 So he would hire me as a PA on, you know, so he goes, all right, we'll we'll put you on as a PA on the next job. And I'm like, so I did. And um the company at that time that was Fragile, he he was opening up a company, and um, and it just opened, it was right on Fairfax and um it was called Fragile Films.

18:51 Okay. And Fragile Films did he was the director for the great body of all the MC Hammer videos. That was his claim to fame, was Rupert's hand on that success. And so I helped, I brought my best friend, and we brought, we helped with the MP because I need some help with the you know setting up the office.

19:15 So she was hired as his office manager, and then I was doing runs and doing whatever. We would drop off all these, you know, like all uh like uh all he these reels for his.

19:25 What time frame was this? This would be like in Pager time or cell phone time?

19:31 Oh no, pager time, honey. Okay, okay. Um there were no cell phones. Right. You kept a roll of quarters. Yeah, yeah.

19:38 You'd leave the office five minutes later, they give you a text, and you're like, Yeah, you gotta pull over. Everybody, everybody was 911. It's the point where 911 was like, what? You're calling me 911, I know this is right. You just wanted yeah, cream in the coffee. Yeah.

19:52 I'm not pulling over to the payphone.

19:55 Yeah.

19:56 Remember that. I do, yeah. I wish I would touch a tape payphone today. If they even exist, there's just the grossest thing to think about. Yeah. But anyway, that that's what I so I went to him for for, you know, interest in production that way. And then there was a job. I can't even recall exactly the job, but we need, he wanted to take some notes.

20:20 We didn't have a script supervisor. And he just said, Edie, can you take some notes for me? You know, I said, Rupert, I don't know anything about this job because it's all right. I just want the editor to have something. Because, you know, I'm I I anyway, so that was my introduction to what script supervisor was as in and as a department.

20:43 And and I really loved it. I loved, even though it was just like, it was just the introduction to the being a part of the creative. Like I was right there with him, and and all the things were available in the making of from my perspective, was just so fascinating. So I decided I wanted to do a script, be a script supervisor.

21:07 And he, it was very unusual because he was very gracious to just say, okay, well, you could just be on the jobs I'm doing. And um, and and I cut my teeth basically in music video world, you know. So it was uh a time of music videos where where um narratives to music video were a great deal of the creative.

21:33 So, you know, it was just it was able to just like exercise certain continuity of needs, you know, very loosely, but still, you know, keep being being able to um uh cut my teeth in that way at least got me acquainted with the court of filmmaking, like, right? So even though it was a lot of I didn't know anything until there was a producer, Oliver Fusier, who was a very good friend to this day, and um and someone who was producer for for Rupert on many on many of his projects.

22:15 And and he said, Edie, we love you. But if you really want to do this, you're gonna have to learn this properly, you know, because there's because you're learning like many of us on the job is is your training.

22:29 But then how do you how did you learn the specifics, or how do you know what to look for? Or because so much of your job, there's so many details you have to deal with. Yes.

22:41 Well um what was awesome to learn in under circumstances that were unique to working and learning, right? So I didn't realize how much I was learning, and then it was to the point where, but I need to learn this job properly. So that producer introduced me to a script supervisor who is still a script supervisor today, and she is very instrumental.

23:07 And I've I've made it clear to um, I've said to many who've ever asked me, Corey Glazer. Do you know Corey? Corey, um, she's she she's an old you should she's one included in your yeah, you should. She she's had some interesting, she worked with um David Lynch. Oh yeah. Her stories are rich. But anyway, that's it.

23:34 She was very gracious. She came to my house, she taught me um the proper and and it real and I realized in my thro in that tutelage how much I knew already. She was, oh, you really? Uh and and so that was to my advantage in that way. Um and so I, you know, she she definitely helped me, and then she started referring me to jobs that she couldn't do.

24:01 And the rest is history. I mean, literally, I was handed the baton in a um very not usual learn. Um, and I'm grateful for that. But it was also an uh a great appreciation for how I was able to, I was already in the masterclass. You know, that that is what I even say to PAs or anyone. I'm like, you are here in the court.

24:34 You are with the folk who do this. So, you know, take advantage of whatever it is that is available to you to learn. You know, like this is masterclass. You have the advantage already. You're given the opportunity to you're here. You know. That's sometimes the hardest part, just getting it. It really is.

24:55 It is. That is the the the key is being is make sure that you stay there, you know. But my um my my start with Rupert on those jobs, and then um then once got getting properly trained gave me um the introduction to script supervising professionally. And then uh this is how I once I and and because Corey was actually doing a lot of commercial work, those those are the jobs that I would be referred to.

25:35 So I kind of made my decision early on because there the different mediums of script supervision for my department. There's TV, there's there's feature film, there's commercials, there's, you know, and at that time music video. But even that was unique because, you know, my department wasn't usual to that world.

25:56 But the level of content that was being put out, that timeline. You know, my my job, I I did monopolize with working with some of the great directors today because these were up-and-coming directors who had understanding of the value of what my department was. So they they they wanted a script supervisor.

26:21 You're helping them. Yes. I mean, I'm talking like with Paul Hunter, with with um Hype Williams, with Antoine Fuquois, with David Fitcher. Like, I mean, I'm talking directors who I and and had these opportunities to to do um work with, to work with as a script supervisor, and just to learn in from that experience of their process and getting stronger at my ability because the level of of excellence was so high.

26:57 Well, it had to be.

26:58 Yeah, yeah.

26:59 Mediocrity was not. You weren't gonna be there the next day. Oh, no. No matter how much they loved you.

27:03 No, yeah. And I will say respectfully, there was, I mean, because I I I I do believe I was like the the 13th black script supervisor. So African-American script supervisors in the Union, there were many of us. So I felt also there is a level of exceptional that had to feel necessary because I did not want to risk that there would be any reason to not have me back in.

27:44 That's real. Even though I mean I don't like to insert that um I just think that there is a certain attention to a person of color in a world where there aren't many that you're going to be looked at with a different scrutiny.

28:11 Yeah, you you almost you have to be better than you.

28:15 You do. Yeah. You do, and I had to be better.

28:18 And that was also during a time where film sets were very rough. It was not kind, gentle. No, no, no. It was it was very I mean, it was rude.

28:29 It was rude. Sexist, rude. It was all of that. And I had to be privy to worlds that I shouldn't have a tongue today, basically. From having to bite, from speaking on things that were absolutely not acceptable or appropriate.

28:44 But but but that said, um I'll I'll I'll get to f well, I have to introduce Joe Picker this way because I was gonna mention, because you work with really great directors here, but you also in in the field of commercials, who he was exceptional. Oh. The king.

29:02 Absolutely. No question. The standard, the gold. Standard, yeah, standard, the standard. And and and and absolutely I knew his reputation once I was brought to. Now, mind you, when I when I started working with Joe, I wasn't in the union. Okay. I'll I'll get back to that. But when I started with him, um, I remember the first job.

29:22 Everybody, of course, knew who he was. His reputation was known for being the tyrant. Rough. SOB. Yes, he was. Yes. And you would be called an SOB bias. SOB. Yeah, yeah. Yeah. He he he raised a bar. So, and I and the first job that I did with Joe, um, it was a Miller-light commercial. And his AD at that time, Austin McCann, beautiful man, just um, just uh a wonderful AD.

29:56 But but but you were told, here is here's what you need to do, how are you gonna do this? Like, because there was no set like his. Just know that whatever you, however you did things before, or however you do your job under other productions, this is not, this is not it. There were no this and this is so weird because he never used storyboards, right?

30:17 And for whatever reason, on this particular job, there were storyboards. So I used to always, I would prep the storyboards and I would, you know, I'd I'd um I'd I'd have them all set up and then I would mark where we were on the storyboards, you know, and it was just very organized and done. And the AD, Austin, and who I was told, because production was like, okay, so don't even if you want to talk to Joe, you go to Austin and he'll tell him for you, right?

30:47 You know. And I for in my head I'm thinking, well, that's that's gonna be disastrous. Yeah, that's not like I am not going to have someone else mediate what it is. Because even though we all I knew his process was rough, but I also knew he was brilliant. And I also knew that the man, if he needed to hear whatever he needed to hear, he's gonna hear it.

31:09 He ain't gonna listen to bullshit. He doesn't want to hear stupid, he wants to hear yip-yap. He doesn't, he I I discerned for me the best way to do my job is to do what I've been doing and how I got there. And I was not going to apply what it was that I thought would be my demise in that on that job.

31:29 So quietly I I I knew then I'm like, no, if I tell him something, I'm gonna tell him. So that said, Austin said, Oh, young lady, he was so funny. Young lady, what do you think you're doing? I'm like, I'm setting up the board. Oh, okay. Now the joke was on me because everyone knew that that was uh was just not done.

31:53 No. Uh-huh. So anyway, I remember there were so so we were doing the shop, and the first introduction, it was something out of a movie because there were these big elephant doors, and we were shooting on the stage, and the doors opened up, and Joe walked in. You know, his his physicality matched presence.

32:11 His presence was equal to the reputation, the the persona that you were told about. Which was what? Like this this very impressive, intimidating entity. He's like 6'6, 6'7, blonde, like like gray, long flowing hair, like a like a Viking. And he walked in and he was walking in. This guy is like intimidating.

32:43 Yeah. So that said, his presence was in that way. But um uh we're in the job, and and there was a continuity error that um one of the actors had a mug in the wrong hand. So I went in there and I could see, I could feel everyone going, what's she doing? Like, right? I'll go over to him. Because he also he was the camera operator.

33:09 So so he's at the camera, and I said, Joe, I said, excuse me, sir, um, you need to put the mug in his right hand. And he looked over and he said, Who the fuck are you? And I said, I'm I'm your scrum supervisor. You people drive me crazy. And I said, Well, I hope to dispel that. And I walked away. He said, Get back over here.

33:35 And I got back over there, and I can't got back over there. I came back, I came over and I'm looking at him with like, okay, he's gonna curse me out. And he just said, All right, stay here. Never had had that happen, ever, I was told. Anyway, at the end of that job, he came over, he shook my hand, and he said, You with me next week?

34:03 And I said, I haven't been asked. And he called, he called, yelled over to production, get her on the job next week and walked away. And I was like, Okay. And from that on that time on and the biggest jobs.

34:20 I mean, those were the literally the biggest jobs in the commercial advertising world. He was the top of the top.

34:26 He he was the top of the top. And and and so so the duties of the script supervisor uh are, you know, you you maintain continuity, you maintain uh you it is the one department that that every department relies on. It is one contention I have about the the value of really trying to do it without us. You know, it certainly has been done.

34:52 It's not efficient. It's not ideal. And but I it always amazes me how our department can be sometimes omitted as a like, do we need, especially when it if it's a a financial constraint to a production process. But that said, so you know, so because the the vanities need us, the camera department need us, the director needs us, the producer, every department relies on the script supervisor to help them to do their job.

35:23 Because there has to be, our eye is looking at what no, we're there, you are paying us to look at what not everyone is paying attention to. It is a required uh need for production uh want from your from you as the script supervisor.

35:45 So so yeah, because you're looking at like if the glass is here, and then we do the coverage and now he's got it in the next hand. Yeah. Or if a lady's hair has a curl in it and it lasts shot it. Yes. I mean, or I mean there's thousands of things you're looking at.

36:02 Yes, in addition to the script, you know, like we were also talking, you know, for commercials, you have 60, 30, 15 seconds to tell your story or to to to tell what the creative is. And so we are also responsible for for the clock. Like we have to make sure that within that time, that those seconds, you're able to to to do that scene.

36:29 And that is always because it's it's all time to eat this scene is four seconds. She this person needs to get the dialogue out in three seconds. Yeah. How long did it run? Well, that ran second.

36:39 Right. Right.

36:39 Or whatever, you know.

36:40 And those are challenges because, you know, not everybody wants to adhere to the clock or want to be, you know, a slave to the clock. But they know. They know they have to.

36:50 But that was a bigger thing back then. I mean, you you had your but it seems less as well. Oh no. No, okay.

36:57 Oh no, that's still not you uh Okay. It just seemed like that's one thing, that's one tool in the kit that's still use that uh the stopwatch is is necessary. Okay. And um so to to give how my career every my life changed with Joe because again, I mentioned earlier that I wasn't in the union. Real quick, who brought you to Joe?

37:25 Corey did, actually. And I I want to say it's either core either Corey Corey was called for the job, the producer called me. I I I I want to say it was Corey. But um or do you remember what the product was on the first? It was Miller. It was the Miller Light.

37:43 Yeah, that's right. Okay, yeah.

37:44 Yeah. So so that said, cut to that job, and then I was on everything with Joe. And you know at that time, Joe, how you were booked with Joe, like literally they would book you for the month. Right. And and because four or five different projects for the month. But sometimes you didn't know what days, but they didn't want to make sure they just made sure that you were holding or keeping those dates for Joe because it was always a blessing if you could find someone to work with Joe and he and it and it worked out.

38:15 And my department was definitely challenging because, you know, he's tough on everybody, but he definitely is. He he doesn't he's the man is very brilliant, he's aware of everything. You're not someone really he needs in that sense. Like, you know, some directors are very hands-on with want of your your input and all of that.

38:37 But I will say he was very, he uh uh he respected me in in ways of talking something, an idea that I'd say, well, what if Joe? And he would he would do it. I I found I was really honored by that because I know that that wasn't typical. But Cutzu, on this job, we were on this huge IBM campaign, right?

39:00 Um, and we broke for lunch. I'm in the motorhome, and producer Linda Massey was the producer. And she says, Edie, you're not in the union. And I said, No. She goes, Oh, Edie, well, you, you know, Joe is this is a signatory company, so you, you know, the union let us know you're not. And they're sending down another script supervisor.

39:27 I'm so sorry. Um, but you know, but Joe loves you, so whenever, you know, you take care of your your due situation, because I had the hours, I just didn't have, you know, six grand, and you couldn't pay in increments. No, no, you had to pay it all in one lump sum. Wow. So I was like, I'm um, this is this is it, I'm done.

39:51 So I'm packing up my stuff, and I'm so like, I'm just devastated because I knew this was not just for Joe, but probably the clearly the union is aware of who Edie Rice is, and I'm sure they'll be looking out on other commercials that are union for my name. So uh I'm I'm walking to the parking lot, I'm crying, I'm just like, I'm just like at the lowest of sad.

40:25 And I see, I hear, Edie, Edie, stop, stop, stop. And I turn around, and it's Linda. And she said, Edie, Joe paid your dues. And I like, what? Pay my dues. She goes, Yep. He paid him. He said, pay him. Oh, I gotta cry.

40:46 That is awesome. I'm sorry. Yeah, that's fantastic. I don't know why I knew I was gonna cry.

40:52 I've told this story many times, but it didn't, it changed my life. It changed my life because he gave me the next step that was required to continue what I was loving to do and what I was able to do now with all the all the things now. And um, and I remember I went to I went up to him and I said, I said, Cho, thank you so much.

41:24 He said, get out here and do your fucking job. And he kind of smiled. Yeah, yeah, yeah. And uh, and but I paid him back, I paid him back, I paid him back every time because I I just I knew that, you know, that's all I needed was just someone to help me.

41:40 Yeah.

41:41 And and at the same time, I just didn't ever I the last thing I never wanted him to say to me is give me my money back. You know, like, because thank you. Because he was, he, you know, he would do that. Yeah. And I was like, you're gonna say that to me. Right, yeah. Because I could say, no, you didn't, because I paid you back.

41:57 Um, but anyway, that was I hope I didn't have lipstick on my teeth that whole time, did I? Uh no, no, no. Anyway, that was something that was stupid to say in the middle of that.

42:10 No.

42:10 Um, but that said, I um I I owe I owe the the ability to continue in what is to this day what I do as a um you know opportunity to work with some incredible people I've met and worked with behind uh the camera, in front of the camera, some of the most um iconic to this day. Like I think of jobs that I worked on that now in my present day that are often in these decks that are used as visual incentives or you know, to to replicate or emulate.

43:02 And I'm like, I was there. What you're showing me, I could tell you some more about that because and I'm I'm there's a frustration to often be a part of the creative in that way that I see being um used as a template that isn't always the level of the integrity of that in creative. So I'm I'm like sometimes like you're you're using this as a reference and it doesn't even touch it.

43:36 But I can't say that. But I am quietly honored with the fact that I can say that what you're using is in my legacy of something that I was a part of in the making. And to discover that kind of uh pride for what has given me a very rich career. In um experience with not just the making of it, but the people who made it.

44:09 Well, what's the trip is for your young career, in your young career, you hit the jackpot. You couldn't have gone.

44:16 I could not have gone. I couldn't have. And that is, I trust me, I I don't discount the blessing there for sure, because it it did put me in the room. It put me in the court of the very best.

44:28 Aaron Ross Powell Right, because now people also now you're the person who's picked a script supervisor. And because everybody knows he was like golden at that point.

44:45 Oh yes, I still get into that, yeah. So so so so I would only all I'd have to do is put a j that's how I got to Kinka. That's how I got to a great many of the directors who would see my resume and they go, Oh, you work with Joe? Well, of course they would say if you could work with Joe, you'd you don't need any other names after that.

45:05 No.

45:05 And if they knew his process, they knew that I would had to be a tough cookie. So what it because I know Kinka had a lot of respect for Joe. Did he test you a little in the beginning? Of course.

45:15 I mean, they all test you. You know, there, but but but the key to the formula with for my department is with all these directors, each you have to give a respect to their process, right? I have to be able to do my job, not how I think I should do my job for them, but apply the skill set, but modify it to the to the workflow, to the process, to how they do their thing.

45:44 Like there has to be, I tell any script supervisor who, you know, I mean, because I I I've I've I've trained a few, I've mentored a few, and and and any of them, I'm that's the first thing I say. There's the the learn of the the the technical and the all the things that are required for the job itself.

46:07 But you have to be able to use uh your ability to discern and read the room.

46:14 You have to know how to read. I would imagine that has to be an ex uh one of the highest skill sets you must have because you know you have important information.

46:25 Yeah. But you have to learn how you have to know how to just how to deliver it. Give that information. You just can't. I I promise you, I always say no one remembers the script supervisor was who was right. They remember how she told tried to make the right happen. If the script supervisor is just right, and you, I'm sure as a cameraman or any, I can see going, oh, can we just move on?

46:47 No, no, no. Because she is obsessed. No, I'm saying that's what they'll that will be said. Why is she like making everybody wait for this continuity thing? Because it's important, maybe. But I've learned, I'm like, look, I'll say it. And though it may be something that you should pay attention, the director wants to say, I don't care, yeah, I don't care, I don't care.

47:08 Just, you know, I don't care. And then, and and and particularly if it's a new director, if it's somebody who I haven't worked with right before. And and and and and I'm like, all right, go ahead. And I'll know I'll be back because they're gonna get to that edit, and they're gonna be like, I'll be damn.

47:24 She was freaking right. And my respect is earned in a different way if heard, because now you'll listen. Because it's not just me just spewing out what it is, maybe that, yes, absolutely, it's my job to do. But I there there is a respect that I know is learned most when I do not try to force what it is that has what is, even though I may be right, to how you're supposed to uh give what is needed is because there's you're dealing also with personalities.

47:57 That is the key.

47:58 Yeah.

47:58 Again, read the room and read more importantly, the seat next to you.

48:03 Right.

48:04 Because their flow, it's it's a very intimate privy, first of all. I I I I say I could write a book, but I had to move to Mars and I won't to talk about it. All the things that I might have been previously. When you do write the book, come back. But come back again. There's some juicy, juicy, juicy to everybody's way.

48:23 Yeah. But that said, what it has to be uh there there's a there's a reverence and respect. Even if I don't agree with it, I still have to understand I have a job to do. And how I do my job is predicated on how they're going to receive the information they need. And if you make an error on your job, many people will see it.

48:46 And not to mention, when that error on my job happens, trust me, it is a beacon of ugly. Because it ble it it just shows just how deep the department of responsi my the responsibility to my department is because it bleeds into everybody's world.

49:04 Now let's ask you this, because I I know like there's so many things I want to ask you, and I haven't even got to any of my questions on here. Yeah, which is great. But um okay, so I struck out on the stopwatch. That's still a thing. Not that but you know what I discovered too. I just haven't seen it so much, but maybe I'm not paying any.

49:21 No, no, because I I I learned that that I was I I was on a job just recently um with uh a job that's very unusual. There could be two of us, right? Because we are unicorn departments, we are our own. So there's very there's not often that there'll be two script supervisors on the same job. This and and if there is, they're independent, they're a second unit.

49:45 But this job, it was um we had Spanish and English, right? So because it had it required uh uh um um content for for creative, I mean for for Spanish and general market. Um but our so we were literally piggybacking for the same director, right? But so I do the English portion and then we would chat. It was so much fun, and I I I love her.

50:11 Her name is Gabby Gomez. Shout out to Gabby, she was she was amazing on this job. And um, but to that said, was one of those kind of that was tricky. But I learned on on that job, she didn't use a stopwatch. I actually, but she was like, no, because I I usually just use uh my clock on my computer, right?

50:31 I said, really? How do you able to do that? Like I it is a different exercise in the muscle. I said, well, she goes, but I see you using a stopwatch, and it actually probably is better. I so I had a stopwatch and I gifted her. I felt very like I now knight the the giver of school. Right. Anyway, that said, um, and now she uses the stopwatch.

50:55 There you go. But um, but I it's not even so it's it's old school, maybe.

50:59 I don't I didn't know it was old school, but now this is something in lines to that because uh when I started on commercials, you I heard this phrase all the time. I don't I mean it was all the time on all different directors, crossing the line. Yeah. I don't hear that very often anymore.

51:17 Well why is that? Well, I don't know if it's uh I mean it still applies.

51:22 Uh and and tell the audience what that is, crossing the line.

51:26 Well, that's a kind that's a tricky thing to say. In three minutes. Well, uh basically if you how you it's it's how you're shooting how you're shooting angles and how it will edit. It will it will just be in average language terms, I would just say it just means that you are crossing the line of editorially how it will um visually look.

51:53 It'll just look off. An eye line might be off. Like it it just Right. When you edit when you you you're just you're it just it it it it it it it uh like for right now. The scope of your visual will just be askewed. It'll just look off.

52:10 It'll just look that's processing wrong direction. And that's something you you would have to argue with people. No, no, no, you gotta and and if yes if you lose the battle, okay.

52:20 Well then there's some directors who I mean this crossing this there's been cross the line um uh that has happened and it just still works for, you know, there's just a different um perspective of how a visual is um executed in a story sometimes that is okay for a director. I don't know. It's it's it's not that it's not happening anymore or that it's not something to be concerned about or use or pay attention to, you know.

52:56 But it's not all it's it's not flagged too often. I mean, there's some pretty clear uh educations to that that um the DPs or the directors are aware of, you know. So it's not often that'll happen.

53:12 Now you started at the top, and as we know, as we go on in this business, it's it's changing, it's evolving. Yeah. Now occasionally, well, I guess the history of the business, but now you have people at the top that might be the least experienced person on the set. How do you handle that? Because that's difficult.

53:34 Well, it's challenging. It's challenging for and and often that is why my hire will happen, because they know that I can, you know, compensate for the weak a new director who is, you know, not so savvy about things, right? And um uh oh well, I'll I'll insert one funny story, right? Well, just uh how my department can sometimes with directors who are just new to it, but however they got there.

54:07 Like I I I this was back in the day, but Fred Durst, you know, we know him from the fame move. Yeah, as a musician, but he was directing a lot of music. Music videos, yeah. Yes, yeah, yeah. So I was hired to because the the um music video was heavy in in narrative, right? It was a it was it needed, it was a short film, really.

54:32 Um and so having not met him too before, but knew of who he was or whatever, so we're gathers, me, Fred, the director, the producer, and then we're talking about the job, and then I was you know saying certain things. And he so apparent so then that he was like not sure who I was. I don't even know if I was introduced, we just went right into it.

54:59 Then the producer came over and said, um, he said, Edie, uh can do you have a minute? I'm like, yeah. He goes, yeah, so Fred's just not comfortable with you. And I said, okay. I said, does he not know does he know who I am? Does he know why I'm here? And he says, Well, he knows you're here to help. I'm like, well, that would explain a lot, right?

55:32 And then so then I literally heard him say, Who the fuck is she? Does she think she's the director, right? And I was like, immediately. I didn't even recall, I didn't care what the protocol was to address that, but I just went over to him directly because I just felt, again, this was another situation of having something being done for me and not speaking for myself.

55:55 So I took, I just went over. I said, sir, I said, Fred, hi, I'm Edie. I'm a script supervisor. I said, I'm gonna explain to you. I said, this is what my job is for you. I said, I promise you, I am not here to step on your toes as the director. I am not assuming the seat of the director, but I am here to help you execute everything you want to do and how you see your vision, and I will be very helpful.

56:19 And I promise you, you use my department wisely, it'll be to your advantage.

56:24 Yeah.

56:24 I was on everything that man did, and he loved me and he respected me because I he respected, first of all, the fact that he was explained exactly what the my job was to him in another way of just exercising what it was and not even it did felt, it felt intrusive in that way. I could kind of get why he would think that, you know, who who was I to be speaking so knowledgeable, obviously, of film and whatever and all the things, but who are you and why are you doing this?

56:59 And but then he understood he, I can say confidently, my de my experience with him introduced him to the value of the script supervisor. No question.

57:11 It took the head of the department to convey that message to him.

57:14 It did, and that's how it should be. Right. It would I mean with any department, respectfully, you should have the right to speak on what it is you do as a part of the collaborative. It is a collaborative. All of us are in whatever degrees of the tier in your role is as in that tier. Like it doesn't matter.

57:39 We are one unit. And and and and I've never ever approached my job without thinking like that. Like it is not to be just singularly me. We all need each other's abilities. And clearly we're all, I know how good I am. So I'm with the best. I know I got here because I'm going to be in that level of excellence.

58:05 So it it raises my bar to be better. And um, and so I'll get I'll okay, so I'll get to this because we'll we'll get to this. So the bling Yeah, you are the bling lady.

58:18 Um that that I hated that I I I'm the bling respectfully. No, no. We're gonna cut that out. We're gonna you're the bling bling.

58:26 Uh what do you like? I I I well, truth is told you, I don't like any of the it's not not like the title, because I know the I know the the appreciation for this ritual that had has been birthed over the years in different degrees of exercise. And so, um, and it was born with Joe Picka.

58:51 Oh.

58:52 Okay. So those jobs were obviously, as we all know, they were tough. And he was tough on the crew. And at the end of the day, the morale, the confidence, the all of it would just be like, I mean, annihilated. Um But the money was too good to leave.

59:12 Huh? I said the money was too good to leave. No, I mean, yes. That's why people kept coming back.

59:17 But it wasn't even just the money, he did beautiful work. Oh, yes. There was something to be said about being a part of that man's world. Right. However difficult it might be, you that was I I became better with Joe Picker. Why I am at the level of standard to my ability is because of him. Mediocrity was not acceptable.

59:44 You you were all first of all, you were good when you got to him, but that wasn't enough. You couldn't just be good, you had to be better. So no one got to him unless you were good. But he didn't su and he knew that. I know he knows. If you're gonna come here, whoever you are, you got here because whatever you're a PA.

1:00:03 Cameraman great. Yes, I'm gonna test your ability. I'm not gonna modify my crazy world of berate and tyrant and and the things that everyone knew that Joe was. But there was a brilliance to it because every entity in the crew, they were the most incredible human beings. They were kind and thoughtful.

1:00:21 I I know that was by by design, because I would see him weed out the potential of someone who could be an asshole. And if he was only gonna be what if there was gonna be an asshole, it was only gonna be him. He made that he was not going to share that court with someone who would be disruptive.

1:00:37 And many sets were like that. Many sets were like that. You know, yeah, the the main person was Yeah.

1:00:44 But there but that but that is there there there was a an advantage to to being able to learn under those kind of circumstances that gave me a better ability to integrate my skill set under everybody's in in any scenario. And so so the birth of the bling came from, but it was very simple, at the end of his jobs, I would get stickers like teachers would give that said, you are awesome, keep up the good work.

1:01:14 And so I'd give a sticker at the end of the job, and over the years, I crew would literally say, and I'd only do them on Joe Set. I never did them anywhere, I did that anywhere else. Um, because they were pretty much the most unique for that need. And but uh, but there was um um his first AC, his name is Jason LaFargo.

1:01:38 Do you know Jason? Um Jason was amazing. So he had a barbecue. Um and and that was the other thing about that pick crew. There it was it was family and a whole nother kind of um uh appreciation for what our jobs will create, relationships like that. We're together for many hours, right? And so I found that you would, you know, when I if I'm away from my immediate loved ones, then you will be my family until I get to my own.

1:02:06 And and I think that this exercise of that also helped understood, understand our reminder of how we're to function. You know, be kind, be thoughtful, do your job, but understand, you know, we're gonna do it in a in the best way possible. Crew members love this when they see you. So he he he at this barbecue, he he was such a strange bird.

1:02:29 He's deliciously wickedly funny. And um, and so he had at his table, he's very weird and strange, but wonderful. And then he had his dining room table and he had this uh mannequin that was sitting at the seated at the table, right? It was so weird. But on that mannequin, every sticker I ever gave him was on it.

1:02:51 It was covered completely. Uh-huh. And I was like, Jason, what the heck is that? You know, oh, that, oh, what do you call her? Uh that's um Delilah. Or he called her, he had a name for her. And and and I said, but those are he goes, that's every sticker you ever give me, gave me Edie. And I was so, he goes, Do you know what that did for us?

1:03:17 You know what that does for us. He's like, that is everything. We can't wait to we know at the end of the day we're gonna feel seen, we're gonna feel validated. And I was like, you know what? I'm gonna do this on every job. Because if that is how you feel from something that was just really a way to just do just that, to just to show an exercise of that you are valued in spite of how we were all given shit all day, maybe.

1:03:46 I know you, you know you're good at your job. You know, he's a he's he's tough on all of us. He's the tough papa. And and and and that is not what I didn't want anyone to not feel at the end of our long day, right? And so then when I realized, well, this is something I can maybe do on every job, I said, if I'm gonna do it, I'm gonna go big and I'm gonna make it a bigger, grander version of these stickers.

1:04:13 So I started doing stickers on people, but it would be like elaborate designs. I get stars and I get diamonds and I just make, and it was such a thing of people really feeling special. And it really let me feel not just as an exercise of what was to create a room that would give us um a visual aid, not preachy and, you know, let's do our jobs and let's do them, you know, like we hear at every safety meeting.

1:04:46 Be kind, be thoughtful, you know, keep everybody in the way you want to be treated, mindset, right? But this was that in a different way as well. It was that, but it was also making everyone, I would see how they would just feel individually seen and and and special. And I never gave anyone the same sticker design.

1:05:10 It would always be unique, something different, right? Um, and so that's that's that's where it started. And then there was years of that, and then there was a DIT that I learned who made this um hashtag EDIs on social media, and crew unbeknownst to me were posting their stickers, and I was like, oh my God, this was wild.

1:05:32 But then when COVID happened, right? I was, you know, at the well, remotely, that was also a challenge, right? You couldn't pass it in. No, but I would send things to set and um and and uh which was cool because they felt like, oh God, Ed, even in COVID, you managed to do that.

1:05:55 Because we talked off camera about this. COVID, you were not you were It was weird. Some jobs you were remote. You weren't at the set. You weren't with the actors. You weren't with the director. Everybody was in a different place.

1:06:09 Yeah. And yeah, that was that was in itself its own challenge, you know, to just to find a way to, you know, um do a job that's important to the process. And um, but uh how do you do that and you're not there? Because it just also was another kind of l realization of how involved physically we are in our jobs, right?

1:06:38 So so yeah, that that that that took that took that took a learn. Um and I was grateful to learn from that experience a way to do that still. I've I've actually since COVID worked remotely for directors who've been out of the country or out of state. And um and uh um and and that was just I I I found a way to just create a textile.

1:07:02 I used an iPad and then put that in the director's village with them, and then they talked to me like a, you know, Edie the robot.

1:07:11 Because you've gone from in your career, you've gone from uh handwriting everything. Where I started. When you started, right.

1:07:19 And in film. That's a whole nother thing, too, because filmed the digital world. Yes, that was a transition in itself, you know, and another duty to a script supervisor's job. Because, you know, uh clearly HD, you know, you have clips you have to account for, right? So and that clip will have the take.

1:07:38 So you have to document that. So that's another added something to take notes on, to take notes of, and then um visual effects has become uh greatly even more so. Like there's very few jobs that have some element of VFX in it that we are also accountable for keeping notes of for for the um editorial VFX post needs.

1:08:07 And you know, so so write I I'm grateful for being able to come from the skill set of writing my notes because that was a different kind of learn. Were you were you doing it shorthand? Or was it made your own process? I just made my own my own process. And I took when I took I made the best script notes file books.

1:08:30 Didn't I, Nikki? I did. I I I took pride because I mean literally like directors who would ask me to duplicate it because I would put pictures with it and and and and they'd want it for themselves as a keepsake. So I'd have to do two. Will you make me a book? Oh sure, okay, here. But that said, um, and then we went into digital and that was like, you know, a whole nother um learn.

1:08:55 And I realized when when the transition from from going from written script notes to digitizing was one or two calls too many for me that were asking if you did if I did my notes in as a uh uh uh digitally. And so um I knew right away that I I that's something I better I better learn. I better learn.

1:09:19 And I did.

1:09:19 Yeah, and it also helps you at rap. You don't have to photocopy.

1:09:23 No, no, it helps you. Trust me. I wish Progestion would hire. They, trust me, I'm sure benefit most because at the end of the night, having to copy all the script notes and send them to and they'd have to not just make one copy, they have to make a few copies. One's for the their wrap files, one for editorial, one for sometimes even, you know, a special request of somebody.

1:09:47 Whatever it was, it was extra, extra for their end of the day. So I know that they were absolutely happy that this was one form of way.

1:09:55 On the commercials you work on now, do you deal with camera reports or no? No.

1:09:58 Some people do still most of the time it's like No, no, there's no there are no there's no camera reports. Unless we're shooting film. And that's what's funny because I came from film and now it's so interesting to hear to see it used as like this novelty thing. Yeah. Like, you know, yes, we're gonna be shooting film.

1:10:17 And the director is usually when they're young, especially, they're so excited because it's such a form of filmmaking that gives them, you know, it gives feel and it brings texture to their to their uh uh uh creative, you know, and and and uh and their experience. So um but but yeah, but but I guess I'm all over a little bit.

1:10:43 But the bling elevated to more when COVID happened, right? I you I couldn't when we were getting back to SARS like, well, the last thing anybody wants to do, because there's a whole different training to our contact with each other, right? No. But even when we could, there was just a mental you just felt still apprehensive.

1:11:06 And the and even though people knew this from me, that that it was, I could feel there was a discomfort with the want, knowing that this was something I did, and they didn't want, and I could feel, they didn't know how to say to me, Edie, please don't put a sticker on. And and and and and and I also didn't feel comfortable doing it.

1:11:28 So I said, well, how can I do still the same sentiment and idea without absolutely you know, touching people? Right. So then I just started creating like these little goody bags, you know. Um, and I and now they find me, you know, just little things that are very positive oriented. Sure. So I give like, you know, you know, like a little stress ball, yeah you know, keychains to say you were you were awesome, keep, you know, this is a little reminder.

1:11:59 And oh my God, Tony, I will say it really is showing how starved we are just as a as as a humanity for human compassion and care for what we are doing in our jobs for many hours, but then we have to come home to another reality of complexity and trauma sometimes that that is overwhelming, you know. Like we need to be able to have a healthy condition to our work flow, you know.

1:12:34 Like I really um encouraged this for those reasons because it just brings a levity to what it is that we are there to do in duty, right? But at the same time, I just don't want us to not forget that we're, you know, we're human and we're we're all coping. You know, we're coping with hope.

1:13:00 I mean, that yeah, it we've been beaten down at this point the way the business is going, but we'll that that's a whole nother that'll be next time when we have you as you're telling us about your book. No. Oh yeah. Um Edie, what we like to do as we're wrapping it up, what's your favorite word on set?

1:13:17 Favorite word or a favorite phrase? Oh, how many people say that's a wrap?

1:13:23 Um you know. It's okay. I don't I won't say uh my favorite word, favorite favorite word or phrase, or phrase, whatever you choose.

1:13:34 Um I like last looks. Okay. And and and sidebar, I'm actually I'm gonna do some I have some hats that I'm doing that say last looks. And that and that's such a term that is very specific to our court. And I and I I always liked, I don't know, I just like it because it it it also when you say last looks on set, it escalates the urgency of everyone's department.

1:14:10 Everyone has to go in. I mean, the the vanity it's it's the call for vanities in every department to really like do their own last looks because even it's not just the vanities going in to make sure that the you know OCPs are cared for or you know the talent is cared. That's that. But I see every department getting their shit together.

1:14:32 Like we're all like, all right, it's it's showtime, it's game time. Like so I like last looks because it it it it just it just introduces you know uh the kind of level of it it's it's time.

1:14:47 Yeah, it's about to happen.

1:14:48 It's about to happen. Get it together.

1:14:50 Uh least favorite word or phrase on set.

1:15:03 Least favorite word on set.

1:15:10 Well, I guess if it's related to my department You know. Are you sure that wasn't in her hand in that set or right. If I j j any phrase that references something that was missed from my department is is my least favorite to hear.

1:15:30 And then you rely heavily on another department who uh VTR department. Yes. Because they will then give you playback to confirm that you were correct. That's right. Or not.

1:15:42 I well though that when it when the exercise of proving me right on that is always delicious. Especially when I'm questioned. It's not so delicious whether I'm like, oh shit, I was wrong. You know, and and and look, here's the thing I lose to my defense often. Well, I use as a reminder I'm not perfect.

1:16:05 If craft service says there's a continuity error, I'm gonna listen. Edie, did she have that? Oh, you know what? No. Yeah. But yeah, yeah, yeah. But I'm like, I appreciate whoever's gonna, there's no ego here. I'm gonna miss something. It happens, and I appreciate anybody, and I also appreciate departments.

1:16:31 I have talks with the vanities, I uh to to to the costume designer, whoever is responsible for their department and needs for my department for them, I make sure they have what they need. So now what I've been doing is I, you know, because we're digital, we get screen grabs from VTR. And and and I, after we've shot it, because how they may send, they'll say, that's not I set their hair like that.

1:16:58 I'm like, let's remember how you send them out, and once they get on that set, and the director may make a change that you weren't even aware of because wherever you were, maybe taking care of another talent, and then we shoot it. How you send them isn't necessarily how we shot it. So I want to give you what you need.

1:17:17 Here's what we shot. Not your your NLC often, their continuity picture is different from how we shot it. Right. So I give them digital, and they love that because they appreciate the fact that it is giving them their instead of having to hover over around the monitor or whatever, you know, like it's like it's it's just another additional help to to to what is needed to keep continuity in check why I'm there.

1:17:49 And that is don't get yelled at.

1:17:50 That's the whole reason why you're there. That's what that that is that is one of the reasons. True.

1:17:57 I mean, because it is the one department that I still that I always say to this day, the directors who I work with who, you know, aspire all to maybe one day be at that podium getting their Oscar. And I say, please, thank your script supervisor. Yes. If it ain't me, whoever she is, shout her out or him, because try to do it without her or him.

1:18:30 Well, they do, and the jobs go smoother with Yeah.

1:18:34 You can't do a feature without with without I mean if you you're an idiot.

1:18:38 You're an idiot. And we know there are idiots.

1:18:40 Yes. Well there are. We we certainly have real quick.

1:18:44 What are these?

1:18:44 Okay, so real quick. This is this is okay, real quick. The this is and and and and and Nikki, you should get in here and try to try to get it. She's camera shy. I know. We uh we'll just we'll just do this so you can just see the deck. Okay, so these are these are affirmation cards, right? But with a kick.

1:19:01 And and so these are the new things that I've been introducing with the bling. Oh, and the other thing that I uh and so the other thing that grew into a big thing are the surveillances that I start uh decorating. Um and that became bigger than I even knew. That's right. So and and apparently in that movie, um uh Jackass, the new what's his what's the guy who what's his name?

1:19:27 The um shh what's his name? This the crazy I know I work fool. Um yes, anyway, that said, in his new movie, someone texts me and said, Edie, I'm watching the movie, and in the background you could see, you know, the in the making of there's crew who have your bling on the on the on their um surveillances.

1:19:51 So I was kind of tickled by that. But anyway, that said, it became a bigger thing. And that was actually um started with a uh a first A D. Her name is um uh Francesca Brava. And and she, this was in my day of doing stickers on people, and she says, Edie, I'm sorry. She goes, baby, I I love you, but um I cannot do my laundry and see another sticker destroyed in the dryer.

1:20:22 So anyway, I started blinging her for the first. So these are affirmation cards. You're gonna pick one, okay, and that's it.

1:20:29 Okay. These are just for, you know. Let's do it. We'll we'll pick one and end it.

1:20:34 Yes.

1:20:35 Okay, here we go. All right. Here you go. From Gary, Indiana to Detroit to Los Angeles, California. What's yours say? I I am a boss ass bitch, and I will not tolerate anyone's bullshit. And uh yeah. That uh I don't I don't think we need to say any more than that. I mean That's a rap. Edie. Edie Rice George.

1:21:01 Thank you so much. Thank you. Sharing the world, what you do on your job, and it's very interesting, but I mean, challenging. And boy, it's stress from the moment you get on set to rap.

1:21:14 Well, the stress is you want you want to do a good job. You want to go, you want to provide why you were entrusted to be hired. For me, I I there is a level of standard to that that I always want to try to hopefully provide as a not wanting to be sorry, I we we called you. That's the last thing any of us want.

1:21:42 You know, you want to hopefully leave your mark in that way that everyone remembers that, you know, that they didn't they didn't fuck up hiring you. No fucking up, no, because you're top-notch. Well, I I I I I've definitely tried to um maintain the level of excellence that is expected. Yes.

1:22:08 Edie, I'm gonna see you on the set next time. Thank you very much. And uh like and subscribe, and um thank you to Pod Place LA for having us. Thank you, Edie. This was great.