The Prelim Podcast I Episode 3 — Lisa Guerriero

Fight Club. Mad Men.  The world of David Lynch.  Lisa Guerriero has seen it all and she's dropping some gems in Episode 3!
This week, Pablo and Tony talk with Lisa Guerriero, who as a female AC, is part of the first generation of women to break into the film industry in the late 1980s — long before that was a conversation anyone was having in Hollywood.  She shares her journey of breaking into the male-dominated movie and television industries, and she describes her successes in navigating Hollywood sets as a camera assistant for her many decades to follow.  We also talk about her passion for photography and the powerful work she captured on the streets of New Orleans.  This inspiring conversation is packed with incredible insights!
Tune in to this week to catch the pioneering set-life chronicles of Lisa Guerriero.

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Transcript

SPEAKER_04 0:05

All right, here we are back on the Pre-Lim podcast. Uh today's guest is Lisa Guerrero. Uh. Lisa, tell us how you got into the film business.

SPEAKER_01 0:15

Um, so I grew up in Los Angeles in the San Fernando Valley, and um I was interested in dance. So I ended up going to the Hollywood High School Performing Arts School, where I studied like dance and theater. And I also took a photography class, like my second year of high school, um, which I was really into. Um, on top of that, I was working at Book City Collectibles on Hollywood Boulevard. It was like a memorabilia store. Like half the store was regular bookstore, the other half was all Hollywood memorabilia, which I loved. Um so that kind of piqued my interest in the whole movie industry thing. And um, when I got to my senior year, like the last few months of my senior year of high school, I decided that I didn't think that dancing was going to be the place for me to be. And I was very much into photography. Um, I started working for a cable TV station, like right after high school.

SPEAKER_04 1:18

Like cable, cable.

SPEAKER_01 1:19

Like cable, like yeah, cable TV from West Valley in Chatsworth, probably somewhere close to where Panavision is now. And um I was doing public access shows there. And I was also working there, literally just airing public access shows. That was my actual job. But while um working on um a couple of public access shows, one of the gaffers had asked me, you know, what do you want to do? And I told him I was interested in getting in the camera department. And he said, Oh, you should join this group called Behind the Lens. And at the time it had started like in the late 80s, and it was a group of camera women, um, you know, like assistants, operators, DPs, and there weren't that many people in the group. It was very, like, very small at the time. And so I joined that group, met some great people. Um, you know, if like Ari came out with a new camera, they would come and like do a workshop for us. And so it was a great like networking experience. And uh Brianne Murphy was one of the people, uh cinematographer who was in the group. She, you know, was like one of the one of the first camera women in Hollywood, one of the first people to join the union. And she started off like in the 60s and became um Michael Landon's like main like operator and then eventually DP. And um a few months after joining that group, she got like this low budget non-union movie and took a bunch of you know people with her, and I got to be one of the camera PAs on the movie, and that was how I started.

SPEAKER_04 2:58

So you that's kind of cool. So you you're like me, you wanted to get into the I wanted to get into it, yeah. Oh, that's awesome.

SPEAKER_01 3:05

Yeah. So she was um, yeah, that was wonderful. And as um as a rap gift, I got, you know, she autographed um an ASC manual for me, which was really sweet. And she was a wonderful, like a wonderful person to kind of, you know, have on your side.

SPEAKER_04 3:24

Yeah. Yeah, that must have been hard because back then the w women in film, you had, I mean, it wasn't like today. So not at all. You had to not only be really good, you had to be even better than the average guy.

SPEAKER_01 3:40

Yeah, that's what we we have all talked about quite, you know, quite often was that we had to work harder and be better than a lot of the other men because we were women. And even then that didn't guarantee us that we would like, you know, get a specific job. Um, I had interviewed with first ACs before who would actually, you know, sit down with me and have coffee for an official interview, but they would tell me, you know what? I I tried having, you know, a woman on my crew last time and she wasn't strong enough. And like, I can't hire you because women aren't strong enough for this job. I mean, people would just come right out and tell you that they weren't gonna hire you.

SPEAKER_04 4:20

I mean, back then you were allowed to say that.

SPEAKER_01 4:22

You were allowed to say that there were a lot of things you were. There were a lot of things you were allowed to say back then. Yeah, that's true.

SPEAKER_02 4:28

Yeah.

SPEAKER_01 4:28

Um so you know, I know that there are probably many jobs I got because I was a woman. And, you know, starting off like I was 19 years old when I started. And, you know, um there were people that were okay with having like their token woman be, you know, the the film loader, like they were okay with that. So um, but we all worked really, really hard to prove ourselves, and you know, um some of us are still here, some of us are still around.

SPEAKER_00 4:59

Knock on one.

SPEAKER_03 5:01

Knock on one. Um yeah, Lisa. Uh what what do you think was your you know, your first break-in job once you got in? Um that led you into the union.

SPEAKER_01 5:17

Yeah, there was I think that the first job that got me into the union was Tales from the Crypt, that TV show. Um love that show. Yeah, we started it started off non-union and became union, and it was it went on for quite some time. I was on for I think two seasons of that.

SPEAKER_03 5:39

So it flipped.

SPEAKER_01 5:40

Well Yeah, it flipped back then, yeah.

SPEAKER_04 5:43

So how old were you back then?

SPEAKER_01 5:45

Um 20, I think. Yeah, 20. Wow. Yeah. But yeah, Tales from the Crypt, which I totally forgot about. But I love that show. That was fun. Yeah, it was actually a fun show to work on because there were like different um stars on each, you know, for each episode. And we had alternating DPs, and it was actually a a pretty awesome job to kind of start off on.

SPEAKER_03 6:07

And where was that at? Like, do you remember where you guys shot at?

SPEAKER_01 6:11

I um I think we were over in Culver City at that A1 building where a lot of people shot, like, yeah.

SPEAKER_03 6:19

Okay.

SPEAKER_01 6:20

Yeah, off of Venice.

SPEAKER_03 6:21

All right, yeah. Yeah. I know I know exactly where that's at. Yeah, yeah.

SPEAKER_01 6:25

That was a big movie studio, quote unquote studio for a long time.

SPEAKER_04 6:29

Yeah. So you didn't really PA?

SPEAKER_01 6:32

I did, because like all in between, I'm sorry. Um, yes, I did PA also. So in between my camera assist any camera assisting jobs, um, I used to PA a lot for a commercial company called Lunipeer out of Santa Monica. And I would do all their commercials, you know, as a camera truck driver and a PA. And then I befriended the camera assistants who eventually would like say, okay, we're gonna teach you how to load, or be like, yeah, you can load the film. Or, you know, Brian Pitts was one of the people that he was a second assistant at the time. Brian Pitts.

SPEAKER_02 7:04

Brian Pitts. Yeah.

SPEAKER_01 7:05

And he let me um like load film on commercials when he was busy.

SPEAKER_03 7:10

Tall Brian.

SPEAKER_01 7:11

Yes, Brian. And I just thought, like, I don't know how Brian fits in the dark room.

SPEAKER_04 7:14

What a great teacher.

SPEAKER_01 7:16

He was a great teacher, yeah. And I've worked with him throughout the years. Yeah.

SPEAKER_03 7:19

Yeah. Me and Tony worked with him on blackish years. Yeah, yeah.

SPEAKER_04 7:23

We had a a great time with him, but what a nice man to teach you.

SPEAKER_03 7:27

Yeah.

SPEAKER_01 7:28

Yeah, he was great. And I actually um on certain days when he he was the film loader on the first White Man Can't Jump. And whenever they would bump him up to second, I would come in and load film for that one, which was really cool.

SPEAKER_03 7:42

So you also worked on White Man Can't Jump.

SPEAKER_01 7:44

Just a cut few days here and there. Yeah. The original one.

SPEAKER_03 7:47

Yeah. Yeah. That's classic. Another movie I love.

SPEAKER_04 7:52

Yeah. Well, you have a great resume. Yeah. And uh tell us about some other projects. What what was uh tell us more?

SPEAKER_01 7:59

Uh some of my favorite ones have to be Lost Highway with David Lynch, right? That was an absolute dream to get a job with him because I had a big I was a huge fan of his. Um, you know, from Blue Velvet to Twin Peaks. So it was it was pretty awesome getting to do that.

SPEAKER_04 8:17

What's his set like or back then?

SPEAKER_01 8:19

Um he I was fascinated to just like sit in. I mean, I wish I could have done more of it. Obviously, I had a job to do, to like sit and just watch him, like watch the process, his process of everything. Um it's yeah, it was really, it's really awesome. I would just see him. He would really like get in there to do things. And we got we filmed at one of his houses in the Hollywood Hills was where we did um all the all the stuff that took took place, like in the house in the bedroom and everything was his house. Um he was very kind man, meditated every day at lunch, uh just a wonderful human being, like all around, and so talented. And it was just it was great to get to actually see that up close.

SPEAKER_03 9:07

Who was the DP on that movie?

SPEAKER_01 9:09

And that was Peter Deming. Peter Deming. Who was had been his DP for years and years after that. Yeah. Yeah.

SPEAKER_03 9:15

And do you remember the first AC the key first on that movie?

SPEAKER_01 9:19

Yeah, that was Scott Ressler.

SPEAKER_03 9:20

Scott Ressler.

SPEAKER_01 9:21

Yeah, he was also he also worked with Peter Deming and with David Lynch for many years.

SPEAKER_04 9:26

Yeah. Okay.

SPEAKER_01 9:27

Yeah. We had a really nice crew.

SPEAKER_04 9:28

Any funny set stories back then?

SPEAKER_01 9:31

Um not funny, but I remember back then I was very much into matching like my earrings and my t-shirts. Like that was like a big thing. And David started paying attention to him. Like every day he would make some sort of comment about him. And then I felt like, oh my God, I gotta step this up because he's noticing, you know, I can't like duplicate any of my outfits. So on the very last day of the show, I I put on like a grass skirt, like a hula skirt and top with lays and flowers. And as he was coming out, as his driver was dropping him off on the set, I opened the door and I gave him like put a lay around his neck and gave him a kiss. And I thought that was like the perfect way to kind of top off the thing. But he he noticed that I was really into like Hawaiiana and tiki stuff, and he used to call me tiki, which I thought was very cute.

SPEAKER_04 10:27

Now, back then, did they do Hawaiian Fridays?

SPEAKER_01 10:30

Yeah. Okay. People were doing, yeah, people were doing Hawaiian shirts on Fridays. Yeah.

SPEAKER_04 10:34

Wow. That's a tradition that doesn't exist really not anymore. Maybe something.

SPEAKER_01 10:38

Not as much. Yeah, not as much. No. Yeah. That was really fun. And I've collected Hawaiian shirts for years. So yeah, I was very much into that.

SPEAKER_04 10:47

Any other David Lynch or no?

SPEAKER_01 10:50

I think it was mainly um, I think that, you know, one of the funny things, Scott Ressler, um, the first AC, would keep like in his logbook. He always kept every quote, every like amazing quote that David Lynch ever said. He used to keep it in his notes, like in this little book. And I told him recently, I'm still friends with him. And I said, You really need to publish this because it's so good. And it was only things that we would hear if we were right there on set with him at the time.

SPEAKER_04 11:20

Yeah. So boy, that's the thing that's changed the logbook. Yeah, the logbook.

SPEAKER_01 11:26

Yeah, that was a thing that I um that I was, you know, really not known for, but really into was like having meticulous log books. And that kind of carried over when I did Fight Club. Um, because David Fenture is so specific about everything, yeah, that it wasn't just, you know, the height and the distance and the C number and the lens. It was like I had to write down, like, you know, if we were on a Dolly, on an O'Connor head, on a 12-inch riser, um, like very, very specific, you know, specific um notes on that. And I had I actually had a logbook that was different than um some of the more common logbooks that actually had more uh more categories and stuff. And after I finished Fight Club, probably like I think like two years later, the um local 600 did interviewed me for an article. And at that time, in 19, so that was like in 2001, I think is when we did the article. And I was like the first second AC that they had interviewed for the magazine. And we talked about Fight Club mainly, and it was about my logbook, about these um extensive notes in the logbook. And I have a few friends now that always remind me, like, the reason I do my logbook the way I do is because you know, I read that article, which I thought was very funny.

SPEAKER_04 12:50

But when you were working on that movie, did you re did you know when you were working on it that it was gonna be a huge success?

SPEAKER_01 12:56

I did. I mean, I did. I from the second I read the script, I was like, I'm ready to go. Like, when are we starting? Like this, it was like one of the most interesting jobs I think that I had at that point by you know, by that point, which was like 1998. And um That was all in town? All in town, yeah. It was all like kind of um downtown LA and Fox Studios, and we um so anyway, that was yeah, that when I read that script, I thought this is amazing. I really need that, you know, like I am so excited to start that job. I couldn't can't even tell you.

SPEAKER_04 13:31

Now what was that? What were those sets like?

SPEAKER_01 13:33

Because it's it's David Fenture, so yeah. Um and uh he's he he's very meticulous. He wants people that know what they are doing, you know, that are good at their craft and know what they're doing. Um and it was awesome to work with him. I mean, he's not easy to work for, but you respect him because he's so great at his job.

SPEAKER_03 14:00

Gotta be a tough at your at your game the whole time.

SPEAKER_01 14:03

You have to be on your game at the whole time. Yeah. There's no and and I used to always joke around and say, oh, the only reason that we're here is because he can't physically do all our jobs at the same time. But he could do all our jobs better than today. Now today now it can't, right? Yeah.

SPEAKER_04 14:18

Was that a two-camera show or a three-camera show?

SPEAKER_01 14:21

Um, so it was supposed to be one camera, but it ended up being a two-camera show. And I was seconding on A camera, and whenever we pulled up B camera, I was also the B focus polar and the second. So I was doing both jobs at the same time.

SPEAKER_02 14:35

A lot of pressure.

SPEAKER_01 14:36

And um I think I had looked up years later for some reason, I can't remember why, but we had looked up how many days I re-rated on that show. And it was almost, it was like 99% of the show I re-rated to first AC because I was I was doing both. But that's what made it even more difficult because we, you know, if we had three cameras, then we would bring extra people in.

SPEAKER_04 15:00

And in those situations, it's hard to take meticulous notes. Right? Because you're spread out.

SPEAKER_01 15:07

Yeah, but I would just, yeah, I would be doing all that.

SPEAKER_04 15:11

Yeah, I remember it was always the ones, you know, where you get super busy and you're like, oh, okay, I'll, you know, well, the height, we're right about here. And then like the rest of the book would be meticulous notes like you. And then I remember always getting asked the one. The one time that yeah that I didn't have the exact notes. I'm like, oh God.

SPEAKER_01 15:30

That's usually like what I um I was teaching the film loading class for the local for the past few years. And one of the things that I tell the students is like, you have to write down every single number, emulsion number, every mag number, because the one time that you forget will be the one time that there's an issue with film or mag, and you need to go back to it. So like never skip out on that. But yeah.

SPEAKER_03 15:55

Facts, facts. Yeah.

SPEAKER_01 15:56

Yeah, you have to.

SPEAKER_03 15:57

And here's a technical question, Lisa. Do you remember what uh cameras you guys were using for Fight Club where it was it all PanaVision?

SPEAKER_01 16:04

It was it was PanaVision. Um I think they were just I think it was just Panaflex, because it was before like the Millenniums and the Excel's came out. When we did Panic Room, we went to we had a Millennium and we had an XL.

SPEAKER_03 16:17

Okay. Uh Super 35?

SPEAKER_01 16:21

Um I'd have to look. I think I honestly can't remember. Okay. Yeah.

SPEAKER_04 16:26

Yeah.

SPEAKER_01 16:26

I can't remember.

SPEAKER_04 16:27

Now, real quick, going back to Fight Club. Yeah. What was the rap party like?

SPEAKER_01 16:33

It was we were told like no cameras, which was easy because nobody had, you know, phone phones or cameras with them. Um it was just it was a it was a nice rap party. It wasn't anything crazy. I mean, all the actors showed up, so it was good. I think we had a good time. Yeah. Nothing crazy, nothing crazy.

SPEAKER_03 16:54

Nobody had cameras by there was no. There were no cameras.

SPEAKER_01 16:56

There were no cell phones with cameras. No, none of that. Yeah.

SPEAKER_04 17:00

Oh God. And sets were a lot different back then. Yeah.

SPEAKER_01 17:05

Yeah. Jeff Cronenworth, um, the DP for Fight Club did take his, you know, black and white um Polaroids. Yeah. For that. So there was a whole book. So that was also one of my jobs was he would take Polaroids for every setup. And then I would, you know, put the scene number and other printed information on the photographs and then put them in a um a binder.

SPEAKER_04 17:28

And dailies at lunchtime? Would you guys watch watch them at lunch?

SPEAKER_01 17:32

I think they were at I don't recall. I feel like they were after. Yeah, I feel like they were after work.

SPEAKER_04 17:39

Did you ever do the on any of your movies do the lunchtime dailies?

SPEAKER_01 17:43

I did lunchtime dailies, it did work dailies at the lab after work, which was a whole thing. I was explaining that to someone the other day. It was like, you know, you could be shooting in Hollywood, and you know, you could be shooting in one location, you live in another location, and at night you have to like go over there to go to the lab and then come back. And it's a whole, you know, your days were so much longer because you were going to dailies. Yeah. And I mean, I wasn't required, yeah, as a second assistant, but if it was something like a David Venture job or something like that, then I would have most likely because that's where the great learning happens.

SPEAKER_04 18:19

Yes.

SPEAKER_01 18:20

Because you could actually see. And when I used to work for Mike Benson, he would make us go to dailies so that we could see where our slates were and why it was important to have the slates center frame. Like that was a that was a whole thing where you would have he would not allow the operators to pan or tilt for our slates. We had to have it like that.

SPEAKER_04 18:40

So tell us what was your technique to get it in the frame?

SPEAKER_01 18:43

Because everybody has their own little uh putting the slate, like going from underneath the bottom of the mat box and going out and tipping it. And then also if there was a filter in there, you could actually kind of look at it and then center it up from that. Yeah.

SPEAKER_03 19:00

It's like a little mirror.

SPEAKER_01 19:01

Like a little mirror, yeah.

SPEAKER_03 19:02

We take things for granted like that now. Well, you know.

SPEAKER_01 19:05

Now you're like there's monitors everywhere.

SPEAKER_04 19:07

So you can just look at you know but also we were talking about this earlier penmanship.

SPEAKER_01 19:13

Yeah, that was a big thing.

SPEAKER_04 19:14

Had to be. Oh yeah.

SPEAKER_01 19:16

That was a very big thing. Because everybody saw if you were and that was also, yeah, and that's also something um that I stress in the film loading class, is that realizing how many people look not only at the slate, but at like at the camera ports.

SPEAKER_03 19:32

Yeah.

SPEAKER_01 19:32

Right? So it's like you're doing them, then the loader takes care of them, then a copy's going to the lab, um, the ADs, the production office, the you know, editorial. There's so many people that look at it. If you can't read it, then you know it is a problem. Well, yeah.

SPEAKER_03 19:50

I was gonna say, I mean, doing your logbooks also you have to have great penmanship because logbooks are so small.

SPEAKER_01 19:56

Those were really tiny. Yeah. Those are really tiny. So now I use Zoe Log, which is great.

SPEAKER_03 20:02

Right.

SPEAKER_01 20:02

Yeah.

SPEAKER_04 20:03

Just awesome. Yeah. Yeah. Yeah. No, it's it's it is great. I just like the old way of doing it, you know?

SPEAKER_01 20:08

Yeah. It took me a while.

SPEAKER_04 20:09

I was on the phone the whole time and I'm not. I'm just short.

SPEAKER_01 20:12

I know, that's what I know.

SPEAKER_04 20:14

Or you could kind of like yeah. I like the old way, but we adapt to the new way.

SPEAKER_03 20:19

I kind of liked Zoe Log. It was quick. It is. I don't know.

SPEAKER_01 20:22

Yeah, like during COVID, I think is kind of where it really became important because right, because they know everyone is you know very freaked out about like, oh, you know, giving someone a piece of paper that you've been that you've touched. So yeah, that's kind of when but I was um um it took me a while to like get used to it. Now I really love it.

SPEAKER_02 20:41

Yeah.

SPEAKER_01 20:41

Because you can put every piece of information you and then it's so easy to look things up instead of asking the loader, like, hey, can you look up what we did on this day and pull the reports? Like you have everything right there, you know.

SPEAKER_04 20:53

So you transitioned well from film to digital world.

SPEAKER_01 20:57

Um, that was a yeah, I was on Mad Men when I worked on Mad Men for seven years, so 2008 to 2015. And we started the show off on film, and then the last couple seasons were digital. But we um, you know, we were pretty late to convert. And also I would do features like in between each season, and I was always doing film features, so I didn't start actually using digital cameras full time till much, much later on. Yeah.

SPEAKER_03 21:31

Did you feel like there was a big curve when HD came in or Yeah, I did I felt like there was, yeah. Do you remember what camera they used on Mad Men? The first one they brought in?

SPEAKER_01 21:42

We first we worked with an Alexa. Yeah, that's it.

SPEAKER_03 21:44

So the original Alexa.

SPEAKER_01 21:45

The original Alexa, yeah, back then. Yeah.

SPEAKER_03 21:47

So I just that camera changed so much stuff. Mm-hmm. You know, it came in.

SPEAKER_01 21:51

And we were told at that time, um we there was there was a memo that came out right before the the next. Next season, and it said this season we're going to be filming on digital. We're transitioning from film to digital. We do not want anyone's comments, either positive or negative. So no one was allowed to say anything. It was like, we've made this decision, this is what's gonna happen. We're not talking about it.

SPEAKER_04 22:19

Yeah.

SPEAKER_01 22:19

So which is very funny.

SPEAKER_04 22:21

Yeah, yeah.

SPEAKER_01 22:22

It's a very Matt Winer kind of a thing for sure.

SPEAKER_04 22:26

Now, what was that set like? Because that was a huge show. I mean, obviously the movies you worked on were huge.

SPEAKER_01 22:31

Yeah, but that was, I mean, that show was um, I think we were talking about this, uh, Pablo and I were talking about the other day. Was up until then, I hadn't, I day played on TV shows, but I hadn't really done a full season of a TV show. Um, and it was mainly because I just thought, like, oh my God, working, you know, whatever, 14 hours a day for 10 months is like such a grind. Right. And so um, and I was in Europe like on some rockabilly weekender in 2008, and I got a phone call from Penny Sprague and left me a message and said, Hey, you know, I got this new TV show. I want to know if you want to do it with me. It's called Mad Men. And I was like, Okay, I'll just deal with it when I get home. And when I looked it up online, there was the pilot was the only thing that had aired. And there was one photograph, and it was just of all of them like in the office dressed in their vintage clothes. And I was called her right away and I was like, Yes, I'll do it. Like, this is it was so up my alley. Like, I, you know, collect vintage clothes and vintage furniture. So it was it was so awesome for me to get to work on that. Yeah, yeah. And everything was so particular, like on that show, too. Everything is period perfect down to like the day and month and day and year.

SPEAKER_03 23:53

Yeah, so meticulous. And it was I was just gonna say it's w each episode was like a little mini movie.

SPEAKER_01 23:58

Mm-hmm. It seemed like yeah, yeah.

SPEAKER_03 24:01

I kind of felt that it was the you know, Mad Men was definitely the beginning of the bigger type TV shows that we're used to now streaming. Right. You know, like we were talking about it too, like AMC, you know, with Breaking Bad, Mad Men like.

SPEAKER_01 24:18

Yeah, AMC was very smart. And yeah, took on Breaking Bad, and then as that was airing, like Mad Men was shooting and um Where did they film it? LA Center Studios downtown.

unknown 24:32

Okay.

SPEAKER_04 24:32

With a lot of location days or not a lot.

SPEAKER_01 24:34

No. The whole show, hardly any. It was mainly at the studio. Like every part of that studio we could have utilized utilized, like the grassy knoll and those little side streets, um, the elevator scenes like in the you know, in that mid-century building, that main building, Unicaal building. Um, and then various little offices throughout the the high rise as well. So 10 months that was no, that was so those those shows were only six months at a time. Oh, six months. Yeah, that's what I really liked about that. Was that it was only six months, which I really like. So the first few years I did movies in between, and then after that, I mean the hours were just so grueling. I just took the rest of the year off because it was yeah, pretty exhaustive.

SPEAKER_04 25:18

Back then we could do those kinds of things.

SPEAKER_01 25:19

We could do that. Now we can't do that. But back then I was like you had work.

SPEAKER_04 25:23

Now it's a little different. Yeah.

SPEAKER_01 25:25

Yeah, it's a little different. Yeah.

SPEAKER_03 25:27

And um, well, you know, I worked with Lisa on Madmin one of the seasons.

SPEAKER_04 25:31

Is that where you two met?

SPEAKER_01 25:32

Yeah, that's where we met on Mad Men.

SPEAKER_03 25:34

I I I think I think we might have crossed each other at Panavision beforehand, but that's when we really got to know each other was on Mad Men, you know, with Timmy Kane and and Annika and whatnot. So um, but yeah, I was gonna say that season was it was an interesting season, you know. It was it was different for me because it was one of, you know, one of my entry shows and it was it was a great time. Yeah, and I was only a day player per se, but I was there three times out of the week most of the weeks, you know. So whether if it was one day, two days, three days.

SPEAKER_01 26:08

Yeah, there were only like if we had a lot of moves um on the studio lot, they'd allow us to bring an extra person in, or if we went on location. Yeah.

SPEAKER_03 26:17

And then um I was gonna say, Lisa, uh, talk a little bit about you know, the rap party and the the camera that John Ham gave you.

SPEAKER_01 26:26

Oh, that was so that was the sweetest thing ever. Um at the end of the last season, there weren't many people on the show that were there the whole seven years. I was one of them. Um the cameraman had been there for six seasons, I had been there for seven, and um John Ham had sent me a text. It's very funny. I still have that text. Uh John Ham sent me a text and was like, hey, when you get a chance, come to my trailer, I have something for you. And he gave me um a Fuji X100S camera. And because he's because he's like, I always see you taking pictures. I had this, you know, I used to have this little canon point and shoot that I had like in my pouch. Um because I just love the sets like so much. I just love like vintage everything. So I used to take a lot of a lot of pictures. And so he says, I saw you take a lot of pictures, you know, throughout the years. And he's like, I'm gonna give, you know, here's this Fuji, Fuji camera. And I was so excited because I, other than that point and shoot, I had never crossed over into DSLR or that was mirrorless, but I had never kind of gone into having a professional um uh digital camera, digital still camera. So that was got that introduced me into Fuji, and now I'm like obsessed with Fuji cameras.

SPEAKER_04 27:42

So and you you spend time as a photographer as well?

SPEAKER_01 27:46

Yeah. So I've been, I mean, I've been taking photos like ever since I was younger, you know, since I was younger in um ever since that one high school photography class. I used to take a lot of photographs on Hollywood Boulevard in the 80s as you know, just part of like things for my class. Um but especially in 2013, I did like a road trip. I had a union meeting in Boston and I decided to take a train cross-country instead of flying out there. And I bought a 30-day like rail pass and I turned it into like this whole huge trip. And I just um went, you know, from city to city and like was just photographing, did these road trips and train trips for like a month after the meeting was over, and it was great. And that's and I was like, okay, this is what I want to do. And that was like around the time that like Instagram had first started, like Flickr started, Instagram first started, and you know, I was like, oh, there's people that are into these weird things that I'm into. You know, I had collections of all kinds of different types of things I would photograph that I would like, nobody ever wants to see this.

SPEAKER_03 28:53

I guess the other pieces too is like uh me and Lisa hadn't talked for quite a while after Madmin, and then one day I get a I get a text from Lisa when we were on Blackish. And she was doing her photography thing, and she had a she had she was putting together put tell me if I'm right, it was like a magazine.

SPEAKER_01 29:10

I was uh I was doing some stuff for like my portfolio, right? And I was really interested because when I found out that Pablo was like a sneakerhead, I uh invited myself to his house.

SPEAKER_04 29:23

He has a lot of shoes. Yes, he does. More more in stories like that.

unknown 29:28

Yeah.

SPEAKER_03 29:29

But she came and she took pictures of my sneakers and everything. And it was like, you know, it was full circle because it was great, you know? That's just to, you know, just to let Lisa know about the culture.

SPEAKER_01 29:40

Right.

SPEAKER_03 29:40

The sneaker culture was just really great. And, you know, her taking pictures and everything. And then I looked at your the collective you did, and it was it was amazing. All the black and whites and everything. Like that's why um yeah, that's why I think, you know, that little story with John Hamm leads into so much of the.

SPEAKER_01 29:57

Yeah, it really did. It kind of like um was my springboard into really getting myself back into photography and exploring digital because I I mean I still shoot film in between as well. I have a ridiculous amount of cameras um and formats, but um, that really did kind of get me in there. And then right after Mad Men, I I was just really burnt out, right? The hours and working for a certain person who was uh not that nice of a person. And I and I finally was like, I can't do this anymore. And I I took a couple of years off. I was I pretty much announced to everyone that I was leaving the business, which I did. And um I went off and I just did my own photography.

SPEAKER_04 30:43

So great gift.

SPEAKER_01 30:45

It was the best gift ever. Like little did he know that what it was gonna actually do for me. Yeah, it was fantastic. Yeah, that's awesome. Well, hopefully and I still have that camera.

SPEAKER_04 30:53

Hopefully he watches this and hears the story because that's a great, great story. Yeah.

SPEAKER_03 30:58

Yeah, you know.

SPEAKER_04 31:00

Um now, now as we transition, you know, because you told us about the beginning days and the working up. Talk to us about I mean, it was we we talked about a little earlier being a woman on set, but compare it to today's world. It's a lot different.

SPEAKER_01 31:18

It was a lot different. Um you like I mentioned earlier, you know, people would just tell you, like, you, you know, be like, hey, can I put my name in the hat for that job? Or it was like, yeah, I'm not hiring a woman. And you're like, okay, you know, and you just accept it, like that would be it. But yes, we did work harder. We had to be one of the guys. That was the thing. Like I was one of the guys. I listened to everyone's stories, I listened to everyone, you know, complaining about things going on at home and things that that they would talk to other guys about. And I just learned that that's that's what I have to do in order to, you know, get through this. And uh and then there were also um it there was a combination of being a woman and the fact and the time that I started that I worked for a lot of the very, very old school guys that were very hard, very hard on you. Yeah. And you know, it was like if you're standing around for two minutes, it's like go in the go to the truck and clean cases. You know, that was that kind of thing. But they were not nice to you at all. And people would, you know, make inappropriate comments and remarks, and you just kind of like, you know, just like okay, just shook your head and it's kept, you know, going.

SPEAKER_03 32:34

Do you feel that you because you know, when we hear those stories and we went through that as well, yeah, do you feel that it made you a better assistant?

SPEAKER_01 32:42

I think so, yeah. And it also made me realize what I don't want to do to other people.

SPEAKER_03 32:46

Yes.

SPEAKER_01 32:46

People I train, I'm like, I don't want to be like that person at all.

SPEAKER_03 32:50

You learned how to be and how not to be how not to be.

SPEAKER_01 32:53

That's the important thing.

SPEAKER_04 32:54

Yes. And then learn how to weed out some people, you know, this person, you know, they they they're nice, you know. So yeah. Although sometimes you can't always do that in the beginning.

SPEAKER_01 33:05

Yeah, in the beginning, you can't, right. I would just take every job that came my way. And the funny thing is once I kind of got back in the industry, which was um, you know, around COVID time, because it got super busy. And I felt like um the first AC I was working with, Jay Levy, who I worked with for many years, he and I kept going in on job. People were leaving because they had they were tested positive for COVID, and we would go in and fill in for them. And that's what we were doing for like a whole year, just constantly going in. And then that sort of slowly kind of got me back in. And then um George Sanchez asked me to work on Babylon with him and Lena Sangren in 2021. And that was, and George is like, Oh, I guess you're officially back in. I was like, Yeah, thanks for pulling me back in.

SPEAKER_04 33:51

It's like the godfathers. Right.

SPEAKER_02 33:53

Yeah, just when you're out.

SPEAKER_01 33:55

Just when I'm out, and then I got sucked back in. And now I'm feel like I'm in, but I'm holding on.

SPEAKER_04 34:00

Yeah, COVID, what an interesting time that was filmmaking. Yeah.

SPEAKER_01 34:03

Yeah, we became essential workers. I mean, that was the thing that saved us work-wise, you know.

SPEAKER_03 34:09

Yeah. All the protocols, all the COVID people.

SPEAKER_01 34:12

Yeah, there was a lot, yeah. That was a whole different pool noodle.

SPEAKER_03 34:15

The six feet of the thing. Oh, yeah.

SPEAKER_04 34:17

Six feet, where I remember also, you know, like having to wear the mask, and sometimes, you know, if you bump up or whatever, the first day sees, you know, they got the the face shield, and some of them had the glasses. At a certain point, it's all fogging up. Right. Yeah.

SPEAKER_03 34:30

And you're like, umger for my glasses. Yeah. That's right.

SPEAKER_04 34:35

That thing doesn't work. Yeah. No, that doesn't work. Yeah, no, no.

SPEAKER_03 34:38

Oh god.

SPEAKER_04 34:39

But we survived that. We did. And then yeah, we all thought work was gonna skyrocket. And then it did. Yeah.

SPEAKER_01 34:45

It's yeah, it did for a little bit. And yeah, it's been a crazy past five or six years for sure.

SPEAKER_04 34:50

Yeah. And now talk about uh where do you see the film business in five years from now with AI?

SPEAKER_01 34:57

I mean, I think this is a really um difficult and interesting time because there's going to be, there's already so many changes, right? We've already the work has slowed down, the work has like moved to other countries. Um and there's less people here now that have the opportunity to work. And I mean, I already have I have at least a dozen friends who have gotten out of the industry um because they had to, you know, because they have a family that to take care of. And they're like, I have to find something that's you know full-time and steady. So, and people who were on the verge of like thinking about retiring who are like, okay, I'm gonna just pull the trigger and retire.

SPEAKER_04 35:39

Yeah, you brought up a good point. I mean, because back in the old days, they used to travel all of us.

SPEAKER_01 35:44

Right. I mean, there were a lot of things.

SPEAKER_04 35:46

Yeah, that's not where was the uh name name some fun places you've gone to while working.

SPEAKER_01 35:52

I never got to go to Europe at all. Like I was never as a second, I mean, I'm a career second, so I was never taken to Europe. Um yeah, there was mainly like Canada, Mexico City, and you know, places in the United States.

SPEAKER_03 36:07

But what was your favorite city here in the United States that you New Orleans, New Orleans and Chicago, I think. New Orleans, yeah. Yeah. It's a fun city, all the nightlife, all the art.

SPEAKER_01 36:17

Yeah, that was exactly. And that was like the first time I'd ever even been there. And I got a I got like a movie there, so that was pretty nice.

SPEAKER_04 36:25

Yeah, it's great traveling on other people's money.

SPEAKER_01 36:27

It is, it is. I think these are all things of the past. Yeah. There's so many things that are now kind of things of the past, yeah. But I'm you know, we all enjoyed them and now we just kind of have to learn to adapt to like this new um, this kind of new movie industry, right? This new industry where the movie studios are not necessarily owned by people who want to make movies. Yeah. Right. They're owned by like tech companies and rich people, just like one more thing in their in their portfolio.

SPEAKER_03 36:58

Yeah. And you know, now everything's led by the creators.

SPEAKER_01 37:01

Yeah.

SPEAKER_03 37:01

You know, it's like, look, we're here and we can just make our own stuff, you know.

SPEAKER_04 37:07

Most people just pick up the camera now and you know, you don't need I mean, back in the old days, if you wanted to uh you're an assistant or a PA or whatever, and you wanted to be a director, you had to go somewhere, beg to rent the camera from the place, exactly, get the insurance, so spend the money. Then you had to get the film.

SPEAKER_01 37:27

Right.

SPEAKER_04 37:27

And then you had to process the film.

SPEAKER_01 37:30

It was a whole yeah, yeah.

SPEAKER_04 37:31

Now it's iPhone butter and auction DGI.

SPEAKER_01 37:35

We were talking about this on the way here, too, that um because I was saying that, you know, I was working for public access for the cable TV stations, which if people don't know every like every cable TV station had public access, right? It was like by law, they had to have it. It was open to anyone, everyone and anyone who wanted to utilize it. And now we're saying, well, YouTube has kind of taken taken over the public access, YouTube is like the public access of the of the 80s and 90s.

SPEAKER_04 38:05

Right. Yeah, that's so funny you mentioned that because I worked on public access too. I thought it was great, you know, back then. It was great.

SPEAKER_01 38:11

You would go in with an idea and and even and you know, and like I would go in and help other people on their projects, like helping them like with the camera and lighting and things on their projects. Yeah.

SPEAKER_03 38:23

So that was a pretty cool. I didn't know you worked on public acts.

SPEAKER_02 38:26

I never know a lot of it.

SPEAKER_01 38:27

I think I still have my cable cable vision uh badge, my ID card. Yeah, that's great. Yeah.

SPEAKER_03 38:33

Oh my god.

SPEAKER_04 38:34

You never did, no? No, that was okay, yeah. Yeah.

SPEAKER_03 38:38

You know, uh me and Lisa were talking about stuff, and we were talking also about like how we used to pass VHS tapes in high school about stuff. This is amazing.

SPEAKER_01 38:48

Yeah, absolutely amazing. First time I've heard this.

SPEAKER_03 38:51

And you know Lisa was in the punk scene, and you know, you were talking about the little what are they called? Zines. The little zines that were passed around. Right, you know.

SPEAKER_01 39:00

But zines are like hu still huge today. Um, I'm a big zine maker myself.

SPEAKER_04 39:07

Describe that.

SPEAKER_01 39:09

Zines are just a like a fanzine. It's something that you know you can make. It could be anything, any style. It could be one piece of paper, it could be 10 pieces of paper, Xeroxed, photocopied. Um, it could be text or drawings, photos, anything. And it was something I have a few from um, I still have like one punk rock scene from the 80s, because I keep everything. And then I also have one from the ska scene, like a from like scooter, from like this whole scooter scene. And um it was the only way to get information out to other people, right? There's no other way to do it, like back then. So it's like you go to like a ska show and then somebody would pass these zines out to you. And they were just handwritten, hand-drawn, cut and paste, collages, stapled together, and you know, hand it out to people so you would know what shows are coming up, if you wanted to write some sort of story. Um, yeah, any information would be like in the zine. But they've still been really popular. And I mean, I've been collecting zines outside of those, I've been collecting them since 2008. And I also table at some of the zine fests in LA as well. That's awesome.

SPEAKER_04 40:25

Now, one one thing we didn't talk about, because you did you talked about working on commercials and movie and TV. Back then when you were starting, did you work on music videos?

SPEAKER_01 40:33

Because they were huge back then.

SPEAKER_04 40:35

Yeah, music videos about some of the music videos you worked on and the difference between music videos to movies or TV.

SPEAKER_01 40:43

I know I don't think I did many. I only did one really cool music video with Soundgarden in Seattle at a recording studio. Wow. That was like the coolest one, but that was kind of deep in my career. But at the beginning, it was like a ton of music videos of bands I've never heard, of music I didn't want to listen to.

SPEAKER_04 41:02

Long hours.

SPEAKER_01 41:03

Long hours, yeah, you'd work like a 20-hour day. I mean, there were many days because I was day playing at the time, um, where you would go into work and you don't know how long the day's gonna be. All of a sudden it turns into this like 24-hour day, and now you have to go straight to your next job after that. And you would do like two days in a row, you know. But that usually happened when I was doing like a music video the day before. And if I had, you know, but it ha I could never do that now. But you know, I was 20, I could do anything.

SPEAKER_04 41:32

Yeah, I don't recommend I've done that a few times too, and I don't recommend doing the drive.

SPEAKER_01 41:39

And I was I know it's like, and I'm driving the camera truck.

SPEAKER_04 41:42

Oh yeah.

SPEAKER_01 41:42

You know, driving the camera truck and loading and this, that, and the other. Yeah, it was it was tough.

SPEAKER_04 41:47

In your career, were you ever late?

SPEAKER_01 41:50

Uh I was, and I remember specifically it's like uh because pre Google Maps, um it was actually on Fight Club of all things, and we were shooting at Fox Studios, and it was um Frank Sinatra's funeral, and they were having at the church that is right on sunset or on Santa Monica Boulevard, like as you go into Century City. So everything was blocked off, but how would I know that? Right. And so I get there and I'm like, I'm just stuck. I can't call anybody, right? Because I have there's no phones, and so there's nothing I can do. I just end up being late to work.

SPEAKER_03 42:31

Horrible feeling.

SPEAKER_01 42:32

It was so horrible, it was absolutely horrible.

SPEAKER_03 42:34

You can't even send a text that I'm gonna do.

SPEAKER_04 42:35

No, you can't send a text, you can't call anyone. So you remember the Thomas guide.

SPEAKER_01 42:40

I still have one in my car and still let you know that. But I'm very OG with a lot of things. Right, right.

SPEAKER_00 42:45

That's fine.

SPEAKER_01 42:46

But I have it because it was, yeah, you never know. One day my phone's gonna die and I'm gonna be like, I need directions.

SPEAKER_03 42:53

So this is just funny, but what's your favorite word on set you feel like is one word that you're like, oh, here we go.

SPEAKER_01 43:01

Um that's a good question. My favorite word on set. Well, can we start with my least favorite word on set? Okay, that one's like a little tiny bit easier. My least favorite word on a film set is roll out. Especially when I don't, yeah, and I don't realize it, right? I haven't planned for it, and I'm like, and everyone's like, yeah, freaking out because now you've rolled out. Yeah. Um save tales, right? Save tales, right. Though the labs have told me that they're like, we don't know why you guys put this down. We always save the tail. Don't put that down on the report.

SPEAKER_04 43:36

Because the person ahead of me is because they told me to do yeah.

SPEAKER_01 43:40

I mean, like I went to I had a tour of the lab um a couple of years ago, like right after I finished working on Babylon. And I went for like a personal tour. And it was so fascinating. First of all, I don't know why I didn't do it sooner, but it you really understand how everything works and why you know you're doing certain things and how. How important it is to have good penmanship, to make sure that things are clearly labeled, whether they're, you know, push one stop or process normal, like it's so important. And it anyway, it was a very fascinating experience. But he that's where he told me.

SPEAKER_04 44:14

Real quick, as we're as we're not gonna forget your favorite word on set, but talk about real quick. Talk about real quick how back in the day the lab would, if there was a problem, they would always blame the camera department.

SPEAKER_01 44:26

Always blame the loader, yeah. Yeah, camera department. I know everyone was like blame, you know, the lab would blame us, and then you know, or we might blame Kodak. It was like this circle of people that yeah, we would any good stories back in back in the day. I have a good story, yeah, and it's not that far away, but in um we were working on a movie in LA and then it went to Colorado for a week. And so the camera truck drove out there, you know, with the film that was on it. But while we were there, we also had film shipped to us. And we started having problems with the film, and it was obviously x-rayed. Well, it was obviously having issues. At first, we didn't know that it was being x-rayed. Um, but this also leads me into like one of the things I do when I load film to that I also teach people. What's very important to do is always as when the film comes in, always put a label on it as to the date that it arrived and use it in the order that you got it, right? So anyway, the film was coming in, it was getting mixed between film that had flown in and film that that came in on the camera truck. And we're having issues, but it wasn't consistent with every role, became a very big deal. And Kodak came out to like, you know, test the film. And um, so what we realized was the film that was being flown in to Colorado from Kodak was being X-rayed at LAX. And the most incredible thing that I learned was that two things. One, that every single X-ray machine has its own signature, so they knew exactly which machine it was. And then Kodak was able to tell us if it was um X-rayed before we process it or after, and it was actually before, which I think is something that, you know, that is is common, commonly known. But I had no idea that the machines, so they figured out that we had a courier, but for some reason the film courier, I don't I don't know what happened with them, but it was getting X-rayed every single time. And because we weren't using those boxes of film in order and it was happening like happening inconsistently, it made it even more difficult for everyone to try and figure out like what was going on. Wow. Yeah. That's good.

SPEAKER_04 46:42

I was on a job where Kodak came to the truck and they packaged the wrong film. So in 5279, it was like 5245. Not exactly the same numbers, but they had the wrong film and the packaging. And I was like, oh man, that's terrible. You know, it's not my fault. I didn't low put it in this, you know. Right. But okay, going back to your favorite favorite word.

SPEAKER_01 47:06

But um favorite phrase on set is marking rehearsal.

SPEAKER_02 47:10

Oh yeah, that's something.

SPEAKER_01 47:14

I'm sure focus pullers pullers are like love that, obviously, because we all want to see a rehearsal. Um I one of my main jobs on Mad Men was marking. There were so many actors, and it was very important. We would always go back continually go back to it. So marking was a huge, huge job, like part of my job on Mad Men to the point where we there were three of us in our department. There happened to be like three women in our department, me, Annika Iltis, and Anna Ferrari. And we would come on and there would be scenes where there would be 20 or 30 people. We had a few of those. So we had to like double up colors and do all kinds of things. But we had like um a lunch pail that had marks that velcro marks that were all numbered, and we had them in envelopes with each act each character's name and what number they were in the call sheet. We had velcro um little arrows, you know, when we had to dot the marks. We had marks for like every we had marks for everything.

SPEAKER_03 48:18

I remember you guys taking pictures.

SPEAKER_01 48:20

Yeah, we'd have to take pictures if we if the DP said, okay, now pull them all up. We're gonna do this wide shot. We have to pull them up, and then we'd have to reinstate them at some point. But um, once again, um so we would come in, they're like, okay, marking rehearsal. So we would come in with like all our stuff, and John Ham named us the Marquettes. The three of us became the Marquettes, which was really cute. And we actually, and Tim Kane, our B camera focus polar, actually made us silk screened uh Marquettes t-shirts for us.

SPEAKER_04 48:48

When it when it changed to digital after some time, did that kind of go away or no?

SPEAKER_01 48:53

No. My main job on that show was was marks. Yeah. Yeah, it was all about the marks.

SPEAKER_04 48:59

Yeah, no, that doesn't, that's different. Yeah. We love that word. Marking rehearsal.

SPEAKER_01 49:04

Because we kept everything. All we did was like, you know, changed to digital. We didn't um we we kind of kept the same routine that we did like on a film set. So it was very similar. There was always, you know, there were still marking rehearsals. Um there's just a lot of the, you know, just a lot of the things we did were the same. Yeah.

SPEAKER_04 49:27

Yeah, that's good because today.

SPEAKER_01 49:30

No, and you keep rolling, and we were, yeah, we didn't really do that. You know, we just we kept the set still very kind of like um still had this kind of film aesthetic.

SPEAKER_02 49:38

Yeah.

SPEAKER_01 49:39

Because the show is shot like, you know, movie. It's shot like a six 1960s movie with the camera angles.

SPEAKER_00 49:45

A lot of oh I do not miss the cigarettes.

SPEAKER_01 49:48

No, that's years of and I have asthma, so that was never fun.

SPEAKER_04 49:52

Yeah, the spirits it's worse than the reality. It really is. It really is. How is this better than that? Like, yeah. I hated the smoke on the set. Yeah. But uh, well, that's cool. Well, I do uh what else, P? I mean, I find it great that I'm I'm meeting somebody that actually wanted to be in the business because I I too wanted to do it, and I was shocked going on film sets, and people fell into it or they were like, they didn't really want to do this, but now they're stuck in it, and I'm like, What? You don't want to be here? This is great. Like you didn't want to be here. Right. I was so shocked that I'm like a minority, you know.

SPEAKER_03 50:32

I think that's why we came together too, because we're so opp. I got kind of thrown into us, right? You know, he you went to school for this, so it's I just it's great to get everybody's different perspectives on everything, you know.

SPEAKER_02 50:44

Yeah.

SPEAKER_03 50:44

Um I think the one thing I love about Lisa's story is that she's a she's from LA. She grew up here. Not many times. She's from here.

SPEAKER_01 50:52

OG Valley girl.

SPEAKER_03 50:53

Yeah, OG Valley girl, you know. And I think that's a lot of people have the misconception that people from LA may, you know, we're not in the business or whatnot, and we're we're here. You know, we're here, we're definitely here. And that's one important thing to let people know that there's Andavailable. Andavailable. There's a lot of history here. Yeah. There's a lot of history. So whether if it's from the movies, from our business, you know, how Lisa grew up in Hollywood, which, you know, is great. I love hearing that, you know.

SPEAKER_04 51:23

And uh as far as your photos go, do you have do you do any galleries or do you have anything online that's um yeah, I do have, yeah, I do have a photo website, LisaGuerero Photography.com.

SPEAKER_01 51:35

Um and last year I did an article for Smithsonian Magazine, which was really fun. And it was on like vintage jukeboxes, which is totally up my alley, which is pretty pretty great. Um so I've had some stuff, some that's what I wanted to do when I had taken time off or left the industry for a bit, was um I wanted to do like editorial, like newspaper and magazine editorial work, you know, because a lot of my stuff is like street photography and documentary. Um I've got yeah, so it just it doesn't pay the bills is the problem. And so here we are, back at camera system.

SPEAKER_04 52:10

Yeah, yeah.

SPEAKER_01 52:10

Yeah.

SPEAKER_04 52:11

Well, thank you so much for telling your story. It's been a pleasure. And uh, if you uh want to hear more stories, please like, subscribe, share to your friends.

SPEAKER_03 52:20

Please, please subscribe. And um you can get a hold of us at the prelim podcast at gmail.com if you want to come on or any of our social media links as well. Um and Tony, were we gonna have a giveaway for our first 10 subscribers? You will get um start off slow. Yeah, first 10 subscribers on our our 10th subscriber will get a free Panavision shirt. So yeah, yeah, guys, thank you so much. And thank you, Lisa. Thank you. Thanks for having me. It's awesome.

SPEAKER_04 52:55

Appreciate it. Yeah. All right, we'll see you on set.