Gear, Grit & Finding Your People: Building a Career in Film Sound (feat Pablo Mena)

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Hi everyone and welcome or welcome back to Cauchy Confessions.
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I'm your host, Mayla Page, and today's guest is someone we haven't spoken to this department yet.
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We're gonna get into sound.
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So we have a sound mixer on the podcast today.
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He's worked on Carol G's Coachella, Skinwalker Ranch, Kendrick Lamar's Grand National Tour, and Dance Mom's The Reunion.
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He's also a business owner of Still Speeding LLC.
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My guest today is Pablo Mena.
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Welcome to the club.
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Don't take people.
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People don't go crazy.
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They'll don't go crazy.
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What's going on?
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So happy to have you.
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When you told me about this, I was like, ah yeah, I want to do it.
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Yay! So here we are.
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I'm so excited.
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So we met working on a project that's unreleased, but we met on set recently, and I was like, we need to get you on mic.
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Yes.
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And uh when you told me about this, I was like, wait a second, I've seen this before.
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Especially that guy that talked about the PA that flipped a box truck.
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Yeah.
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That was the clip that I that I saw, and then he introduced me to this.
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Yes, so sick.
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Yeah, that clip was so funny.
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Like that story's wild.
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It's pretty wild.
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Yes.
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So take us back.
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What were you like as a kid growing up?
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Okay.
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So a little bit of backstory is Mexican, born and raised.
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Um, I don't know.
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I was always interested in music.
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I used to play the drums.
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Yeah.
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Um, my family was always kind of like involved in TV and commercials and stuff.
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And my grandma was like, oh, you should probably do like castings and try to make commercials, be part of commercials and all this things.
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And I was what was their role in commercials and TV?
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Uh it was mainly in front of the camera.
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My okay, cool.
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So my uncles used to have like a little kid boy band, kind of like kid bops, whatever.
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Oh, yeah, yeah.
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Kind of thing here.
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Um, so that's what one of my uncles used to be part of.
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So they are connected with the casting network.
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So I started doing that sometime, but never really happened.
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Nothing happened from that.
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And at some point, I I don't know, I was streaming video games.
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I was streaming video games over there about I don't know, 20, 13.
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Yeah, I was 13 years old.
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I was streaming Minecraft, and my dad was like, hey, you speak really beautifully to the people, so why don't you become a TV host?
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And I was like, What?
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And he was like, Yeah, I have a friend that is looking for a TV host for this new show.
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You should totally go and give it a shot.
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And I was like, okay.
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At first I was very adamant I didn't want to do it, but then I became a TV host.
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Was there for two years?
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What convinced you to do it?
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My dad was like, okay, if you don't get it, you keep doing your own thing.
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If you get it, you have a job.
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That was literally it.
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You you're gonna make money.
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And at the time I was 15.
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Wow.
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And it was like, okay, sure, I guess I'll do that.
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What was the show like?
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What were you like talking about as the host?
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It was like uh MTV top hundreds type thing.
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It was music related, pop culture, like all teenage stuff, mostly covering events, going to different release parties or bringing, you know, um artist influencers to the to the show.
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That's pretty cool doing that at 15.
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Yeah, yeah.
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It's it's it's a lot.
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It's a lot being 15 and still going to school and still having to do kid things.
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Yeah, right.
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And balancing a job at the same time.
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Yeah, my mom took care of my financials.
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Yeah, she really taught me a lot about that, actually.
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Ah, yes, no, she was great.
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Every time that she told me was like everything that she would tell me is like, what do you want?
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Okay, I want a new phone.
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Okay, you currently can buy a new phone, but let's do something.
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Let's make enough money for you to be able to buy two phones.
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And once you're able to buy two phones, you buy one.
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Ah.
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And I was like, okay.
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So then there was always like a rotating amount, a rotating balance in my bank account.
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That's great advice.
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It was it was good.
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It worked out.
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Yeah, especially just for like navigating finances in the entertainment industry.
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Because that's crazy.
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Yeah, yeah.
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So it's like good that you got that advice early on.
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It's something like good to keep in mind.
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Yeah, my mom was was pretty good at that.
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And then I don't know.
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I decided to quit and move to the US because why not?
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Okay.
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So you hosted this show, you did it for like two years.
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Two years, yeah.
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Two years, and then so at that point you're like 17.
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I was, yeah, I was 17.
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I was 17, turning 18.
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Okay.
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And you were like, okay, I'm gonna be done with high school, like graduate high school and then move to the US.
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Correct.
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So I dropped out of my regular high school.
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Okay.
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And I went to a fast program that is a very sketched kind of program.
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Okay.
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Because they're supposed to help you with like, oh, you can finish one year of school in four months.
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Which is very sketchy.
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Um so I did that.
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Yeah.
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And then the only reason why I did that is because I was already I went to film school.
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And I was already kind of approved.
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So we were just speeding up the process to be able to do it as soon as possible.
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Just to continue kind of like this momentum of a career ish that I had at the time.
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Yeah.
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So what was that like, what was involved in that process of getting you to the US?
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A lot of support from my parents.
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A lot, a lot of support.
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Um because there's there's a lot of things that you have to do in terms of like, oh, you want to come to the US to study, why?
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You know, and you always have to prove the country that you're not planning on staying, at least at the time that you are trying to go to school.
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Yeah.
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So while you're in college, you're not supposed to want to stay after you finish your schooling.
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Uh uh, you're supposed to boop go back to your country, and that's it.
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So it's a lot of proving finances from sponsors, um making sure that they know that you don't plan to stay, that you don't plan to do anything illegal, of course, and they do a lot of studying about like your life.
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You know, they know all the records about your parents, they know all your records, everything.
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Yeah.
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So at that time, were you planning just to go for school and move back, or did you know secretly like I'm gonna I went to the house?
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No, I actually I wanted the reason why I wanted to go to college was because my career in Mexico, regardless of like the castings and the preparation that I was having.
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Yeah.
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Because I I had like vocal coach, I was doing like better and more pro like acting classes and whatnot.
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My career was just not going where I wanted it to go.
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So I was looking for a plan B.
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Got it.
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And part of the plan B was, oh, let's get a bachelor's degree because if anything goes wrong, I can still be the assistant to a dentist.
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Ah.
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So my parents and I had a conversation about what can't Pablo study that will, you know, use a little bit of what he's already building.
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So we landed on filmmaking or film.
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And initially it wasn't like the US.
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Initially it was like, oh, let's find a school maybe in Mexico.
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But then it was we I was allowed to have the opportunity to come to the US and do film here in LA.
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Okay, got it.
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So it was it was a thing of like, oh, let's go to LA, let's finish school and let's figure out life from there.
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But it was not, I was I didn't have in my plans to like stay, stay here after.
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Okay, got it.
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Maybe in the back of my mind, but not in the front.
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Yeah.
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So in school in New York, no, here, New York Film Academy.
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Film Academy, and then Los Angeles.
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Okay, so you were majoring in film.
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What were some things that you started to like find interest in in like which aspects of filmmaking?
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Well, when I started film school, I wanted to do it all.
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Uh at first I came with a vision of being the youngest Mexican director.
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Um, and that was kind of cool.
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But then while I was studying, I was like, uh, I kind of want to produce.
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And then I started producing, and I was like, uh, I kind of want to edit.
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And then I edit it and I was like, uh, I kind of want a DP.
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So I went through all this like little weird ambitiousness.
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Um, and I landed in sound because no one else wanted to do it.
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No one else wanted to do sound, so I landed on sound, but I learned a lot about all the different like branches of film because I was doing all of them.
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So I learned how to prepare, how to like how the project now moves into post after you shot it, and the distribution, all that kind of stuff.
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Was it school that started teaching you about sound, or did someone kind of like take you under their wing, or did you kind of like start teaching yourself about it?
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Well, one of my teachers, his name is James Coburn.
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His dad used to be like a Hollywood actor and like a big guy.
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Then uh James Coburn, my teacher, uh he was a sound mix well boom-up mostly.
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Okay, and he was my sound teacher at NIFA at Near Fame Academy in LA.
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And he really got me in love with it and involved because sound can be very technical, and he was explaining it in a very beautiful way that made my brain click.
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And it was like, okay, this is so cool.
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Uh booming through a doorway, booming a very hard shot with like a wide and then a steady, and then I don't know, crane shots.
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How complicated it was was like the thing that made me want to do it.
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Um the challenge.
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Yeah, yeah.
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So to answer your question, what really got me a kickstarted was my professor at school and then unemployment.
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Okay.
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Yeah.
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Because it's I've always been like so interested in how people fall into like each department and like what pulls their interest.
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So it's interesting that the challenge of it is kind of what got you like interested in it versus the other things that you did try.
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And I also think too, like learning all the different areas of production is just beneficial overall because then you understand like what makes each person's job easier, how it all works together.
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So while you were like learning that and figuring that out, and then ultimately led you to where you are, it just like makes you smarter, more aware of the whole process overall.
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Yeah, no, 100%.
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I I love coming to set and being able to understand certain things about camera.
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I don't understand all of them, but I understand a lot about camera and I understand quite a bit of lighting.
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It allows me to find out where my boom can be coming from, or what can I get away with in terms of like where the lab goes, uh for shadows or for wrinkles on the on the clothing, or sometimes there's a there's a very clever trick that I love to do is when you're putting a lab on somebody, um usually for men you put it on the like the chest cavity, like in this situation, this is like a little triangle.
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Some men have a flatter chest, right?
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Where that is not even a possibility.
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But depending on the fabric and depending on the like the pattern of the fabric, you can get away with it.
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But my trick is I close one eye and I just look at it with one eye because cameras don't have that depth perception like we do with our eyes.
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Yeah.
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So if you're looking at it with two eyes, you can see that definitely there's like a little bump.
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But if you look at it with one eye, everything kind of like comes into one single plane, and sometimes you can just get away with that.
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Interesting.
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Actually, in that project that we did, I actually got away with that.
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Oh yeah?
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Yes, because you could see clearly the microphone from the side on the person, like I could definitely see the lump.
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But when I was looking at the closer camera, you can't tell.
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You can't tell.
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That's my trick.
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Yeah.
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Has there ever been a time where you're putting a mic on someone and you like they're wearing a certain type of outfit that it's like really hard to find a good spot?
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Okay, you want to hear this story?
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This one is pretty cool.
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Um it was with Paris Hilton for Carls Jr.
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And production, unfortunately, was already two hours behind.
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Uh, we're waiting on her glam.
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And the moment she steps on set, my sound mixer, I was booming that one.
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My sound mixer tells me, like, hey, um, go mic Paris.
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And I look at her outfit, I'm like, bro, she's wearing this like skin tight, turtleneck, whole bodysuit.
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Oh man.
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And is like all like little diamonds and glitter.
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So you're gonna hear all those like little rocks.
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And we're already two hours behind.
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I don't think I can mic her up.
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I don't think so.
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And I just said, no, we're not micing her up.
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And she was just sitting inside of a car, so I just put a mic on like the rim of the door.
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Yeah.
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And that worked out pretty well.
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Ah, yeah, I've had I've had a couple where I'm like, uh, we're not micing that, especially for example, with women.
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I've been working with this company called Revolve.
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Um and we've been doing a lot of like their showcases for clothing.
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Um, and sometimes they have like open chest designs, and they're kind of like see-through.
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So because of the mesh, you can't really put a mic on them.
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Also, it it also depends on their skin tone.
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You know, lighter skin tones show darker colored mics a little bit more.
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Um, so you just have to be careful with those things.
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But yeah, I've I've I've had a couple that I'm like, no, we're not making them up.
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Yeah, right, right.
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So what does a day in your life look like as a sound mixer?
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What's on your call sheet?
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Like, take us through like call time to wrap.
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Okay.
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Well, usually my day starts most of my calls for a job are like the day before.
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Yeah.
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Or two days.
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So a lot of the times my day starts the night before.
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With prepping all the gear and making sure that everything is ready to go.
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As an owner op, you've had Justin here, you know, with with having his uh electric equipment.
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Yeah.
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Is he has to know what the equipment what like the equipment requirements for that job are.
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And the day starts like, sorry, the job starts the day before with making sure that I have all the labs that I'm gonna need.
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Uh if I have two or three people talking, two or three mics.
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If I have ten people talking, then that's ten mics.
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That all have to have batteries, uh, enough stickies to put uh the mics on, time code.
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I have to make sure that all the equipment list is like crossed.
00:15:26.639 --> 00:15:26.960
Yeah.
00:15:27.440 --> 00:15:34.159
So that's what my day, like the beginning of my day, the night before, is like.
00:15:34.480 --> 00:15:38.559
And then on the day I usually roll up to set.
00:15:38.879 --> 00:15:41.200
Uh I don't onload anything yet.
00:15:41.600 --> 00:15:46.559
I go to set, I say hi, introduce myself to the first lady if I don't know them.
00:15:47.120 --> 00:15:58.000
Um, and then just find out about what the lay of the land is, what are we doing for the day, what are we starting with, uh, when do we need sound?
00:15:58.320 --> 00:16:02.080
Um and how do we want to do it?
00:16:02.240 --> 00:16:17.600
Sometimes, a lot of the times we have two cameras, sometimes three cameras, and they're shooting multiple angles, so we have to think about the strategy for sound in terms of if we're gonna relay mostly on labs or booming, you know?
00:16:17.759 --> 00:16:18.080
Yeah.
00:16:18.320 --> 00:16:20.399
Um so we have to know that.
00:16:20.720 --> 00:16:21.759
Beginning of the day.
00:16:22.000 --> 00:16:29.919
And then I go back to my car, unload my cart, repark if needed, and uh yeah, that's kind of like the beginning.
00:16:30.159 --> 00:16:31.440
Then it's all nerd shit.
00:16:31.519 --> 00:16:32.639
I don't know, we want to hear the nerd shit.
00:16:32.799 --> 00:16:33.519
Let's nerd out.
00:16:33.679 --> 00:16:34.000
Yeah.
00:16:34.559 --> 00:16:34.879
Okay.
00:16:35.519 --> 00:16:42.320
So we bring the cart in, and once we are on set, I depends, depends, depends.
00:16:42.399 --> 00:16:44.080
There's two types of setups that I have, okay?
00:16:44.240 --> 00:16:44.480
Okay.
00:16:44.639 --> 00:16:58.000
There's one that is bag-based, which is for like most of the stuff that I do is like this kind of like celebrity content or like varite um yeah, social media ads, campaigns, whatever.
00:16:58.320 --> 00:17:02.639
And sometimes they don't necessarily need a cart system.
00:17:02.799 --> 00:17:04.880
Yeah, they need more like a bag system.
00:17:05.119 --> 00:17:07.039
So that one is a completely different setup.
00:17:07.200 --> 00:17:12.960
But for the cart, I have to find first my power, connect everything, make sure that everything is on and running.
00:17:13.279 --> 00:17:15.839
And from there, I scan my frequencies.
00:17:16.000 --> 00:17:18.400
Uh, my dear soundies will understand that.
00:17:18.559 --> 00:17:23.200
Um, because we live in LA, there's a lot of interference coming from different things.
00:17:23.279 --> 00:17:29.440
There is sometimes you have a set next to you that you don't that you're not aware of, sometimes there's a production that is right on top of you, sometimes I don't know, right?
00:17:29.759 --> 00:17:30.640
Different locations, whatever.
00:17:30.720 --> 00:17:31.039
Yeah.
00:17:31.359 --> 00:17:35.920
And also we share a little bit of our spectrum with emergency services.
00:17:36.240 --> 00:17:44.960
So police radio and EMS radio, they're woggy talkies, like leak into our spectrum of frequencies.
00:17:45.119 --> 00:17:45.440
Ah.
00:17:45.920 --> 00:17:49.119
So we have to scan and be aware of those things.
00:17:49.359 --> 00:17:54.799
And depending on how many channels you're gonna have on the day, you have to space them out properly.
00:17:54.880 --> 00:17:56.400
And there's different software that you can use.
00:17:56.480 --> 00:17:58.240
One of the ones that I use is TX Advance.
00:17:58.400 --> 00:17:59.519
I love it, by the way.
00:17:59.839 --> 00:18:13.920
Um and yeah, scan the frequencies, make sure that all those are good, make sure that all the transmitters have batteries, and then I immediately go, I set up the things that I have to give away, which is most of my gear.
00:18:14.400 --> 00:18:20.400
Wires, Comtex, IFBs, or whatever people call them, people want to call them, and time code.
00:18:20.559 --> 00:18:22.160
Those are the things that I set up first.
00:18:22.400 --> 00:18:33.680
Um, because if I get too busy setting up specific things, then I won't give village their Comtex for them to listen.
00:18:33.839 --> 00:18:34.079
Yeah.
00:18:34.319 --> 00:18:56.559
You know, so I have to make sure that those are set up first, give them out, set that frequency, and then coordinate around that one frequency, um, and make sure that the system is good and time code to camera department, the slate to camera department so they can start prepping it, and then we're good to go, and then get a schedule from the second AD and figure out who who we have to mic next.
00:18:56.720 --> 00:18:56.960
Yeah.
00:18:57.119 --> 00:18:57.839
That's pretty much it.
00:18:58.079 --> 00:19:09.039
If you were explaining your job what a sound mixer does to someone who has no idea, or like if you were like writing a book like sound mixers for dummies, how would you describe what you do?
00:19:09.680 --> 00:19:10.640
God damn.
00:19:10.880 --> 00:19:13.680
Um, I would say I record people speaking.
00:19:13.839 --> 00:19:14.160
Okay.
00:19:14.720 --> 00:19:15.680
That's pretty much it.
00:19:15.920 --> 00:19:17.440
So they can put it on a video.
00:19:17.680 --> 00:19:18.000
Okay.
00:19:18.319 --> 00:19:20.799
What's the most challenging part about being a sound mixer?
00:19:21.039 --> 00:19:22.319
No one understands you.
00:19:22.720 --> 00:19:24.319
No one knows what you need.
00:19:24.559 --> 00:19:27.039
What do you wish people understood and knew?
00:19:27.279 --> 00:19:33.839
Um, what I would love people understand about sound is if they can hear with their ears, we can hear it on set too.
00:19:34.000 --> 00:19:41.359
Um and it's just people sometimes they're way too much about fix it in post, we'll clean it up later.
00:19:42.319 --> 00:19:47.599
Um and while that can happen, it depends on the turnaround of the time.
00:19:47.920 --> 00:19:51.599
Sorry, of the project, it also depends on the budget for post.
00:19:51.759 --> 00:19:52.000
Yeah.
00:19:52.160 --> 00:19:56.559
A lot of the times, this things don't go to a post sound house.
00:19:56.799 --> 00:20:04.720
They just go to an editor that will put noise reduction on top if it sounds like ass, and then it will come out and you will sound terrible.
00:20:05.119 --> 00:20:13.440
Um, so the only thing that I ask for my fellow crew members is just like, hey, I don't mess up with my job, with your job.
00:20:13.680 --> 00:20:15.119
Just don't mess up with mine.
00:20:15.279 --> 00:20:15.440
Yeah.
00:20:16.400 --> 00:20:22.079
Like, you know, I don't understand why you're telling me that you still can't see that shadow when I clearly don't see a shadow.
00:20:22.240 --> 00:20:22.400
Yeah.
00:20:22.720 --> 00:20:23.839
You're telling me that you do.
00:20:24.000 --> 00:20:28.799
So I'm gonna help you and I'm gonna do what you need me to do because I believe in you.
00:20:29.039 --> 00:20:32.880
But a lot of the times, sometimes the crew are just like, are you hearing that?
00:20:33.039 --> 00:20:33.599
Yes, I am.
00:20:33.759 --> 00:20:35.680
And they're like, Oh, we can't do anything about it.
00:20:35.839 --> 00:20:38.880
And he's like, Okay, I'm trying to help you, but you don't help me.
00:20:39.119 --> 00:20:39.359
Right.
00:20:39.440 --> 00:20:43.519
Versus like, we're hiring you to make sure the sound sounds good.
00:20:43.680 --> 00:20:50.559
So if you're telling us that we need to change something or modify something to listen to the person that we hired to help with sound.
00:20:50.960 --> 00:20:51.359
Correct.
00:20:51.680 --> 00:20:53.359
I I had a project recently.
00:20:53.519 --> 00:20:55.119
That DP's a great friend of mine.
00:20:55.200 --> 00:20:55.839
I love him.
00:20:56.000 --> 00:21:06.720
Uh he's great, but he messed me up, he fucked me up because we were shooting in this closet, and he really wanted the door to be open.
00:21:06.880 --> 00:21:20.720
He really needed the door to be open because he needed to put a light through a silk situation through a diffusion, but he wanted the the door to be open, and I was like, is there anything that we can do?
00:21:20.799 --> 00:21:31.039
Like, do you have a light mat that you can like put like low intensity enough that it gives you just the same feel that this is giving you with the door closed?
00:21:31.200 --> 00:21:40.880
And it was a no, you know, and it's that one I just go to producers and I'm like, hey, I'm trying to do my best here, yeah, but I can't do anything about this.
00:21:41.039 --> 00:21:41.920
So this is what it is.
00:21:42.000 --> 00:21:50.160
So a lot of times, again, my my thing with with crew about not being understanding is it's not their fault.
00:21:50.319 --> 00:21:54.640
Yeah, they don't understand sound because they will never listen to the raw audio.
00:21:54.960 --> 00:22:04.799
Yeah, that's the thing, you know, as as on set we We see the raw lighting, we see the raw camera, we see what is happening, we see the set.
00:22:04.960 --> 00:22:05.200
Right.
00:22:05.359 --> 00:22:07.200
But we don't see sound, right?
00:22:07.359 --> 00:22:10.079
And no one else in the crew is listening to it.
00:22:10.799 --> 00:22:13.759
So they just don't really know sometimes what we do.
00:22:14.079 --> 00:22:14.880
That's really interesting.
00:22:15.119 --> 00:22:15.519
That's the thing.
00:22:15.599 --> 00:22:18.880
It's like we're just not understanding because understood.
00:22:19.039 --> 00:22:20.640
Whoa, that was bad, bad English.
00:22:20.799 --> 00:22:23.680
We're not understood because they just don't know.
00:22:23.920 --> 00:22:24.240
Yeah.
00:22:24.319 --> 00:22:30.720
That's why it's so I think so important to just familiarize yourself with what every department does so that you can be more aware.
00:22:30.880 --> 00:22:31.920
Because that's really interesting.
00:22:32.000 --> 00:22:32.799
Like you're so right.
00:22:32.880 --> 00:22:38.640
You're there's only that one person listening to it, no one else is listening to it versus everything else everyone sees.
00:22:39.119 --> 00:22:39.440
Yeah.
00:22:39.759 --> 00:22:42.079
Everything kind of like falls onto the sound mixer.
00:22:42.240 --> 00:22:42.720
Yeah.
00:22:42.960 --> 00:22:52.079
Um, a lot of calls come from production in terms of like, hey, we have, I don't know, there's a lawnmower outside.
00:22:52.160 --> 00:22:53.440
I can't do anything about that.
00:22:53.599 --> 00:22:54.000
Right.
00:22:54.240 --> 00:22:58.480
You know, and production sometimes is like, okay, we'll try to shut him down, you know.
00:22:58.720 --> 00:23:00.480
They sometimes light him at 20.
00:23:00.640 --> 00:23:00.880
Yeah.
00:23:01.039 --> 00:23:03.039
To quiet him down for an hour or two.
00:23:03.359 --> 00:23:10.000
Um, but as a sound mixer, I can't, like, hey, we're in like for example, right now we're in the studio, right?
00:23:10.079 --> 00:23:11.119
And we have an AC on.
00:23:11.279 --> 00:23:11.680
Yeah.
00:23:11.920 --> 00:23:24.240
Um, it's either our comfort or good sound, you know, and when you have a warehouse filled with like 50 people, 100 people, it gets worn pretty, pretty fast.
00:23:24.480 --> 00:23:25.119
Right.
00:23:25.440 --> 00:23:27.839
So, you know, you kind of need the AC.
00:23:28.079 --> 00:23:31.680
And those calls come into production and like, hey, what are we doing about this?
00:23:31.759 --> 00:23:33.039
Can we clean this up in post?
00:23:33.759 --> 00:23:34.240
You know?
00:23:34.480 --> 00:23:35.039
Yeah.
00:23:35.279 --> 00:23:37.759
What's the most fun part about your job?
00:23:38.799 --> 00:23:39.680
The cheese man.
00:23:40.480 --> 00:23:51.200
I'm not supposed to say that too, but um now I guess the most fun about my job is the way that I can connect with certain people.
00:23:51.440 --> 00:23:51.759
Yeah.
00:23:52.000 --> 00:24:03.279
Um I think if I was like an electrician or grip, I wouldn't connect with the cast that I connect with the way that I do.
00:24:03.599 --> 00:24:07.200
Um examples, you mentioned a Carol.
00:24:07.599 --> 00:24:07.839
Yeah.
00:24:08.079 --> 00:24:15.599
You know, uh in some moments when we were in Coachella with her, we were like only one video and one sound person.
00:24:15.839 --> 00:24:18.799
That's it in her trailer, you know.
00:24:19.039 --> 00:24:22.160
Um and if I was a second camera, I wouldn't have been there.
00:24:22.319 --> 00:24:24.480
If I was an electric, I probably wouldn't have been there.
00:24:24.640 --> 00:24:27.119
If I was a key grip, I probably wouldn't have been there.
00:24:27.680 --> 00:24:32.079
So I get to connect a lot with the cast.
00:24:32.799 --> 00:24:36.799
Um and sometimes you're just one more person that they can trust.
00:24:37.279 --> 00:24:39.519
So it's one of one of the greatest things too.
00:24:39.680 --> 00:24:45.680
You know, it's they put a lot of trust in you because you can destroy somebody like somebody's reputation very, very fast.
00:24:46.160 --> 00:24:55.920
If you leave a mic hotter than what it is supposed to be, or you keep it on, yeah, someone else can hear that and it can become a problem.
00:24:56.319 --> 00:25:04.000
And it could just be something small, like I don't know, some someone going through a lawsuit, you know, and whatever.
00:25:04.160 --> 00:25:08.240
They said something, and someone has an interest, that career could be gone.
00:25:08.400 --> 00:25:11.759
Yeah, so it's a lot of trust, and that's something that I really, really like.
00:25:12.000 --> 00:25:14.400
Yeah, people trust you and you connect with people.
00:25:15.039 --> 00:25:16.079
Um, yeah.
00:25:16.400 --> 00:25:18.319
What was it like working with Carol G.
00:25:18.559 --> 00:25:18.880
Coachella?
00:25:19.119 --> 00:25:21.279
Carol is one of the most amazing people I've ever worked with.
00:25:21.519 --> 00:25:23.759
Uh she was really, really sweet.
00:25:24.079 --> 00:25:28.319
She is, I don't know, she is full of like love.
00:25:28.559 --> 00:25:32.000
You know, she's just she was very, very excited about Coachella.
00:25:32.240 --> 00:25:40.400
Um and it was very fun because she would pull up in her van, listening to like the same song every time.
00:25:41.119 --> 00:25:44.799
And this one day, I hadn't worked with her ever.
00:25:45.200 --> 00:25:49.039
And actually, I lied, there's a music video, but that music video never got released.
00:25:49.200 --> 00:25:49.759
Okay, okay.
00:25:49.920 --> 00:25:51.920
She was featured, but never got released.
00:25:52.160 --> 00:25:55.519
And but I never interacted with her until Coachella.
00:25:55.839 --> 00:26:02.400
And then this time she came in from the van recording with a DAC cam with a VHS.
00:26:03.279 --> 00:26:14.640
And I'm booming, and I'm booming on top of her, and I'm just and I'm just hearing her talk to her people and like saying hi to everybody while she records everybody with her cam.
00:26:14.799 --> 00:26:18.160
Yeah, and she just like turns to me and I'm booming her.
00:26:19.359 --> 00:26:25.440
And she's like, hola, and I'm like, hola, and she is just like, Como te llamas?
00:26:25.680 --> 00:26:26.240
What's your name?
00:26:26.400 --> 00:26:29.039
And I'm like, Pablo, nice to meet you in Spanish.
00:26:29.119 --> 00:26:31.680
And she's just like, Oh, nice to meet you, Pablo.
00:26:31.759 --> 00:26:37.680
And she just like kept going with her day, and she's I don't know, it was just like a very nice little interaction.
00:26:37.839 --> 00:26:39.119
Yeah, she's really, really sweet.
00:26:39.359 --> 00:26:40.319
That's amazing, yeah.
00:26:40.400 --> 00:26:42.880
And it's so nice when you have that with an artist, too.
00:26:43.039 --> 00:26:47.599
And they talk to everyone and like cultivate that like nice work, like positive work.
00:26:48.160 --> 00:27:13.359
And after the concert, like at least the first weekend, um she came down and she thanked everybody, every single person, like the show was done, and and like all the grips that were helping with the stage, all the stage hands, electricians, everybody was just like waiting at the base to like start unloading at the second weekend.
00:27:13.440 --> 00:27:18.559
This was the second weekend, and everyone just like waiting to start work again to like tear everything down.
00:27:19.200 --> 00:27:22.880
And she just stopped for a second in the middle of everybody.
00:27:23.119 --> 00:27:28.480
She was kind of like in a circle, and she just started saying, Thank you, everybody, thank you so much for making this possible.
00:27:29.200 --> 00:27:32.319
Thank you for for being here with me and supporting me.
00:27:32.640 --> 00:27:35.119
So it was it was just really, really cute, really beautiful.
00:27:35.440 --> 00:27:36.400
Yeah, that's amazing.
00:27:36.480 --> 00:27:47.279
Like just a thank you goes such a long way, you know, and that's that's really nice that she made like and was intentional about like making sure that she like showed her gratitude and things.
00:27:49.680 --> 00:27:52.400
You also worked on Kendrick Lamar's Grand National Tour.
00:27:52.559 --> 00:27:52.799
Yes.
00:27:53.039 --> 00:27:54.079
What was that project like?
00:27:54.319 --> 00:27:59.119
Um, Kendrick is one of the most mellow people I've ever worked with.
00:27:59.279 --> 00:28:01.680
He's very straight to work.
00:28:01.920 --> 00:28:03.599
Yeah, he just works.
00:28:03.920 --> 00:28:08.799
So when you put a mic on him, he doesn't like to keep it on after like he's done on set.
00:28:09.759 --> 00:28:13.359
Usually, you know, I've worked with other people that are just like, yeah, I just keep it on.
00:28:13.440 --> 00:28:13.839
I don't care.
00:28:13.920 --> 00:28:14.720
Just you and me.
00:28:14.880 --> 00:28:15.119
Yeah.
00:28:15.279 --> 00:28:17.759
But Kendrick, the moment he steps offset, he likes to keep it.
00:28:17.839 --> 00:28:18.400
He runs it off.
00:28:18.480 --> 00:28:19.839
Yeah, yeah, take it off.
00:28:20.079 --> 00:28:26.160
Um, but you can walk up to him before he goes, you mic him up super, super fast.
00:28:26.720 --> 00:28:30.960
Uh he's very chill, he is just very focused all the time.
00:28:31.119 --> 00:28:32.079
He's really great.
00:28:32.240 --> 00:28:35.759
And um Cezai is is really really fun.
00:28:35.920 --> 00:28:37.519
She is really, really fun too.
00:28:37.759 --> 00:28:38.960
Yeah, that one was cool.
00:28:39.200 --> 00:28:40.079
That one was really really cool.
00:28:40.480 --> 00:28:45.599
Yeah, I I love her, and she's also like so like she's all over social media.
00:28:45.759 --> 00:28:48.319
Like, I'll see her like something or comment on something.
00:28:48.400 --> 00:28:51.359
Like, she's like as into social media as the rest of us.
00:28:51.839 --> 00:28:55.519
Dude, she has uh a second account.
00:28:55.920 --> 00:28:57.119
Ah, she does?
00:28:57.359 --> 00:29:02.000
Yeah, she has a second account, and she is pretty wild there.
00:29:02.960 --> 00:29:05.519
She's insane, she's insane there, but that's funny.
00:29:05.680 --> 00:29:07.920
Yeah, it's very funny, it's a very funny personality.
00:29:08.079 --> 00:29:13.279
Yes, one of my like dance videos doing like a dance battle in Philly went viral and she liked it.
00:29:13.519 --> 00:29:14.079
No way!
00:29:15.759 --> 00:29:17.039
Yeah, good love.
00:29:17.279 --> 00:29:17.759
Look at you.
00:29:18.160 --> 00:29:19.440
How famous is she?
00:29:20.640 --> 00:29:21.680
No, but that's awesome.
00:29:21.759 --> 00:29:22.960
Yeah, I love her as well.
00:29:23.119 --> 00:29:23.440
Yeah.
00:29:23.839 --> 00:29:24.799
Her music is fire.
00:29:24.880 --> 00:29:25.119
Yes.
00:29:25.359 --> 00:29:26.079
Her music is fire.
00:29:26.319 --> 00:29:26.720
Seriously.
00:29:26.960 --> 00:29:35.039
For someone that doesn't know the sound department, how would you explain the difference between a sound mixer, boom operator, playback, and A2?
00:29:35.680 --> 00:29:41.839
Um, an A2, for example, that one is more used in live and reality.
00:29:42.799 --> 00:30:04.240
Um it's more like it's technically an assistant audio because you have your sound supervisor, which is your A1, which is the person that is handling all the comms from production in terms of like, oh, we need this, we need this, we need this, we need this, the orders, who gets hired, while the time cards are like all that stuff.
00:30:04.400 --> 00:30:05.920
Yeah, that's your A1.
00:30:06.319 --> 00:30:15.039
He checks everything, and then the A2, or just like sometimes, for example, for the secret of Skinwalker Ranch, I was sound mixer, technically an A2.
00:30:15.599 --> 00:30:18.160
Um, I was mixing a secondary bag.
00:30:18.400 --> 00:30:23.200
So we had most of the time like eight, twelve people on camera.
00:30:23.440 --> 00:30:25.759
So we did we divided it in two bags.
00:30:26.000 --> 00:30:38.160
So we had four of our mains on both, so they were duplicated, and then the remaining four channels that we could do were additionals.
00:30:38.640 --> 00:30:44.480
So we had 12 people, then we would cover four, I would cover an extra four, right?
00:30:44.559 --> 00:30:46.319
And then the other mixer would cover four.
00:30:46.480 --> 00:30:51.200
That technically makes it 12, you know, so that's that's how we would cover our scene.
00:30:51.359 --> 00:30:56.640
So an A2 is an assistant audio, but that A2 can do pretty much anything audio related.
00:30:56.720 --> 00:31:05.359
It could be just, I don't know, wiring stuff, you know, or putting mics on people, or mixing a secondary bag.
00:31:05.440 --> 00:31:06.400
So that's an A2.
00:31:06.559 --> 00:31:15.680
Sound mixer is the head of department of the sound department for film, TV, and commercial for mostly like scripted stuff, some non-scripted as well.
00:31:15.920 --> 00:31:32.000
Um, but that's like the head honcho, that's the guy that production before not on set, because a lot of the communications on set go through the boom up, at least from like the first AD, uh, the communication with the camera department.
00:31:32.160 --> 00:31:39.759
The boom up is kind of who runs the set, and then the sound mixer is usually just supervising that everything sounds good.
00:31:40.079 --> 00:31:46.480
Um, and well, the sound mixer also has a choice of what mics they use.
00:31:46.960 --> 00:32:04.000
Um, of course, they make sure that all the routing and everything is done efficiently for post handling in terms of like the files, and also is mixing live to make sure that the vision that the director wants is being portrayed.
00:32:04.240 --> 00:32:07.359
Um, and then the mix sounds what it's supposed to look like.
00:32:07.440 --> 00:32:11.119
Well, like sounds what it's supposed to sound based on what it looks like.
00:32:11.279 --> 00:32:18.160
Yeah, you know, so if we have a wide shot, it shouldn't sound like a tight shot because they are not the same, it should sound with a little bit more space.
00:32:18.240 --> 00:32:25.200
So then the sound mixer does those little like makes those little adjustments using the boom or using plant mics or using labs.
00:32:25.440 --> 00:32:25.759
Yeah.
00:32:26.160 --> 00:32:31.839
Um that's a sound mixer, then you have your boom operator.
00:32:31.920 --> 00:32:34.880
Your boom operator, as the name says, is a boom up.
00:32:35.359 --> 00:32:44.799
He operates the most important microphone on set, I would say, because it's the microphone that can't capture performance um without any kind of disruptions.
00:32:44.960 --> 00:32:45.200
Yeah.
00:32:45.359 --> 00:32:49.839
Uh sometimes you have people on set that are like, I love you so much.
00:32:50.079 --> 00:32:54.000
And this hit, if they have a lav on, destroys completely the dialogue.
00:32:54.079 --> 00:33:08.720
Yeah, you know, and sometimes if you're playing with only lavs, either you have to do wild lines after to put it in there and to replace a line, or you have to restrict the performance of the actors.
00:33:08.880 --> 00:33:09.279
Yeah.
00:33:09.440 --> 00:33:16.720
You know, like, hey, please don't tap your chest, hey, please don't play with your with your clothes, hey, when you're talking, you can't take that jacket off.
00:33:16.880 --> 00:33:18.720
You have to take the jacket off and then you can talk.
00:33:18.880 --> 00:33:22.559
So sometimes you can alter a little bit of the performance of the actors, yeah.
00:33:22.960 --> 00:33:28.319
And the boom being so open and so clean allows for that not to happen.
00:33:28.480 --> 00:33:31.839
Uh so it's the most important microphone because it sounds the most natural, right?
00:33:32.079 --> 00:33:34.319
It will match the frame size that you have.
00:33:34.559 --> 00:33:36.960
If you're this close, it will sound this close.
00:33:37.279 --> 00:33:45.599
And if you're on a full body shot um with let's say two feet of headroom, it will sound like that.
00:33:45.759 --> 00:33:46.079
Yeah.
00:33:46.319 --> 00:33:49.119
You know, so the boom matches perspective.
00:33:49.359 --> 00:33:51.759
And I would say it's a better sounding mic.
00:33:51.839 --> 00:33:52.000
Yeah.
00:33:53.359 --> 00:34:03.279
Um, and at times, if like let's say you're a team of two people, sound people, boom operator, and sound mixer, your boom up as usual, also handling laving people up.
00:34:03.440 --> 00:34:03.599
Yeah.
00:34:03.920 --> 00:34:07.279
Um and yeah, just making sure that all the wires are good.
00:34:07.440 --> 00:34:13.119
They do all the functions on the actual set, and then the sound mixer is supervising everything from behind the cart.
00:34:13.360 --> 00:34:13.840
Yeah.
00:34:14.159 --> 00:34:18.800
You have such an impressive resume, and you've worked on so many incredible projects.
00:34:19.039 --> 00:34:23.039
When you first moved to LA, what was the first production you ever worked on?
00:34:23.119 --> 00:34:23.920
And what was your role?
00:34:24.320 --> 00:34:29.280
I mean, counting school, I think I did my first one as a director.
00:34:29.440 --> 00:34:29.679
Ah.
00:34:29.920 --> 00:34:31.199
And it was pretty terrible.
00:34:31.519 --> 00:34:31.840
Okay.
00:34:32.239 --> 00:34:33.840
I'm not a great director.
00:34:34.159 --> 00:34:34.960
I'm gonna tell you that.
00:34:35.039 --> 00:34:36.320
I'm a terrible director.
00:34:36.559 --> 00:34:37.679
Good, I'm not that.
00:34:38.079 --> 00:34:46.719
Um but after I finished college, my first project, so I graduated and I was unemployed for seven months.
00:34:47.039 --> 00:34:48.559
No one believed in me.
00:34:49.119 --> 00:34:49.760
No one.
00:34:49.920 --> 00:34:56.400
I did, of course, like my good dose of student films, and yeah, I did all those.
00:34:56.559 --> 00:34:56.880
Right.
00:34:57.119 --> 00:34:59.679
Um don't remember a lot of them.
00:35:00.000 --> 00:35:02.239
A lot of them were great, a lot of them were not.
00:35:04.159 --> 00:35:07.360
And then after I finished again, like no one believed in me.
00:35:07.519 --> 00:35:11.440
No one believed in in a sound mixture that just had student films, of course.
00:35:11.679 --> 00:35:15.760
Even though nobody knew that they were only student films, because I never told anybody that they were student films, dude.
00:35:15.840 --> 00:35:17.599
I just told them that they were shorts.
00:35:17.920 --> 00:35:36.159
Um, but no one, no one knew my name, no one knew who I was, so it was very hard for me to find a job until somebody posted on Facebook that they needed into boom op immediately in 2022 because their boom op tested positive for COVID.
00:35:37.280 --> 00:35:44.559
And at the time I was living in Irvine, very far from LA, yeah, an hour and a half without traffic, sometimes.
00:35:45.039 --> 00:35:47.440
And this guy was in Clover City.
00:35:47.760 --> 00:35:50.239
So that was gonna take me an hour and 40 minutes together.
00:35:50.960 --> 00:36:12.000
And after 24 hours of being awake and playing video games, I took the call and I went, and it was a project for USC has a program that partners with different studios and tech companies to use or test certain things before they deploy to the industry.
00:36:12.159 --> 00:36:28.559
So at the time it was Amazon coming out with the volume stage, which is this virtual production stage where the camera is mapped, uh using I think on Real Engine, uh has some like trackers on top, and there's cameras around the stage tracking those trackers.
00:36:28.880 --> 00:36:36.239
So the the frame where the camera is looking at renders, and you have a background that is full, like virtual.
00:36:36.480 --> 00:36:50.159
For example, I think uh the movie Batman with Robert Pattinson, I think they shot it on a volume, specifically the scene I think with uh with Catwoman, um or like this I don't know, view of the city or something like that.
00:36:50.320 --> 00:36:51.440
I think they shot it on a volume.
00:36:51.840 --> 00:36:53.840
So that was my first project, it's called Fathead.
00:36:54.159 --> 00:36:54.480
Okay.
00:36:54.719 --> 00:36:55.760
Yeah, got it.
00:36:56.000 --> 00:37:01.920
How did you start to really make connections in the industry and start to have a more like consistent career?
00:37:02.159 --> 00:37:02.960
It was this one guy.
00:37:03.119 --> 00:37:03.280
Yeah.
00:37:03.519 --> 00:37:05.599
This one guy, his name is Brandon Johnson.
00:37:06.239 --> 00:37:11.119
Um after that one job, it was a three-day job.
00:37:11.679 --> 00:37:15.760
They were looking for someone for only one day.
00:37:16.079 --> 00:37:19.440
I went there on a on the Friday, it was Friday, Saturday, Sunday, I think.
00:37:20.159 --> 00:37:23.039
And then I told him, Hey, can I come back tomorrow and the next day?
00:37:23.280 --> 00:37:24.239
Do you want me to stay?
00:37:24.480 --> 00:37:26.079
And he goes, I can't pay you.
00:37:26.639 --> 00:37:28.960
I was like, don't worry about it.
00:37:29.760 --> 00:37:37.199
So the week the following week, he has another job that he didn't want to do, I think, at the time where he couldn't do.
00:37:37.360 --> 00:37:38.480
So he just sent me.
00:37:38.800 --> 00:37:40.239
And he sent me to that job.
00:37:40.320 --> 00:37:43.360
And they lagged me, so then they recommended me.
00:37:43.440 --> 00:37:49.039
And then someone else recommended me, and someone else hired me, and then they recommended me, and then it started just rolling and rolling and rolling and rolling.
00:37:49.119 --> 00:37:50.000
And that's how it went.
00:37:50.079 --> 00:37:53.840
It went from just this one person that trusted me and believed.
00:37:54.159 --> 00:37:55.039
Yeah, that believed in you.
00:37:55.199 --> 00:37:56.960
Yeah, it really just takes that one person.
00:37:57.119 --> 00:37:58.320
Yeah, it was kind of crazy.
00:37:58.800 --> 00:38:04.159
As a sound mixer, do you think the role is more technical, creative, or problem solving based?
00:38:04.559 --> 00:38:06.480
I think it depends what kind of project you're working on.
00:38:06.639 --> 00:38:06.800
Yeah.
00:38:07.119 --> 00:38:12.559
Um for something like a movie, it can be pretty creative.
00:38:12.960 --> 00:38:16.719
It can be super creative in terms of like certain things that you want to get.
00:38:16.880 --> 00:38:17.039
Yeah.
00:38:17.360 --> 00:38:27.119
Uh people get creative in terms of what kind of mics they use to achieve certain sounds, certain uh like characteristic of the sound.
00:38:28.159 --> 00:38:39.280
Um for like I don't know, uh uh an older piece or something that has a specific aesthetic look, you know?
00:38:39.840 --> 00:38:40.480
I don't know.
00:38:41.280 --> 00:38:47.599
But most of what I do is more technical and problem solving than creative.
00:38:47.840 --> 00:38:48.159
Yeah.
00:38:48.639 --> 00:38:51.920
Um I have to get creative with micing people up, right?
00:38:52.480 --> 00:39:02.400
Depending on their wardrobes, but a lot of what I do is roll with the punches and achieve 98% of perfection.
00:39:02.880 --> 00:39:03.119
Yeah.
00:39:03.440 --> 00:39:07.039
That's that's the way that I like to approach it.
00:39:07.519 --> 00:39:16.880
So I I think it's a lot of technical, more technical and in and problem solving than creative for me in the kind of line of work that I would that I do.
00:39:17.119 --> 00:39:18.400
Yeah, that makes sense.
00:39:18.639 --> 00:39:24.480
You also worked on Dance Mom's The Reunion, which one of my favorite shows of all time.
00:39:24.719 --> 00:39:28.960
Watched every single episode, probably four times over.
00:39:29.519 --> 00:39:30.960
The reunion, what was that?
00:39:31.039 --> 00:39:32.960
What was it like working that project?
00:39:33.440 --> 00:39:34.559
Felt tense.
00:39:34.719 --> 00:39:35.360
Yeah, yeah.
00:39:35.599 --> 00:39:36.480
Felt very tense.
00:39:36.800 --> 00:39:39.440
I will say, I will say, Jojo Siwa.
00:39:39.760 --> 00:39:40.159
Yeah.
00:39:40.400 --> 00:39:41.840
It's a great human being.
00:39:42.079 --> 00:39:42.559
Yeah.
00:39:42.800 --> 00:39:44.239
It's a great human being.
00:39:44.559 --> 00:39:51.599
I she arrived on set and she just made sure that everyone was having a good day.
00:39:51.840 --> 00:39:52.239
Yeah.
00:39:52.400 --> 00:39:55.360
And she was very grateful for everybody there.
00:39:55.519 --> 00:39:58.639
She was like, Thank you so much for being here, and thank you so much for being part of this.
00:39:58.880 --> 00:40:02.880
Uh she was grateful to the girls that were there, but there were some girls that didn't make it.
00:40:03.039 --> 00:40:03.360
Yeah.
00:40:03.599 --> 00:40:05.519
Some of the main cast members were there.
00:40:05.679 --> 00:40:06.880
Or didn't want to make it.
00:40:07.119 --> 00:40:07.519
Yeah.
00:40:08.400 --> 00:40:08.719
Yeah.
00:40:08.960 --> 00:40:14.320
Um, but it was very interesting hearing their perspectives from the show.
00:40:14.480 --> 00:40:15.840
I was not familiar with the show.
00:40:16.079 --> 00:40:16.400
Okay.
00:40:16.880 --> 00:40:17.360
And after that.
00:40:19.280 --> 00:40:19.519
Yes.
00:40:19.920 --> 00:40:24.800
I walked in blind because a mixer friend of mine was like, hey, uh, are you available tomorrow?
00:40:24.880 --> 00:40:25.840
And I was like, Yeah.
00:40:26.079 --> 00:40:28.239
And he's like, okay, we're doing something for dance moms.
00:40:28.320 --> 00:40:30.559
And I was like, I don't know what that is, but I'll look it up.
00:40:30.719 --> 00:40:31.039
Yeah.
00:40:31.280 --> 00:40:32.880
And I read a little bit about it.
00:40:33.039 --> 00:40:38.239
Well, and yeah, like saw stuff and read about it, and I was like, whoa, I don't know if I like this.
00:40:39.119 --> 00:40:39.519
Yeah.
00:40:39.760 --> 00:40:44.079
But then after I worked in the reunion, I wanted to see some some episodes.
00:40:44.239 --> 00:40:45.199
It's pretty brutal.
00:40:45.360 --> 00:40:45.840
Mm-hmm.
00:40:46.000 --> 00:40:47.360
It's a lot of drama, girl.
00:40:47.519 --> 00:40:48.159
Yeah.
00:40:48.880 --> 00:40:50.000
How did you live that?
00:40:50.159 --> 00:40:50.400
Yeah.
00:40:50.719 --> 00:40:53.199
That's how like growing up in dance was.
00:40:53.280 --> 00:40:54.960
Like, at least like my experience.
00:40:55.039 --> 00:40:59.039
Like the studio I went to, competition dance studio, was very similar to that environment.
00:40:59.280 --> 00:40:59.440
Wow.
00:40:59.599 --> 00:41:03.920
I had teachers, oh my gosh, even like stricter than Abby, like yell at you.
00:41:04.000 --> 00:41:10.239
Like, well, there was a kid one time in a class who had a dentist appointment and he got like yelled at because he had to like leave to go to the dentist, and he was like five.
00:41:10.320 --> 00:41:19.840
Like, I don't like there's so many stories, but honestly, a lot of my favorite dance teachers were my strict dance teachers, and I wouldn't be the dancer that I am today without those teachers.
00:41:20.559 --> 00:41:24.400
And also, you want their approval more because they're so strict.
00:41:24.639 --> 00:41:25.920
Yeah, because they're so strict.
00:41:26.079 --> 00:41:27.840
But dance is crazy.
00:41:28.079 --> 00:41:34.800
I thankfully, my mom, while she's a dance mom, because I'm a dancer, she was never the dance.
00:41:35.039 --> 00:41:36.079
She was never a dance mom.
00:41:36.239 --> 00:41:36.880
Yes.
00:41:37.119 --> 00:41:41.760
And she even would she would drop me off and leave so she didn't have to deal with the other moms.
00:41:41.840 --> 00:41:43.360
She was like, I'll come watch when you're performing.
00:41:43.599 --> 00:41:50.559
Like she yeah, because some of the moms would like stay with their kids all day and they bicker with each other, or they would talk bad about the girls.
00:41:50.639 --> 00:41:51.519
I never liked that.
00:41:51.599 --> 00:41:54.239
Like the moms talking about the young dancers.
00:41:54.480 --> 00:41:56.800
But all of you are like, what, nine years old?
00:41:57.039 --> 00:41:57.519
Or younger?
00:41:58.239 --> 00:42:00.000
Yeah, or like I oh my gosh.
00:42:00.159 --> 00:42:02.159
I we I dealt with some crazy moms.
00:42:02.239 --> 00:42:12.079
Like I was on a competition team when I was 12, and the moms would make up code names to talk about the girls, and then the young the girls on the team would do it and like talk about you in front of your face without you knowing.
00:42:12.320 --> 00:42:13.280
Whoa, okay, crazy.
00:42:13.440 --> 00:42:14.400
What was your code name?
00:42:14.639 --> 00:42:16.159
My code they call me Maddie.
00:42:16.400 --> 00:42:16.719
Maddie.
00:42:16.960 --> 00:42:18.000
Yeah, they called me Maddie.
00:42:18.079 --> 00:42:20.719
I didn't mind it though, because I'm like Maddie from Dance Moms was the best.
00:42:21.679 --> 00:42:25.039
Okay, but it was there were code names related to Dance Moms?
00:42:25.519 --> 00:42:28.480
I don't I don't know if that one was related or not, but that's what they called me.
00:42:28.559 --> 00:42:30.320
They called a different girl Hamburger.
00:42:30.719 --> 00:42:31.840
Whoa, that's rude.
00:42:32.000 --> 00:42:35.920
Yeah, and they would like they would be like, yeah, like hamburger's outfits, like not cute today.
00:42:36.079 --> 00:42:36.320
Yeah.
00:42:36.480 --> 00:42:38.000
And we I'm I'm not stupid.
00:42:38.079 --> 00:42:41.920
Like I would pick up on who they were talking about and who Because her outfit was maybe not that great.
00:42:42.239 --> 00:42:42.719
Who knows?
00:42:43.360 --> 00:42:56.079
But it's like the girls were not weren't n and I have some great dance friends, but like that show, a lot of people will look at that show and think it's like so wild and so crazy, and like that Abby was awful or whatever.
00:42:56.159 --> 00:43:01.679
And while some things on that show weren't great, of course, that was a lot of people's experience growing up.
00:43:01.920 --> 00:43:02.880
Yeah, it's pretty crazy.
00:43:03.280 --> 00:43:10.800
A lot of dance is is harsh, and but the moms, like the dance moms, like that whole thing, like I can't, I can't with you.
00:43:10.960 --> 00:43:11.599
They're very dramatic.
00:43:11.760 --> 00:43:12.880
Yeah, they're very dramatic.
00:43:13.119 --> 00:43:17.679
Yes, and like Abby would say all the time, and like on the show, like you guys are gonna ruin it for your daughters.
00:43:17.840 --> 00:43:24.880
You know, your daughters are talented, but every time you open your mouth and you get involved in the drama, people aren't gonna work with your kid if they have to deal with a mom like that.
00:43:25.199 --> 00:43:34.719
One one of the things that we did on the reunion I remember now is the moms were listening to what the girls were saying on the interviews.
00:43:34.960 --> 00:43:35.519
Yeah.
00:43:35.840 --> 00:43:42.079
So while recording it was was pretty crazy because a lot of the times the moms were unaware.
00:43:42.800 --> 00:43:48.320
Um the the girls would say something and they would be like, I I didn't know.
00:43:48.960 --> 00:43:49.599
Wow.
00:43:49.920 --> 00:43:50.320
You know?
00:43:50.559 --> 00:43:51.119
Yeah.
00:43:51.440 --> 00:43:53.679
So it's it's kind of crazy.
00:43:53.840 --> 00:43:56.079
I don't know if you if they ever watch the show.
00:43:56.480 --> 00:43:57.760
If they ever watched it back.
00:43:57.920 --> 00:43:58.480
That makes sense.
00:43:58.559 --> 00:44:04.639
A lot of people like I've heard even Actors, you know, like stuff that they're in, they're like, I don't watch it because I've already like done it, you know.
00:44:04.719 --> 00:44:05.360
So yeah.
00:44:05.679 --> 00:44:09.360
I think for that one would have been great to just know what your kid is going through.
00:44:09.519 --> 00:44:09.760
Yeah.
00:44:10.000 --> 00:44:11.280
From a third party.
00:44:11.519 --> 00:44:12.079
Definitely.
00:44:12.320 --> 00:44:13.119
That's kind of crazy.
00:44:13.280 --> 00:44:13.519
Yeah.
00:44:13.760 --> 00:44:17.280
Were there any moments where you were like, oh, this is making the final cut?
00:44:18.079 --> 00:44:20.880
Um the crying.
00:44:21.440 --> 00:44:24.000
I was like, yeah, I think those moments are gonna make it.
00:44:24.079 --> 00:44:25.440
Yeah, that's the one.
00:44:25.679 --> 00:44:26.239
That's the one.
00:44:26.800 --> 00:44:27.280
So real.
00:44:27.360 --> 00:44:31.039
Like, yeah, when someone's crying or they have an emotional moment, you're like, eh, we got it.
00:44:31.519 --> 00:44:31.840
That's it.
00:44:32.000 --> 00:44:33.280
That's the one that they were looking for.
00:44:33.519 --> 00:44:34.960
That's what TV wanted.
00:44:35.280 --> 00:44:35.760
Yeah.
00:44:36.079 --> 00:44:36.800
Oh my gosh.
00:44:36.960 --> 00:44:44.400
So you worked across like reality TV, you worked on these tours and musical productions, you've done like so many different like mediums of work.
00:44:44.559 --> 00:44:45.760
What's your favorite?
00:44:46.159 --> 00:44:50.079
I think my favorite currently is commercials.
00:44:50.239 --> 00:44:50.880
Yeah.
00:44:51.119 --> 00:44:54.559
Um, but I don't know.
00:44:54.639 --> 00:44:59.760
I I kind of wanna do something that leaves a little bit of legacy.
00:45:00.079 --> 00:45:16.559
So I've I think when I do all these documentaries or behind the scenes with this artist, that also fulfills me a lot because um you watch them back and you remember moments of live.
00:45:16.719 --> 00:45:22.880
Whereas when you watch a commercial again, it's like, oh, maybe you remember that one day of the commercial.
00:45:22.960 --> 00:45:24.480
You're like, oh, that's sick.
00:45:25.039 --> 00:45:32.559
But like when I do certain things that are more behind the scenes, I remember the real moment, like the moment I was there.
00:45:32.639 --> 00:45:34.079
Like, I don't know, it's kind of crazy.
00:45:34.159 --> 00:45:36.880
I was working with Lisa uh from Blackpink.
00:45:37.039 --> 00:45:40.719
Yeah, and she's a killer, she's also one of my favorites.
00:45:40.960 --> 00:45:44.400
Um I spent with her like four days.
00:45:44.559 --> 00:45:47.360
We were shooting for a music video, Fuck Up the World.
00:45:48.480 --> 00:45:53.519
And we went from the dance studio to the final day of filming.
00:45:53.679 --> 00:45:57.920
So it was two rehearsal days and then two shoot days.
00:45:58.639 --> 00:45:59.920
We spent four days with her.
00:46:00.159 --> 00:46:06.960
And from the two two rehearsal days, the first day she shows up and she's just watching.
00:46:07.440 --> 00:46:16.159
She's not dancing, she's not doing anything, she just watches the choreo, gives her choreographer, uh, Sienna, I think is her name, um, the notes.
00:46:16.960 --> 00:46:18.480
Sienna takes them in, and that's it.
00:46:18.639 --> 00:46:21.360
And we just see the girls kind of like rehearse and change some things.
00:46:21.440 --> 00:46:22.960
Well, Lisa's already gone.
00:46:24.159 --> 00:46:29.119
The next day, Lisa comes in, she knows a choreo.
00:46:29.599 --> 00:46:31.679
I'm like, this girl did her homework.
00:46:32.800 --> 00:46:33.760
This is insane.
00:46:34.079 --> 00:46:36.079
So she shows up and she's like already like killing it.
00:46:36.239 --> 00:46:37.760
I'm like, whoa, that's crazy.
00:46:37.920 --> 00:46:41.599
And then they're still changing and they're making some adjustments for her at least.
00:46:41.760 --> 00:46:42.079
Yeah.
00:46:42.400 --> 00:46:49.599
Um, and then she is like, Yeah, I think I'm ready to do the whole thing.
00:46:49.920 --> 00:46:51.599
And the choreographer is like, Are you sure?
00:46:51.679 --> 00:46:52.320
Yeah, I'm ready.
00:46:52.559 --> 00:46:56.800
And she just like hits it, and I'm like, Whoa, how are you remembering all those like steps?
00:46:56.960 --> 00:46:57.760
I'm lost.
00:46:58.000 --> 00:46:59.920
And then we finished the music video.
00:47:00.079 --> 00:47:02.960
I straight up was like, Hey Lisa, can I tell you something?
00:47:03.039 --> 00:47:03.840
And she's like, Yeah, what's up?
00:47:04.000 --> 00:47:07.280
When we were saying goodbye after like we finished it, because we were directly with our team.
00:47:07.360 --> 00:47:10.239
Um and I went to her and I was like, Lisa, can I tell you something?
00:47:10.400 --> 00:47:11.280
She's like, Yeah, what's up?
00:47:11.440 --> 00:47:17.599
And I'm like, dude, you killed it from seeing you, from not knowing the choreo to finishing the music video.
00:47:17.760 --> 00:47:18.880
You're insanely talented.
00:47:19.039 --> 00:47:20.400
And she was like, Oh my god, thank you so much.
00:47:20.480 --> 00:47:21.760
And I was like, Yeah, can I give you a hug?
00:47:21.920 --> 00:47:23.760
And I give her a hug, and that was it.
00:47:24.400 --> 00:47:29.840
And but like, whenever I watch that BTS, it takes me to that whole experience.
00:47:30.000 --> 00:47:30.320
Yeah.
00:47:30.480 --> 00:47:42.239
And and it connects me not more so with the commercial or like the video itself, but he connects me with the idea of like I was part of this, right?
00:47:42.639 --> 00:47:50.239
And I met this person, and I got to like know a little bit about this person that I've I don't know, that I see on screen.
00:47:50.400 --> 00:47:53.360
Yeah, and it was very sometimes it's very powerful, it was very cute.
00:47:53.599 --> 00:48:02.960
Definitely like seeing that whole behind the scenes of what went into that project and getting getting to kind of be a part of that world for a little bit, is yeah, it connects you to that whole experience.
00:48:03.280 --> 00:48:05.840
Like, what do you feel when you do something and you're like, oh shit?
00:48:06.079 --> 00:48:17.519
Like when you you know, when you work in certain productions, yeah, um, and you help with a specific task, and you then see it on the screen.
00:48:17.760 --> 00:48:18.159
Yeah.
00:48:18.400 --> 00:48:19.519
How do you feel about that?
00:48:19.760 --> 00:48:25.599
Well, working on Koy Laray's music video, Nothing into Something, I worked as the PC on that.
00:48:25.840 --> 00:48:28.880
And for the last shot, the director was like, Mia, can I have you stand in?
00:48:29.119 --> 00:48:32.079
And so I was standing in for Koi, which I love, I love a stand-in moment.
00:48:32.320 --> 00:48:35.119
I'm like, yes, like camera and they move all the photos.
00:48:35.519 --> 00:48:37.280
Yes, what angle do you need me?
00:48:37.440 --> 00:48:38.559
Like, got it.
00:48:38.719 --> 00:48:42.559
Like, and I oh like growing up, I would like stand in for kids because I'm so short.
00:48:42.639 --> 00:48:44.480
Like they'd have me like lay on a punk bed.
00:48:44.559 --> 00:48:46.480
Like, I just I love it.
00:48:46.719 --> 00:48:50.159
But I'm kidding, how to thought about that?
00:48:50.320 --> 00:48:50.880
Yeah, yeah.
00:48:51.119 --> 00:48:56.320
Cause I'm like five foot, I'm under five feet, and so they yeah, and so it's perfect.
00:48:56.559 --> 00:49:07.440
But this project was especially fun because a lot of the dancers or like the coillery look-alikes were dancer friends of mine, so it was like so cool to like know the talent and the crew, like so.
00:49:07.519 --> 00:49:08.559
That was super fun.
00:49:08.719 --> 00:49:13.039
And while I was standing in for coy, they had the look-alikes like walk by and do like passes.
00:49:13.119 --> 00:49:15.920
So I'm like, hey girl, hey girl, like to my friend.
00:49:16.159 --> 00:49:36.800
Yeah, and we had like the production designer Amanda, she's amazing, like had this beautiful like drape that we used, and then we uh JP, the EP, like set up C stands and we were putting like like panels on them, and we made this like visual, and they had had like kind of something they wanted to make based off like an AI image.
00:49:36.880 --> 00:49:38.559
They're like, we want it to look like this.
00:49:39.119 --> 00:50:13.360
And watching it like get built, like it was like, oh, this okay, this looks like it, and then seeing it from the camera, it was like, oh, oh wow, like this looks so sick, and you would never know that there's all these stands and like everything that we put in to get it up there, and like like being like, wait, can you move it an inch this way, or adding these panels, or flipping them because we liked this side better, and just like all this stuff, and then seeing it too, and seeing Koi like stand where I stood and do the stuff, and like knowing that behind the scenes, like just getting to like have fun with my friends, and some of the wardrobe was like stuff that I found in my car.
00:50:13.519 --> 00:50:19.360
Like, they needed they did like a faux wardrobe in the music video, and they were like, We need some extra stuff.
00:50:19.440 --> 00:50:24.880
And so, me, and I sent one of the PAs to grab some some stuff from my car, and she found stuff in her car, just in our trunk.
00:50:25.039 --> 00:50:28.480
Like, I had a skirt that didn't fit that I've been wanting to return for forever.
00:50:28.639 --> 00:50:32.639
I had some blanket I used for a picnic one day that I'm like, eh, we can hang that up, that'll work.
00:50:33.360 --> 00:51:06.320
A sweatshirt, like, and just how like this random stuff in our trunk ended up being like part of the set, or even like I used one of my black sweatshirts to cover one of the emergency signs so that it wouldn't be in like the back of the video, and like all of that going into this great video that came out of it, but like having that whole experience and like the environment was so cool with like ever working with everyone, and just I just think it's so cool to know everything that went into it and then see the video and just like be like, You had no idea that this happened and this happened, and that's my jacket back there.
00:51:06.880 --> 00:51:10.480
Because my thing, I encourage so many people to do their BTS, yeah.
00:51:10.800 --> 00:51:21.679
Because in 10 years, when you watch that video again, you might forget those details, and you might be like, Oh yeah, I did this, and we we pull this up from like this AI image, right?
00:51:21.840 --> 00:51:32.320
And we made it work like that, but then maybe you forget about the detail of like this friend of yours that found something in the trunk, but somehow someone shot that in the BTS.
00:51:32.559 --> 00:51:33.760
Yeah, that's so true.
00:51:34.000 --> 00:51:34.480
I don't know.
00:51:34.559 --> 00:51:42.719
So, like a lot of the times I feel like we don't get to see the hard work that people put into certain things, yeah.
00:51:42.960 --> 00:51:48.000
And that's why I've been loving to do like this behind the scenes or like this very ta reality content.
00:51:48.159 --> 00:51:51.840
Yeah, and I think the process is what people really connect to as well.
00:51:52.079 --> 00:52:03.039
Like, even with dance, like and ever anytime I've had a dancer on the podcast, when I ask like performance or like rehearsal, everyone says rehearsal because like the process is the best part of it.
00:52:03.199 --> 00:52:07.360
You perform, yeah, it's great, but you perform maybe one or two nights or whatever it is, and it's done.
00:52:07.599 --> 00:52:13.840
But that rehearsal and the process of being with everyone and dancing and sweating and putting like blood, sweat, and tears into it is the best part.
00:52:14.000 --> 00:52:18.960
I think that's so true about capturing the behind the scenes and people like to see that process and the BTS.
00:52:19.199 --> 00:52:22.559
And more so right now with with how everything is being AI now.
00:52:22.639 --> 00:52:22.880
Right.
00:52:23.039 --> 00:52:24.559
And is losing that human touch.
00:52:24.719 --> 00:52:24.960
Yes.
00:52:25.199 --> 00:52:31.199
I feel like EBKs, BTS, knowing how that process is being done, yeah, is is very important.
00:52:31.599 --> 00:52:33.920
Such a good point because everything is so curated now.
00:52:34.000 --> 00:52:47.760
It used to be like everything on Instagram is very like specific and like everyone's very like intentional with everything they put out, versus like when Instagram was casual and people just put like funny selfies or things like that, and like bringing that, like you said, that human touch back.
00:52:47.920 --> 00:52:49.519
I think people really connect with.
00:52:49.679 --> 00:52:54.239
And thank shout out to this podcast, because now I will remember all of the VTN.
00:52:55.760 --> 00:53:07.519
But yeah, I think capturing it or also like something I started doing is scrapbooking, like some of my favorite, like all the projects I've worked on, and putting pictures or a little like blurb about the experience and being able to flip through that.
00:53:07.599 --> 00:53:09.840
Like I've been doing exactly the same.
00:53:10.159 --> 00:53:10.480
Really?
00:53:10.719 --> 00:53:11.280
Exactly the same.
00:53:11.440 --> 00:53:12.079
Well, ish.
00:53:12.239 --> 00:53:18.559
I've been I had this one project with this one legendary producer, uh, music producer.
00:53:18.719 --> 00:53:19.119
Yeah.
00:53:19.440 --> 00:53:26.880
And after we were together for three days, I was micing him up every day, putting mics, blah, blah, blah, blah.
00:53:27.119 --> 00:53:33.360
He came to me at the end when I was taking the mic off, and he goes, Pablo, you're a sound extraordinary.
00:53:33.679 --> 00:53:35.360
He's like, You're a badass.
00:53:35.519 --> 00:53:36.159
Keep killing me.
00:53:36.480 --> 00:53:36.719
Wow.
00:53:36.880 --> 00:53:40.719
And I just took off his microphone and was like, Thank you for that.
00:53:41.360 --> 00:53:43.360
And I wanted to remember that quote.
00:53:43.519 --> 00:53:43.760
Yeah.
00:53:43.920 --> 00:53:44.960
So I just wrote it down.
00:53:45.119 --> 00:53:45.760
Yeah.
00:53:46.639 --> 00:53:47.360
But yeah, it's pretty cool.
00:53:47.599 --> 00:53:50.079
Yeah, so that those moments, you know, you don't forget those moments.
00:53:50.159 --> 00:53:50.320
Yeah.
00:53:50.559 --> 00:54:00.239
It's very sometimes when I look back in my highlights on Instagram because that's where I put my work uh or my resume, I'm like, oh wow, I did that one.
00:54:00.400 --> 00:54:01.440
I forgot about that one.
00:54:01.599 --> 00:54:02.320
Yeah, yeah.
00:54:02.559 --> 00:54:03.199
Yeah.
00:54:03.599 --> 00:54:04.320
It's pretty cool.
00:54:04.480 --> 00:54:04.639
Yeah.
00:54:04.800 --> 00:54:06.320
All right, let's get into some segments.
00:54:06.639 --> 00:54:07.039
Okay, bet.
00:54:07.440 --> 00:54:08.000
Bet, bet, bet.
00:54:08.079 --> 00:54:08.320
Let's do it.
00:54:08.480 --> 00:54:10.800
We're gonna just hot takes in Hollywood.
00:54:10.960 --> 00:54:12.639
So it's gonna be a quick this or that.
00:54:13.440 --> 00:54:14.000
All right.
00:54:14.400 --> 00:54:16.159
Narrative or reality?
00:54:16.719 --> 00:54:21.039
Oh, okay.
00:54:21.199 --> 00:54:22.960
Uh okay, we have to be fast.
00:54:23.119 --> 00:54:23.519
Yeah, yeah.
00:54:23.840 --> 00:54:24.800
We have to we have to be fast.
00:54:24.960 --> 00:54:25.920
I think reality.
00:54:26.159 --> 00:54:26.480
Okay.
00:54:27.039 --> 00:54:29.039
Docu series or scripted?
00:54:29.440 --> 00:54:30.719
Docu series.
00:54:31.360 --> 00:54:35.760
Do you like watching reality in docuseries, or are you like working on reality in docu series?
00:54:36.000 --> 00:54:40.239
I low key hate working in reality, but but I love the drama.
00:54:40.719 --> 00:54:41.440
And I love how it is.
00:54:42.000 --> 00:54:46.800
I I there's one show that is reality, that is Dr.
00:54:46.880 --> 00:54:47.599
Pimple Pupper.
00:54:47.840 --> 00:54:50.320
Yes, and I've done I've done some episodes.
00:54:51.119 --> 00:54:53.360
That one is very gnarly.
00:54:53.679 --> 00:54:55.119
It's so gnarly.
00:54:55.280 --> 00:54:58.079
And when I'm on set, I usually can't watch.
00:54:58.400 --> 00:54:58.719
Yeah.
00:54:59.199 --> 00:55:04.800
When I go on my phone and I'm like scrolling through TikTok or Instagram and I see a clip, I go deep.
00:55:04.960 --> 00:55:05.440
Yeah.
00:55:05.920 --> 00:55:06.239
Yeah.
00:55:06.559 --> 00:55:07.280
I really go.
00:55:07.599 --> 00:55:11.039
And I'm like, oh that's that's a feeling.
00:55:11.199 --> 00:55:11.920
It's so interesting.
00:55:12.000 --> 00:55:16.320
I think when you watch it happen to someone else, it's like almost satisfying in a way.
00:55:16.800 --> 00:55:24.960
But when it's when you're getting it done, or like I used to get like when I get facials and they're like, she was like, if you watch it, she'll give me a mirror when she's popping the pimple.
00:55:25.199 --> 00:55:26.800
She's like, if you watch it, it'll be less painful.
00:55:26.880 --> 00:55:32.239
I'm like, girl, I tried it and I was like, I can't even watch because I'm in so much pain.
00:55:32.880 --> 00:55:36.239
I and I'm like, it's like, I don't know, it can be gnarly.
00:55:36.320 --> 00:55:37.440
So gnarly.
00:55:37.679 --> 00:55:38.480
It's so gnarly.
00:55:38.719 --> 00:55:42.719
The people come with like very like it's actually very incredible what Dr.
00:55:42.880 --> 00:55:43.440
Lee does.
00:55:43.519 --> 00:55:43.760
Yeah.
00:55:44.000 --> 00:55:49.119
It's like this people come with some things that sometimes affect their lifestyle.
00:55:49.199 --> 00:55:49.360
Yeah.
00:55:49.679 --> 00:55:50.159
Very heavily.
00:55:50.400 --> 00:55:50.639
Yeah.
00:55:50.880 --> 00:55:52.719
And medicine is insane, dude.
00:55:52.880 --> 00:55:54.960
The fact that we can fix that, that's kind of crazy.
00:55:55.039 --> 00:55:55.280
Yeah.
00:55:55.440 --> 00:55:57.840
But yeah, reality is fun just because there's a lot going on.
00:55:58.000 --> 00:56:02.480
Yeah, that's so true, and that's so cool that you get to work on that project.
00:56:02.800 --> 00:56:06.559
Um I would ask this question, but you already said you're into commercials right now.
00:56:06.719 --> 00:56:08.400
So lav or boom.
00:56:09.440 --> 00:56:11.199
This one depends a lot.
00:56:11.519 --> 00:56:17.199
But I would say boom.
00:56:17.360 --> 00:56:17.519
Yeah.
00:56:17.760 --> 00:56:21.599
Boom sounds the best, but lav can save your ass.
00:56:22.320 --> 00:56:36.639
Um, and also if you're in a very loud place and you're doing something more verite or reality or docu where you can't really control the environment, the lav can definitely save you and make it usable.
00:56:36.960 --> 00:56:38.639
So lavs can be really good too.
00:56:39.039 --> 00:56:42.000
Small intimate set or massive production.
00:56:45.119 --> 00:56:55.440
I like the massive productions because everyone is doing what they're supposed to do, and everyone collaborates, I think, a little bit better sometimes.
00:56:56.239 --> 00:57:00.559
Um yeah, I don't know.
00:57:00.639 --> 00:57:04.719
I I like the bigger ones because you're just there to do one thing.
00:57:05.280 --> 00:57:10.880
And you're in and out, and you're like you're working, and it feels like work and it feels very productive.
00:57:11.039 --> 00:57:11.599
Yeah.
00:57:11.920 --> 00:57:16.559
But I love to the smaller ones because there's a heart in it.
00:57:16.719 --> 00:57:17.280
Yeah.
00:57:17.519 --> 00:57:19.119
You know, that's a very hard question.
00:57:19.199 --> 00:57:20.400
You're doing very hard questions.
00:57:20.480 --> 00:57:22.079
I'm not even answering them right.
00:57:22.400 --> 00:57:23.679
I'm not even answering them right.
00:57:23.920 --> 00:57:28.079
You're just telling me, like, why do you you're asking me this or this, and I'm telling you what I think about both.
00:57:28.239 --> 00:57:28.559
Yeah.
00:57:29.119 --> 00:57:29.920
No, it's good.
00:57:30.000 --> 00:57:30.639
It's conversation.
00:57:30.800 --> 00:57:31.519
No, it's terrible.
00:57:31.599 --> 00:57:33.039
I mean, terrible at this.
00:57:33.280 --> 00:57:34.239
Okay, last two.
00:57:34.480 --> 00:57:36.480
What's your favorite department to work with?
00:57:42.559 --> 00:57:47.119
Uh my favorite department?
00:57:47.679 --> 00:57:48.880
I think my director.
00:57:49.039 --> 00:57:49.360
Yeah.
00:57:49.599 --> 00:57:50.719
I think my director.
00:57:50.880 --> 00:57:51.199
Okay.
00:57:51.440 --> 00:57:53.440
I think that's that's the coolest one.
00:57:53.679 --> 00:57:56.480
What department gives sound the most problems?
00:57:57.119 --> 00:57:59.360
Believe it or not, sometimes wardrobe.
00:57:59.679 --> 00:58:00.320
Interesting.
00:58:00.480 --> 00:58:01.119
Well, yeah.
00:58:01.519 --> 00:58:03.039
Yeah, because it really depends.
00:58:03.119 --> 00:58:05.360
Like, you know, example.
00:58:05.599 --> 00:58:08.960
Uh, Shabuzy music video with Gunnah.
00:58:09.280 --> 00:58:10.559
Two of my faves.
00:58:10.800 --> 00:58:11.119
Yeah.
00:58:11.280 --> 00:58:11.519
Yeah.
00:58:11.760 --> 00:58:12.559
It was a fun day.
00:58:12.639 --> 00:58:12.880
Yeah.
00:58:13.920 --> 00:58:14.800
You should watch the video if you haven't.
00:58:15.119 --> 00:58:16.400
Yeah, I need what video is this?
00:58:16.639 --> 00:58:18.239
Uh, I think it's high noon.
00:58:18.480 --> 00:58:18.719
Okay.
00:58:18.800 --> 00:58:19.519
I need to watch this.
00:58:19.920 --> 00:58:20.079
Yeah.
00:58:20.559 --> 00:58:26.320
Um Shabuzi is wearing like this open chest shirt.
00:58:26.400 --> 00:58:32.239
Like he's buttoned down, and then he has like a little scarf and then um leather jacket.
00:58:32.400 --> 00:58:32.719
Okay.
00:58:33.280 --> 00:58:40.559
So placing the microphone on the shirt because it's flopping around, it will open up and you will see the mic.
00:58:40.800 --> 00:58:48.079
If you put it on a specific place of the scarf that he has, it could potentially create rustle because he's gonna touch the shirt.
00:58:48.239 --> 00:58:52.239
And you can't place it on the jacket because the jacket has it's leather.
00:58:52.480 --> 00:58:56.320
It also means that it's thicker and sound doesn't go through leather.
00:58:56.880 --> 00:59:01.519
Um, so then it sounds more covered, it doesn't sound as open.
00:59:01.920 --> 00:59:10.400
Um, so for that one, I went kind of higher on the scarf to try to like to get a little bubble of air so nothing touches it.
00:59:10.880 --> 00:59:14.880
But for that one, that laugh still didn't sound great when he was moving because of the leather.
00:59:15.119 --> 00:59:19.760
So we just ended up doing wide lines, and that's what you're listening to in the media in the video.
00:59:20.159 --> 00:59:24.320
And for Ghana, he had like this huge chains.
00:59:24.719 --> 00:59:26.079
You can't place any mic on that.
00:59:26.159 --> 00:59:28.400
Yeah, you're just gonna hear the chains.
00:59:28.559 --> 00:59:28.719
Right.
00:59:28.880 --> 00:59:30.480
So I put it on the glasses.
00:59:30.960 --> 00:59:34.400
Ah, microphone sounded good.
00:59:34.639 --> 00:59:35.199
Nice.
00:59:35.519 --> 00:59:37.039
So that's where it gets creative.
00:59:37.360 --> 00:59:38.079
It gets creative like that.
00:59:38.320 --> 00:59:53.039
It gets creative because sometimes you have to go in the hair, sometimes you have to go in glasses, sometimes like um there's this movie, I forgot the name, but it's it's it's about a dude that is having like a call with a guy that is trying to explode a plane or put a bomb inside of a plane.
00:59:53.119 --> 00:59:54.159
I don't remember the name of it.
00:59:54.320 --> 00:59:56.239
It happens all in a in an airport.
00:59:56.400 --> 01:00:00.480
Um, all the pens of TSA agents were microphones.
01:00:00.800 --> 01:00:11.920
So they put a tiny some miniature, usually DPA 6060s for my sound is out there, inside of the pen, and then the button of the pen is the microphone.
01:00:12.159 --> 01:00:12.719
Wow.
01:00:12.960 --> 01:00:19.039
And usually you can kind of like paint them with like a marker or something to make them match the color of the pen.
01:00:19.280 --> 01:00:23.760
So then you can just put it there, punch it through, and the mic's exposed.
01:00:24.000 --> 01:00:28.880
And then you can do as many wide shots as you want, and that will sound like a boom, like pretty close.
01:00:29.119 --> 01:00:29.920
That's so interesting.
01:00:30.079 --> 01:00:30.480
Yeah, cool.
01:00:30.719 --> 01:00:32.000
So that's when you have to get creative.
01:00:32.159 --> 01:00:32.639
Yeah.
01:00:32.880 --> 01:00:36.480
So our crafty corner, what's your favorite crafty snack?
01:00:36.719 --> 01:00:37.440
Gushers.
01:00:37.599 --> 01:00:38.239
Gushers.
01:00:38.639 --> 01:00:46.000
Gushers, gushers, Reese's, the buttercups, the peas are fine.
01:00:46.480 --> 01:00:51.519
Um, and then a Coke Zero.
01:00:51.840 --> 01:00:52.159
Okay.
01:00:53.119 --> 01:00:53.840
Solid.
01:00:54.079 --> 01:00:54.320
Yeah.
01:00:54.559 --> 01:00:55.280
I think it works.
01:00:55.760 --> 01:00:55.920
Yeah.
01:00:56.559 --> 01:00:58.480
You know, we we're trying to be healthy over here.
01:00:58.639 --> 01:00:59.119
Yeah, I think.
01:00:59.679 --> 01:01:04.239
We're getting the sugar from the candy, but we have to stay diet zero with a little soda.
01:01:04.639 --> 01:01:05.119
Right, right.
01:01:05.519 --> 01:01:06.559
Those calories count.
01:01:06.800 --> 01:01:08.800
What's always in your bag with you on set?
01:01:10.320 --> 01:01:11.280
Stickies.
01:01:11.440 --> 01:01:13.280
I always have tape on me.
01:01:13.599 --> 01:01:17.519
Uh by stickies, I meant double-sided tape.
01:01:17.760 --> 01:01:18.159
Yeah.
01:01:18.400 --> 01:01:22.639
The the one that I use, my preferred one is super stick.
01:01:23.199 --> 01:01:24.880
Um, it's great for anything.
01:01:25.039 --> 01:01:29.840
I mean, you can sometimes can be harsh on skin, so you have to be careful about that.
01:01:30.079 --> 01:01:37.760
Um but it will stick great to clothing, it will stick great to anything you try to put it on, honestly.
01:01:38.079 --> 01:01:38.960
So it's really good.
01:01:39.440 --> 01:01:41.599
Um or a topstick.
01:01:41.679 --> 01:01:47.920
Top stick is like the more generally used um alternative to the use of like toupee and stuff.
01:01:48.239 --> 01:01:48.400
Okay.
01:01:48.960 --> 01:01:50.639
Wardrobe uses it a lot too.
01:01:50.880 --> 01:01:52.960
Um and medical tape.
01:01:53.440 --> 01:01:54.480
That's what I always have on me.
01:01:54.880 --> 01:01:55.199
Alright.
01:01:55.360 --> 01:02:00.400
If you ever see me on set, I have like constantly strips of tape on my shirt.
01:02:00.880 --> 01:02:01.519
Yeah, yeah.
01:02:01.760 --> 01:02:02.079
Yeah.
01:02:02.320 --> 01:02:03.599
My girlfriend hates it.
01:02:05.199 --> 01:02:09.519
What is your industry ick or what's on your industry betrayal list?
01:02:13.840 --> 01:02:20.079
That people don't believe in like a family group.
01:02:20.639 --> 01:02:21.039
Yeah.
01:02:21.920 --> 01:02:33.199
I I hate when or I d not that I hate, I dislike when when you're helping somebody and you're scratching somebody's back, but they don't scratch yours.
01:02:33.440 --> 01:02:34.159
Yeah, absolutely.
01:02:34.400 --> 01:02:41.039
Um I think that's my my ick with it where I always tell people like find your crazy people.
01:02:41.119 --> 01:02:41.360
Yeah.
01:02:41.599 --> 01:02:47.840
And really, really, really foster that relationship and just make sure that you know you're there for them whenever they need you.
01:02:48.000 --> 01:02:50.079
And you will be there whenever, you know.
01:02:50.239 --> 01:02:53.440
You'll be there whenever they need you, and they will be there whenever that you need them.
01:02:53.679 --> 01:02:55.039
Yeah, I'm big on that too.
01:02:55.119 --> 01:02:58.559
I think that like community and like loyalty too is.
01:03:03.519 --> 01:03:03.840
Yes.
01:03:04.079 --> 01:03:05.199
That's that's what I think.
01:03:05.440 --> 01:03:05.920
Yeah.
01:03:06.320 --> 01:03:08.719
Pablo, you're on call sheet confessions.
01:03:09.119 --> 01:03:10.800
What is your call sheet confession?
01:03:11.280 --> 01:03:12.559
A call sheet confession.
01:03:13.039 --> 01:03:15.280
One time I didn't have the support of my sound mixer.
01:03:16.880 --> 01:03:25.519
And I got fired from that production because he told me to do what I was doing.
01:03:25.760 --> 01:03:33.760
Like, I was just pushing for the boom and make it sound great and always talk to the DP about like, oh, trying to get the boom in here.
01:03:33.920 --> 01:03:34.800
How can we boom this?
01:03:34.880 --> 01:03:35.840
Hey, can you help me with this light?
01:03:35.920 --> 01:03:37.039
Hey, can you help me with this?
01:03:37.679 --> 01:03:39.679
And there was some friction with the DP.
01:03:41.039 --> 01:03:45.039
The DP at some point was like, we don't need the boom, just use the laughs.
01:03:45.199 --> 01:03:45.920
Fuck it.
01:03:46.239 --> 01:03:48.719
And I went to the sound mixer and I was like, hey, what do you want me to do?
01:03:49.440 --> 01:03:52.320
And he was like, keep pushing for the boom, keep pushing for the boom.
01:03:52.400 --> 01:03:53.360
And I was like, Are you sure?
01:03:53.840 --> 01:03:57.360
And I was like, because I think someone is gonna get fired.
01:03:57.519 --> 01:03:57.840
Yeah.
01:03:58.079 --> 01:03:59.760
And it's not gonna be the DP.
01:04:00.000 --> 01:04:01.760
And he was like, No, no, no, you're doing great.
01:04:03.760 --> 01:04:05.519
I did what he told me to do.
01:04:06.079 --> 01:04:07.440
I didn't come back.
01:04:07.840 --> 01:04:08.480
Damn.
01:04:08.719 --> 01:04:09.199
Mm-hmm.
01:04:10.559 --> 01:04:12.960
So I think that's yeah, that's that's one of them.
01:04:13.360 --> 01:04:27.039
And he comes back to people don't have this sense of community or this sense of like friendship or family, of like, you know, whenever I've had issues where my boom-up is being treated a certain way, I'm the one that comes to sit and he's like, yo, what are we doing?
01:04:27.119 --> 01:04:28.320
No, we're gonna do it this way.
01:04:28.480 --> 01:04:30.639
Yeah, we're gonna do it here, it's gonna happen from here.
01:04:31.119 --> 01:04:32.239
What can we do with this camera?
01:04:32.480 --> 01:04:33.199
Oh, this, okay.
01:04:33.360 --> 01:04:36.400
Boom up, come over here, come from this side, do this thing.
01:04:36.480 --> 01:04:37.599
That's how we're gonna get this.
01:04:37.840 --> 01:04:38.239
Yeah.
01:04:38.480 --> 01:04:42.159
Um, yeah, I don't, I don't let, I don't leave my man behind.
01:04:42.400 --> 01:04:42.719
Yeah.
01:04:42.960 --> 01:04:47.039
And that goes into you building still speeding LLC.
01:04:47.440 --> 01:04:52.400
From everything you've learned, what's super important to you about the way that you do business?
01:04:53.760 --> 01:04:55.280
Realistically, the accounting.
01:04:55.440 --> 01:04:57.840
It's something that no one really thinks about.
01:04:58.159 --> 01:05:01.440
And accounting and budgeting is super, super important.
01:05:01.519 --> 01:05:06.400
And something that I hate production do to me is net 30s.
01:05:07.119 --> 01:05:08.559
Wait for payments like that.
01:05:08.880 --> 01:05:09.920
It's pretty insane.
01:05:10.320 --> 01:05:23.599
Um I'm okay for certain amounts, um, but when you're talking about a specific like below a certain amount threshold for me, it's like, brother, I'm not gonna wait for that.
01:05:23.760 --> 01:05:24.159
Right.
01:05:24.400 --> 01:05:32.239
Like, so what I do with the people that I hire for jobs or cover me on jobs, and we do it through steel speeding, they get paid within a week.
01:05:32.639 --> 01:05:35.039
Yeah, and I usually front them the money.
01:05:35.760 --> 01:05:43.760
Um, so the way that I do business is I am I make sure that my community, my people are being taken care of.
01:05:43.920 --> 01:05:44.320
Yeah.
01:05:44.559 --> 01:05:52.559
And I make sure I work kind of like this proxy to protect my operators from sometimes the bullshit that comes from production.
01:05:52.880 --> 01:05:58.320
You know, and and then a lot of times it's just like production asking for way too much for what we have.
01:05:58.639 --> 01:06:02.400
Um or I don't know.
01:06:02.559 --> 01:06:06.719
Sometimes they their their ask is not reasonable.
01:06:06.960 --> 01:06:07.599
Right.
01:06:07.920 --> 01:06:15.760
And sometimes you have operators that are just in a pinch, they will do it and they will go out of their comfort zone.
01:06:16.079 --> 01:06:17.280
And I don't love that.
01:06:17.440 --> 01:06:17.679
Yeah.
01:06:17.920 --> 01:06:19.519
So I just make sure that all my people are good.
01:06:19.679 --> 01:06:19.920
Yeah.
01:06:20.159 --> 01:06:29.360
And I have always clear communications with my producers and I always have a transparent communicate conversation about like, hey, we're gonna do this because we have this and this and this, these are our options.
01:06:29.519 --> 01:06:33.679
Uh we cannot do the way that you're looking for it to do, but we can do it this other way.
01:06:33.760 --> 01:06:33.920
Yeah.
01:06:34.079 --> 01:06:34.960
Does that work?
01:06:35.199 --> 01:06:47.039
Um so the way that I handle steel speeding LC is I handle all the logistics, I handle all the business side of things, and then I just have my operators handle the mission, just handle the plan that we have.
01:06:47.360 --> 01:06:47.679
Yeah.
01:06:47.840 --> 01:06:51.519
You've said that you always your clients will always have somebody.
01:06:51.679 --> 01:06:52.000
Correct.
01:06:52.159 --> 01:06:54.159
In production, things are always changing.
01:06:54.480 --> 01:06:57.840
How do you manage making sure that the clients always have someone?
01:06:58.159 --> 01:06:59.440
It's very hard sometimes.
01:06:59.519 --> 01:07:04.960
Um especially this past week's LA was weirdly busy.
01:07:05.199 --> 01:07:08.800
Uh, we haven't seen that trend in in a minute.
01:07:08.960 --> 01:07:18.639
Um, but I have a handful of people that I really, really trust, and I send on jobs consistently, and some of my clients absolutely love this guy.
01:07:19.199 --> 01:07:27.440
Um, but it's always a trying to get a recommendation from a recommendation.
01:07:27.599 --> 01:07:35.280
Make sure that our circle is super tight, make sure that the people that are being sent are, if not at my level, better than me.
01:07:35.519 --> 01:07:41.840
Um, because I don't want someone like I don't want my client with a bad taste, you know.
01:07:42.000 --> 01:07:42.320
Yeah, yeah.
01:07:42.800 --> 01:07:55.119
I just want them to be okay and be taken care of, and they they know that I'm always a call away just in case anything happens, anything goes wrong, they can call me and I can solve them, solve that issue for them.
01:07:55.360 --> 01:07:55.840
Yeah.
01:08:06.000 --> 01:08:06.159
Yeah.
01:08:06.480 --> 01:08:07.840
If I'm busy, my people are busy.
01:08:08.079 --> 01:08:13.199
What goes into like working, like how do you know you're working with the right people?
01:08:14.000 --> 01:08:15.679
It's actually very hard.
01:08:15.920 --> 01:08:22.000
Um is that question about other sound mixers covering me, or is it too production?
01:08:22.479 --> 01:08:23.840
Other sound mixers covering you.
01:08:24.000 --> 01:08:25.439
Other sound mixers covering me.
01:08:26.239 --> 01:08:30.079
Um because then it's your reputation as well, you know.
01:08:30.239 --> 01:08:32.960
Like how do you know you're working with the right people?
01:08:33.439 --> 01:08:35.039
I go a lot about vibes.
01:08:35.520 --> 01:08:45.680
Um and I have a specific way of how I do sound and more so how I handle the like prison-to-prison relationship.
01:08:46.319 --> 01:08:59.039
Um, and I think I just I think I'm okay with my operator being 80% good at sound, but 90% good at people.
01:08:59.279 --> 01:08:59.600
Yeah.
01:09:00.079 --> 01:09:02.560
Um because that's what matters the most to me.
01:09:02.640 --> 01:09:09.119
Every if if you really think about it, a lot of the things can be fixed, a lot of the things can be done in post, if you may.
01:09:09.680 --> 01:09:11.840
Um you can always have an extra take.
01:09:12.000 --> 01:09:12.159
Yeah.
01:09:12.319 --> 01:09:18.079
You know, you can always do an extra take, you can always record a wild, you can always cover in another shot.
01:09:18.239 --> 01:09:18.800
Right.
01:09:19.279 --> 01:09:25.760
But an interaction, you can't, there's no take is back, C, you know.
01:09:25.840 --> 01:09:26.960
You can't you can take that back.
01:09:27.199 --> 01:09:27.760
Totally.
01:09:28.079 --> 01:09:30.479
So I feel like it's just about vibes.
01:09:30.640 --> 01:09:30.960
Yeah.
01:09:31.199 --> 01:09:37.359
I it's funny you say that because my previous guest, Kevin, also he was like, production's a vibes-based job.
01:09:37.520 --> 01:09:38.960
And I I believe that.
01:09:39.039 --> 01:09:48.079
I think like being a good person, being able to like, yeah, be good at the communication and talking with people is like so much more of it.
01:09:48.159 --> 01:09:57.439
Like the skill and having the talent is definitely a part of it, but being able to like exist in a room with people and add something to the room and be a pleasure to work with is 100%.
01:09:57.840 --> 01:09:58.000
Yeah.
01:09:58.239 --> 01:10:03.279
Because when you know, I I know a couple sound mixers, or I've I was that sound mixer before.
01:10:03.359 --> 01:10:03.520
Yeah.
01:10:03.680 --> 01:10:06.640
Whereas like production would ask me, Hey, do you have an extra laugh?
01:10:06.720 --> 01:10:07.680
Do you have two extra laughs?
01:10:07.760 --> 01:10:08.720
Or do you need you have this?
01:10:08.880 --> 01:10:10.880
Can we do this thing for this camera?
01:10:11.439 --> 01:10:15.119
And at first, at some point, I was like, Do we have the budget for it?
01:10:15.359 --> 01:10:17.600
And it would be like, Are you gonna pay for that?
01:10:17.680 --> 01:10:20.720
Yeah, it's gonna cost you this, it's gonna be this and this and this.
01:10:21.039 --> 01:10:25.520
And if that's your initial response to production, usually there's gonna be friction.
01:10:25.680 --> 01:10:26.159
Yeah.
01:10:26.399 --> 01:10:27.840
Um, and they're not gonna like it.
01:10:27.920 --> 01:10:29.199
And they probably won't call you back.
01:10:29.359 --> 01:10:29.760
Right.
01:10:30.079 --> 01:10:34.880
But if you go in as like, okay, yeah, we can do it.
01:10:35.119 --> 01:10:37.439
Um, do you want me to just add it to the invoice?
01:10:37.600 --> 01:10:38.880
That's a different approach.
01:10:39.039 --> 01:10:41.039
And then production is like, yeah, we'll figure it out.
01:10:41.279 --> 01:10:42.640
Now it became an afterthought.
01:10:42.720 --> 01:10:46.399
Now it's not a thing of like, oh, there's friction because he's looking for the money.
01:10:46.640 --> 01:10:51.199
It's uh, oh, he's supporting our vision, he's supporting our creative.
01:10:51.359 --> 01:10:53.359
Yeah, we'll take care of you as well.
01:10:54.239 --> 01:10:54.720
You know?
01:10:54.800 --> 01:10:54.880
Yeah.
01:10:55.279 --> 01:10:57.600
I think that's very, very important too.
01:10:57.680 --> 01:10:59.039
I was that sound mixer at some point.
01:10:59.199 --> 01:10:59.520
Yeah.
01:10:59.680 --> 01:11:02.239
Where it was like money, money, money focused.
01:11:03.439 --> 01:11:05.039
And that did not play well.
01:11:05.199 --> 01:11:05.439
Yeah.
01:11:05.600 --> 01:11:10.319
The moment I started caring about people, that's the moment that my career really like exploded and did better.
01:11:10.960 --> 01:11:12.000
That's great advice.
01:11:12.239 --> 01:11:12.479
Yeah.
01:11:12.560 --> 01:11:12.800
Yeah.
01:11:13.039 --> 01:11:23.039
A lot of my the reason why I did Kendrick, the reason why I'm in the union, the reason why I do certain things is because I just said yes to a couple of free jobs.
01:11:23.520 --> 01:11:23.840
Yeah.
01:11:24.319 --> 01:11:24.640
You know.
01:11:25.119 --> 01:11:31.520
Um the videographer for Beyonce, one of the videographers for her, his name is Dave Malabi, he's a great guy.
01:11:31.600 --> 01:11:33.119
We did Lisa together.
01:11:33.359 --> 01:11:44.960
Um he asked two people, Andrew Sandler, which is a great director, um and then a guy called Richie, Richie Films.
01:11:46.079 --> 01:11:51.439
Um if they knew a sound guy, and they both recommended me.
01:11:51.520 --> 01:11:54.479
And Andrew recommended me because I did a free thing for him.
01:11:55.039 --> 01:12:01.680
He had a workshop for production called Production Connect, and I helped him for free.
01:12:01.920 --> 01:12:17.760
And then Richie, I did a very low-budget commercial with him, and they both got to know me, and they recommended me to Dave, and then we did some stuff for Sacred, Beyonce's company, and then that led me to the concert of Kendrick to pop out, and then that led me into the GNX tour.
01:12:17.920 --> 01:12:18.159
Yeah.
01:12:18.319 --> 01:12:20.079
And Super World commercials and whatnot.
01:12:20.159 --> 01:12:24.399
So it's all about finding your crazy people and building something together.
01:12:24.720 --> 01:12:25.760
Yeah, definitely.
01:12:26.000 --> 01:12:32.880
For someone that wants to be a sound mixer but has zero experience, what advice do you have for them as where they should start?
01:12:36.560 --> 01:12:42.159
I think where you should start is learning about the gear.
01:12:43.199 --> 01:12:47.119
Um your biggest asset on set is troubleshooting.
01:12:48.159 --> 01:12:54.239
So if you know your gear completely, you can troubleshoot whatever.
01:12:55.199 --> 01:13:02.640
But if you're in a job and you have something and it stops working for whatever reason and you don't know how to fix it, there's no sound.
01:13:03.439 --> 01:13:18.880
So I would say if you want to start somewhere, start learning the gear, maybe reach out to a sound mixer that you know or you admire and ask them, like, hey, I'm getting started.
01:13:18.960 --> 01:13:20.800
Can I take a look at your gear?
01:13:21.199 --> 01:13:21.680
You know?
01:13:21.920 --> 01:13:22.399
Yeah.
01:13:22.640 --> 01:13:25.119
And can you just walk me through your workflow?
01:13:25.279 --> 01:13:27.439
Don't bring me to say, like, I don't know.
01:13:27.520 --> 01:13:32.239
I, for example, I'm I'm not that lucky to be able to bring people a shadow me all the time.
01:13:32.479 --> 01:13:34.880
When I do, I bring some fellows.
01:13:35.199 --> 01:13:39.199
Um, but I think knowing the gear is one of the most important things.
01:13:39.439 --> 01:13:43.119
How much important isn't it to invest in gear early on?
01:13:43.439 --> 01:13:49.439
Super important, super important, specifically because again, all my jobs are the next morning.
01:13:49.680 --> 01:13:50.000
Yeah.
01:13:50.239 --> 01:13:52.640
Like, even for today, right?
01:13:52.800 --> 01:14:04.640
I was on hold for a job for today, and we didn't know if this was gonna happen or when was this when it was gonna happen, um, until like 10 p.m., where I'm like, hey, I'm not gonna wait for these people anymore.
01:14:04.880 --> 01:14:09.520
And even then in the morning, the producer is like, hey dude, they never give me an update.
01:14:09.760 --> 01:14:12.000
Uh so we're just gonna call it off.
01:14:12.159 --> 01:14:12.720
Sorry.
01:14:12.960 --> 01:14:22.479
And I was like, okay, but if he would have said, hey, we're back on, if I didn't have gear, I would need to go to a rental house.
01:14:22.640 --> 01:14:24.399
Yeah, we need to prep it.
01:14:24.560 --> 01:14:25.840
That would be an inconvenience.
01:14:26.000 --> 01:14:38.720
And prepping it, let's say that they have they need me in three hours going to the rental house, picking up the gear, and all that in three hours and heading to location is pretty bumpy, yeah.
01:14:39.119 --> 01:14:39.680
Not possible.
01:14:39.840 --> 01:14:40.399
It's fine.
01:14:40.880 --> 01:14:43.279
How important is it to be part of a union?
01:14:44.159 --> 01:14:45.279
Or how has that helped?
01:14:45.359 --> 01:14:46.560
Yeah, it depends.
01:14:46.800 --> 01:14:52.079
Um, it it gives you access to certain jobs that you can't access.
01:14:52.159 --> 01:14:53.359
Yeah, of course.
01:14:53.600 --> 01:14:58.560
Um, it gives you access to a pension and it gives you access to healthcare.
01:14:58.880 --> 01:15:11.119
It mostly benefits the people that are in the movie and TV world, not the commercial or music video world that much, um, specifically for like benefits and healthcare.
01:15:11.760 --> 01:15:16.479
Um, but it can help you a lot with your career growth.
01:15:16.720 --> 01:15:22.239
You know, it it does because there's so many jobs that are union and bigger scale jobs.
01:15:22.479 --> 01:15:28.399
You can't a lot of the jobs can't happen in LA if they're at a certain scale.
01:15:28.560 --> 01:15:28.880
Yeah.
01:15:29.119 --> 01:15:31.840
If there's no union behind it, unfortunately.
01:15:32.079 --> 01:15:39.840
So if you want to do specific campaigns, specific commercial, specific movies, being in the union can definitely benefit you a lot.
01:15:40.159 --> 01:15:40.640
Yeah.
01:15:40.960 --> 01:15:44.479
Out of everything that you've accomplished, what are you most proud of?
01:15:46.640 --> 01:15:55.279
Uh I think coming out of my shell and started starting from zero.
01:15:55.680 --> 01:15:56.000
Yeah.
01:15:56.239 --> 01:16:00.159
Because when I quit being a TV host, I came back to the US with nothing.
01:16:00.399 --> 01:16:00.720
Yeah.
01:16:00.960 --> 01:16:06.479
Like I came here and I was and it just didn't have anything and and I didn't have a career, I didn't have any connections.
01:16:07.199 --> 01:16:10.399
So I think I'm pretty proud of that.
01:16:11.039 --> 01:16:13.199
That you know, yeah.
01:16:13.600 --> 01:16:17.359
Had a career over there, I could have continued, grinded that career.
01:16:17.439 --> 01:16:20.880
I could have if I wanted to, but here I am.
01:16:21.199 --> 01:16:24.800
Yeah, are you living your dream or what is the dream?
01:16:26.399 --> 01:16:31.359
I think my dream has always been, I guess, to be stable and to be happy.
01:16:31.520 --> 01:16:31.760
Yeah.
01:16:32.079 --> 01:16:36.800
Uh and I and I see happiness with like certain indicators.
01:16:36.880 --> 01:16:46.880
I don't see happiness of like, you know, when you when you are I don't see happiness as a thing of the moment.
01:16:47.119 --> 01:16:50.239
I see happiness as like a moment of like life.
01:16:50.399 --> 01:17:11.760
Like I don't know how to explain it, but if you're lucky enough to be able to have a roof above your head, if you're lucky enough to be able to provide for yourself and for your loved ones, if people recognize what you do, and if you are excited to go to work every morning, I consider myself pretty happy.
01:17:11.920 --> 01:17:12.079
Yeah.
01:17:12.319 --> 01:17:20.079
So happiness for me is just doing what I really like, what I really love, and being able to live from that.
01:17:20.319 --> 01:17:20.800
Yeah.
01:17:21.119 --> 01:17:24.800
Well, Pablo, thank you so much for coming on Call Sheet Confessions.
01:17:25.119 --> 01:17:26.000
What makes you happy?
01:17:26.159 --> 01:17:26.960
What makes me happy?
01:17:27.279 --> 01:17:28.399
What makes you happy?
01:17:29.359 --> 01:17:33.760
I I kinda I agree, like going to work and being excited to work.
01:17:34.000 --> 01:17:44.479
I also like I'm at a time in my life where I'm seeing a lot like figuring out what's not working and what is working and like starting to lean into what is working.
01:17:44.800 --> 01:17:58.000
And I think environments where I get to talk to people and connect with people and be creative, and there's a bunch of moving parts, so it's like stimulating to me, makes me really happy.
01:17:58.159 --> 01:18:03.039
Um, and having like a nice work-life balance because work is super important to me.
01:18:03.119 --> 01:18:13.600
Like I love doing things, I love like feeling productive and like being a part of a team and making things come to life, but I also love my friends and my family, and that's very important to me.
01:18:13.920 --> 01:18:20.319
So when both of those are balanced, when I'm working a lot and I'm spending a lot of time with my friends and family, that's when I'm the happiest.
01:18:20.640 --> 01:18:20.880
Okay.
01:18:21.199 --> 01:18:23.279
Would you change anything right now?
01:18:23.600 --> 01:18:25.680
Currently, I'd like to work a little more.
01:18:26.000 --> 01:18:27.119
You like to work a little more.
01:18:27.840 --> 01:18:30.880
Are you spending too much time with family and friends?
01:18:31.199 --> 01:18:38.000
No, I think I'm in a stage where I'm like, I graduated college like two years ago now.
01:18:38.079 --> 01:18:41.199
So I'm like at those like kind of early stages of my career.
01:18:41.359 --> 01:18:47.279
So figuring out the types of jobs that I do want to do, or you know, building my career currently.
01:18:47.520 --> 01:18:51.359
Um, but I and I think it's tough too.
01:18:51.439 --> 01:19:03.279
Like, I'm I'm uh on the other side of the country from my family who's in Philadelphia, and I would love to spend more time with them, but I do live out here and I'm actively like building the things that I want to do, and I'd like to actually visit them more.
01:19:03.680 --> 01:19:06.159
But um, I I really enjoy what I'm doing.
01:19:06.399 --> 01:19:07.520
I just want to do more of it.
01:19:07.680 --> 01:19:24.319
Like I wanna work even more in production, I want to dance more, I wanna be like the podcast to start to re like I want to be working on this like full time as well, and which I'm doing right now, but I want it to start, you know, pay me back.
01:19:24.720 --> 01:19:25.600
What's your next step?
01:19:26.319 --> 01:19:27.199
My next step.
01:19:27.359 --> 01:19:27.920
Yeah.
01:19:28.239 --> 01:19:30.000
So you you've accomplished certain things.
01:19:30.239 --> 01:19:30.479
Yeah.
01:19:30.640 --> 01:19:30.800
Right.
01:19:30.880 --> 01:19:31.039
Yeah.
01:19:31.439 --> 01:19:32.800
You have those checklists, yeah.
01:19:33.119 --> 01:19:34.000
Checklist marks.
01:19:35.039 --> 01:19:36.800
What else do you want to do?
01:19:38.079 --> 01:19:38.720
Hmm.
01:19:39.680 --> 01:19:41.840
Well, I would love to become a producer.
01:19:42.079 --> 01:19:43.119
That's what I want to do.
01:19:43.359 --> 01:19:44.800
And I'm producing this podcast.
01:19:45.039 --> 01:19:45.439
Yeah, yeah.
01:19:45.760 --> 01:20:02.880
But I like on set when I watch story producers, like on reality shows, or like like seeing how the producers operate and work, I'm like really drawn to that and would love to like work, like kind of continue on the pathway of like working towards that goal.
01:20:03.039 --> 01:20:10.159
Um, and then with the podcast, I'm putting in like a lot of now I was working a nine to five since January, and I left it in August.
01:20:10.239 --> 01:20:17.119
And so now I have a lot more time to put back into things that I really want to do, which is building this, promoting this, working on me.
01:20:17.199 --> 01:20:19.680
I'm dancing a lot more, and dance has been my entire life.
01:20:19.840 --> 01:20:25.920
So kind of just like putting back into me and being more creative now that I have the freedom to do that.
01:20:26.239 --> 01:20:28.399
You should do an episode where you switch.
01:20:28.720 --> 01:20:29.840
Where I get interviewed.
01:20:30.000 --> 01:20:30.079
Yeah.
01:20:30.239 --> 01:20:30.560
Yeah.
01:20:30.800 --> 01:20:33.840
People, people, I think people also would like to know about you.
01:20:34.159 --> 01:20:34.479
Yeah.
01:20:34.880 --> 01:20:35.600
Who should host it?
01:20:35.760 --> 01:20:36.319
You want to host?
01:20:36.960 --> 01:20:37.520
We should go around.
01:20:38.560 --> 01:20:39.520
Take another take.
01:20:39.680 --> 01:20:40.720
Roll another tongue.
01:20:40.880 --> 01:20:42.000
We're gonna go in again.
01:20:42.239 --> 01:20:43.119
Maybe I will do that.
01:20:43.199 --> 01:20:43.680
I should do that.
01:20:43.920 --> 01:20:46.479
Yeah, because how many episodes have you done so far?
01:20:47.439 --> 01:20:50.960
This will be 39, I think.
01:20:51.199 --> 01:20:53.119
Girl, people will love to know about you.
01:20:55.439 --> 01:20:57.119
It's like, okay, who are you?
01:20:57.279 --> 01:20:59.920
What do you do that you can't do 39 podcasts?
01:21:00.159 --> 01:21:01.760
39 episodes from podcasts.
01:21:02.000 --> 01:21:02.239
Yeah.
01:21:02.960 --> 01:21:05.119
You know, I think people would maybe like to know too.
01:21:05.359 --> 01:21:05.680
All right.
01:21:05.920 --> 01:21:06.800
Coming soon.
01:21:07.279 --> 01:21:08.960
But thank you again for coming on.
01:21:09.119 --> 01:21:10.079
Where can we find you?
01:21:10.239 --> 01:21:11.600
Where can we support?
01:21:11.920 --> 01:21:13.760
You can find me in downtown LA.
01:21:15.279 --> 01:21:20.079
Um my Instagram is PabloMenna at Pablo Mina, just my name.
01:21:20.399 --> 01:21:21.840
And that's it.
01:21:22.000 --> 01:21:23.439
Just give me a ring.
01:21:23.600 --> 01:21:24.319
You want coffee?
01:21:24.399 --> 01:21:25.920
We go for a coffee.
01:21:26.399 --> 01:21:26.720
Great.
01:21:26.960 --> 01:21:27.439
Well, thank you.
01:21:27.600 --> 01:21:28.479
For all my town people.
01:21:28.640 --> 01:21:29.840
All my town people.
01:21:30.720 --> 01:21:32.640
All the people that want to know about town.
01:21:32.800 --> 01:21:34.079
So awesome.
01:21:34.239 --> 01:21:39.520
Well, thank you again for coming on, and thank you everyone for watching this episode of Call Sheet Confessions.
01:21:39.680 --> 01:21:44.399
Always make sure to work hard and chase the dream because if your dreams don't scare you, they're not big enough.
01:21:44.640 --> 01:21:47.680
May your call times be reasonable and your checks be on time.
01:21:47.760 --> 01:21:50.720
And like my mimie always says, break a leg, but not really.
01:21:50.880 --> 01:21:51.840
We'll see you next time.
01:21:52.079 --> 01:21:52.560
Bye.