Issue link: https://digital.copcomm.com/i/1531371
42 SPRING 2025 "I am nothing without my crew. I had the most incredible team of 705 members making beautiful art, collaborating, working hard and bringing memorable characters to camera every day, both here in Los Angeles, California, and in Atlanta, Georgia. I feel so lucky to be a part of a creative community that are each so individually talented that when we combine our energies, we are greater than the sum of our parts. Agatha All Along had a special magic both on-screen and behind the camera. Every artist was hand picked for their unique perspective and diligence. I had the pleasure of working with legacy member Marilyn Madsen. I'll never forget the experience of designing her last show—I welcomed her wisdom, skill, and artful taste. She gave birth to Agatha's iconic coat! Every 705 team member brought their best selves to this monumental project and I am forever grateful. I hope you can feel our efforts when you watch the show." Daniel Selon Daniel Selon Costume Designer Agatha, I had just finished Echo (Wrigley worked as Costume Designer) and had a great grasp on the area and the "Marvel Machine" as we like to call it. For me personally, I have to thank all the shows that I have worked on previously for making me who I am as a Supervisor today. Some shows were wonderful, some were difficult and some were exponentially thrilling to be a part of. I do my best to always learn something new to take forward with me. If I had to make a list of what I've learned over the last 14 years, it would be very long. The biggest takeaway when it comes to the skills necessary for this project— outside of the normal training, experience, and knowledge—is to enjoy each show you have for the time you have it. Every show has aspects that can be viewed as difficult or hard, but I like to find the fun in each one and stay focused on that. There's no guarantees in this business, so when I'm there, I focus on the extremely talented people and how amazing it is that we all get to come together to create a tangible experience out of someone's imagination and I'm profoundly lucky to get to do that. How did you build your set and workroom teams? What methods worked best and what didn't? WRIGLEY: Daniel and I completely collaborated together when creating our team. I wanted him to have the people he trusted most close to him creatively. He was beyond respectful of who I trusted and wanted on my end logistically. Our team was a mixture of the people we knew and trusted most and they all worked together extremely well. What policies and practices did you find effective in building a strong costume team for this show? WRIGLEY: Policies and practices are days. She has been an active member of Motion Picture Costumers since 2016. "As a Costume Supervisor, you have to be able to wear a lot of different hats and the majority of the time you're juggling 10-15 different aspects of the job at any given moment in time. I'm very proud of my ability to negotiate and collaborate for our team with production and all of the other departments to get the greatest outcome for the Designer and the crew. Each show is different in a multitude of ways, be it the money, the crew, the location, etc. So I feel it's my adaptability and willingness to focus on solutions and camaraderie that are my strongest skills." Agatha All Along is a massive production with a lot of moving parts and moving units. As a supervisor, what strategies did you use to stay on top of all of this? WRIGLEY: I live by my Post-its! I've found that it's the easiest way for me to stay on top of everything. I have a color-coded system for them, so I can keep them in the right category and follow through from what's a Hot Need (Red) and what's a Calmer Need (Blue) in the following way: (Red) Set; (Orange) Production; (Yellow) Department; (Green) Accounting; (Blue) Me/What I Need. I combine this with two giant gridded dry-erase boards that are nicknamed "The War Board" so I can plan ahead for four months. Outside of those two aspects, the only other way to stay on top of things is to have an amazing crew that communicates well and knows what they're doing. A supervisor is only as good as their team and I am very proud of the crew I had on Agatha. How did your previous experiences build the skills necessary for this project? WRIGLEY: At the time we filmed