Issue link: https://digital.copcomm.com/i/1531981
figure out what every actor likes, and what they prefer. The AD's were great, I've worked with them a couple different times, and we told them, please don't bring all thirty actors to us at one time. We can do two or three at a time, and that's it. So, bring them in batches, and then we'll take care of them. PS&V: How was your interaction with the costume department? Steve: Danny Glicker was the Costume Designer, and he's done most of Jason's movies and, we've worked together for years. He knows what fabrics are noisy and what's not. Besides, there was only one set of costumes as the film covers the two hours before the first broadcast of Saturday Night Live. We had a great wardrobe department that understood what the goal was. There wasn't one scene in the movie where we'd question, who's getting radio mic'd? Everybody is getting radio mic'd. There are no exceptions in this movie. For example, Rosie's blouse was a very silky, floppy blouse. The first day, we placed the lav on her bra, but it was kind of noisy. We thought let's put it through the buttonhole and let's see how that works, and then it was like magic, it worked perfectly. So, there's always time needed to figure out what works best for what outfit. PS&V: What lavalier mics and wireless do you use? Steve: Everybody got DPA 6061's. We had sixteen Sound Devices A20 minis and fourteen Lectrosonics SSM's. The A20's were for the first sixteen actors, and then everybody else would get the SSM's. We were fortunate that we were on the same stage at Trilith Studios the entire time. The whole set was beautiful. It was a two-story set with a stairwell that connected