Issue link: https://digital.copcomm.com/i/1538148
24 PRODUCTION SOUND & VIDEO – Fall 2025 Chase Sui Wonders As I got deeper into the scripts, and with an understanding of the length and complexity of planned camera movement, I knew I was facing some unique challenges, more suited to a large budget feature than a television series. We were going big on this one in scope and style. The show revolves around Seth Rogen's character, Matt, as he ascends to Studio Head at Continental Studios. Matt is an avid film lover. He sets out to navigate the world by separating artistic films and commercially successful movies. His executive circle includes Ike Barinholtz as Sal, Chase Sui Wonders as Quinn, and Catherine Hahn as Maya. Catherine O'Hara stars as ousted Studio Head Patty, and Continental Studios CEO is played brilliantly by Bryan Cranston. Cameos included Charlize Theron, Ron Howard, Steve Buscemi, Zoe Kravitz, Zac Efron, Anthony Mackie, Ted Sarandos, Dave Franco, and the legendary auteur Martin Scorsese. We would be filming across the historic Warner Bros. Studio Lot in Burbank, as well as iconic Hollywood locations like Musso & Frank Grill, The Château Marmont Hotel, The Hollywood Roosevelt Hotel, a Golden Globes broadcast at the Beverly Hilton, the Wilshire Ebell Theatre, and several John Lautner architectural masterpieces. This was going to be a fast-paced show, shot on the move. Long oners, golf cart chases across the lot, free-driving cars, you name it. The challenge was accepted. My biggest concern right out of the gate was that my longtime Boom Operator Cole Bluma would not be available for large bits of the production schedule. As anyone who knows me can attest, Cole has been my knowledgeable and reliable right-hand man for many years. There were only about two real sound-related notes. First, there was not going to be a lot of coverage. A good deal of time we were going to be shooting scenes in single-camera oners. Other times we would shoot multiple cameras simultaneously, but there would be little in the way of traditional "setup by setup" coverage of the scenes. In essence, multi-camera oners. The second note seemed more like an afterthought from Seth, but I realized the importance he placed on it. "I don't like for an actor to ever get to set ready to shoot and then find out they are in a costume that can't be wired." I triple checked that. Years ago on another show, David Fincher once told me, "Buck, it's really easy. Just do what I tell you to do." Mental note filed away. The call was cordial, but I didn't get a real read on my prospects, one way or the other. Here's where another established relationship factored in. I decided to touch base with my friend, Cinematographer Brandon Trost. Brandon and I did several films together and he had an extensive history working with Evan and Seth. He was currently in London on a very long feature project. I texted him. "Hey man, just interviewed with Evan and Seth and would really love to land this gig. Do you mind putting in a word for me if you can?" Thirty minutes later, Brandon texted me back. "Just dropped the dudes a text singing your praises. Hope it helps!" Less than five minutes later, Evan responded to Brandon, "He was a dope meet." We both assumed that was a good response and the next morning Shawn called and said, "Welcome aboard!" I got an NDA to sign, then I got a script, and that's when I began to realize the adventure this crew was in for.