Issue link: https://digital.copcomm.com/i/1538245
MOTIONPICTUREC O S T U M E R S .O R G 37 they have to do. And having an organized clean space and basically, like I had said before, be the artery of information. Basically, executing what I need to prepare every day in terms of geing my tags done, geing the line set for the next day, and making sure that I'm on track with everything that's needed. I enjoy that set of organizational skills. I always tend to like the trailer a lile bit more, and I like my alone time and sometimes I don't get that. But it's fine, there's times when the day slows down. And you're le to do your tags quietly and you can get your work done. That is always fun. Can you talk a lile bit about what the process is of being a Trailer Costumer? TZ: The designer might want a jacket on or a jacket off at a certain point, she might want a story to be told through how they're wearing something, and a lot of the time the [Set Costumers] are busy. They don't have time to go through the line, although I love when they go through the line with me, I love an extra set of eyes. I know that I'm not perfect. I know that we all miss things. [Set Costumers] can remind me of things that maybe I didn't catch, that they had noticed on set like maybe the actor didn't like that I put XY and Z in the room, and [the actor] mentioned it to them. It's why I love having that collaboration. Any kind of information, even with the supervisor, the supervisor saying, "Hey, they're going to add this person to this scene." I don't mind helping out with that, as well and changing SyncOnSet, but I like to let the Set Costumers know that. That is a lot of my process. Especially when I did the trailer for the show Black Monday. We had a lot of stunts, and I would do a thorough read of the pages for the next day, and I would do a thorough breakdown of all the actions that were happening that day, and everything we were doing that day in detail. I would send that text to the Set Costumers, and I would be like, "This is what your day is tomorrow, this is what's gonna happen, this is what we're expecting. This is how I'm going to prepare this. So, you're aware, this is where this is gonna be, do you want this stuff on set? Or do you want to wait until XY and Z." I like to always have a plan. And I like to always make sure everybody knows everything, so that if anything happens, we are all on the same page. Were there any last-minute changes that you had to do for Freakier Friday that you stepped in and helped with? You know, geing on the phone with Natalie (CD), and helping coordinate a new look for the cast? TZ: Yeah, absolutely. So, the main people who were running the show loved clothes, so there were moments of, "Oh, well, we love this, but there's got to be something even beer," so beer was beer all the time, and Natalie was really great at fishing out some amazing pieces, especially when we had this huge fashion montage. It just was wild. There were sometimes where, in prep, people had talked about certain things, and I feel like our director was trying to cover all these pieces but one specific piece that I think wasn't really talked about is when there was the switch [body swap] of the four people. And there's this montage of them geing ready, just like in the 2003 version of them trying to figure out what they're wearing for the day being this other person. It was beautiful and it was executed so well. But boy, oh boy, was that run and gun. It was very like, "Okay, we're gonna do this costume. We're gonna do that costume. We're gonna do that costume. Okay, get her ready for this. Okay, now she's in hair and makeup." Literally, not one person stopped moving that day. We were blowing up balloons for a balloon dress in the midst of figuring out what shoes Lindsay's going to wear, or what crazy outfit Jamie was gonna wear. You'll see once you see the movie, it's insane, but it's probably gonna last two seconds and it was literally, the longest day for all of us. The crew (left to right): Tony Alcindor (Tailor), Natalie O'Brien (CD), Brittany Pask (Supervisor), Devon Simon (Coordinator), Tiffany Lazette Powers (Set Costumer), Tina Zepeda (Truck), Maggie Rose (Costumer), Libby Culligan (Set), Lisa Marie Evans (Key), Allie Cope (Costumer), Daniela Del Rey (PA).