Issue link: https://digital.copcomm.com/i/1545089
Supervising Season 2 started with Costume Supervisor Stacy Horn who brought a team of 30 full-time crew and dozens of day player Costumers to build, fit, age, distress and dress actors, stunts, and background for all kinds of different costumes in this mixed-genre show. Midway through the season, a project that Horn was committed to before taking on Fallout was back on track to start production, so she handed the reins over to Costume Supervisor Conan Castro to finish the season. Both have supervised dozens of huge projects and have been Local 705 members for more than 25 years. How were you able to build a successful team for this massive show? Stacy Horn: In the key positions, I wanted experienced people who could bring a lot to the table: Tÿra [Youland], Ivory [Stanton], Deborah Ambrosino, they're great Custom Made and Specialty people. They have so much creative juices flowing all the time. They always know how to get where you're going even if you can't. They're so collaborative. It was great that we could bring on those key people. We did a lot of interviews to try to get the right people for the job. Because I do so many out-of-town shows, it was great to get to meet some of these new people that I'd never worked with before that were amazing. But knowing that those key positions are covered, you're not worrying about set because you've hired the right people who can do the job. If something breaks, they know how to fix it, and I had amazing day players who would come in as well. If you're shooting from a different angle, they can see that it doesn't look exactly the way it should. They're in there fixing it for it to be camera-ready. Having those people be the eyes and ears on set really takes the weight off us when we're already prepping for the next big scene, or prepping for the next episode, knowing that you have your set covered is really important. And I had never worked with Lawrence and Gio, who ran the background. You couldn't ask for two more seasoned people, such hard workers, so creative, so that was amazing for me. The principal crew, I had worked with everyone before, and I loved them, and I was so happy that they could come on with me. How did you prepare the production to transition into having another supervisor? And how did you prepare them for success? Horn: We had a week overlap. Well, actually, it ended up being a three-day overlap. But we were set and ready. We were already prepping that episode so Conan kind of rolled right in. I know the transition is always hard for anyone, but I think he came in perfectly and just picked it up and kept going. We talked it out, I told him everything that was going on and showed him everything I had—the budget was already set. It was like "here you go," and then you're ready for the next episode. The reins are all yours, and off he ran. Conan Castro: Stacy called me one day and she asked me if I was available. I had just finished Yellowstone, and I got back into town and went to go meet her and Dayna the following day. Dayna gave me the job, and Stacy was with me for a week and I just kind of shadowed her to make sure that I knew what I was stepping into. I've done television, big shows, and big films, so that wasn't necessarily the concern for me. It was more so not to interrupt the flow, because I had taken over other shows before, and it's always my thing is if I'm replacing somebody for whatever reason, I don't necessarily want to reinvent the wheel if the wheel is already rolling in the way it needs to be. For me, the harder part was to try to make sure that, however she set up the department, however she ran the department, I kind of stepped in and just kept it going that way, as to not, you know, not upset people, not cause any issues or concerns. As a Supervisor, what does your day-to-day look like? Can you kind of give us a general idea of what your job as a Supervisor looks like on this scale of a show? 18 SUMMER 2026 PHOTOS: LORENZO SISTI/PRIME