Issue link: https://digital.copcomm.com/i/1545089
(Left to right): The Ghoul (Walton Goggins) in Freeside; Maximus (Aaron Moten) in Brotherhoood of Steel base located at Area 51; Lucy MacLean (Ella Purnell) finds father Hank MacLean (Kyle MacLachlan) in New Vegas. Horn: That's why I like that show so much, is because it does look different every day. That's the kind of job that I lean into where they're not the same every day. It keeps you motivated. It keeps you interested. It keeps you on your toes, keeps you learning. A typical day: I would start by checking in on set, come to the office, get the background set up for fiings, figure out what we're doing for the day, what problems we needed to solve, if we were on schedule with our outside vendors, because we did make a lot of the armor outside. Just constant rotation of checking in with everyone, making sure everything is running smoothly and making sure set has what they need. Always trying to stay on top of what's coming up the next day. We had several bungalows at Melody Ranch, so I constantly was running from bungalow to bungalow, checking in, making sure everybody's fine. I like to do texting and emailing, but I like to do a lot of calls because I like to verbally talk it out; I think sometimes things are lost in translation if you're doing a lot of emails and texting. I like to visit the vendors as well, because I just think face-to-face just makes things go so much smoother. Castro: The bigger the project, the more I get involved. I do rounds throughout the day to see what the needs are. Things change within the morning, part of the day, the aernoon. And so, I get myself involved in that way, so I know what's going on and what expectations there are from the designer, from Dayna, and what she's hoping for all these people to kind of turn out. That's the difference between smaller projects, where I don't necessarily need to involve myself too much. And this one in particular, there's a huge department. You know, Tailors, Specialties, Agers, Dyers, Key Costumers, Fiers, Assistant Costume Designers. We'll have a few Keys. We'll have an Office Costumer. That's a prey large department, so I try to kind of see everyone throughout the day, particularly more than once, especially on this project to make sure that everyone's needs are met and they can do their job as expected. How was the working relationship with Dayna on this project, as the Supervisor of the Costume Department? Horn: She has a really good eye for detail, so lile details are really super important for her. And she'll see any lile detail if it's not perfect, then she wants that part of every costume being perfect, which is also why it looks so great all the time. That part was super easy, she trusted me. It was easy to work with her in that respect. She's in all the fiings, so she was watching those details with the background. Some days she couldn't be there when they were fiing, but she always made sure she checked in, and she was there for at least, if not all the fiings, a good chunk of them in the day. And then she's in there actually doing the fiings herself, along with the Background Costumers, which is great because then everybody's really working as a team, making sure it's coming together. Her look is what's going to end up on camera, so that's always nice. She's very involved in seing the look and the tone of it, and so when the picture is approved, that's the look that's approved. That's how she wants it on set. That kind of made it easier for the Set Costumers, because they knew exactly how it should be worn. Do you have any advice for those who want to supervise working on a show of this scale? Horn: I think my advice would be, obviously it's a hard job. All our jobs are hard, but I think just trying to be the kindest that you can be to your crew and to other departments and be respectful, even in stressful situations. I think managing your expectations of other people and managing your stress level, you can't get stressed out all the time. MOTIONPICTUREC O S T U M E R S .O R G 19