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This is the episode where we dig into the age-old Hollywood cliché. Joining us in this episode is award-winning Director Anya Adams, filmmaker Avi Youabian, Writer, Director, and Costume Designer Kristin Burke. We learn from them what it really takes to transition into your dream job. Is that where you start? What should you do on your way to Directing? And most importantly, how do you make the leap?

In this episode, we are introduced to Sound Mixer Allie Boettger, Sound Editor P.K. Hooker, and Composer Michael Abels. We talk about how sound recording on set is different from the composed score and how the editor brings it all together.

Who takes care of everyone on set? On this episode we talk about what it means to care for the crew with Second Assistant Director, Alicia Lewis, Set Medic, Lisa Patton, film Caterer, Orlando Hurtado, and Key Craft Service person, Leah Amir. We hear about what drives them in this role, how they prepared for it, and the business opportunities that came along the way.

How do the lab, color correction, VFX complete the look of the film? In this episode, we learn more about post-production and how it all comes together in the lab. With us is an award-winning Cinematographer, Toby Oliver, VP of Fotokem’s services division, Jose Parra, and Digital Imaging Technician Oliver Mancebo.

What happens when the film leaves Production and heads to Post? In this episode, we learn about post-production and how a Post Supervisor, Editor, and Visual Effects Supervisor work together. We were introduced to independent post-production supervisor Renee Minasian, narrative features and TV editor Lucy Donaldson, and visual effects supervisor Dan Levitan.

In this episode, Production Assistant, Giselle Vazquez, Production Coordinator, Brian Ayala, and Production Coordinator, Weston Manville, discuss how Production Assistants and Coordinators fit into the whole system, how they work together and with all the departments on set, and personal stories of how they started and where they want to go.

In this episode, we discuss how Costume Supervisor, Gail Fitzgibbons, Assistant Director, Marc Newland, and Extras Casting Director, Dixie Webster, work together to create the magic you see on screen.

Let’s discuss the logistics of shooting on location with Location Manager Alison Taylor and Transportation Coordinator Sandra Ninham-Gallardo. Together they discuss what their jobs entail and some of the challenges they may run into being women in their fields.

In this episode we are joined by Lee Donaldson, a Key Grip, Nancy Schreiber, a Cinematographer, and Brant Beland, a Gaffer. We learn about all of their careers, pick their brains, and hear stories from some of the best people in the business.

This episode is where we meet Emily Ferry, a property master, and Mark Byers, a special effects supervisor. We learn about their position, their go to kits, crews, budget, specialties in their field and so much more.

Welcome to EP 302 of Catch A Break where we will meet Wynn Thomas, a production designer, Thomas Scott Stanton, a director of photography, and Virgina Johnson, a costume designer. In this episode we will learn about what each of their job entails, budgeting, diversity, inclusion in the industry, and their job’s relation to one another and other positions in their crews.

This season is going to be all about how the different departments work together to make a film or a series. For example, how does the director work with the director of photography and art departments to set the look? How do props and special effects work together? How do grips and gaffers collaborate? We’ll get to all of these questions this season. But, as we always do, let’s start at the beginning. This episode is all about how a script transitions from development to production, from the perspectives of creative producers and a line producer.  Joining us for this episode is Jeanette Volturno, Co-founder of Catch A Break and Catchlight Studios, Jessica Malanaphy, Co-founder of Catch A Break and Catchlight Studios, and Fanshen Cox, producer and development executive at Pearl Street Films. In this episode we will touch base on what their specific jobs entail, diversity in casting, the business and creative side of production, and different tips that will help when entering the industry.

This is the final episode in The Way Back Series - how entertainment and production will navigate getting back to work while living with COVID-19. In this episode, we want to talk about how we will ensure we keep moving forward with diversity, inclusion and representation, and not lose any ground due to the recent work stoppage and the scarcity it created. To do this, we have assembled an amazing panel. We’ve asked the brilliantly talented women of the Sista Brunch Podcast, Fanshen Cox, co-host of Sista Brunch, Award-winning playwright, actor, producer & educator and co-author of the Inclusion Rider, and Christabel Nsiah-Buadi, Award-winning radio journalist, executive producer of Sista Brunch and writer for British Vogue and The Independent to take over the Catch A Break Podcast. Panelists include Kirsten Schaffer, Executive Director of Women In Film and one of the forces behind the WIF ReFrame initiative, Marcei Brown, co-creator of Crewvie, a global inclusion database, and one of the founders of the Catch A Break Podcast, Yolanda Cochran, SVP Live Action Production at ViacomCBS’ Nickelodeon & Awesomeness and member of the PGA One Guild Committee, and Kalpana Kotagal, Partner at Cohen Milstein and co-author of the Inclusion Rider.

We often hear about incentives and how pivotal they are to making content.  However, how often are the terms confusing or do we think people are speaking a different language? Our panelists will help translate what is the difference between rebates, refundable credits, transferable credits, and non-transferable credits? How can you monetize your state credit? What is a state credit? How do you choose which state to film in? What is a qualified spend? We will discuss all this and more in this week’s episode of Catch A Break.   Please note, this episode was recorded pre-Coronavirus, so we aim to update everyone with any late changing information with our live Covid-19 episodes in the next few weeks.

This is the fourth in our series about working in the age of COVID-19, and we’re talking about what kinds of productions might be dipping their toes in first. What genres might have an easier time? Can reality and indie films pivot more quickly with smaller crews? And a big part of all of this is now that we know the protocols, how do you actually make them happen on the ground? The panel: Dwight Smith, Mission Control Medis Matt Miller, Vanishing Angle Dwjuan Fox, Decipher Entertainment Colleen Bell, California Film Commission

This episode is called “Buying and Selling, Part 2” and our guest panelists, Sherryl Clark and Peter Van Steemburg pick up the mantle from Adam Kolbrenner’s Buying and Selling, Part 1 podcast and add their nuanced and experienced thoughts. Sherryl Clark – President of Production, The H Collective Peter Van Steemburg – Vice President of Acquisitions & Production at the Universal Pictures Content Group This is the episode where Peter and Sherryl discuss the perspective of a buyer and a seller.  We learn about the buyer’s curatorial eye and the seller’s entrepreneurial and indefatigable spirit. We talk about the art of putting together “a seller’s package and how to carefully balance the presentation and how oftentimes it’s just the script that is needed. Do you add the cast, director and budget to the script or does the script stand on its own?  How do you build a list for the right place to send your project?  How do you partner with another producer or company and not compromise your vision? We speak about how time, relationships and reputation will almost always get you entrée to the buyer or the seller and oftentimes, assistants and junior reps are the unsung heroes and strong advocates of student films and festival offerings. If a script does not get made right away, always remember good is good and its time will come. Other enticing tidbits include:  Don’t overstay your welcome on someone’s phone sheet and just as important, how do you get in the room where it happens and what do you do when you are in the room. You don’t want to miss it!

Several states have declared they are open for business, so why aren't we shooting yet? Let’s talk about the pieces still holding us back. Our panel includes: Steve Berman, EVP of Production, Film Finances Liz Jenkins, CFO, Hello Sunshine Nicole Papincak, Attorney, Reder & Feig Adrian Ward, Senior Director, Banc of California Brian Kingman, Managing Director, Gallagher Entertainment

Our panelists share how vendors are positioned and pivoting to work differently during the age of COVID. Panel: Shawn Gillsepie, CASHet, Sarah McGrail, Picture Shop, Mikel Elliott, Quixote, Kerry LaiFatt, GreenSlate, Hugh Calveley, Moxion.

We interrupt this season to bring you a live speaker series on the pandemic and how we go back to work in the era of Covid-19. COVID-19 changes everything - from on-set protocols to stories. How will productions adapt? We will explore the changes from several angles with experts managing the logistics on the ground. Guests: Jeanette Volturno Malia Arrington Sonya JF Barnett Nancy Nayor

We are thrilled to have Adam Kolbrenner – Founder of Lit Entertainment Group on the podcast. Adam is uniquely qualified to speak about buying and selling in the Hollywood marketplace from his varied background as an agent, manager and producer. Adam also has the distinction of being the top representative (manager or agent) of all Black List screenwriters cumulative in the history of the annual Black List. Kolbrenner has distinguished himself in discovering new voices. On the Lit management side, Kolbrenner represents top creators and filmmakers in the industry.   This is the episode where we discuss his dual roles in management and producing and how one enhances the other.  It was a engaging conversation where we spoke about the importance of being true to yourself and picking your writing lane.  Oftentimes, Los Angeles is still the place to hang your hat for feature and television work. We also talk about how managers scour the world for great, underrepresented writers and then grooms them before launching their scripts out to the world. We find out what’s sellable, how managers find the best teams to surround their clients, identify the right buyers and why hobbyists need not apply. Take a listen to Adam’s advice for casting aside illusions and embracing the “blue collar job” reality of the writer.  We chat about how writers are busting their butts, always generating ideas or listening to studio pitches.  Most of all, we hear about Adam’s love for discovery, deciphering of what is unique and telling stories in a different way.