Switching to 2: The Art and Science of Film and TV Scheduling (Luke Maxcy, DGA 1st AD)
“Lead with kindness and do the best job at the job you have.”
We’re continuing our Assistant Director interview series Switching to 2: The Art and Science of Film and TV Scheduling with DGA 1st AD Luke Maxcy!
From his work on The Idol, For All Mankind, Scandal, Little Fires Everywhere, and more, Maxcy brings thoughtful insights on the industry, scheduling words of wisdom, and his approach to leading with kindness.
Listen on our newly launched Cinapse Spotify!
Stay tuned for more interviews with leading Assistant Directors.
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Transcript
Herman Phillips:
Welcome to Switching to 2, a Cinapse podcast where we discuss the art and science of film and TV scheduling with top Assistant Directors in the industry. I'm Herman Phillips, co-founder at Cinapse and your host. The schedule is the source of truth, the map to the finish line that every single cast and crew member, producer, and studio executive looks to in order to understand what are we filming, when, and how. ADs are rarely interviewed. They are the unsung heroes of physical production, and without them and their expertise, their craft and knowledge of scheduling and operating a set, movies and shows simply would not get made. Today I sat down with DGA First AD Luke Maxcy, who brings insight from his time working on shows like For All Mankind, The Idol, Scandal, and Little Fires Everywhere. I've been lucky enough to work with Luke on a number of productions over the years and hugely admire his calm demeanor, his wit, and his love of filmmaking. We discussed how he got into Assistant Directing, his experience collaborating with filmmakers and crews, and the future of the industry. Let's dive in.
Herman Phillips:
Joining us today is first assistant director Luke Maxcy. Luke and I first met on the Hulu original Little Fires Everywhere starring Reese Witherspoon and Kerry Washington, I think it was in 2019. And we continued working together on The Mandalorian in a galaxy far, far away. Luke most recently worked as the First AD on Apple's For All Mankind and HBO’s The Idol. So Luke, thanks for joining me today. Excited to talk with you about the art and science of scheduling for film and TV. So we'll start with a question about your personal experience with scheduling. Was it, you know, on a short film when you were in high school? Was it in college? Was it when you got into the training program?
Luke Maxcy:
Yeah, I think it was in the DGA trainee program probably was the first major— but I remember being a PA on a show called House, and I kind of got thrown into and I actually really enjoyed getting to help with call sheets and look at schedules there, right? And I think it was the first time that I really had to delve into a shooting schedule and what all the notes were and everything like that. So it was my first real exposure to like what a schedule is more than just seeing a one-liner go out the door as an office PA. But then, you know, the training program was probably the first time that I delved into actually breaking a script down and scheduling and understanding.
Herman Phillips:
And was that process— would you say then is when you sort of knew being a First AD, that's what you wanted to pursue? Or was it later on after you got deeper into sort of the “AD world”?
Luke Maxcy:
It’s really interesting because I came to, this is a little backstory, but I came to LA thinking I want to be an agent for some reason. No offense to any agents out there. But I got a job as an office PA. And I have a background— as a kid, I did a lot of audio-video, lighting, technical stuff. And so I love the technical side of stuff, and I thought being an agent again, I didn't really know, but I thought being an agent, I would get to be around like production. And so when I discovered what an AD does when I was an office PA I was like, oh no, that's the thing I actually want to do. So it was really just getting to be around it that gave me the understanding of “I love doing technical stuff. I love the technical knowledge I have and getting to be a nerd, but also like helping bring really talented people together to try and achieve something much bigger.” You know, I remember seeing— I, again, everybody has mixed emotions on it but like when the prequels came out, I think that was kind of formative
Herman Phillips:
the Star Wars prequels?
Luke Maxcy:
Yeah. That was such a formative, not even formative, but that world was so big, and I think I was probably of an age where I understood that somebody got to go do that. It didn't just happen, someone actually made this happen. And that stuff physically existed. Granted, there's plenty of CGI, but that somebody actually created that world and brought all of those things together to make it. It was such a departure from even normal rom-coms that you'd watch where you were like, I could just go anywhere and see that or like whatever TV you were watching. But getting to experience something that you didn't get to experience anywhere else and that you got to help be a part of creating that, I think I was like, oh, that. That's the thing I want to be a part of and as the First AD getting to be just literally there for every single part of physical production.
Herman Phillips:
Yeah. So I'm curious, Luke, then on what production was your first schedule that you really owned as the First AD? And what was that experience like for you? Any big mistakes, big learning curves? Who did you sort of look to for advice? I'm sure the line producer on it but other ADs that you'd learned from as well?
Luke Maxcy:
Yeah, I think so. It is, I guess, a two-part answer to this. I was on a show called You're The Worst for FX. Season one of that show was crazy. It was just me, I was the key, and it was me and the First AD, and we did all 13 episodes, just the two of us. And so I really felt like I had a lot of hands on the schedule, although I wasn't the first one to generate the schedule. But once we got into production, the first, Jeff Schwartz didn't have time to stop and look at the schedule. And I think on that one, there was a time where we were juggling things, we didn't finish a day or a location moved or something. We bumped a strip, and I was making calls, I think I got my prelim out late. So I was making calls, and I got a hold of one of the actors, and they were like, “You know, I'm on a flight tomorrow, right?” We had somehow missed it, and I didn't think we had done a good job of flagging or we missed a date, but we basically had to convince the actor to come in for half a day so that we could try and finish the pieces that we needed. It could have been a disaster, obviously. And then my first real from the-ground-up schedule, an episode that I did as a First is— I was on Scandal for a bunch of years, and I got an episode in season six, I think because our schedules were so all over the place that we didn't have enough Firsts. So I had to bump up and take an episode. And so that was my first from the ground up episode, and I was really lucky because I had two awesome Firsts that I'd been working for on that show. And so I really had the chance to lean on them to say, “What do we need? What can we do?” And having been on Scandal for a number of years prior to that was really helpful because I knew a lot of the pitfalls. Like I knew the formula that we usually used, I knew that we were gonna double up on the beginning and end. I knew that I was having to share actors and so that was probably a little bit of a challenge on that one. Our line producer, Mary Howard, was always a huge ally and support, and she was always deep into the schedule with the ADs. And so it was a very safe way to get kind of thrown into turn into the schedule.
Herman Phillips:
And so you've worked on a really wide range of productions too. You've done, you started just looking at your IMDb, you mentioned House, you were a Set PA there, and then went on to become a trainee, and you did New Girl as a trainee, you went on and did a bunch of second unit work on feature films like Call Of The Wild, Mulan among many others, and most recently, For All Mankind and The Idol. So I'm curious in that wide range of productions, are the scheduling issues as a First that you run into often the same from show to show? Or what changes from show to show? What are the patterns, can you anticipate, or is it, you know, production’s always crazy? One of my good friends who's a Second AD always tells me, is that every show is really messed up. And so, you know, that's a sanitized version of what she has told me. Which I have to agree with, but I'm just curious. What are the patterns, if any, that you should run into, from building one schedule to the next?
Luke Maxcy:
I think it's so interesting because every show really has its different challenges, right? But every show has its challenges. I think I would not wanna be on a show that didn't have challenges because I think I'd be bored. Right? Like granted, I don't always want them to be the hardest thing I've ever done. But I think in the feature world, if you're on a big enough feature, the challenges are that the schedule sometimes doesn't matter, and getting the work is what matters. And so you're constantly waiting until the end of the day to figure out what you're shooting the next day. That’s the challenge sometimes. Crossboarding is now a huge part of the television world where you can crossboard anywhere between two and five or six episodes that all have to be treated like one big schedule. The actor avail-
Herman Phillips:
Or even eight in many cases too.
Luke Maxcy:
Yeah, you're pulling pieces out of all the episodes, right, you have to combine actor avails on bigger movies, the actor avails are driving the schedule, and so you're kind of toast in that world.
Herman Phillips:
Right, you might be juggling an actor between three or four different projects and managing their travel schedules on top of all of that too.
Luke Maxcy:
And you get told, “We need this actor, so make it work,” and you're like, they have 17 scenes, and I have them for four hours. So yeah, I think every show is a little different, stuff with big money has different issues than stuff with little money. Length of schedule is the issue with little money stuff, right? Or you do shows that you don't talk about wet downs or techno cranes because you know that that's not even something that scale of show gets to talk about. And then you go to the other end where you go to the producer at the end of the night and go, “I need to bring back an entire unit tomorrow because they didn't finish today,” and they go, “Ok.” And you're like, “I'm so sorry,” and they're like, “It's fine, you know, I understand.” But that's the fun of it, it’s getting to solve the problem.
Herman Phillips:
Like, yeah, it's a giant puzzle, right, of every imaginable of many, many imaginable components of people, equipment, locations is like, how do we make all of this actually happen? And so do you run into what we'll call, you know, writer’s block or scheduling block as a First AD, you get into a scenario where you can't schedule yourself out of it, and you have to shoot it this way or, but the physical reality is you can't actually shoot it that way. So what do you do when you get into that sort of situation where you are blocked and you can't, or it's very difficult to get out of that sort of scheduling situation?
Luke Maxcy:
I think sometimes I'll throw it all away, honestly. Like, I'll just make a new strip board and kind of see if I can see it from a new perspective. Go back to the basics of sorting everything by the sets and then figure out if I can break stuff up, right? And figure out if there's a different way to come at it with all of the challenges that are there, trying to figure out if you can break a scene up or shoot out a certain part of something. Or, you know, sometimes you have to walk away from it. Sometimes I'll send it to my second.
Herman Phillips:
Yeah, leave it alone.
Luke Maxcy:
sometimes I really rely on— the Seconds that I've had have been awesome and really relying on them and going, “Here's what I think we can do tomorrow, or here are the challenges I'm running into. Do you see any issues with this, or how do you think we can piece these things together to make a day?”
Herman Phillips:
And do you ever go to, let's say, your director and your DP and say, hey, what if we did it this way because this would make it work better on the schedule?
Luke Maxcy:
Oh, 100%. I think it definitely is a collaborative process, right? And depending on the show you're on, there’s a different latitude for that, right? On a show that has a bunch of standing stage sets that only can go out x number of days. That's an easy conversation because everybody from your line producer down knows that they're gonna have to put it in a box. And so if half the episode is out, you know you're going to have to bring something back in. Or if you've built a set that you've committed to use throughout the season and you're not using it, and you have a new set that comes up in the episode, you can say, well, we need to move it to this location. Or, like, I only have one day with this person, so getting rid of a stage move would help me. So, yeah, I do my best to come at a schedule and take what the writer has given and try and make it make the most sense. But at a certain point, it may not fit in the box, and you have to go, ok, these are our tradeoffs, right? Like we're either gonna have to lose scenes-
Herman Phillips:
And what’s going to set you up for the most success, too, on the day that you're shooting. I often feel like, and I'm curious if you feel the same way, but from the outside, looking at the way the First AD works and building scheduling software for First AD at Cinapse, the schedule is, in many ways, the most tangible output of the First AD’s creative involvement in the film or in the TV show. And I wonder does that resonate with you, or do you think there's something else aside from scheduling that is sort of the most tangible creative input of the First AD?
Luke Maxcy:
I can agree with that in a lot of ways, but I think also we've seen on some TV shows, I don't know as much in features, I've spent more time in TV than movies, obviously. But, depending on the show, I would agree with that, there's some shows where you as a First are the anchor because the director has never done the show before, especially when you're in like serialized network, like on Scandal. You know, you had some first-time directors that you're working with too.
Herman Phillips:
Right.
Luke Maxcy:
My first on Scandal, I thought, had to kind of hold the continuity sometimes because there were new people who didn't really know the stories. The actors obviously also help hold that continuity, too, because after they've done it for so many seasons. Like, Kerry Washington knows who her character is, and so we're all participating, the prop guys, everybody knows kind of what the show is made up of or what the priorities of the show are. And so I think in a show like that, I think this doesn't necessarily happen in network, but some ADs get Associate Producer credits because they are helping be that through line. And you also learn, I think from show to show where your creative line is, where you get to step into that, and where you don't get to step into that. I had a show where the showrunner much to my line producer’s chagrin, would like email me directly and be like, “Is the schedule too big, can we do this? Does this work?” And I would always have to be like, “Let's bring everybody into this conversation,” because I knew it would be problematic if I was answering questions in a way that the line producer wasn't super happy with. But on some shows, you get that, and on other shows, you just get handed a script and get told to make it work. And so, in that case, I think the schedule is the most creative outpouring, right?
Herman Phillips:
Right.
Luke Maxcy:
It’s funny, the longer I think I've done this, the more I think as a Second or a Second Second, you can kind of get bogged down in the– and rightfully so because the hours are crazy, and this is a hard job- but you get bogged down in the “why are we doing this? Like we're still here shooting,” and the longer you get to do it and the higher up in the process you get to be, you do realize that obviously we're all here just trying to tell a good story, right? And so I find myself fighting for a lot more stuff as a First than I would have in hindsight as a Second or a Second Second, where I'm like, “No, I think us doing it this way is really important.” Hearing the director really care about something, wanting to try and solve it to make that happen because you do believe it's gonna make for a better story. Because none of us want to be creating content that is boring or that nobody wants to watch or that we think is not gonna do well or connect with people, right? So I think as an AD, if you get the ability to make a scene better because you made the thing that was gonna be really challenging actually work, I think that is the creative portion.
Herman Phillips:
That totally makes sense because we are all here like filmmakers, whether you're in props or you're a Set PA or an AD or whatever position you have on set, you're all there because you want to tell that story or because you love filmmaking, right? It doesn't necessarily come down to, “Are we gonna get that final bit done today or get that done tomorrow?” if it's going to mean that we can't get this done right, right now. So what film or show would you say, Luke, has been the most challenging or the most rewarding for you as a First AD?
Luke Maxcy:
It's interesting because Little Fires, The Idol, and For All Mankind were crossboards to different extents. Little Fires was two episode crossboards, but it was eight episodes. We had one episode that was a flashback, so we turned it into a week of double-ups where we had to try and schedule how to be on different stages, jumping through time periods because the art department, led by Jess Kender, who is one of my favorite human people, had to fully redress a house to past and then redress forward again.
Herman Phillips:
Right, because it was also a period piece, it takes place in the nineties, but you had flashbacks going back to the seventies.
Luke Maxcy:
Right. Yeah, it was a huge jump, and it wasn't like we got to do that at the end of that, the show, so we only had to change it once-
Herman Phillips:
You were doing it while you were also shooting,
Luke Maxcy:
We had to go present day to past back to present day. And so I think that was a pretty challenging thing but really enjoyable. The Idol was fully crossboarded with one director, and so that obviously has its challenges because you're trying to prep all the episodes at the outset.
Herman Phillips:
Right, in prep for the whole show, you're prepping everything.
Luke Maxcy:
Yeah. On For All Mankind, it was crossboarded, and there were some things that affected the scheduling that meant that we had lots of double up and some shorter prep periods because the length for the episodes was a little different than it had been previously. And so trying to figure out how to juggle that and support- you know, that show is cool because my buddy Brian Reiler is the other First AD who's another great First who I love working with. And it's really cool when you get to be on a show where you and the other First, if you're alternating, you're a team. There are some shows where it feels like the Firsts are in competition, like they didn't get their work, so they dropped work to me. But on that show, there was so much back and forth that he and I, I think we came to the end of the show and we had both run scenes from each other's episodes because there was so much set sharing. But that was challenging because I would jump into the middle of an episode or I was shooting a zero-G sequence for him for an episode that I hadn't prepped. But it was so well prepped. And that was really rewarding, too, because that was a show that I loved, and I was really fortunate that I got asked to do it this last season. And it was such a cool combination of all of the things that I really love, which is great storytelling, Matt and Ben are just awesome storytellers. You've got, you know, some stunt and special effects and vis effects work. And so it's a nice kind of culmination of all that storytelling.
Herman Phillips:
I hear you talk about collaboration a lot, like working amongst different ADs and directors. And I'm curious, what qualities in directors or other ADs that you may be sharing a show with, alternating first ADs or department heads, that lead to the smooth execution of the shoot? What qualities actually make that possible that you see in other people that you're working with on set?
Luke Maxcy:
It's interesting. I have a buddy who's a professional coach. He's a business development coach, and he and I have had conversations and one of the things he says is the thing that people want more than anything in the world is to be right. More than sex, more than money, more than power, they just want to be right. And I think getting to work with people who- it's so weird because there's such the tension, right? Because you hear really great directors described as having uncompromising vision. And I'm like, I mean, everybody has to have a little bit of compromising. And the buck has to stop somewhere, obviously, like there's, there's somebody up the chain or in the process. But I think people coming in, we want everybody's perspective because everybody's perspective is really valuable. And their input and their life experience have all shaped whatever they're bringing to the table. But having a willingness to not have to be right is I think really valuable, a willingness to hear input. And it's tough because sometimes you get input and that person shouldn't be giving input, or the conversation is already too big, so it needs to get honed down.
Herman Phillips:
Having too many cooks, right?
Luke Maxcy:
Right. But having somebody that's willing to give input, be told that we need to go in a different direction, come up with a creative solution, I think all of those things are really valuable because at the end of the day, we are all after the same goal and if we aren't all after the same goal and we're doing something wrong, right? The goal should be, how do we shoot the best version of this thing? The goal shouldn't be “How do we make it be about me?” I've started watching Ahsoka because it's fantastic, and I've actually started going back-
Herman Phillips:
Obviously.
Luke Maxcy:
and watching some Rebels because there's-
Herman Phillips:
Just watched Return of the Jedi the other night also getting ready for this.
Luke Maxcy:
Nice. There's, there are pieces of Rebels that are very informative for Ahsoka, right? And watching characters, it's funny that the thing that is portrayed as evil in Rebels and some of the arcs is people making choices to further their own self-promotion that ends up actually causing the downfall for everybody. And so I think that's a really interesting life lesson is one person having to or wanting to be right Can actually mean that the whole thing comes undone a little bit.
Herman Phillips:
Yeah, it's interesting you say that because I think films are sort of the ultimate collective creative expression. And I think when people talk about, you know, it being this director's film or that director's film or that producer's film, you know, it sort of robs it of sort of the essential identity that a film has or a TV show has as being a collective and collaborative artistic expression, which is one of the big reasons I do not believe or buy into auteur filmmaking or that sort of even idea of, you know, that this is this person's project. Sure, maybe they have an outsized creative contribution, sure. But it doesn't mean that it's their own.
Luke Maxcy:
It's so interesting because somebody else in the process has to do something to make- even if you have the greatest vision and you have the greatest idea of what something should look like or how an actor should perform or what the story should be, you still are reliant on somebody else helping fulfill that. And yes, you may be shaping that, but you're not gonna go build the set yourself, you're not gonna make the prop yourself, you're not gonna do the hair, makeup, you're not gonna make the set. All of those things. Yes, you have oversight, yes, you have influence, and you have opinion of and the people you hire, but you're still just relying on and asking people to come and get in line with your vision and contribute to your vision. Because for as much as you can have somebody that really, really effectively communicates what their vision is, somebody still has to interpret that and turn it into something else.
Herman Phillips:
100%. So Luke, wrapping this up here, what advice have you gotten about scheduling that you take into your process when you schedule?
Luke Maxcy:
As I've scheduled more and more, I think about different things. Some directors really want to shoot in continuity. Some people don't want to break up emotional stuff. Some people want to start with the easy scenes first. Some people wanna start with the big scenes first, it's all about feeling out how the show you're on is gonna go. And how the actors are, and it really is, but you have to be mindful of all of it, right? Which I know is not a helpful answer but you have to, every time you are in an episode or on a show, you have to approach it with fresh eyes. I think that would be the thing I would say. Like, don't expect the formula that worked on your last show to work on this show because there may be different priorities on whatever show you're on in terms of how you start the day, how you finish the day. If actors can jump between scenes can jump through the storylines. If actors have to go in continuity, if somebody can go from crying to happy, or if they'd rather go from happy to crying, or like if somebody only wants to do a sex scene on a day and doesn't want to do any other work that day because that scene's gonna take so much out of them. You have to go deeper than just making the- my wife will tell you I'm just a hyper-logical person. Like, I love logic. I live in the box of like-
Herman Phillips:
You? No. A First AD?
Luke Maxcy:
And she's a writer, and so having to go outside of the ‘yes, I solve the puzzle’ to ‘oh, this is actually what's gonna be best for these scenes to show up,’ so I think it really is being able to look at every strip, every piece and go what does this scene actually need and not expect that they're all gonna work the same.
Herman Phillips:
What are the demands of the scene, other than it flows well, logistically? That the emotional beats make sense and that everyone else is bringing what they need to, to the scene.
Luke Maxcy:
Yeah, I mean, because as ADs, we look at location and page count and number of actors. When you first start scheduling, those are the things that you were basing your schedule on but then not really understanding- I mean, there's always the joke of, you know, eighth of a page “cavalry charges over the hill.”
Herman Phillips:
Classic Ben Hur.
Luke Maxcy:
Like, how do you schedule that? Like that's half an hour, it's an hour, whatever the answer is. So, yeah, I think it's tough because sometimes you don't always have the time to be able to get into that minutia, but you really have to find the ability to know what scenes are really gonna take the time and help figure out how to give them what they need.
Herman Phillips:
What excites you, Luke, about the future of the industry, the future of Assistant Directing, the future of scheduling?
Luke Maxcy:
Seeing what TV is doing is really cool. I think it's really challenging, too, because I think our number of days to shoot something are still catching up with what the appetite of the production value is. I think we're continuing to tell really cool stories. I think we're continuing to push the boundaries of how we tell those stories, whether it's the scope of it, the locations, the technical appetite of it. You know, I don't think you would have seen- you've got all of these shows like Lord of the Rings and Wheel of Time and For All Mankind and Silo, I mean every show that's out there, I don't think you would have seen as a TV show 20 years ago because they'd be a feature or a couple of features. And so like, it's so cool and so exciting that we are coming up with ways to be able to tell bigger stories for television. And so I think that's great because I think if you looked at TV 20 years ago, it's not the thing that I would have gone, “You know, I wanna just shoot that show,” right? And obviously, there were shows out there that were great and exciting, like West Wing, I mean, so I'm not discounting older TV. But the age of TV that we're in is really cool because the scope of the stories is so massive and I think you guys are working really hard to come up with tools to help empower that, right? Because I think we've seen the demands of a schedule have not had a tool that helps to capture that, right? Because everything is so much more complicated, whereas on a movie, you'd put one strip on a day and you wouldn't care because it could be complicated, but you had a whole day to do it or three days, right and now it's like you have multiple units and we have splinter units and we have second units, and we have pickups, and we have inserts, and we have crossboarding and we- and so all of this means that we now need better tools to try and accomplish that. I think that the demands of the scale of production are really necessitating the leverage of technology to be able to do this better. Because trying to share information across multiple time zones and countries is huge, and you don't want to trip over the technology to try and get the job done. And so it's exciting to have a product that's trying to come up with a way to help empower people across all of those spaces, right? And you know, ike I said, you guys are working really hard to try and look for those places where there are deficiencies and figure out how to help make those better. Because, listen, I want to spend less time scheduling, right? I want to spend more time getting into the script or having conversations with the director and the DP about how we're gonna make something really cool. I don't want to be trying to figure out what didn't get updated or what I need to change or where an actor is, I wanna be doing the job of like helping make the thing happen.
Herman Phillips:
What's a piece of advice that you would give to new ADs or PAs coming up in the industry?
Luke Maxcy:
I think I'd say take time off when you can, don't fall into the lie of the scarcity mentality. It’s true because I still struggle with this, right? I mean, you always will, you're always gonna never think you're gonna work again -
Herman Phillips:
This is my last show ever.
Luke Maxcy:
I was terrible. Nobody's gonna hire me ever again. You're gonna think you have to be attached to your phone, which it sucks because sometimes, I remember being a PA, and if you needed 20 additional PAs on a big movie that you really wanted to work on, and you knew that they were sending out 40 text messages. And so you had to respond. So there is some tension, there is some truth in that. As a trainee, you had to return a phone call. But when you get to a certain point, you have to find rest, you have to find renewal because this job is really hard. This job is really hard on you and on your loved ones. And so trying to come home or trying to be on a weekend or knowing that you're gonna take a month off and then you're not gonna look for work and that you're gonna- which sounds like a really, there's such a tension because it sounds like a really privileged place to say like I'm gonna take a month off. But also, if you think about it, if you work 60 hours a week, you're working 50% more than a normal person's work week. And so you have to come up with ways to take care of yourself. And so I think it's been really interesting, since I've been doing this, there is more of a push for personal care and figuring out how to take care of yourself physically and mentally. I think with lead with kindness as much as you can and do the best job of the job that you have. Take responsibility for the tasks that you've been given and do them really well because that'll make people want to give you other tasks. Being willing to just jump in and do anything; there was a night where I was on a show, and it was super late, and we had hundreds of background and I went signed out background with the rest of the AD team because we're all just a team at the end of the day, we're all just trying to get through it. There's nothing on a set that I won't try and jump in and help do. Everybody should have that. That was like four things. So there you go. There you go.
Herman Phillips:
Amazing. I completely agree with all of that. And I think that's definitely something I've taken to heart and something that we've talked about for sure, you and I, in the past outside of this is that you absolutely must find that time to rest and find that renewal. Yes, definitely don't have a scarcity mindset. I completely agree with that. Thank you so much, Luke. This has been a lot of fun. We'll be back soon with another AD. So tune in for that one.
Herman Phillips:
Thanks for listening to this episode of Switching to 2. We'll be back soon with more fantastic assistant directors.
