No, I Did NOT Forget To Interview the Hair and Makeup Team Responsible for Aunt Gladys in Weapons

Look behind the look explores your favorite looks in film, television and fashion history

Tiffany Bartok: Welcome to look behind the look, the celebrated podcast that explores your favorite looks in film, television and fashion history. Through conversations with the fashion world's elite and award winning hair, makeup and costume designers on sets around the world, you will see and hear exciting tales from behind the scenes, career origin stories and tons of advice and tips. I'm your host, Tiffany Bartok. Hey everybody. Welcome to look behind the look, where we are finally talking about weapons. I know you were probably wondering, where is the weapons episode? I know I was late to the Aunt Gladys party because frankly, I was too scared to watch Weapons, but did watch it, of course, as you all did and fell in love with Aunt Gladys and immediately made made the conversation happen about how Aunt Gladys came to be.

Today we have the makeup team for the movie Weapons

Today we have the makeup team for the movie Weapons, Leo Satkovich, Miliza M. Wheat, and of course Jason Collins, frequent.

Jason Collins: Guest and always a good time. The three of them came together to.

Tiffany Bartok: Tell me about Aunt Gladys and answer all the questions that you have. Enjoy this conversation about how all the magic happened for Aunt Gladys and Amy Madigan and so much more.

Jason Collins: You know, I don't want to jinx anything.

Leo Satkovich: nice sweater you got there, Leo.

Miliza M. Wheat: Yeah, like it breezy?

Leo Satkovich: No, you look like you're ready for the snow.

Jason Collins: He was just saying that he was in not outside today all day.

Speaker E: So that's why my face is so red. It's so cold.

Jason Collins: Oh, gosh, I don't even notice. You guys all look great.

When they reached out, do you want to do Weapons, I declined

Miliza M. Wheat: So.

Jason Collins: Hello, everybody. I am so honored to have all three of you here in the room. And I, I just want to tell you right off the bat that, when they reached out, do you want to do Weapons? I literally responded with, no, I'm too scared to watch it. This was like, I want to say, like a long time ago, like maybe like August. And I was like, I'm too, I'm too scared to watch it. Well, for Halloween, of course I watched it because it was on digital. And, I immediately said, will you please, can I please get the team together, please? I take it back. I take it back. It was amazing. And I knew it would be amazing always. And everybody has been talking about this film forever. I knew, but I was just like, oh my God, I can't watch little kids being, you know.

Did you know what this was going to be when you first saw the script

And so, let's talk about this amazing adventure you guys have been on. Did you know that what this was going to be and how well it was going to be received when you first saw the script?

Leo Satkovich: I mean, the script was great, but yeah, you know, I've read a Million great scripts. You know, you do the movie and you're like, oh, man, that's. That's a stinker. I mean, I thought the script was great. I'll let Leo and Eliza speak. But it's, the. The response has been overwhelming. Insanely overwhelming. And that's really cool.

Jason Collins: Yes.

Speaker E: I mean, I guess you hope that every script that you read is going to be. Is going to be received well and. And is going to do so amazing. so I guess, you know, I guess the jaded part of you comes out and you're like, well, I guess we'll see. You know, it reads well, but I guess we'll see what happens. so. But to answer your question, no, I had no idea. I had no idea it was going to be, ah, received the way that it was and was going to just skyrocket into this massive thing that it became.

Leo Satkovich: Yeah.

Speaker E: so it's really cool to see.

Everyone was very passionate about making this project because it was a challenging shoot

However, when we were shooting it, you did feel, you definitely did feel something very special and that everyone knew that they were making something very special and everyone was very passionate about making this project because it was a challenging shoot, you know, shooting with prosthetics and, you know, in the middle of, Georgia in the middle of summer. so it was by no means easy, but it was definitely very fun and you definitely felt the, the passion and everything special on set.

Jason Collins: Fantastic. Meliza, you too? You feel the same?

Miliza M. Wheat: Yeah, I mean, yeah. Naturally, when I read the script, I, had to backtrack a little bit. I was like, wow, what in the heck is going on here? And, just all these creative, visions were coming through and I wasn't sure it was such a broad, idea. But, it was exciting. It was very exciting. And then I'd backtrack and. Did I just read that? And it was a puzzle. It was the pre. Puzzle of the puzzle. But it was great, right?

Jason Collins: Putting together that puzzle.

How did Aunt Gladys come to be on the show

Let's. I mean, obviously everybody wants to know every last detail about aunt, ah, Gladys. And I mean, where did you first meet Aunt Gladys? Creatively, in your mind, was it on the page?

Speaker E: What.

Jason Collins: How did this come. How did this. How did. How was she born?

Speaker E: It was in the script.

Jason Collins: It was.

Speaker E: It was in the script. You know, Zach Kreger gave us a very, he gave us a pretty sturdy blueprint to work with. Okay. but the script did say that she had very garish makeup. she had red hair that frizzed out in all directions. her makeup pushed into clown like territory. yeah, I mean, that was about it. And then. And then from there, we just kind of followed, you know, our. Trish Somerville, the costume designer, started to put her in some of these really, dated and eccentric figures, fun pantsuits, and everything just kind of came together step by step. It was its own little living, breathing entity that. That evolved. You know, every day during prep, we'd be like, what about this? What about this? This? And every seed just sprouted into something massive and better.

Leo Satkovich: Well, it's definitely one of those things where it's like, when you read it, as Leo just gave the description, it can go 50 million different ways.

Jason Collins: Right, right.

Leo Satkovich: And. And it's really a delicate line you're walking, you know, because, you know, there's. There's. There's. There's camp and absurdity to the character when you first see her. M. And there's also that underlying. Of that. That underlayment of villainy, you know, and. Right. Ferociousness. So it's, you know, you can walk it up, and you can walk that line. but, you know, you can also fall over that line really easy, for sure. And really, the person that kept that on track, of course, was Amy.

Speaker E: Right.

Leo Satkovich: Amy was always walking that balance, I think, from. From her perspective of the character, you know, so it was just really up to us to sort of make her look like a fish out of water when you first see her, you know, and, you know, Zach had referenced a lot of, like, Diane Harvest and Cindy Sherman and things like that. And, you know, obviously, we. We know these. These. These pictures and these references, so it kind of gave us a good place. And as Leo said, Trish Somerville, you know, with her color bl. Her outfits and everything. And so it's like. It's kind of the fourth leg of that table, if you will.

Jason Collins: Yeah.

Leo Satkovich: because it's like that character is nothing without the. The wardrobe as well, you know, so, you know, and then. And then, you know, Maliza with that beautiful. That beautiful wig, which was not an easy place to get to. Right. Meliza.

Jason Collins: It couldn't have been. It was a character, on its own.

Speaker E: Yeah. Yeah.

Miliza M. Wheat: I think that, you know, when we had our camera test, it was the first time we were working together.

Speaker E: Oh.

Miliza M. Wheat: You know, as far as, like, putting the pieces together during prep. And I would have loved to have been there. We didn't. Ah. And so I was, you know, tried on different wigs, different lengths of wigs, longer wigs, different tones, different wigs for different things. And just to see how they would photograph and to see what. What Zach wanted. Because saying, I want a copper red wig. It could be a different copper red wig on camera or to the naked eye. So there were those challenges. But what I realized too is that we. When we had the camera test, we didn't have the. The, vocal, elements of Gladys in place because it was like lighting, textures, color palettes, shadows, and all those dimensions that are. That play into costume and makeup and hair and just lighting the set, the tone of the movie. And what we didn't. I didn't recognize any like, of, what Gladys had to bring to the table. So it was really kind of cool to me. I feel like that camera test was to me when Gladys was born. Cause it was like, oh, damn, we are going for a ride. And she is so killer. Like, we were all just so excited. And so when we got into putting her together for the first scene, she was in, In that hero look. And she did her scene and she had dialogue, and we were like, what? It was insane. It was like, man, at this point, it was pretty magical.

Jason Collins: How exciting how all the elements are so important.

Miliza M. Wheat: Like, it's.

Jason Collins: It's the effort. It's that.

The imperfection shows how much effort she's put into everything

Speaker E: That she.

Jason Collins: It's just. It's effort without perfection. It's like you.

Leo Satkovich: The.

Jason Collins: The imperfection shows how much effort she's put into everything. Kind of like in a Baby Jane way, but like, even more. Right. It's.

Miliza M. Wheat: Yeah.

Jason Collins: It's. What was an example? What. When did you think that you went too far? Like, it went.

Tiffany Bartok: It.

Jason Collins: Did it ever look like it or. You know what I mean? How did you keep it human looking? What did you keep in mind?

Miliza M. Wheat: Yeah, for hair, I think, I knew that, Zach didn't want to go like, Pennywise or like that. It was just. That would cross the boundary.

Jason Collins: Right.

Miliza M. Wheat: but I think it's also an interesting balance of the silhouette of the hair and how it. The silhouette at a profile. How that looks and how that reads with her. No, the collars and the volume and how frizzy. And where do we go with this character when we do have the nightmare? See, I wanted somewhere to go, so I had to kind of. When we first see her get out of the car, it's shot in the evening, but I used a more drab wig. It's a very quick scene of her getting out of the car when she first arrives. And it's a very, You can't tell that it's a dull wig.

Speaker E: But it's.

Leo Satkovich: It's.

Miliza M. Wheat: It's not quite so elevated, so it was kind of cool to. To push those boundaries a little bit. And. And the nightmare stuff was always extra fun because it got crimpy, and I did some cool stuff. And. And with makeup, too, you know, it was just another level of. Of, Extra.

Jason Collins: Yeah, I would say, guys.

Leo Satkovich: And I think from the makeup perspective, you know, at least from the prosthetics perspective, I mean, Leo and I had a lot of conversations, obviously, with Zach as well, and. And. And, you know, we did some rough design work. We did some. We did a lot of things. we thought we did a lot of building into that imperfection, if you. Yeah, yeah, because that imperfection really is perfected on our end, and it has to be, because, you know, any. Any when you're. When you're walking that line, and I'll let Leo speak more to that, but when you're walking that line, that garish, over, over, done line, I mean, it could go. It can really go far, too far over. So, you know, we did do a lot of Photoshop, we did do a lot of talking back and forth. but, you know, really, it kind of comes down to you can do as much on the paper as you want to do, but until you start throwing pigment on people's faces and start trying to figure out what that looks like with what Liza was saying, the lighting and that, you know, what the DP Larkin is going to do with it and. And, you know, that kind of thing, what Amy brings to it and just what the condition of the skin is, things like that, there's all sorts of those things, and Leo could speak more to that, overall.

Speaker E: And, you know, the. The first makeup test was a little challenging. It was definitely fun because we knew right away, just from the words on in the script, like Jason said, that this is going to dance the very fine line of camp. And we, did not want to push it into drag. We'd see right where. Where she could look like a drag queen very easily. And from. From my perspective, I believe the first. The first makeup test was a little bit too drag queen. So from there, engineer everything that I ever knew about makeup and do the exact opposite.

Jason Collins: Okay.

Speaker E: Which was, which was quite challenging for me as an artist, because you want everything to be pretty, you want everything to look nice. So, you know, definitely leaning on my counterparts here, we came up with, some really, really great solutions. I mean, my hand physically would not let me draw that fucking ugly Eyebrow. so I actually put it into Procreate and turned it into, a tattoo sten that we would put on every day. That's how I kept continuity. Then I would trace over it with powder, and I can control the density, opacity, for that matter, of the. Of the colors, of the saturation of color. And it was almost as if, her makeup was in a constant state of coming off rather than going on. and we just pulled from different, you know, different eras we really loved. there was something really empowering about the mod era with that. With the eyeshadow, that. That thick graphic liner, but make it a character. So instead of being pretty, you know, it pulled the eyes down, and it just changed the shape of her face a little bit more. and of course, you know, the beautiful eyebrow covers that Jason made. We had free range to do, you know, whatever we wanted with her, with her eyes, with her eyebrows. mink stole. Whatever happened to Baby Jane? Those were big, influences for me personally. So we just pop on three. Three little individuals right on top, and we would just clump that with. With black powder and mascara to really get that. Really get the clumpiness of that, which just sits there and applies mascara over and over and over, and it would get up there. And like Jason said, there's, There are minute details in the degradation and the messiness of it. You know, it's almost,

It's almost more challenging to do that than making a makeup really pretty

It's almost more challenging to do that than to make a makeup really pretty.

Jason Collins: Yeah, there. There's one. Oh, Were you going to say something, Jason?

Leo Satkovich: Oh, no, I was just going to. I was just going to mention some of the. The sort of prosthetics that we did as well. We can get into that.

The kids on Reddit are all puzzled about why Gladys didn't look per

Jason Collins: Yes, I want to. I have one question. While you were talking about imperfection, like, there's a. The kids on Reddit are all very, puzzled and arguing about why Gladys didn't look per. You know, didn't. Didn't try harder with her finished makeup. Going into the principal's office. Was she really going to go into the principal's office now, Tiffany?

Miliza M. Wheat: Yeah.

Speaker E: You, know the exact type of woman that Gladys is. We have all seen this woman at the grocery store.

Jason Collins: Bloomingdale's, Bloomingdale's, Bloomingdale's counter.

Speaker E: We've seen her at Nordstrom, we've seen her at Macy's. We know exactly who this woman is. But, of course, it's cinema, so we amplified it times five, you know, for something fun. But, you know, we all know who Gladys is.

Jason Collins: Yes.

Speaker E: And that was part of the, that was part of the whole design aspect was that Aunt Glattus was never meant to be a ghoul. You know, she's definitely someone if you saw walking down the street that you would shy away from and text your friend, be like, you will never guess what I just saw. I snap a picture. You have to see this. But you know, it's not someone that you go home and have nightmares about necessarily.

Jason Collins: Right, right.

Amy Madigan plays Aunt Gladys on "The Office"

Speaker E: That's the really cool aspect about Amy Madigan is as Aunt Gladys is that she does dance on that Linus camp, but when she snaps into it, she's ferocious and terrifying at the same time.

Jason Collins: Oh, I love it. Oh my God. I'm gonna, you after this. I have to watch it all over again because this is just. I love, I love it.

Speaker E: But to answer your question, that is trying for her and she thinks she looks fabulous. And for what it. For what it's worth, so do I M. 100%.

Jason Collins: 100%. She's got this, she's got this meeting.

We only had a very little amount of time with Gladys in the film

Leo Satkovich: We only had a very little amount of time with Gladys. If you think about it from, from screen time perspective.

Jason Collins: That's true. Right.

Leo Satkovich: And it's amazing how if you really go back and you watch it, how little screen time there is with Gladys. It's really the last third of the film.

Jason Collins: Yeah.

Leo Satkovich: Ah, but, but she is obviously the pupper master of everything. So we had to cover a lot of looks and a lot of, perspectives of Gladys's looks throughout that sort of small amount of screen time, you know, and see her. Should we see sort of a different perspective of her, if you will. And that's, that's the challenge that I really loved was that, you know, she's, she's got her day makeup where she goes and sees the principal, she's got her house makeup, you know, and also as she's draining this energy from the parents and everything, we see her getting, you know.

Speaker E: Yes.

Leo Satkovich: But it's not enough, obviously. And she's gotta pull more from, from the children so she can, you know, she's, she's a parasite.

Jason Collins: Insatiable.

Leo Satkovich: So really trying to tell that story each time, you know, like when we first see her, she's like really, really old and decrepit. And when, when Alex pierce through the door and she's playing in bed, you know, and then the next time he comes home from school, she's fresher faced, you know, she doesn't have the garishness or anything, but she's fresher faced, and, you know, and then as she is, going further and further, Alex, you know, comes home and sees her up in the room doing the thing, and she's got that crazy dread and all that things going on. She's not looking too well. The idea, though, really, is to sort of tell this arc through. Through makeup as well, because it's not like the story is saying, oh, she's. She's sucking all their life energy, so she's getting better. I mean, it's all there if you watch it.

Miliza M. Wheat: Sure, sure.

Leo Satkovich: Really, it's that the. The story is telling itself. So we have to sort of tell that character's arc through the makeup as well.

Jason Collins: Yes.

Miliza M. Wheat: And, yes.

Leo Satkovich: I think that that was, an interesting challenge in and of itself. It's like, how do we hit the key points of all those different looks throughout that sort of small amount of screen time, if you will.

Jason Collins: Right.

Leo Satkovich: And that was. That was challenging in and of itself, other than just the. The beautiful day look that everybody sort of like, oh, that's Aunt Gladys, and she looked crazy. That glass has got a whole bunch of other stuff for you.

Jason Collins: 100%. 100%.

Speaker E: There's a lot of secrets up under that wig. Not my shirt.

Jason Collins: Oh, my God. That's really the thing that you guys nailed so hard was that. That storytelling through the makeup. And I think the best example of it was when she was, you know, when she turns and it's all lit so beautifully and creepily, you know, when she sort of. You know, when she has the wig off. And. And what. What went into that? What. What are the prosthetics that went into creating that Sick. I guess the sick or natural? I don't know. Is she sick or she. Is that just her.

Leo Satkovich: Well, Gladys always has, The. The three things that. The four things that never changed on Gladys throughout all the looks were prosthetic nose, contact lens, eyebrow covers, to. To cover her eyebrows, so. Because nothing's more creepy than, you know.

Jason Collins: Yeah.

Leo Satkovich: 100, earlobes and, those teeth, you know, and. And those are the things that were consistent her whole look. Because, okay, the idea was. And we've said this before, but the idea was that we really wanted her to. To have that vicious undercurrent. And, yes, that is that sort of bird of prey look, and that's that sort of hunting. And, you know, the initial idea of that design, as Leo and me and Zach were talking, was that it's like, she's a bird of prey. She's Always watching. She's always leering underneath the mask that she puts on with the rest of the world. So we put down her iris. We made her teeth smaller and more nubbier. We gave her this beak that, you know, it changes her face a lot because Amy's got this really cute nose.

Miliza M. Wheat: Yeah.

Leo Satkovich: you know, so Gladys, we wanted to give a little bit more of a profile, too. So it's like, when you. When you catch it just slightly, it's like, it's. It's got this slight beak quality to it, if you will, you know, so it's all of those things. Her earlobes from years of, you know, dangling. Dangling earrings, you know, really to elongate her face, you know.

Jason Collins: What a detail. The earlobe. Yeah.

Leo Satkovich: And so when she was the sicker look, you know, we went off the basis of, like, you know, naturally when people are sick, you know, And Amy's got a whole head of healthy hair, you know, and it looks nice and everything. So we wanted to really thin that out, really make that look kind of like, you know, this is somebody that's not doing too well. I mean, the first thing goes is your hair.

Jason Collins: Yep.

Leo Satkovich: So we did that. We did these punched silicone caps. so, every hair is punched piece by piece, you know, one strand at a time to give her that kind of look. And, you know, it's interesting because we always transport it with the braids in so that we can apply it easily easier. Zach and I can apply. Or Leo and I can apply the prosthetics easier. And Zach came in, we're doing the test, and he really loved the braids in it.

Tiffany Bartok: Okay.

Leo Satkovich: And I thought, you know, okay, if you want to. You know, that CEOs, like, looks so weird. And it did it really.

The only thing that we did differently is segmented the hair symmetrically everywhere

I mean. I mean, I love reading all the comments because everybody's like, what the fuck is going on?

Jason Collins: I noticed the braids, too.

Leo Satkovich: The only thing that we did differently, we segmented the hair symmetrically everywhere as.

Jason Collins: Wow.

Leo Satkovich: and then really made them really super tight. And that was sort of creepy in its own right, you know? And, But, yeah, you know, another. Another thing that we did, and Eliza can speak to this as Leo can as well, is, you know, whenever she's wearing her red, wig, everything is kind of, like, popped back a little bit.

Jason Collins: Yeah.

Leo Satkovich: You see more of her scalp up here. So she's got these little paint things up here so we can get rid of her hairline so it looks like that wig ain't sitting where that wig should be sitting. Right. Probably speak more to that.

Jason Collins: Yes, that's good.

Speaker E: What if we just take a little. A little. What about a little.

Miliza M. Wheat: Bang? And it.

Leo Satkovich: There's nothing.

Jason Collins: Nothing creepier than an offset wig. Like, you know, nothing more emotionally unstable, right?

Leo Satkovich: Yeah.

Miliza M. Wheat: Yeah, for sure.

Jason Collins: Yeah.

Miliza M. Wheat: I mean, the whole idea, too, is that, you know, she's. She just puts this on herself, you know, and she's confident, she's powerful, and. And, like, her makeup, she's. She feels like everything's just right.

Jason Collins: Yeah, she's, you know.

Miliza M. Wheat: And, But I also felt like, you know, we wanted the silhouette and. But I. You know, we had. When we did the test photos, you know, it was short, it was blocked, but it wasn't until, like, we started to really put all the pieces together and she had her collar, her pearls on, and, I shifted it back just enough to where then it almost created a little arch, like a really broad arch. But we were seeing. Early on, we were seeing some of this. Her own hair here under the wig cap. So that's when our fabulous makeup team went in and put these pieces so that you could see that naked scalp under there.

Jason Collins: Right.

Miliza M. Wheat: So you're like, what, Another level of. What the heck?

Speaker E: Yeah.

Jason Collins: You're just pulled in with questions.

Miliza M. Wheat: Yeah.

Leo Satkovich: There's always that sort of unsettling thing, and I think that that was the sort of really big of part thing with Glattus was that, you know, the idea was that she. Yes, she looked garish and audacious and. And things like that. But there. There has to be something where it's like, you could be standing behind this woman at a store and she reminded you of your aunt that smelled like mothballs. And, you know, you know, you always had to make room for those people because those people with their eccentricities. We all have a family member like that. I have a.

Speaker E: A few.

Leo Satkovich: But, you know. Yes, for them, because you're like, that's a different time. They're different people that different. You know, so. So, you know, there is that sort of inviting of that in. But. Yes, should always have that sort of like, I'm going to invite that in.

Speaker E: But that I fully believe that she wouldn't have been. She would not be the hit that she is today if she looked anything else but that,

Leo Satkovich: Right.

Speaker E: You know, like. Like, if she did come in beautiful makeup and, you know, ab. Fabbed out, it would not. I. I think part. I think I fully believe part of the sensation is the fact that she did look the way 100.

Jason Collins: It was the most. It's really. I haven't seen anything like it in a long time. That's so. Like, I'm always talking to my son about, beautiful. He's into Tim Burton now. the, you know, gorgeous. Beautifully horrifying. Right.

Speaker E: Like.

Jason Collins: And, like, that's what it was. You're just like. Like, you almost are. Like, I can help you, Gladys. Like, wait, let me just fix a couple things. And so you sort of have empathy for her. And that, like, doesn't make you. That makes you want to know more.

Speaker E: You know, that's what we're saying. Justice for Gladys. She was wrongly accused. She technically didn't do anything.

Leo Satkovich: Yeah.

She technically didn't hurt anybody. Everybody else hurt people. I'm saying. Yeah. I mean, it's their fault

She technically didn't hurt anybody.

Speaker E: Yeah.

Leo Satkovich: Everybody else hurt people. She just suggested it to their brain.

Miliza M. Wheat: Yeah.

Jason Collins: I mean, it's their fault.

Leo Satkovich: I'm saying.

Jason Collins: I'm saying.

Did you guys love seeing all the Halloween costumes on Instagram

Did you guys love seeing all the Halloween costumes?

Leo Satkovich: Yeah. I mean, as makeup and hair people. I mean. I mean, you know, Halloween is my favorite time.

Jason Collins: Of course.

Leo Satkovich: It's like. And the Liza. I know it's yours as well.

Miliza M. Wheat: Yeah.

Speaker E: And it hasn't died down. I love Instagram and TikTok.

Jason Collins: Yes.

Leo Satkovich: I just love seeing people do their own, tutorials, you know.

Jason Collins: Ah, yeah. That must be a trip.

Leo Satkovich: It was really cool because it's like, to various degrees of success.

Jason Collins: Right, Right.

Leo Satkovich: you know, there's some that. And there's some that put their own spin on it, which is. Which is great, you know, and as a makeup person around Halloween and seeing. Seeing what we did, what we came together and did, out there and have a lasting sort of legacy and momentum with people and an impression with, is fantastic. You know, from a visual standpoint, obviously, it all comes back down to Amy and Zach. You know, I mean, Zach's written word and ideas and Amy's, you know, amazing performance, you know.

You've contributed to this greatly, to this woman getting an Oscar buzz

Jason Collins: Well, you guys are very humble, but, you know, it's you. You've contributed to this greatly, to this woman getting an Oscar buzz. I mean, I just, you know, I just saw her in Uncle Buck, Guys. Like, like last week, she looked a little different. It was like.

Miliza M. Wheat: Well, yeah.

Jason Collins: And I was just like. And I was like, oh, my God. We just watched her and Uncle Buck, like, look at this powerhouse. Like, this is amazing. And, you know, you're a very major part of that. It's. Everybody is so excited to see this new and talking about her origin story being created. I mean, there's a lot of buzz about that. So you guys have, you know, I know I can say It. You pro. You are too humble to say it, but you've been a huge architect of the success of this performance, you know, so.

Leo Satkovich: Wow.

Speaker E: Thank you.

Leo Satkovich: Also, for us, it was that I, you know, from my perspective, it was one of the best experiences I've had, especially meeting these people that I call dear friends now. And just all of us having the same sort of, The sort of.

Speaker E: Sort of.

Leo Satkovich: Same sort of, artistic chemistry, for sure came together because it did come together really fast, and there wasn't a lot of opposition, and there's not a lot of ego, and it was like. It was like we all just wanted to make the best character because that's, That's what the script, you know, really was. Was amazing. And that's what the script really sort of elicited. And once, yeah, once we all met Amy, it was just like. It was like she was just a hand grenade, you know, and it was like she really just sort of started the, you know, I'm here for whatever. Let's do it. Wow. Let's do eyes. Let's do this.

Speaker E: Yes.

Leo Satkovich: Let's make me look as far as. Because a lot of times you get an actress in your chair, and, you know, there's a lot of conservatism. There's a lot of pulling back, you.

Jason Collins: Know, especially, of course, yes.

Leo Satkovich: You know, they want to be presented more, you know, but, like, you know, I did another film with. With Glenn Close a couple years ago, and she's the only other woman of a certain age that. That. That really was like, let's go for it, whatever, you know, let's. Let's really dive into it and go for it, you know? Yeah, it's. It's. You don't get that that often. And the fact that she was willing to. To go all the way with it, it really did come together quite fast, you know, and I think that we all knew it.

This is your first time collaborating? Yeah. I'm new to their circle

Jason Collins: and this is your first time collaborating?

Leo Satkovich: Yeah.

Jason Collins: Oh, wow. I would have never guessed. I didn't never guess.

Speaker E: I've worked with. I've worked with Maliza.

Miliza M. Wheat: Yeah. We've done a couple things together.

Jason Collins: Fantastic.

Leo Satkovich: but, yeah, I'm the first, I'm the first. I'm. I'm new to their circle.

Jason Collins: I love it. I love this trio. I love it. I can't wait till you guys make more. What are you sorry for? Oh, because. Did you get a message on your thing?

Speaker E: Oh, no. You guys didn't hear that?

Jason Collins: No.

Speaker E: Oh, my God. The fire alarm just went off in this little house. I can't believe you did hear that was probably too high pitched for the microphone.

Jason Collins: We didn't hear anything. We didn't hear anything. No, no, no, no, no. Oh, my gosh, you guys. Well, thank you so much for. I can't believe again that we in the same boxes. I'm so grateful, Jason. I love any opportunity to talk to you. You've been on the show a million times and always with something amazing. And so you two, I'm going to be talking to the three of you again when we have the. I'm, I'm manifesting the origin story right there. We're going to be talking about it. Yes. It's 11:11 today. So, you know, it's going to happen now. So get ready, guys.

Speaker E: Thank you.

Leo Satkovich: Okay, so much.

Jason Collins: Bye, you guys.

Speaker E: Always talking to you.

Jason Collins: Oh, sorry. Talking to you so much.

Miliza M. Wheat: Good to see you.

Jason Collins: Thanks, you guys. Thank you.

Look behind the look is a vinyl foot production written by Tiffany Bartok

Tiffany Bartok: Look behind the look is a vinyl foot production written by me, your host, Tiffany Bartok. Produced by Jace Bartok. Edited by Victoria Pastorelli. If you're interested in learning more, find our video version on the YouTube channel look behind the look podcast. There you can see rare photos and clips from our guests and please follow us on Twitter at Look behind pods and Instagram okbehindthelook. If you like the show, please rate, review and subscribe and tell your friends and spread the word. You can subscribe to us on itunes or any podcaster of your choice. Thanks for listening to look behind the Look.