►
Description
Continuing his Economic Recovery and Reinvention Listening Tour, Governor Gavin Newsom hosts a digital roundtable with Californians who work in the film and television industry.
The participants share how they are dealing with the COVID-19 crisis, how they are adapting to workplaces in the weeks and months ahead, and what opportunities they see to reinvent their businesses, industries, consumer habits, and our state's economy.
This teleconference was recorded May 20, 2020.
For more information regarding the impact of the COVID-19 outbreak in Cupertino, please visit https://www.cupertino.org/coronavirus.
B
And
let
me
just
first
contextual
briefly:
we
have,
as
you
all
know,
been
moving
in
to
the
reopening
of
our
economy
in
phases,
and
we've
been
very
deliberative,
going
back
many
many
weeks
when
we
first
started
by
focusing
on
the
health
care
system,
particularly
our
hospitals,
many
weeks
ago,
to
begin
to
modify
our
stay-at-home
worker
and
to
start
allowing
scheduled
procedures.
We
methodically
started
to
break
down
sector
by
sector
of
our
economy,
guidelines
to
begin
the
process
of
a
phased
in
reopening.
B
B
It's
very
relevant
the
conversation
that
we
are
about
to
have
and
that's
why
I'm
so
grateful
all
of
you
for
joining
this
conversation,
we're
in
real-time
drafting
guidelines
related
to
productions,
TV
commercials,
more
broadly
industries
that
Unitas
gear
together,
because
we
anticipate
rolling
it
out
on
Monday
some
sectoral
guidelines
that
would
allow
these
counties
that
are
in
better
conditions
and
some
of
the
others
to
begin
to
move
forward
deeper
and
allow
some
modification
allow
some
work
to
be
done.
Allow
some
movement
in
your
industry,
and
so
that's
why
this
is
timely.
B
Why
we're
grateful
and
that's
why
I'm
very
honored
that
we
have
this
opportunity
to
dialogue
with
quickly
so
many
different
perspectives
that
we're
bringing
to
bear?
Perhaps
a
member
of
our
task
force?
Ted,
would
start
with
you
not
just
because
I
want
to
pick
on
you
for
your
technical
challenge
there.
Because
of
your
technical
expertise.
You
in
particular
really
have
a
sense
of
the
globe.
B
What
you
guys
are
doing
in
South
Korea,
what's
happening
in
Japan,
what
you
will
start
doing,
I
think
in
Sweden
in
other
parts
of
the
country
as
well,
not
just
around
the
rest
of
the
globe.
Maybe
you
can
contextualize,
where
you
see
things
currently
and
where
you're
hoping
we
can
go
to
another
here
in
the
state
of
California.
C
One
thing
I
would
tell
you
is
that
you
know
our
base
is
quite
important
to
the
state
and
quite
important
to
the
world
in
terms
of
providing
entertainment,
Kraig
creating
providing
escapism,
but
also
providing
employment
and
in
keeping
people
sustained.
This
is
a
great
time,
I
think
for
us
to
figure
out
how
we
get
back
to
work
safely,
meaning
the
job
into
the
choices
that
we
have
to
make
today
or
not
staying
home
or
not.
It
really
is
this:
how
do
we
get?
How
do
we
get
back
to
work
safely?
To
your
point?
We
are.
C
We
are
currently
in
production
in
places
like
South
Korea,
like
Iceland
Sweden
and
following
and
developing
safety
protocols
there
that
are
befitting
local,
the
local
environment
and
the
thing
that
would
felt
we
were
finding
out
is:
there
are
no
one-size-fits-all
solution
to
production.
Basically,
there
are
different
levels
of
density
of
population.
C
Certainly,
do
have
tests
more
some
more
also
in
each
of
these
places,
so
in
places
like
Sweden
they're,
not
we're
not
doing
testing,
but
they
are
doing
voluntary
quarantine
in
the
weeks
leading
up
to
and
during
and
throughout
the
production
in
Korea.
Anyone
with
the
symptom
is
immediately
tested
and
production
is
shut
down
until
you
get
results,
but
a
limit
certain
protocols
that
we
hadn't
thought
about
before
that
you
are
employing
in
other
places
like
in
Iceland,
where,
where
they
don't
do
ride-sharing
to
set
so
people
drive,
it
are
transported
separately.
C
C
Who
you
don't
know
who
they
are
there
they've
been
so
there
are
it
so
in
that
way,
it's
a
much
more
controlled
environment,
but
the
key
to
this
I
think
is
the
getting
to
the
place
where
we
have
the
the
safety
of
everyone
on
the
casting
crew
insured
and
beyond
that
they
have
to
feel
safe
to
come
and
do
the
work
of
their
lives.
So
to
do
that
is
it's
things
like
fast,
dependable
testing
at
scale
and
I.
C
Think
being
our
ability
to
be
able
to
lead
that
around
the
world
is
very,
very
important
to
know
when
people
come
to
work,
they
come
to
work
with
confidence
that
the
set
it's
the
sets
are
clean
and
sterilized
that
the
people
they're
working
with
or
clear,
are
healthy
and
that
they
are
being
looked
after.
So
it's
see
the
actual
logistics
of
health
safety,
but
also
the
emotions
of
that
are
very,
very
important.
I.
B
Appreciate
that
Ted
and
I'll
come
back,
because
I
also
want
to
get
a
sense.
What
you're
hearing
in
other
states
in
you
know
in
a
moment
and
where
they're
moving
and
at
what
pace,
particularly
states
like
Georgia
and
others
that
have
been
so
aggressive
on
the
production
side,
but
first
I
want
to
ask
Stacey
because
Stacey
you're
interesting
on
so
many
levels
and
I'm,
so
grateful
you
took
the
time
to
be
on
this.
Thank
you.
B
This
conference
called
because
you're
also
that
intersection
as
a
stylist
and
the
work
you're
doing
on
hair,
but
in
this
industry,
and
we're
also
looking
in
parallel
track
to
provide
an
opportunity
to
make
the
variance
and
make
the
adjustments
in
your
industry,
broadly
even
outside,
of
production,
TV
and
commercial
industry,
to
allow
hair
stylists
to
operate
again
as
early
as
next
week
in
some
of
these
counties.
Tell
us
about
you
know.
B
D
I
mean
in
the
beginning
of
this.
Of
course,
it
was
sudden
everyone
was
thrown
into
it.
Industry
wise,
you
know,
you're
working
on
and
everything
is
shut
down
almost
immediately
having
to
pack
down
trailers
that
we
usually
take
over
a
week
to
pack
down
doing
it
in
one
day,
not
knowing
what
tomorrow
looks
like
you
know,
things
being
extended,
you
know
at
home,
I
have
kids,
they
were
thrown
into
homeschooling.
The
teachers
were
thrown
into
homeschooling
I'm,
all
of
a
sudden,
a
full-time
teacher
chef.
D
You
know
psychiatrist
principal
the
maid,
the
housekeeper
I'm,
everything
you
know,
and
so
it's
a
little
bit
overwhelming.
You
know
having
to
keep
my
own
mental
health
together
to
present
a
front
for
my
children,
so
that
they
have
trust
and
faith
that
everything
will
be
okay,
balancing
them
mentally.
You
know
and
academically
and
all
of
those
things
as
far
as
financially,
not
knowing
what's
happening
tomorrow,
taking
advantage
of
all
the
things
that
have
been
you
know
afforded
to
us
to
take
advantage
of
a
new
all
new.
D
You
know
trying
to
navigate
the
systems
that
are
overwhelmed
and
and
flooded,
and
you
know
I'm
grateful
completely
grateful
for
those
things
being
extended,
but,
as
we
all
know,
it
doesn't
support
your
normal
everyday
life.
You
know
so
looking
forward.
We
know
this
is
not
going
to
just
disappear
overnight,
so
we're
gonna
have
to
navigate
through
this
virus
as
safely
and
as
sanely
as
we
possibly
can
on
our
task
force.
D
We're
trying
to
put
together
those
protocols,
like
I,
think
we
stated
before
there's
a
lot
of
different
scenarios
that
take
place
with
production
and
just
being
educated,
everyone
on
the
same
page
and
not
only
protecting
ourselves
but
protecting
each
other.
If
I'm
wearing
a
fast
face,
mask
I
am
protecting
you
and,
if
you're
wearing
a
face,
mask
you're
protecting
me
so
just
trying
to
figure
out
and
make
sure
we
have
all
the
personal
protective
equipment,
and
we
all
have
guidelines
and
protocols
that
work
for
us
to
be
able
to
work
in
a
safe
environment.
D
Following
you
know,
CDC
OSHA
would
have
you
your
guidelines.
Just
you
know
it's
important
and
you
know
Public
Health
guidance
like
social
distancing
has
to
be
enforced
because
people
as
far
as
I
paid
inherently
don't
like
being
told
what
to
do
or
feel
you
know
feeling
controlled.
Even
if
it's
the
right
thing,
you
know
we
turn
into
adult
children.
So
I
think
it's
important
for
us
to
be
on
the
same
page,
have
some
understanding
some
education
and
implement
the
proper
protocols
I.
B
Appreciate
that,
thank
you
for
John,
what's
I
mean
you're
on
the
producer
side
of
things,
the
acting
side
of
things?
What's
what
are
you
hearing?
What
are
people,
your
colleagues
saying,
you're,
commiserating
back
and
forth
other
folks
in
similar
predicament
as
you?
What
are
you
hoping
to
hear?
What
are
you
currently
hearing
tell
us
a
little
bit
about
what
you've
experienced.
E
So,
first
of
all,
you
know
being
on
a
show.
That's
you
know,
kind
of
currently
in
production
of
a
couple
more
seasons
left
on
this
is
us,
and
you
know
we
are
looking.
We
have
to
go
back
into
production
of
to
finish
our
storytelling,
and
you
know
we
have
a
crew
of
you
know
two
or
three
hundred
people
that
work
in
close
proximity.
We
consider
ourselves
a
family.
E
So
when
we
talk
about
the
the
protocols
and
the
guidelines
we
may
be
following
when
we
go
back
into
production
and
we
it's
it's
really
kind
of
daunting
to
all
of
us.
The
actors
we
talk
all
the
time.
I
do
was
just
on
the
phone
with
Dan
Fogelman,
and
you
know
we
were
talking
about.
You
know
we
may
not
go
into
production
until
January,
depending
on
whether
or
not
there's
a
second
wave.
D
E
But
otherwise
you
know
it's
very
you
know
for
us
in
this
industry,
and
it
is
in
all
of
the
entertainment
industry
because
we're
in
you
know
we're
in
filmmaking
television
film.
But
you
know
we
affect
other
industries
even
live
events,
and
things
like
that.
So
I
think
really
getting
a
handle
on
how
we
can
protect
each
other.
Moving
forward
is
so
important
because
we
don't
want
to
know
just
destroy,
destroy
what
we
really
build.
If
you
will
we
build
these
guidelines
and
then
we
we
don't
stick
to
them.
E
B
I
mean
are
people
being
that
patient
under
these
sort
of
intensely
difficult
circumstances.
Are
people
saying
you
know
what
I'm
done
this
thing's
behind
us?
It's
sunny
or
weather.
Let's
just
go
and
are
you
dealing
with
air
that
friction
in
tension
or
people
really
being
thoughtful
methodical
about
the
next
step?
Well,.
E
Everybody
has
their
own
kind
of.
You
know
how
they
feel
about
Kovac
19,
how
they
feel
about
every
state's
approach.
Our
room
states
were,
and
not
everyone
is
gonna
feel
like
this
is
a
very
personal
thing.
I
mean
some.
You
know
we
have
a
lot
of
middle
class
and
lower
middle
class
actors
that
work
in
this
industry
and
every
job
counts
and
a
lot
of
our
lower
middle
class.
The
middle
actors
have
side
hustles
that
that
other
job
that
they
have
and
a
lot
of
them
are
in
the
restaurant
industry.
So
they've
lost.
E
You
know
jobs
I'm
on
two
fronts,
so
of
course
people
want
to
get
back
to
work
now,
because
you
know
we
have
to
work
in
order
to
sustain
ourselves
and,
at
the
same
time,
I
think
that
most
people
are
realists
and
understand
that
you
know
the
virus
is
still
spreading.
They're
still
new
cases
coming
to
us
every
day
and
we,
you
know
it
affects
everyone,
not
just
the
the
people
of
a
certain
age
and
not
just
people
with
low
immune
systems
and
immunocompromised.
E
You
know
there
are
people
that
are
seemingly
healthy,
getting
the
virus
and
not
recovering
from
it.
So
I
think
the
people
that
you
know
that
I've
been
dealing
with
the
talk
to
we're
more
about,
like
you,
know,
being
safe
and
figuring
out
how
to
survive.
Going
back
to
our
survival
instincts
and
saying
hey,
you
know
what
I
don't
need,
I
don't
need
so
much
I
can
live
off
little
and
then
we
have
to
do
that
in
order
to
kind
of
survive.
This
isn't
that
this
is
a
thing
something
once
in
a
lifetime
thing.
E
B
No
doubt
about
it,
even
I,
imagine
you
similarly
I
mean
and
you're.
Actually
you
had
to
stop
on
a
dime
and
everything
also
imagined
you
had
planned
and
organized
I
mean
how's
that
reset.
How
are
you
able
to
sort
of
keep
things
on
ice?
Keep
things
on
hold,
keep
things
together
at
the
same
time
prepare.
So
you
can
move
quickly
when
things
loosen
up.
Yes,.
B
F
Well,
first
of
all,
I
just
want
to
say
governor,
thank
you
for
having
me
and
I'm,
so
I
feel
very
grateful
to
be
living
in
California
I
have
loved
once
we're
in
states
that
are
doing
what
I
feel
like
questionable
things,
and
so
I
just
feel
proud
to
be
here
and
and
the
way
that
you're
doing
things.
So
thank
you
for
us.
You
know
for
me,
I'm
just
deeply
affected
by
the
challenges.
My
crew
members,
you
know,
while
I
can
kind
of
comfortably
sustain
myself
through
this
time.
F
That's
something
that
we're
thinking
about
a
lot
at
array.
How
can
we
make
sure
that
doors
are
remaining
open
for
women,
women
and
people
of
color,
that
it
doesn't?
We
don't
constrict
in
our
fear
and
I,
think
that's
gonna,
take
protocols
and
processes,
and
and
and
and
some
real
kind
of
structure,
to
guide,
to
guide
people.
Of
course,
my
alarms
going
off
hold
on
guys,
cuz
you're
working
at
home
there
you
know
so
there.
It
is
it's
turning
off.
Okay,
the
to
guide
people
through
that.
F
To
that
end,
I
think
you
know
one
of
the
things
that's
been
positive,
though
about
this
has
been
the
new
ways
that
we've
learned
to
work,
that
I
never
thought
would
work
right
and,
like
virtual
writers,
right,
like
you,
know,
remote
working
for
staff
and
all
of
those
you
know
new
procedures
and
things
that
were
coming
up
with
that
we
can
take
into
this
new
era.
You
kind
of
build
from
and
I
think
that's
helpful
in
the
way
that
we're
designing
things
at
array
on
set.
F
You
know
when
you're
done
you
leave,
you
may
be
down
for
a
couple
hours
in
another
location.
You
would
come
back
just
the
actual
movements
and
rhythms
of
a
set
being
much
different
for
the
larger
crew.
You
know
someone
like
you,
know:
Stacey's
crew,
they'll
come
in
they'll,
do
the
hair
and
makeup,
and
usually
they
stand
by
for
touch
up.
You
know
in
running
in
in
between
every
shot,
we
need
to
figure
out
new
ways
to
hey.
F
Maybe
we're
gonna
have
to
figure
out
that
shine
and
VFX
right
whatever's
on
the
face
right,
new
ways
to
keep
people
in
smaller
groups
and
to
congregate
a
little
a
little
less
on
the
set.
So
those
are
some
of
the
things
we're
thinking
about,
because
I
can't
help
the
timing
that
we
get
back,
but
we
can
make
sure
that
once
we're
back
we're
safe,
we're
solid
and
we're
doing
everything
within
our
power
to
keep
people
working.
Happily,.
B
So
interesting
it
thank
you
for
sort
of
prompting.
Let's
turn
over
to
Dani,
you
help
sort
answer
some
of
those
questions.
Daniel
that
you
know,
creates
a
construct
in
terms
of
you
know
how
you're
used
to
doing
business-
and
you
know
I.
Imagine
you
guys
and
you're
working
very
actively
within
the
Union,
as
well,
probably
certain
best
practices
and
any
a
sense
of
how
you
we
can
operate
radically
differently
as
we
move
in
this
new
phase
until
we
get
that
vaccine
or
immunity.
B
G
Thank
You
governor,
thank
you
all
for
having
me
yeah
I
speak
on
what
Ava
was
speaking
of
as
soon
as
this
happened.
A
hundred
and
fifty
thousand
union
members
were
launched
into
unemployment
and
we
are
as
a
whole
industry
of
problem
solvers
by
design.
So
the
first
thing
that
we
did
is
like.
Okay,
this
is
the
problem.
How
are
we
gonna
solve
it?
What
do
we
need
to
do?
G
What
changes
do
we
need
to
make
I
launched
myself
into
asking
all
these
questions
and
myself
here
talking
to
a
lot
of
the
crew
having
several
zoom
meetings
on
okay?
What
needs
to
happen?
We
think
that
we
need
to
lessen
the
you
know.
The
crew
know
the
numbers
of
crew
on
set
at
certain
times
like
Ava,
was
speaking
of
I,
know
that
corporations
that
we
do
jobs
with
already
instilled
applaud
aspect
of
it
wearing
wristbands
means
certain
access
to
two
sets
and
no
access
for
others.
G
G
This
won't
work,
so
I
think
that
we're
really
doing
our
due
diligence
on
our
end
to
make
sure
sure
that
all
of
our
workers
are
safe.
The
the
problem
that
I
see
and
that
we've
discussed
and
several
of
these
meetings
are
that
someone
needs
to
pay
for
all
this
and
so
there's
a
very
fine
line
in
the
middle
of
all
this
of
having
as
safe
protocols
as
possible
to
keep
everybody
as
safe
as
possible,
but
also
keep
it
within
the
constructs
of
financially
feasible
for
production
to
to
afford
this.
G
And
the
last
thing
we
want
to
do
is
price
ourselves
out
of
business
and
and
I
know
that
much
like
budgets
already
productions
go
elsewhere
to
different
states
to
different
countries
where
labor
union
restrictions
are
a
little
softer
and
expenses
are
little
lighter,
might
be
more
incentive
tax
wise
to
go
somewhere
else,
and
we
were
trying
to
find
that
that
middle
ground
that's
going
to
keep
everybody
safe,
but
yet
make
it
affordable
for
everybody
to
still
come
to
work.
That's
our
main
challenge!
G
That's
what
we're
working
on
is
to
find
that
middle
ground
and
I
think
we
can
find
that
and
I
know
that
the
California
has
great
film
incentives.
Now
there's
going
to
be
a
competitive
nature
back
with
that
again,
I
believe
to
get
the
business.
So
it's
something
we're
going
to
have
to
look
at
later
as
a
state
to
maybe
entice
a
little
more
tax
incentive
to
keep
production
closed.
So
that
is
the
kind
of
things
that
we're
working
out
right
now,
really.
B
Helpful
Danny,
thank
you
for
that,
and
I
certainly
appreciate
the
need
for
this
state
to
be
more
competitive
in
this
space,
and
let
me
just
stipulate
to
that
because
that's
obvious
the
world
competing
against
the
world
we
invented
is
now
competing
against
us.
So
we
cannot
rest
on
our
laurels
and,
and
frankly,
you
know
for
a
few
decades,
I
think
there
ample
evidence
we
did
and
we
paid
a
price
for
that,
and
so
we
have
to
be
more
competitive
Ted.
B
You
know
you
too,
you
know
we
talked
a
couple
weeks
ago
and
I
thought
was
really
an
interesting
conversation
in
the
extent
and
you
you
want
to
share
components
of
it.
You
made
some
really
interesting
comments
to
me
about
distinguishing
between
the
types
of
production.
You
could
talk
about
reality,
TV
being
very,
very
different
in
terms
of
addressing
some
of
the
issues
that
Danny
was
bringing
up
versus.
You
know,
voiceover
work
for
animation
versus
you
know,
a
quick
TV
series
versus
full-on
production.
B
C
So
we
said
we
were
talking
about
the
the
ways
that
you
enter
back
into.
The
work,
there's
and
foremost,
would
be
to
I
recognize
that
each
of
these
productions
at
very
different
dynamics
and
what
we
had
found
first
of
all,
I
would
say
that
the
resilience
of
this
industry
has
been
remarkable
in
my
opinion,
which
is
it
within
a
few
days
of
shutting
down
productions
and
post
production,
post
production
was
already
starting
to
ramp
up
remotely
in
all
different
capacities.
C
Our
animation
teams
immediately
within
a
few
days,
certainly
within
a
few
weeks,
had
their
entire
productions
running
running
remotely
from
people's
homes
post
production.
We
have
right
now
about
220
productions
there
in
various
states
of
post-production,
all
over
in
people's
living
rooms
and
kitchens
and
bedrooms
it's
happening
and
as
people
kind
of
self-organized,
and
got
it
and
got
it
going.
But
when
you
comes
to
physical
production,
that's
certainly
that
can't
be
worked
for
mo
home.
C
Will
you
have
to
assemble
three
honey
Bowl
shot
and
so
that
that
requires
a
lot
of
thing
and
a
lot
of
protocol
and
a
lot
of
secured
a
lot
of
logistics
that
we're
gonna
have
to
figure
out
as
we
go,
but
try
to
figure
out
a
way
to
hold
everything
to
the
same
to
the
crowd,
shot,
riff
tendered
when
there's
a
lot
of
production,
that's
much
simpler
and
easier
to
control
than
and
then
move
that
work
done
to.
But
we've
got
to
work.
C
Our
way
to
that
to
where
we
get
to
our
little
confidence
is
equal
because
all
those
levels
of
production
and
I
think
that's
that's
something.
Maybe
we
have
a
unique
lens
into
because
we
are
producing
in
you
know
just
about
every
discipline
of
production
at
for
Netflix
today,
in
almost
every
country
in
every
language.
So
we
are
trying
to
work
through
all
those
different
complexities,
but
the
way
that
Stacey
described
the
way
that
this
shutdown
happened.
C
C
We
have
been
able
to
continue
the
hey
the
cruise
for
all
those
shows
that
are
shut
down
right
now,
so
we've
got
150
million
dollars
plus
looking
into
that
to
pay
those
cruise
today
and
that's
for
me,
it's
like
the
there's,
a
level
of
commitment
to
people
that
you
have
got
to
make
and
you've
got
to
know
that
when
you
come
out
on
the
other
side
of
it,
that
they're
gonna
be
there
for
you
too.
So
it
is
a
mutual
investment
in
one
another
and
to
know
that
this
is
temporary.
C
C
When
you
and
I
talked
a
couple
weeks
ago,
government
we
talked
about
the
parallel
between
getting
back
to
air
travel
after
9/11,
which
was
there
TSA
protocols
that,
if
you
would
have
told
us
before
9/11,
you
told
me
you
were
gonna,
have
to
take
your
shoes
off
you
get
on
an
airplane.
You
know
you
would
have
sites
that
that
sounded
pretty
crazy,
but
not
only
do
we
do
that,
we
figure
out
a
way
to
do
it
pretty
quickly
and
we'll
figure
out
a
way
to
do
it
and
si
agents
more
and
all
those
things.
C
So
it's
we
can
all
think
it
can
definitely
be
figured
out.
We
have
you
know
various
the
smartest
people
in
the
world
working
on
it
and
we
just
have
to
have
the
level
of
cooperation
with
one
another
and,
with
the
end,
with
low
end
with
government.
To
understand
that
you
know,
how
do
you
enable?
How
do
you
work
to
enable
the
safe
production
not
make
it
impossible
to
move
forward
the
safe
production?
C
B
B
C
B
Know
it's
helpful
evil.
You
mean
you
made
a
point
in
it.
It's
just
interesting.
I
mean
you've
been
able
to
find
new
work.
Styles,
new
arrangements
with
colleagues,
etc.
I
mean,
and
is
that
I
mean
you?
Do
you
really
feel
optimistic
that
we're
gonna
start
to
shift
the
way
we
now
do
business
into
the
future?
You
just
think
some
of
these
adaptations
are
temporary
or
you
do
you
really
think
there's
opportunities
here
to
bring
in
a
new
mindset
as
we
go
into
the
new
normal
and
eventually
get
through
this
thing.
F
The
I
hope
they'll
be
new
energy
that
we
take
from
this.
You
know
we
we
should
take
the
things
that
really
work
before
and
move
on
from
the
things
that
didn't
that's
across
the
board
in
our
industry,
we're
seeing
shake
ups
and
challenges
and
rethinking
of
the
old
way
exhibition
to
distribution
to
production.
You
know
in
in
any
kind
of
production,
they're,
they're,
three
phases,
actually,
four
you've
got
prep
reproduction
principal
puts
a
pre-production
principal
photography
post
in
the
marketing,
and
then
it
goes
into
a
distribution
exhibition.
F
All
of
that
the
whole
flow
of
it
has
been
disrupted
and
so
I
think
it's
an
opportunity
for
us
to
say:
okay,
this
sucks,
but
what
can
we
take
from
it
that
is
working
and
bring
it
to
the
new
era?
What
can
we
leave
behind
that
was
broken?
You
know
with
those
old
ways
that
didn't
work.
This
is
an
opportunity
for
us
to
rethink
that
and
so
I'm.
F
Bolstered
by
that
idea-
and
you
know
one
thing
I'll
say
about
about
film-
sets,
though
a
good
film
set,
is
a
very
safe
place.
You
know,
and
the
crew
members
that
are
here
can
can
attest
to
how
closely
crews
work
together
to
keep
each
other
safe
and
so
to
your
question
that
you
had
asked
John
about
appetite
for
people
to
get
back.
Crew
members
are
about
safety,
I
mean
great
crew.
Members
are
about
safety.
Above
anything
else.
F
You
have
department
heads
here
who
are
gonna,
be
curating,
who
they're
hiring
on
their
crews
and
their
departments,
and
that's
all
trickling
down
from
the
director
producer
to
the
department
heads
to
their
crew
and
I.
Think
that
when
I
speak
with
people
around
the
industry,
it
is
hyper
vigilance
around
this
and
a
real
desire
to
get
it
right
so
that
we
don't
kind
of
take
two
steps
back.
So
you
know
I
get
it
from
my
mama
I
try
to
stay
positive.
You
know
in
an
atmosphere
that
you
know
has
a
lot
of
loss.
F
You
know
I
lost
a
family
member
to
me,
close
to
me:
I
lost
a
crew
member
and
that
can't
be
in
vain.
You
know
what
I
mean
that
you
can't
slide
back.
You
know
when
you,
when
you
release
the
numbers
and
each
day,
and
we
hear
how
many
in
ICU,
how
many
who
have
it
now
you
can't
get
to
the
other
side
of
this
and
be
in
the
same
place.
There
are
too
many
lives
lost
and
too
much
we
have
to
learn
so
that
those
those
deaths
aren't
in
vain.
B
G
B
Know
I
mean
a
parent
chef
here
you
know
with
mental
health,
your
own
challenges
struggles.
It
must
be
harder,
though
you
can't
virtually
you
know,
do
I
mean
maybe
you
can
and
your
industry
styling,
maybe
but
I
mean
some
of
the
physical
work.
You
have
to
do
you're
constrained
by
this
reality.
You
know,
how
do
you
do
you
see
any
sort
of
opportunities
here
to
think
anew
act
anew
as
we
move
forward,
or
you
know,
what's
how
you
process
and
all
that.
D
Yeah
absolutely
like
Eva
said
you
learn,
there's
new
ways
of
doing
things.
I
have
actually
coached
a
few
people
through
some
self
haircuts.
Virtually
I
don't
know
how
well
that
will
work
for
TV.
That's
an
issue
with
our
hair
and
makeup
departments.
There
is
not
any
social
distancing,
you
can't
social
distance
and
do
hair
or
do
makeup.
We
have
our
actors
to
think
about
in
actresses
as
well
when
they're
wearing
masks,
they
can't
get
makeup
applied.
D
D
We
all
do
it
in
our
industry,
so
I'm
navigating
it
pretty
well
and
we're
just
you
know,
trying
to
figure
out
how
we
will
get
back
to
work
when
it
is
time
to
get
back
to
work
like
everyone
here
has
agreed
workspace
time.
You
know
being
careful
as
cosmetologist
licensed
cosmetologist
hairstylist.
We
are
licensed
and
we
did
study
and
learn
sanitation
and
disinfecting,
and
that's
something
that
we
do
on
a
daily
basis
and,
like
Eva
Ava
said
on
set,
we
run
safely.
We
work
safely.
Our
unions
make
us
take
safety
classes
on
a
regular
basis.
D
Now
they'll
be
different,
there'll
be
new
elements
to
that.
You
know
so
I'm,
confident
that
we
will
be
able
to
figure
out
a
way
to
navigate
this
and
work
safely
and
get
back
to
work,
and
it's
just
you
know,
taking
our
time
and
figuring
it
out
and
working
with
all
the
entities
that
we
have
available
to
us
to
figure
that
out.
That's
that's
really.
The
basis
of
the
whole
thing
appreciate.
B
E
I
mean
as
an
actor
of
course,
I
haven't
been
able
to
work,
because
you
know
there's
nothing
filming
based
in
LA,
so
nothing
is
here.
Yeah
I
have
a
company.
We
have
projects
and
development
and
we're
working
on
that,
but
there
you
know
as
far
as
revenue
know
and
I
think
you
know
for
me,
and
my
fellow
actors,
that's
that's
something
that
we
have
to
look
at
when
we're
talking
about
getting
back
to
work
emotionally.
E
E
E
E
E
You
know
how
we're
gonna
get
back
to
work.
I've
been
talking
to
them
even
briefed
me
on
everything.
They've
been
working
towards
from
the
cares
Act
to
so
many
different
things,
and
our
union
is
staying
on
top
of
making
sure
that
we
are
gonna
be
protected
with
with
guidelines
moving
forward,
but
no
no
revenue
for
for
I
think
most
actors
at
this
point.
Unless
they
have
some
kind
of
Sighs
hustle,
they
can
do
where
they're
bringing
in
revenue
which
again
like
I,
mentioned
earlier,
a
lot
of
the
you
know.
E
B
It's
a
great
point
and
Danny
just
before
I
turn
it
over
to
Tom
I
mean
you
guys
said
it
sounded
like
just
when
your
first
comments
data
you
guys
really
been
putting
together
guidelines,
best
practices
and
in
the
spirit
of
what
John
was
just
saying
in
terms
of
and
when
we
go
back,
how
we
go
back.
How
far
along?
Are
you
guys
in
sort
of
organizing
all
of
that
thinking
and
what?
What
are
the
remaining
hurdles?
Areas
where
we
could
be
supportive
things
that
we
should
just
be
aware
of.
G
Yet
we've
been
very
thorough
talking
to
every
Union
every
guild,
having
a
lot
of
meetings
and
kind
of
gathering
all
the
information
of
what
needs
to
change.
How
is
it
going
to
change
and
how
it's
going
to
keep
everybody
safe
and
still
be
feasible
financially,
as
I
spoke
up
before,
a
lot
of
things
will
change
on
an
everyday
basis
on
the
on
this
film
set
I
think
that
we
have
technology
of
certain
pieces
of
equipment
that
can
change
to
keep
less
people
away
from
the
actors.
G
Remote
heads
on
dollies
different
pieces
of
equipment
that
can
alleviate
having
as
many
people
on
a
set
at
one
time
and
that
what
that
will
help
immensely.
There
are
ways
to
do
it.
It's
going
to
have
to
start
from
the
top
with
the
creatives
and
the
writers
and
the
directors
or
we're
all
going
to
have
to,
as
they
say,
be
in
this
together
to
to
create
content
that
is
doable
under
the
new
protocols
and
that's
going
to
be.
G
The
challenge
is
to
kind
of
put
it
into
this
into
this
bowl
that
we're
going
to
be
placed
into,
but
I
think
with
all
the
creative
minds.
I
think
that
it
that
it
is
doable
and
that's
going
to
be
the
challenges
to
to
have
the
protocols
placed
in
front
of
us
and
to
creatively
have
to
figure
out
how
to
make
it
work
safely.
Under
these
new
protocols,
I.
H
I
definitely
appreciate
everybody's
input
and
I'm
definitely
hearing
a
lot
of
concern
with
safety
and
support
for
the
protocols
and
the
phased.
You
know
reopening
of
the
California
economy.
The
question
that
I
have
that
springs
to
mind.
From
listening
to
what
everybody's
been
saying,
is
this
we're
hearing
a
lot
about
a
need
for
safety,
we're
hearing
a
lot
about
how
that
may
cost
more,
and
that
also
that
I
think
Ava's
point
that
we
can't
miss
this
opportunity
to
make
sure
that
we
proceed
with
our
deepest
values
moving
forward.
H
The
question
I
have
is
in
some
industries.
The
impact
of
this
pandemic
has
accelerated
changes
within
the
industry
so
that,
for
instance,
just
to
choose
one
in
retail
people
who
are
shot.
You
know
people
who
are
doing
basically
online
retailing
I'm
a
huge
advantage
because
of
the
pandemic
that
existed
before,
but
the
pandemic
has
accelerated
their
advantage
over.
H
You
know
in
store
retailer,
so
as
professionals
who've
worked
in
this
industry
for
a
long
time,
looking
at
what
you
guys
have
been
talking
about
the
need
for
safety
and
the
accompanying
cost
with
Ava's
point
about
also
wanting
to
be
our
highest
values.
Is
there
something
within
the
industry
that
this
pandemic
is
going
to
make
change,
not
just
in
the
next
month
or
two,
but
over
time?
Is
it
going
to
make
it
moved
to
different
places?
Is
there
going
to
be
Ted
was
talking
about
all
the
different
kinds
of
productions?
H
Are
there
certain
kinds
that
are
going
to
become
more
feasible,
relatively
less
expensive,
more
likely
to
do
more
programming
go
invert?
Are
there
changes
that
we
should
expect
as
a
result
of
this
pandemic
when
we
think
about
the
future?
So
when
we
think
about
California,
we
should
expect
them
and
try
and
make
sure
the
California
workers
and
businesses
are
part
of
that
change
and
are
protected
through
that
change.
D
I
could
say
that
the
stuff
that
we're
working
on
we've
joined
with
the
local
798,
which
is
most
of
the
East
Coast,
and
you
know
the
706-
is
the
west
coast
and
you
know
on
the
DI
oxy
so
that
we
can
try
to
have
some
solidarity
as
far
as
what
we
agree.
The
protocol
should
be
so
that
across
the
states,
the
requirements
for
safety
don't
exceed
expectations.
D
You
know
as
far
as
financially
so
even
we've
been
working
all
together,
so
that
like
was
stated
before
production
may
not
maybe
say:
let's
go
to
New
Orleans
and
shoot.
We
don't
have
to
follow
these
protocols.
It
won't
cost
as
much
money
you
know
and
so
on
and
so
forth.
So
we're
working
as
a
union
together,
East
Coast
West
Coast-
to
try
to
have
solidarity
as
far
as
what
these
protocols
might
be.
I
guess
so,
there's
not
a
race.
F
F
When
can
we
shoot
and
what
is
that
going
to
look
like
you
know
and
and
how
is
gonna
work
for
crew
members
who
are
not
protected
by
unions?
You
know
independent
productions
where
that
stuff
will
need
to
need
to
really
be
mandated
by
the
state,
because
there
there
is
no
Union
to
to
kind
of
oversee.
Exactly
what's
done,
and
you
know
so
many
questions
about.
F
You
know
a
lot
of
the
talk
that
I
find
myself
in
is
what
we're
gonna
do
when
we
reopen,
but
I
I
can
never
seem
to
get
my
arms
around
the
question
for
crew
members.
That
call
me
and
who
are
online
and
social
media
talking
about
this
every
day
as
to
what
the
walk
back
home
to
the
set
is
gonna
look
like.
F
B
No
I
mean
I
think,
look
we're
hoping
to
put
out
some
guidelines
next
Monday
that
will
allow
regions
counties
primarily
based
upon
prescriptive
criteria
based
upon
their
self
attestation
that
they
can
produce
a
minimum
number
of
tests.
They
have
the
adequate
capacity
to
address
the
possibility
of
a
community
spread
in
hospitalization
capacity,
etc.
All
these
criteria
that
we
set
out
within
an
industry,
we
will
allow
them
the
ability,
on
a
regional
basis,
a
county
basis.
B
At
least
we
estimate
roughly
fifty
three
of
our
58
counties
will
have
the
ability
doesn't
mean
they'll,
meet
the
criteria
or
can
attest
to
the
criteria
to
have
containment
plans,
protection
plans,
but
if
they
do,
they
can
begin
moving
and
your
industry
can
start
reopening
the
challenges
and
I
recognize
and
really
I'm
hearing
it
today,
and
it's
very
helpful
is
this
patchwork,
especially
for
your
industry,
is
even
more
challenging,
but
the
good
news
is.
We
are
starting
to
see
some
light
and
we
are
seeing
data
that
allows
us
to
make
these
decisions.
B
But
again
in
that
data
is
the
reality
that
data
can
change
based
on
behaviour,
changing
and
people.
Not,
as
you
were
saying
a
little
bit
ago,
you
know
not
self-enforcing
or
self
policing
or
being
as
responsible
and
that
all
of
a
sudden
we're
now
going
backwards,
not
marching
forward
together,
but
good
news,
I
think
as
early
as
next
next
week.
So.
F
F
B
Allows
people,
and
so
we're
just
trying
to
socialize
this,
to
get
people
to
start
really
thinking
and
planning
and
and
start
to
work
in
the
spirit
of
collaboration.
The
challenge
and
I'll
be
just
candid
la
proper,
the
county.
You
know,
even
today,
the
number
of
deaths
that
came
in
disproportionate
number
came
out
of
the
county
they're,
seeing
some
good
signs
which
are
very
encouraging,
because
the
outstanding
work,
the
county's
done
in
the
city
in
particular,
and
we're
very
proud
of
their
work
and
working
hand
in
glove
with
them.
B
C
Being
a
safe
place
to
work
is
in
extractable
from
being
a
great
place
to
work
and
that
counts.
You
know
for
studios
or
states.
So
I
do
think
that
you
know
keeping
those
that
balance
in
place
is
gonna,
be
one
of
those
things
that
will
make
the
long-term
difference
and
I
don't
think
anyone
who's
rushing
and
if
they're
taking
shortcuts
on
safety
I
think
it's
gonna
have
terrible
long-term
effects
on
them.
No.
B
C
Say
not
in
practice,
I
think
in
meaning
that
there's
nothing
else
happening
any
faster.
There's
a
lot
more
talk
about
moving
faster,
maybe
being
a
little
more
nimble
in
how
to
work
with,
like
I
said,
the
various
needs
of
a
specific
production
versus
trying
to
come
up
with
blanket
regulation.
So
I
do
think
so.
There's
some
of
that
happening
in
other
states.
That
feels
a
little
couple
of
weeks,
different
from
us,
but
I'm
not
dramatically
dramatic.
D
I,
just
you
know
one
of
the
things
that
stays
on
my
mind
at
all
times
is
we
can
implement
all
these
protocols
and
you
know
they
education
and
classes
and
can
be
in
solidarity
and
learn
how
to
work
safely,
but
there's
other
things
that
we
don't
have
any
control
of,
and
it's
the
access
to
like
proper
personal
protective
equipment
like
if
some
of
those
things
aren't
available
to
us
like
how
do
we?
How
do
we
navigate
being
safe
when
it's
part
of
being
safe,
yep.
B
And,
and
by
the
way,
thank
you
for
that
question
because
that's
foundational,
we
I
talked
about
testing
hospitalization.
We
could
talk
about,
I,
see,
use
and
work
that
we're
doing
on
Tracy
in
isolation
in
quarantine,
but
fundamentally
just
the
simple
capacity
in
your
industry,
particularly
to
have
a
mask
your
customer.
Beware,
not
just
yourself
and
your
colleagues
and
the
good
news
in
that
space
is.
We
have
been
procuring
and
distributing
tens
of
millions
of
masks.
Now
it's
just
it's
extraordinary.
What's
happened
in
the
last
few
weeks
we've
been
able
to
get
these
larger
contracts.
B
So
this
is
all
concurrent
in
all
part
of
the
reopening
process.
That's
why
these
masks
are
so
much
more
than
just
providing
or
our
frontline
heroes,
our
nurses
and
doctors,
but
also
for
getting
this
economy
moving
again
as
well,
and
you
want
to
you
want
to
close
out
to
sort
of
amplify
anything.
That's
on
your
mind
as
we
move
to
get
these
guidelines
in
print
and
start
to
draft
them.
Yeah.
I
Thank
You
governor,
you
know,
first
of
all,
it's
it's
really
powerful
to
hear
all
of
you
talk,
and
you
know
it's.
The
creative
industry
always
impresses
me
with
how
you
approach
problems,
and
so
I
just
want
to
say
thank
you
for
the
creativity
that
you're
bringing
to
it.
You
know
I,
think
the
governor
just
has
an
incredible
urgency
of
now
and
so
I
just
want
to.
I
angel
and
secretary
sue
are
working
really
closely
to
make
sure
that,
from
a
public
health
standpoint
from
a
labor
standpoint,
and
then,
of
course,
our
business
economic
development
team
is
working,
so
we
are
putting
them
together,
we'd
like
to
get
them
out
by
Monday,
we
will
get
them
out
by
Monday
and
then
I
think
you
know
the
biggest
hurdle
that
we
have
with
regard
to
your
industry.
Right
now
is
this
regional
problem
with
regards
to
Los,
Angeles
and
so
I?