CAB EP 3 FINAL 7.8

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We are continuing our Project Greenlight series where we talk to the cast and crew of Gray Matter and get the real behind the scenes of the behind the scenes. We're dropping these pretty fast, so if you wanna start at the beginning, go back and start with episode 4 0 1.

Okay, so sometimes that I'm getting to the end of an episode, I will ask my guests, is there anything I should have asked you that I didn't ask you, and sometimes that just brings up a gem of a [00:02:00] conversation that we weren't expecting.

At the end of interviewing Jeanette, Yolanda, and Meko, I asked, is there anything I didn't ask you that I should have asked you, and that uncovered a whole conversation about the table read and how it was not at all what they thought it was going to be. So here is Meko, Jeanette, and Yolanda talking about what happened on table read day, how it really went. Okay, have a listen.

So I'm sitting here with Jeanette Volturno, Yolanda Cochran, and Meko Winbush, and we were just having a long conversation about Project Greenlight and Gray Matter and all the behind the scenes of the behind the scenes.

And then it came up the day of the table read that everybody wanted to talk about. So we thought, let's do a little mini episode as a bonus just talking about the table read day. Because I think from what I hear it was, it was a bit unusual. Meko, why don't you tell us about how that day went, or why don't we even start back before that? What is a table read day?

Meko Winbush: I guess it's just a day where everyone sits around a table and reads the script. [00:03:00]

Julie Harris Oliver: I guess it is pretty self-explanatory. Yeah, we, we like to go back to basics, but sometimes it really is, you don't need that.

Yolanda T. Cochran: It's interesting that I will point out that in my experience in both film and television, they operate a little bit differently between film and tv.

Julie Harris Oliver: How so?

Yolanda T. Cochran: I mean, the table read's always a little bit about let's hear. Let's hear the script and hear how the story's playing and how our performances are going. In the film world, it's really about focus on script and potential script changes more so than performance and those kinds of things, especially because at that stage, you're generally within days of shooting your movie. Whereas in particularly in episodic television, it's a lot about, there's constant casting because there's an episode every, you know, there's an episode every week or whatever the case may be. Your shooting schedule might be a little bit longer, but it's, it's more in addition to hearing the script and making [00:04:00] changes to the script for the writer's room, it's also about evaluating the individual performers who've recently been cast who aren't series regulars. Yeah. So they operate a little bit differently.

Julie Harris Oliver: Okay. So this would've been like the first time everyone sits down, reads the script, we hear the characters, we hear how it goes, and you're starting to think of, how am I gonna direct this thing, listening to how everybody's reading.

Meko Winbush: Yeah. And part of it too, the script was still kind of a little bit in flux also. So it was an opportunity to at least hear everyone read it. Or at least hear all the dialogue by the people who are actually gonna be delivering those lines on set.

Julie Harris Oliver: Okay, so let's talk about that day.

The sun came up, and then what happened?

Meko Winbush: Birds were singing. No. Um, so yeah, we get there and yeah, that was my first day actually meeting any of the cast members. I mean, we were kind of casting up until the, till the last minute. But yeah, this was the, the first time that I got to meet all of the cast.

And so for instance, Mia, I think this [00:05:00] was on a Monday, she basically had just accepted the role on, on Saturday and was flying Sunday. So this is, you know, first time I'm meeting her, her first time I'm meeting Garret. Um, I was, able to have a quick, quick chat with Jessica prior to it on Zoom, which was nice cause part of the thing is like, I, I wanna get to know the actors.

I would've liked to have gotten to know the actors just on a personal level.

Julie Harris Oliver: Sure.

Meko Winbush: Before, you know, sitting down and reading the script, you know, before even getting into character and choices and motivations and, and all of that. But unfortunately, I, I, you know, I kind of, I didn't really have that opportunity just because we were moving so quickly.

These offers were kind of happening very last minute, and I think Garret had just flown in from another shoot he was on. Yeah, there's definitely, I, I, you know, in hindsight, I absolutely wish I could have met with each person. I mean, even if it was just, 20 minutes just alone privately like, "hi, where are you from? What are your hobbies?" Like, "who are you?" Um, you know, at least cause we're gonna be in the trenches together, so let's get to know each other a little bit.

Julie Harris Oliver: So [00:06:00] was it like, hello everybody we're sitting down, we're reading.

Meko Winbush: No, it was kind of

Julie Harris Oliver: And that was kinda your first

Meko Winbush: No, you know, when we got there cause people were getting covid tested and all of this and so it was just, you know, finally like

Julie Harris Oliver: another layer,

Meko Winbush: Hey, hi.

And then there's food or something and then, you know, we all kind of sit down and that was the opportunity for, it's like, okay, let's sit down. And then I was just gonna have them read the script. So I, you know, this is my first time hearing it from other people and it's like, I don't really care so much about performance. Let's just, yeah, let's just hear it. And

Julie Harris Oliver: Like, I gotta think they're nervous doing the table read anyway.

Meko Winbush: Yeah.

Julie Harris Oliver: And then nervous having a camera in your face and having this, like, you have to perform as a human.

Meko Winbush: Yeah.

Julie Harris Oliver: Besides as an actor. I mean that, it's a lot of moving parts.

Meko Winbush: It is, it is. And it, yeah, it was, and also they're kind of just going off of what's on the page. Like I didn't, I didn't really give instruction, like, let's just hear it and then, you know, afterwards lets

Yolanda T. Cochran: That's because that was your first, it was the first. Cause we had a pre, a pre-read. So you guys, the first time you guys read it was a pre-read.

Meko Winbush: Yeah, just like let them read it and then it's like, [00:07:00] okay, now we can talk about, you know, character or whatever and, and choices and this and that and, but honestly, a cast this big, I would've loved to have gotten like 30 minutes with each person, which would've taken

Julie Harris Oliver: How much did you get?

Meko Winbush: I didn't, like no time. Like, yeah. Yeah. Cause then they, they, they were gonna do another read for everyone. And so, you know, I think we finished and I was like, all right, does anyone have any questions? And no one really said anything. And then it was like, "Hey Meko, we need you upstairs for this phone call with Issa."

So I got taken away, went upstairs, you know, chatted with her about, I don't even really remember what the chat was about. I think it was

Julie Harris Oliver: Something very important.

Meko Winbush: No, I, it was about just how, i, I think this was it, but something about how some, you know, there have been actors who have been replaced based off of how they've performed at a table read. I think that was kind of the gist of it. So yeah. And then, yeah, when I came back down, then it was time to do this next read.

So basically these poor actors had to read the script twice, like literally back to back. [00:08:00]

Julie Harris Oliver: No notes.

Meko Winbush: No, no. So.

Julie Harris Oliver: So normally how would that work? If you didn't, if you didn't have this whole show happening, how, how normally would that work?

Yolanda T. Cochran: Yeah, just real quick, that's another example too of a little bit of the difference with a table read and features and table reads and television. It's not unusual to like, if somebody's gonna get replaced, that's far, that's like highly unusual in the feature world that someone's getting replaced.

Cause in television there's lots of network people and studio people present and that's the norm. And the whole idea is to immediately give a bunch of feedback and notes and it just operates a little bit different in features. You're ready to go. You're ready to shoot. Yeah. At that point, everybody has confidence in the actors and any adjustments for performance would just be like a note to a director for when we start shooting.

Julie Harris Oliver: Okay. Now this has come up a couple times. Was anyone in danger of being evaluated and being replaced?

Meko Winbush: I mean, not in my mind. Yeah, it was just one of those things cause I was, I was very, very [00:09:00] confident in the people that we chose for these roles and was very confident in the people that, um, Seth, our casting director, presented to me.

I mean, that guy, he did such a good job. Like the cast that I got, you know, it's, it's, it was a dream cast.

Yolanda T. Cochran: Jeanette, do you remember some of those, like some of the things, the points that came up about even general stuff? Some of those comments?

Jeanette Volturno: Yeah. I mean, I remember after the table read everybody went away and you and I, Yolanda, were sitting in the room waiting cause I thought we were doing a show and tell and we were gonna have all of the department heads do a show and tell.

And about 15, 20 minutes later when no one was coming back, we got asked to go upstairs. And when we went upstairs, they wanted to find out, um, how we felt that the table read went, because they were really judging it, as Yolanda says, from more of a television perspective of really seeing, you know, what the [00:10:00] cast brought to the table.

And expecting them to have gone full out. When all of them just met there that morning. No one had a chance to really talk or go through things. Meko didn't get a chance to go through them with any of the notes because she was pulled away to have the conversation with Issa. So it was, uh, uh, an interesting evaluation for something that wasn't a complete process.

Julie Harris Oliver: Everyone's just doing their best guess.

Meko Winbush: Yeah, no, well, on top of it, I probably wouldn't have had had time anyway. But yeah, in my head it's like, here, let's just read it and let's hear it and then we can kind of talk about all of that stuff. And so, you know, you know, it definitely was sort of this cold read.

But yeah, I definitely, had I known what was expected of me, I guess, you know, I definitely probably would not have agreed to do the day this way. Um, especially without having adequate time to get to know the actors and, and just again, just discuss, you know, all of that stuff.

Yolanda T. Cochran: It's interesting too. Cause you know what, to be honest, I feel a little bit of responsibility, although we were a little bit in the [00:11:00] dark about how that like, this was still early on in the process of, you know, we hadn't started shooting yet. We had been prepping, but you know, this was the first time we were doing this kind of activity. So I think Jeanette and I were surprised about how various things happened as well, including what she just mentioned, which was the intention was we were immediately going to go into the show and tell for the film where you have your department heads, like your GP and your production designer, show all of your, you know, network and studio people, what the film's gonna look like, and all of those things. So we had these expectations. So things weren't playing out the way we expected either. So I, I almost feel, I, I think I presumed Meko, that you were able to have these conversations with cast before that day

Meko Winbush: No.

Yolanda T. Cochran: Without even asking. Like I just thought that you were able to, and so, you know, finding,

Jeanette Volturno: Cause there was an element of all of us being separated.

Meko Winbush: Yeah. I mean, it's definitely one of those things too. [00:12:00] I mean, again, had I known what the, the day was, you know, you can't prepare for something that you don't know. You know, it's one of those things where it's like, all of a sudden it starts raining and it's like, well, why didn't you bring a jacket? And it's like, well I didn't, I didn't know I was gonna need one.

You know, it's, it's one of those kinda, I dunno, it's probably not the best analogy. But yeah, it was just

Julie Harris Oliver: How do you, in that circumstance, like how do you know which entity is the boss of the day?

Meko Winbush: Yeah.

Julie Harris Oliver: Because on the film, you all would be the boss of the day. In the show, the show people will be the boss of the day. The network's the boss of the day. So who wins?

Meko Winbush: I don't know. It was, yeah, it was definitely a weird. It's definitely a weird thing.

Yolanda T. Cochran: I mean, for us, we were just in, I think all throughout, I think Jeanette, you'll agree and you can speak to this, is we always saw our jobs as, you know, being shepherds and caretakers of the film and that was it. And to be also partners with the series.

But our entire job was to, you know, take care of the film and make a good film. So that's all we were focused on. And so [00:13:00] whether or not the things are happening for the series side of things, I don't think either of us ever felt like we needed to worry about that.

Jeanette Volturno: Yep. I would, I would agree with that and, and, you know, walking up and having the conversation about the table read and what our feelings were on the actors, you know, I felt that those actors read the script just fine. Did they bring a performance to it that was nuanced? No, because they didn't have a chance to work with Meko. But there was nothing in it that alarmed me, that, uh, made me think that we should have replaced someone or that we made a poor choice on that. And I backed Meko's choices a hundred percent from that.

And I think that's, you know, part of what came out of the table read was they were questioning the decisions that we made and if we were all still confident in that, and, and I'm really glad that we stayed the course.

Julie Harris Oliver: Well, having seen the film, your choices were excellent. Like they were great. So I [00:14:00] assume at some point you got to talk to your actors and talk about motivation and

Meko Winbush: Yeah, absolutely.

Julie Harris Oliver: Intent and all that.

Meko Winbush: Yeah, absolutely. Because yeah, I think, you know, I remember talking to Jessica afterward cause I think when she, she kind of was reading it, she was reading it like a bit too, too tough. And it was just like trying to, it's like, you know, and that's just a simple, I mean, these people are all professionals. It's just little adjustments that we can make before or on set. And like even Garret, you know, just chatting with him on the phone and stuff like that and how he was gonna play the character and stuff. And he's like, you know, I think it's just kind of playing it just much just genuine and it was very simple things, you know, just simple conversations and that, you know, we just didn't have.

And obviously, and it is weird, like you're just meeting these people for the first time, you know? And. Yeah. Uh, I don't, I don't, I don't like, uh, I like to know who I'm working with, and it's,

Julie Harris Oliver: Oh, of course.

Meko Winbush: You know, after the fact. Like, I mean, I just, I had, I had like a two hour lunch with Garret, [00:15:00] like a month and a half ago, two months ago, and that's, that's the, the lunch I wish I would've had with him before this table read, you know?

Yolanda T. Cochran: Yeah, yeah.

Meko Winbush: Because now it's like, oh, we're actually friends, essentially. Like, where it's like, okay, like I know who you are as a person and, and this, and we're comfortable with each other, and there's that trust that's been built. So then when you do get on set, because it's all, you know, being on set, it's already kind of a crazy experience. And then with the cameras it heightens everything. So I think had everyone, or you know, just known each other a little bit better too, it definitely would've helped.

But, you know, at the end of the day, these people, they're, they're all professionals and they came in, that's why they do this job. They're good at their job and, and they came in and did it.

And I know, like, you know, people are even studios and all of that, they're gonna have reservations and, and you know, part of my job is, sort of putting their mind at ease. And the thing is, they don't know me, they don't know how I work and they don't know what I'm capable of, which is fine.

And, and, um, so I mean, I guess there is sort of trust involved and, and them just trusting me and my [00:16:00] decisions and, you know, trusting that, uh, that I know what I'm doing, I guess a little bit. But I get it at the same time. It's like, it's like I'm untested. I get it. They don't. They don't know me. They don't know sort of,

Julie Harris Oliver: But you know what you can do.

Meko Winbush: Yeah. And I know what I can do. So part of it is like yeah, proving that and putting people's minds at ease.

Julie Harris Oliver: You know, I talked with jessica and uh, she did an episode of the podcast.

Meko Winbush: Mm-hmm.

Julie Harris Oliver: And she talked about like one simple note you gave her that made all the difference in her performance.

Meko Winbush: Mm-hmm.

Julie Harris Oliver: Like just saying like, the one thing that really gets in there was really impactful.

Meko Winbush: Mm-hmm.

Julie Harris Oliver: So you'll have to tune into that episode to hear what she said, but Yolanda, were you gonna say something?

Yolanda T. Cochran: No, I was just gonna say, even along those lines of what Meko has talked about of her wanting to establish trust with her performers, I know another, another thing, part of that, just from having gotten to know you and like hearing you talk, is I think I love that you brought your authentic self every [00:17:00] day, but I know that you were also mindful of being protective of your actors and you know, not only your actors, but your entire crew.

And not that you were saying anything that was untrue or necessarily like, you know, trying to, you know, craft whatever it was you were saying, but I know you were making sure that you weren't offering up things that would be negative or destructive for the people that you were working with, or making sure that everything you did would be supportive of them and their work.

Meko Winbush: Sure.

Yolanda T. Cochran: When they come to work every day and you know, you're on, like you said, you're on mic and on camera every day.

Meko Winbush: Mm-hmm. Yeah, it's definitely kind of tough. Very much so.

Yolanda T. Cochran: That was something Jeanette and I thought about all the time.

Meko Winbush: Yeah, definitely. Kinda, kinda tough. But yeah, that was just a weird day and it's definitely, again, in one of those, in hindsight,

Yolanda T. Cochran: Is there anything you would've done different that day?

Meko Winbush: Well, yeah, I would've not, I would've not, [00:18:00] well, I would've probably asked to have it pushed later in the week or something, because I know I've said it a thousand times. But no, I wanted to, I wanted to get to know these people before we, we go into it. Like I don't, I wouldn't have wanted to go into it as cold as we did, not knowing each other and then, "hey, nice to meet you. Okay. Sit there and read." You know, even though we're gonna

Julie Harris Oliver: Be vulnerable.

Meko Winbush: Yeah. Um, So we haven't had a chance, you know, uh, I feel weird like asking you to do things when I don't know you. Um, I just, I don't like that kind of transactional nature of things. I like to know who I'm working with, but yeah, I definitely would've asked to either have it pushed or, or at least just had that time and maybe just do the read through once.

Like, I, I, I, I really, it felt weird having them do it back to back like that too.

Julie Harris Oliver: Well without any conversation between like, what is anyone expecting to be different?

Meko Winbush: Yeah, yeah.

Julie Harris Oliver: A second time.

Meko Winbush: Yeah. So yeah, it was just weird. I, yeah, I definitely would never, never do, do it like that.

Um, but, you know, it's, again, it's, [00:19:00] it's, you know, I'm there to work with the actors and stuff, and, and part of my job is making sure they're doing a good job and they need to feel safe and be able to say what they want to say and when they're not able to do that, like that's, that's bad for the film.

So, but it was one of those where I was, you know, I was like, I'm planting a flag on this. Like, I'm sorry, but I'm not sorry, but my job is to get good performances and this is what I have to do.

Yolanda T. Cochran: That was not your job, Meko. I'm kidding.

Meko Winbush: How dare you. I mean, I'd rather, you know, I don't like to, to see people uncomfortable or any of that. So I'd rather be made to be uncomfortable rather than, than someone else, uh, if it's in my power. So,

Julie Harris Oliver: You're advocating for your actors.

Meko Winbush: Yeah, and that's super important. Actors and just anyone on the team, like I'm gonna advocate for anyone on our team. So, yeah. It's weird.

Julie Harris Oliver: Is there anything you'll take forward to your next table read?

Meko Winbush: Well, yeah, I mean part, well this is like, but it's just like, no, like, you know, obviously I stood by [00:20:00] my choices that I made with all the actors, but it's like, yeah, hold, hold the line if you believe in something for sure. Cause yeah, I kind of,

Yolanda T. Cochran: That was a tough day, but you know what, that's fine.

Meko Winbush: Yeah, it's fine.

Yolanda T. Cochran: There's gonna be like tough, there's gonna be some days that just really suck and that's part of the process.

Meko Winbush: Mm-hmm.

Yolanda T. Cochran: And I'm just like, when I look back on it, it was, you know, it was not my lowest day. It might have been Meko's lowest day, I don't know, but like you're just gonna have low days.

Meko Winbush: Sure.

Yolanda T. Cochran: And that's part of it too, and then that's part of the process and like how you grow, and I'm just like, okay, that day sucked.

Meko Winbush: No, it's definitely a, a learning experience about things that I wouldn't do. And yeah, it is part of the process, but it's, it is one of those weird things when you go to work and you have a, a low day, there's usually not, it's not being broadcast.

Jeanette Volturno: Look at what a Herculean task that you know, you went through everything that you went through to submit, to get [00:21:00] chosen, to make the short, to make it to the top 10, to get picked, to go to the premiere, and then literally seven weeks later filming.

Yolanda T. Cochran: Yeah.

Jeanette Volturno: The movie that they had handed you a script that needed to be massaged, adjusted, and, and fixed as we, as you were prepping the actual movie while being filmed and doing it in only 18 days. Most of them were nights.

Meko Winbush: Yeah.

Jeanette Volturno: And it was really, really cold outside.

Meko Winbush: Yeah.

Jeanette Volturno: And you know, it, what a Herculean task.

Meko Winbush: Yeah, no, and I will say like, yeah, no, it's, it's big. And, and, and that's the thing, like, I know it's like, what are you complaining about? You freaking got to do like a $5 million movie and all of these things, which is like, it's not lost on me at all like how big of a blessing it is. But you know, it was a massive mountain to climb. And like, it's so nice, it's very cool to kind of look at the finished product knowing [00:22:00] sort of all the obstacles that were there. Um, and the good thing is like, okay, yeah, now I can do these with, you know, such a condensed timeline. So it's like, yeah, you can do that, then everything else, hopefully after that is, is easy.

Yolanda T. Cochran: Without cameras, it might.

Jeanette Volturno: Yeah, you, you never lost your shit. You were a, a guiding light for everybody.

Meko Winbush: Thank you.

Jeanette Volturno: The crew and the cast loved you. You pulled off an amazing feat, creating something that was entertaining and cohesive story and a fun ride.

And I mean, that is just remarkable.

Meko Winbush: Thank you.

Jeanette Volturno: To have all of that pressure on you and to come out like that with never losing it once. Yeah, it's like Project Greenlight is set up to, you know, give somebody a break and, uh, record them going through that process, but it doesn't allow the space for that person to learn.

And if they're learning, they're learning for everybody to see all of [00:23:00] the bumps and bruises along the way, rather than in real life. You know, we would have a conversation and get her prepared before going in and, you know, giving notes to a studio or you know, pitching on something or whatever it is, and there wasn't that opportunity in the show, so it was a very out of body experience in going through the process at hyper speed and being recorded at it. So we needed to create some safe spaces for ourselves.

Not to mention my shin probably has a few bruises on it from when Yolanda would kick me under the table.

Meko Winbush: No, I can't like, yeah, that safe, having a safe space was another thing that was just so helpful, like cause it was just like a place I could go to vent to kind of thing and yeah, I needed that.

Julie Harris Oliver: Was this the first time you worked together?

Yolanda T. Cochran: It was the first time we worked together, yeah. Yeah. We've known each other forever though. Yeah. Yeah.

Julie Harris Oliver: How'd that go?

Jeanette Volturno: It was amazing.

Yolanda T. Cochran: It was good. We had like, we had like.

Jeanette Volturno: I think Yplanda, she [00:24:00] joined the company and like literally, I wanna say like a week later, I was like, so what do you think about being on tv?

Yolanda T. Cochran: Yes. It was basically a week later.

Jeanette Volturno: I was like, what do you think about partnering with me and producing on Project Greenlight? She was like, you know, I'm gonna lean in and say yes, and I was like, yes!

So it was great. It's great to know that you've got, you know, a friend who's got your back, who's in the same position that you are, who's, you know, trying to put the best foot forward for, you know, the team for Meko, our new friend and director, and grow her career and for all the people that we gave the, the chance to, and try to balance the politics out that are going on and, and deliver something on time and on budget.

That's, that's a blessing to be able to do that with someone that you really love working with.

Julie Harris Oliver: Nice to have a friend in the trenches.

Jeanette Volturno: Totally.

Yolanda T. Cochran: Absolutely.

Julie Harris Oliver: Yolanda, would you like to [00:25:00] rebut?

Yolanda T. Cochran: Jeanette and I basically were of the same mind about what we were doing. We were given a job and we were gonna get it done, and it was gonna be stellar once we were finished. The end of the story. Period.

Jeanette Volturno: You were like my Jiminy Cricket.

I'm like, can I do this? And she was like, well, let's think about this now.

Meko Winbush: What's, what's the phrase? This is Yolanda's favorite phrase. "Here's the thing." I'm like, oh.

Yolanda T. Cochran: Here's the thing.

Meko Winbush: Here's the thing. And I'm like, I was like, I can't wait for whatever comes next when she leads with, "here's the thing." I'm like, oh, here we go.

Jeanette Volturno: You need to make that, that in neon and have it behind your desk.

Meko Winbush: Here's the thing.

Yolanda T. Cochran: I'll just have a sign.

Yeah, I think Meko is one of the biggest weirdos I know.

Meko Winbush: Correct.

Yolanda T. Cochran: And weirdos are my favorite people in the world. So I knew I was gonna like her pretty soon, and I think she's a huge [00:26:00] talent and I think the world is gonna find out soon enough about it, and I cannot wait to be a spectator and hopefully a partner.

Jeanette Volturno: Amen.

Meko Winbush: Thanks.

Jeanette Volturno: Meko is a visionary. She is a true partner and even keeled and very responsible and understands how to blend all of those things to make a project enjoyable and successful.

Meko Winbush: Thanks, Jeanette.

Yolanda T. Cochran: Yep, but mostly a weirdo.

Meko Winbush: Correct. Oh, no, I know. Oh, I know, correct.

Julie Harris Oliver: All right.

Like it's a miracle any film ever gets made. Right?

Meko Winbush: It really is.

And

Julie Harris Oliver: then to direct your first film in those conditions, it's a miracle. Imagine how very easy your next film's gonna be.

Meko Winbush: Yeah, no, I'm definitely looking forward to how easy the next film will be. And uh, I did it with no help from these two at all. I did everything by myself, just so, just so [00:27:00] we're clear all of it myself, no help from anybody. Shot it, I even acted. We just deep faked everyone, but it was all me doing the performances, so.

Julie Harris Oliver: Good job. Good job.

All right, thanks all you guys.

Yolanda T. Cochran: Well, thanks for having us back to chat about it.

Meko Winbush: Yeah.

Julie Harris Oliver: Yeah. Well, we gotta get the tea on everything.

Meko Winbush: Get that tea.

Julie Harris Oliver: That's right, that's right. That's right.

Meko Winbush: You just gotta get to like Christopher Nolan's status where it's like, oh well. Like, no NDA.

Julie Harris Oliver: Yeah. What NDA? Yeah. Right. Oh, that's hilarious.

Okay. Bye

Jeanette Volturno: Bye.

Meko Winbush: Bye.

Julie Harris Oliver: This has been Catch A Break, Project Greenlight edition. I'm Julie Harris Oliver.

I'd like to thank our guests, Meko Winbush, Jeanette Volturno and Yolanda Cochran. And special thanks to crewvie.com, C R E W V I E.com, a dynamic platform that [00:28:00] connects people to productions worldwide.

Please check out our website at catchabreakpodcast.com and follow us on all the social media. Catch A Break is produced in partnership with CatchLight Studios and The Other 50%. Our theme music, Mantra for a Struggling Artist was composed by Andrew Joslyn.

Thanks for listening, and be sure to go watch Project Greenlight and then come back and check us out for behind the scenes of the behind the scenes. Next up, we dig deep into the art department with Martina Buckley, Vincent Rodriguez and Joel Newton. They had a very tough job and they came through in amazing ways. In the meantime, I hope this helps you to catch a break.