because I met you | billie eilish

I hate you

a week later...

"Good morning, Malia," Kari greeted me, her tone brisk as she handed me a clipboard loaded with the day's tasks.

"Take a look at this," she continued, tapping the clipboard. "We've got a full schedule, and I need you right on top of everything. First up, the costume department is having issues with the wardrobe for the next scene. I need you to coordinate with them and make sure we have everything sorted out within the hour."

I nodded, scanning the list quickly. "Got it. I'll head there now."

"And after that," Kari said, flipping the page to reveal another long list of tasks, "the props for scenes 12 through 14 need final checks. The props manager mentioned some discrepancies with the inventory yesterday, and I can't have any delays today."

"Understood," I replied.

Kari's eyes then flicked back to the clipboard. "There's also a meeting with the lighting crew at 10 AM. They're setting up for the complex night shoot tomorrow, and I want you to oversee the setup, make sure everything's in line with the director's vision."

"Okay," I said.

"And finally," Kari concluded, handing me a stack of production notes, "you'll need to liaise with the special effects team. They're prepping the mockup for the explosion scene, and after yesterday's mishap, I need them double-checked and ready by this afternoon."

"Absolutely, Kari," I said, even though I wasn't prepared for all of this work today.

As I walked towards the costume department, my mind raced through the logistics of each task. The wardrobe issue needed immediate attention; any delay could throw off the shooting schedule significantly. I quickly touched base with the head of costumes, who expressed concerns about several key pieces not fitting the lead actors properly.

"We're going to need alternatives, and fast," she explained, her voice edged with stress.

I assured her of my support and began making calls to local costume houses to find suitable replacements.

With the wardrobe crisis temporarily managed, I rushed to the props department. The prop master showed me the inventory list, highlighting the missing items. Together, we worked through the stockroom, Finding alternatives and confirming each item's placement for the upcoming scenes.

Checking the time, I hurried to meet the lighting crew. The setup was complex, involving multiple light sources to create a nighttime ambiance that felt both natural and cinematic. I relayed Kari's specifications to the team, and we walked through the arrangement, adjusting the positions to ensure the best possible effect.

The clock was ticking relentlessly. By the time the lighting was sorted, I had to sprint to the special effects workshop. The team was already assembling the components for the explosion scene, but after yesterday's setback—a minor but alarming misfire—they were understandably cautious. I reviewed the safety protocols with them, double-checking each element against the production standards.

Each task fell into the next, the day passing in a blur of constant motion and decision-making. 

By late afternoon, I had ticked off nearly every item on my list. Exhausted but satisfied, I reported back to Kari, who was deep in discussion with the director. She listened as I detailed the day's accomplishments, her expression turning from intense concentration to relief.