Corey Pritchett followed in his father's footsteps as a Special Effects Coordinator. He has worked on the most memorable films Kill Bill I and II, The Mist, and Ghosts Of Mars. Corey shares his story about how he didn't become a college professor, getting in and moving up through the Special Effects Department, how he created the actual fog in the movie The Mist, and a few reasons why we shouldn't let road rage get the best of us.

Andrea Jackson has hustled and worked her way up as a Hair Stylist, bringing the business to set every day. As Department Head she has recently worked on the TV shows Snowfall and All American, and the feature films Big George Forman and Straight Outta Compton. A licensed real estate agent and car dealer, Andrea shares her quest to get better, stay working at what she enjoys in hair and fashion, building her team, and the importance of helping others up the ladder.

From Inglewood to Ojai who is Vinnie Jae? Standby Painter to the Stars! Quentin Tarantino, Michael Mann, and Nelson Mandela have all known Vinnie Jae. When Edward Norton stomped the guy's teeth in American History X, Vinnie Jae was there. On Jurassic World dinosaurs loved him. He has paid the passion tax. And remember... read the room.

Bobby Thomas settled into the Key Grip position after attending USC where he was roommates, and became a lifelong friend of the legendary John Singleton. He worked on classic films such as Boyz N The Hood and Poetic Justice, and the TV shows Sons Of Anarchy, Snowfall, and Santa Clarita Diet. Bobby shares his story how he established himself as a Key Grip, the role and responsibilities of the Key Grip, and why not to kick BC's ass before call time.

Rick Sieloff, better known as "Uncle Ricky" is an On Set Decorator with over 20 years experience working in the Art Department. "Uncle Ricky" talks about his early days in the Army, going on tour with Barbara Streisand, and a brief history of Detroit. - THANK GOD THE STRIKE IS OVER!!!

Merc Arceneaux is a Make-Up Artist who has worked as a personal to A-List actors including among others Dwayne Johnson, Kevin Hart, and Channing Tatum. She has been the Department Head on films such as Bullet Train and Coming 2 America. Merc talks about her early career as a model, how she found her break into the industry while working behind a makeup counter, and how she didn't get the job on The Equalizer 3.

Lennox Brown settled his talents in Los Angeles after emigrating from his native Jamaica. "Buppy" is multi-talented music and acting performer who has maintained his career as a Stand-In for actors such as Wesley Snipes, Don Cheatle, and recently on the movie Nope for Daniel Kaluuya. Lennox talks about his journey to LA as a crew member of a cruise ship, how love guides him, and the hustle of being a Background Actor and Stand-In.

Fritz Banks got started as a Page at Paramount where he met his longtime friend, on and off set, Spoon. Their early creative collaborations lead to Fritz building a career as a Set Lighting Technician working on well know TV sitcoms such as Tool Time and Girlfriends. Fritz shares his path in the business, his knowledge of his craft, and some of the hazards those formerly known as "Electrics" must avoid when 75 feet in the air and operating a condor.

Manny Padilla has credits working on some of the biggest movies in the last decade including Inception, Transformers and The Hateful Eight. A native Angeleno with neither film school or any relatives in the business to usher him in, Manny broke his way into the industry by getting a job at Home Depot. He talks about managing locations on the big shows, the importance of mental wellness at work, and the best way to get Megatron across town in a pinch.

Nancea Ceo has notably brought her creativity as a Costume Designer to the film To Leslie and the TV series The Chi. With over 25 years working in The Industry she shares her journey starting at the bottom and working her way up. In this episode Nancea talks about where she got started, how she keeps herself and her teams creatively inspired, and the challenges of working within the new paradigm of Hollywood production.