JAM: Where are you from? How did you get started?
BC: I'm from New York. I didn't go to college - well, I went to college for dental hygiene, and then thought, I'm not going to do this for the rest of my life. Then I started working for a local theater up in Rochester, NY. And my future sister-in-law said they're looking for a stage manager and you'd want to do that. I don't know really why she said that other than I was always making costumes and things like that. So I joined the circus - the first circus was local theater.
JAM: So you grew up in Rochester?
BC: I was born in New York City, moved up to Kingston, then Rochester from 7th grade on. That's where I worked in theater. It was the 80's, when they were doing horror movies, and a local guy wanted to direct one, so we all worked for free. And a friend said, hey this will be fun, so we proceeded to work for four months for free, 20 hour days, just crazy, and I loved it. So that was my training.
JAM: And you remember that movie?
BC: Oh yeah, it was called "Fear No Evil" and we called it "Fear No Paycheck." But we all still loved it. My friend that I met on the show said I'll move if you move and so we checked out New York and New York at that point was maybe only two layers thick of crew so it was very difficult to break that even though I was a New Yorker. And we also thought what about California. I had made friends on that show and so we felt like we had more contacts in the business. It was 1981.

JAM: So you ended up in LA.
BC: Yep, and my main contact who was also a production manager...called me up and said, do you want to work on a show I'm doing for Canon Films, which was a very low budget production. And so I did that - I think the movie was called "Body and Soul" with Leon Issac Kennedy and Jane Kennedy and it was the black version of the 1940's John Garfield classic.
JAM: That's very progressive.
BC: Yeah, it was for that time. Canon Films did everything. And loved it, too. You'd work 20 hours a day. It was so cheap you'd do pre-production, you'd have offices, but as soon as you start filming you'd get out of the offices and just work from the road. Everything in your car.
JAM: Talk about learning hands-on...you got the best kind of training because it was low budget.
BC: Oh absolutely, it actually put me on to the set a lot. And I really feel like that's the best training ground for being a producer that you actually know how hard the crew works, because you do everything. You would pick up cable, it's all non-union so you do whatever.
JAM: You were more unofficially a PA would it be?
BC: I was a production coordinator. But I was also craft service. So I'd have all this craft service in the car!
JAM: No wonder you are so good at what you do. If you started already doing everything, it's kind of like you were already the executive producer. Do you have advice for someone who is just starting out and wants to do what you're doing? Where do they begin?
BC: Try and work in every single department. You start to see what peaks your interest then. I've pretty much worked in every department in one way or another. Camera was probably minimal other than carrying camera cases, but doing that made me realize how heavy - to me, you need to know what everybody does.
JAM: You have your hands on everything to make sure things run smoothly, it's incredible. You as an executive producer, coming from Body and Soul environment, to Game of Thrones, you're on such a large scale, what are the similarities and differences? Also, because we are doing women in film, have you seen more women being hired?
BC: Certainly in the last few years, I think it's more focused on hiring women in film. I've been fortunate that I wasn't aware of somebody not hiring me because I was a woman. I feel very fortunate that way. But I also feel sometimes women aren't hired because they don't work enough. Things have changed a lot. Back in the 80's we had to work longer to work up the ladder.

BC: I feel like everything is different but also the same between the low budget and the high budget. I think sometimes in the very low budget when I first started, I loved helping out in different departments and that camaraderie of my god, it's 4:00 in the morning and we've got to be out of this location. There was fun to that. In this job, you have to have fun at it or enjoy it. If you're not enjoying it, this business takes a lot out of your life to be doing it. Most of us in it do have that passion.

The bigger, newer shows, there are some things that ease up because you do have some money, but the problems get bigger. You never have enough money no matter what you have it seems. They write bigger. And they direct bigger.

JAM: Instead of just talking about film and tv and executive producing, at Just A Moment, we like to ask if there's anywhere you could go, where would that be?
BC: I love to travel, I'm so fortunate a lot of my travel is for work. The funnest thing we get to do is when we scout, we see things that a lot of general public doesn't get to see. We are spoiled that way. To me that's magical. Eight years on Game of Thrones, I was fortunate enough to see a lot of the world and behind the curtain kind of world. For myself, it goes back and forth, I l have my dogs at home and watching old movies with my husband, catching up with him because I'm not home a lot. Sometimes you just need to download and it's an important thing to do.

JAM: Your work includes such fantastic travel, your bucket list could be the opposite of most. The worldly experience, the things that you probably saw doing GOT that many seasons, did you go to Morocco, Iceland,...
BC: Morocco I loved. It's just magical. Like on Game of Thrones, we were in Seville, we were in the palace there, and wow, there are ruins that just don't allow other people in.
JAM: How's it going by the way on The Nevers (new show from Joss Whedon), and putting together that kind of environment?
BC: