A Day in the Life of Oscar-Nominated Producers Emma Tillinger Koskoff and Pippa Harris

Amanda Edwards/WireImage; Alberto E. Rodriguez/Getty Images

Koskoff ('The Irishman', 'Joker') and Harris ('1917') break down their schedules on recent busy days: "A Double-Double, animal style — and still beat Marty to the plane."

EMMA TILLINGER KOSKOFF

Producer, The Irishman, Joker. President of production, Sikelia Productions

My Day: Nov. 19, 2019

6:00 A.M.

Wake up the kids and our new French bulldog puppy, Cha Cha. Walk and feed the puppy. Feed the kids.

7:00 A.M.

Leave my house in West Hollywood and drive kids to school. Head home to finish packing for a director's scout in Oklahoma for Killers of the Flower Moon, Martin Scorsese's next film.

10:00 A.M.

Phone interview to promote The Irishman and Joker. We talk about the various production challenges on both projects and about shooting in NYC. I love shooting in the city and I love the incredible crews who made these films, some of whom worked on both.

11:00 A.M.

Review some Irishman marketing materials — new trailers and ads. The Irishman is out in theaters and selling out the Belasco on Broadway, and is about to drop on Netflix.

12:00 P.M.

Watch the first cut of the next film in our Emerging Filmmaker Fund, Murina, a Croatian film directed by Antoneta Kusijanovic. I love it. I'm extremely excited to see it evolve.

2:00 P.M.

Squeeze in a quick facial with Crystal Klug.

4:00 P.M.

Meeting with Marty and Netflix's Lisa Nishimura and Adam Del Deo to screen rough-cut episodes of our Fran Lebowitz docuseries. Fran is hilarious, and everyone agrees it's crucial to introduce her voice to a new generation.

6:00 P.M.

Race out of Netflix to head to the airport — must hit In-N-Out for a Double-Double, animal style — and still beat Marty to the plane.

7:30 P.M.

Wheels up! Review scout itinerary for the coming days with Marty and Rodrigo Prieto, our DP who is also flying with us. 

12:00 A.M.

Touchdown Tulsa — straight to bed!

PIPPA HARRIS

Producer, 1917. Co-founder, Neal Street Productions. Chair, BAFTA

My Day: Jan. 23, 2020

6:20 A.M.

Wake up at home in Oxfordshire. Shower, drink black lapsang souchong tea, then drive to train station (in electric car obvs!).

7:50 A.M.

Train to London Marylebone, eating porridge and banana. Get up to speed on emails, and study updates on 1917 box office from Universal and eOne.

9:30 A.M.

BAFTA execs meeting with CEO Amanda Berry, COO Kevin Price and deputy chair Krishnendu Majumdar. Go over final sustainability audit for the BAFTA film awards — aiming to be carbon neutral this year.

10:30 A.M.

Meeting with BAFTA Building Design committee and Benedetti Architects to discuss finishes, floor and tiling for the newly redeveloped BAFTA HQ at 195 Piccadilly.

2:00 P.M.

Final mix for season nine, episode seven of the BBC's Call the Midwife at Boom in Soho. It features our first blind mother, brilliantly played by Ellie Wallwork. I always obsess over dialogue clarity while showrunner Heidi Thomas focuses on the score. The episode makes us both cry, which is a good sign!

4:30 P.M.

Train back toward home. Emails. Looking like 1917 will cross $100 million this weekend in U.S. and 20 million pounds in the U.K.

6:00 P.M.

Meet up with my husband, writer Richard McBrien, and our daughter Ella at her school to discuss subject choices.

8:00 P.M.

Call with Julie Pastor, Neal Street's L.A.-based head of development, to prioritize director ideas for new Amblin movie project Beautiful Ruins, based on the Jess Walter novel. Eat omelet and salad.

8:30 P.M.

Watch final locked cut of Penny Dreadful: City of Angels, episode one. Showrunner John Logan has moved his supernatural, morally complex drama to 1930s L.A. Blown away by the cast, including Natalie Dormer, Daniel Zovatto, Adriana Barraza, Rory Kinnear and Nathan Lane, and the stunning production design. Send congratulatory email to John, who responds with updates on series launch on Showtime and Sky.

11:00 P.M.

Bed — reading Ronan Farrow's Catch and Kill.

A version of this story first appeared in the Feb. 5 issue of The Hollywood Reporter magazine. Click here to subscribe.