While production designer Ethan Tobman’s credits include Hulu’s “Pam & Tommy” and Searchlight’s new release “The Menu,” he scored the biggest applause from the audience at Variety‘s 10 Artisans to Watch panel while talking about working with music superstar Taylor Swift.

Tobman was among the panelists at SCAD Savannah Film Festival last week, chatting with the school’s students about their current projects and giving advice on how to break into the industry.

Having worked with Swift on the music videos for “Cardigan” and her latest release, “Anti-Hero,” Tobman says he learns from her every time they work together. He added, “I think Taylor Swift has been miscast. We all know her as a phenomenal singer-songwriter, but she is a director and she’s a really inspiring collaborative and tremendous leader.”

The inaugural class of Variety‘s 10 Artisans to Watch also celebrated cinematographer Todd Banhazl (¡°Winning Time: The Rise of the Lakers Dynasty¡±), makeup head Michelle Chung (¡°Everything Everywhere All at Once¡±), composer Amie Doherty (“She-Hulk: Attorney at Law), sound designer Mike James Gallagher (¡°Weird: The Al Yankovic Story¡±), VFX artist and SCAD alumnus Jessica Love (¡°Thor: Love and Thunder¡±), hair department head Deaundra Metzger (¡°Till¡±), editor Scott Morris (¡°Armageddon Time¡±), costume designer Gersha Phillips (¡°The Woman King¡±) and supervising sound editor Mac Smith (“Moon Knight”).

Gallagher shared how Roku’s upcoming “Weird: The Al Yankovic Story” involves a sound design comprising of both musical performances and action. He revealed to the audience how he borrowed from Christopher Nolan. “I actually use sound effects from the Christopher Nolan ‘Batman’ movie. It was legal, don’t worry.”

The sound designer also shared how Yankovic helped obtain sound effects of a crowd yelling “No!” While on tour in Nebraska, during a soundcheck, Yankovic asked his crowd to scream so the team could get exactly what they needed. Says Gallagher, “That night, we received an amazing 96-kilohertz stereo recording of the crowd.”

Asked about her influences on scoring the series, “She-Hulk: Attorney at Law” composer Amie Doherty said, “There’s this very well-established viable sound, which is that big orchestral superhero sound. But it’s also a lawyer show.” That meant she had to find a small, intimate lawyer show sound. For that, she turned to shows such as “The Good Wife” and “Ally McBeal” to find instruments for this juxtaposition. Doherty ended up spending a year recording the score with an orchestra in Vienna.

Watch a video from the panel discussion above.