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11 Secrets of Sound Effects Editors

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Sound effects editors assemble the noises that bring viewers into the physical world of a movie or TV show, whether it's the meaty sound of a fistfight or the ear-shattering roar of a T. rex. They're more important than many people realize—after all, sound is half of the viewer experience. Mental Floss spoke with three of these sound magicians to learn about creating the illusion of reality, going undercover to capture sound, and when a trip to the grocery story is sometimes necessary.

1. THEY DON’T JUST MAKE THINGS GO BOOM.

The phrase “sound effects” may conjure up thoughts of explosion-packed action movies or the buzzing and clashing of light sabers. But sound effects editors don't always work on noises that dramatic. “It can be as subtle as crickets,” says Ric Schnupp, a New York-based sound editor and mixer. “[Sound effects] can be super detailed or super huge.” Heather Gross, a sound effects editor on films such as Into the Woods (2014) and TV's Quantico, adds that this fact can sometimes be lost on the average person. “If something isn’t exploding they don’t think of it as an effect,” she says. “Those birds, the car that drove by in the background, all these mundane things that always surround us—people don’t think about them in life and they certainly don’t think about it when they’re watching something.” But these small sounds are still a crucial part of a sound effects editor’s job, helping to create the reality onscreen.

2. THEY’RE OPPORTUNISTS.

Young woman working in a recording studio
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Sound effects editors are highly attuned to their environments and ready to capture unique sounds at a moment’s notice. Fortunately, sound recording equipment has become so small and portable that an editor can carry a high-quality recorder with them at all times. That's handy, since some sounds you hear all the time in life are actually pretty difficult to find in a sound library. Gross, for example, says she's always ready with her recorder whenever an opportunity presents itself. “There are life things that you are always thinking about recording. Any time someone has a baby, I record the baby,” she explains. And while attending a recent U. S. Open tennis match, she didn’t lose a chance to capture crowd sounds: “That sort of crowd, you can’t fake that,” she says. “You’re never in a situation where you can get 10,000 extras to do crowd reaction.”

The small size of some modern sound recording equipment also makes it possible to collect sounds without attracting a lot of attention. Schnupp calls his portable setup “incredibly covert.” “It’s a little thing that looks like an iPhone," he says "so it’s very easy for me to look like I’m checking my email, when in fact I’m getting sound.”

3. THEY’RE LIBRARY PATRONS …

But not the regular kind of library. Capturing live sound adds authenticity to sound design, but sometimes it's much more time and cost-effective to use sound effects from an established commercial library instead. Case in point: Schnupp relates a story about working on a forthcoming documentary that needed the sound of women screaming at a rock concert, and making the decision to purchase a sound library specifically for that purpose. “I’m not going to go spend $100 for a concert ticket and try to sneak in mics that I’m not allowed to have,” he explains.

While a sound studio will typically purchase the rights to several sound effects libraries, individual sound effects editors often also amass their own personal libraries based on recordings they’ve done, giving them the ability to draw on multiple resources.

4. THEY HEAR THE WORLD DIFFERENTLY THAN MOST PEOPLE.

Smiling man holding his ears and looking up
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Whether due to natural inclination or years of practice, sound effects editors have a sharper sense of hearing than most of us, and a more imaginative way of listening to common sounds. Schnupp recounts sitting on an airplane while the stewardesses ran through safety protocols, and noticing that “that little seat buckle thing” evoked the metallic click of a gun. He somehow convinced the stewardess to give him the buckle. “I brought it into the studio and we used it for a ton of different shows and films ... When someone holds the gun up like they’re going to shoot someone and you hear a little ‘click click’ sound ... We use that for everything and everyone loves it.”

5. ONE PERSON’S JUNK IS ANOTHER PERSON’S SOUND EFFECTS GOLDMINE.

Schnupp says the studio where he works contains a number of physical objects used to create sound effects. This includes slabs of marble and tile surfaces for recording footsteps as well as wooden boxes and palettes that imitate the hollow sound of porches, docks, or boardwalks. Schnupp says that the studio also contains “a large pile of props that we use to make sounds. It’s sitting in the corner and we kind of look like hoarders.” In the pile: bins of different shoes, paper articles, ceramics, metal objects, and broken toys.

Using objects of this sort to create footsteps and other sounds falls more properly under the role of a Foley artist, whose responsibility is to create sounds intimately associated with onscreen characters—like the rustling of clothing or sound of setting down a coffee cup. There is a fine line between Foley and sound effects work, however, and depending on a project’s budget a single person might assume both roles.

6. THEY MIGHT HAVE TO MUTILATE A (DEAD) CHICKEN.

A raw, whole chicken on butcher paper
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Speaking of unique ways sound effects editors work their magic—horror movies sometimes require resorting to techniques almost as gross as the content of the film. Schnupp says that one of the best ways to mimic the sound of ripping flesh is to buy a raw chicken at the supermarket and tear it apart. “If you really want it to sound real, sometimes it’s got to be actual flesh,” he explains.

Of course, there are ways of imitating the sound of breaking bones that might not make a vegetarian wince. “Celery is really good for bone breaks,” Schnupp says.

7. THEY SWAP SOUNDS.

Sound effects editors not only pull from commercial and personal libraries, but sometimes borrow from the personal libraries of other sound effects editors. As with many creative disciplines, the people in the sound effects field are both familiar with one another’s work and willing to help one another out. If a particular sound effect is missing, it can be helpful to think about sounds heard in the work of colleagues and to ask around. Roland Vajs, a sound editor and mixer known for his work on Green Room (2015), says he’s typically happy to share and that there’s no point in being stingy with sound effects since editors will alter them to fit their project anyway. “It’s what you do with the sound,” he says, “not what sounds you have.”

8. THEY HATE LOUD NOISES.

A "quiet please" sign lit up
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Along with heightened sound sensitivity, some sound effects editors have an aversion to loud or jarring noises. “Most sound editors hate noise and hate loud music,” says Vajs. “I am always covering my ears.” One of Vajs’s peeves is cavernous restaurants with concrete walls that amplify sound—an effect that a good sound mixer on a film would seek to avoid.

9. THEY LEND PERSONALITY TO INANIMATE OBJECTS.

Sound effects editors are not just concerned with sound effect accuracy—they also aim to strike the right tone and mood. According to Gross, automobile sounds in particular are more than just noise. “If you have a specific car or a car that is a character, then you always want to get your own library,” she says. For the Sophia Coppola film Somewhere (2010), which prominently features a Ferrari, she and her colleagues created a library of sounds recorded while performing various maneuvers in a Ferrari (tough job, but someone's got to do it).

10. THEY PLAY ON YOUR PSYCHE.

While audience members may be conscious of everything they see unfolding on screen, sound can work on a more subconscious level. Vajs argues that because sound is more abstract than visual information, it has the power to heighten emotion by working on a more intuitive, less literal level—it can “subtly influence how the viewer perceives the film,” he explains. “Psychology is always involved.”

Schnupp agrees, particularly when it comes to horror movies. “The sound is what makes you scared ... and that’s why it’s so crucial,” he says. “It can make a huge impact in horror, perhaps more so than in any other genre.”

11. EVERY SOUND IS THERE FOR A REASON.

Two professionals working in a sound studio
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From stray background noises to gunfights to subtle sounds, everything that the audience hears in a film or TV show has been put in place with intent. “Every single sound is there for a reason,” Schnupp says. “Nothing is by accident ... And even if something was there by accident it would never make it through the final mix.”

Many people, however, may not realize the extent to which soundscapes in film and TV are constructed. “Maybe 90 percent of what they’re watching has been replaced,” Gross says. “But if we’ve done our jobs well you can’t detect it.”

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15 Secrets of Caricature Artists
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The word caricature likely conjures up images of street artists on boardwalks or outside museums working up quick, humorous sketches of visitors, to the delight or dismay of their subjects. But the exaggerated illustrations of caricature include a lot more than what you see on the boardwalk—and can be more art than kitsch. We spoke to three experts in the field about the subjects caricature artists love and hate to depict, the best way to make their job harder, what they do if you don't like their drawing, and how they can tell when you really don't want to sit for a portrait.

1. THEY WANT YOU TO KNOW IT'S OLDER THAN YOU THINK.

Caricatures by Leonardo da Vinci
Wikimedia // Public Domain

Some of the greatest artists in history practiced caricature as a means to develop their skills. Eileen Owens, curator of "Biting Wit and Brazen Folly: British Satirical Prints, 1780s–1830s" at the Philadelphia Museum of Art, says Leonardo da Vinci was one of the first artists to use caricature, in the “grotesque” sketches of unusual faces and heads that populated his notebooks. (His 16th-century biographer, Giorgio Vasari, wrote that Leonardo was “so delighted when he saw curious heads, whether bearded or hairy, that he would follow anyone who had thus attracted his attention for a whole day.”) Many other well-established Renaissance artists dabbled in caricature on the side, as breaks from their rigorous training: "It was a lot more huge noses, big hair, ways to poke fun at faces. You had to be adept at drawing to know how to exaggerate," Owens says.

The form gained momentum in late-17th century Italy, when Pier Leone Ghezzi “started making funny little drawings that poked fun at well-to-do Romans and tourists,” according to Owens. From there, it spread to Britain, where it became so popular that publishing companies sprung up for the sole purpose of printing caricatures. Publishers also rented out portfolios of caricatures by the day, and hung prints in their windows, to which crowds flocked to see the latest depictions of a buffoonish Napoleon and laughable upper-crust fashions. Owens says, “This was your chance to keep up with the gossip—kind of like People magazine today.”

2. MANY OF THEM ARE SELF-TAUGHT.

A street artist paints a caricature of a girl in Prague
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Lots of caricature artists learn on the job, in part because there's not a ton of specific training available. Illustrator Tom Richmond, who spoofs movies for MAD Magazine (among other gigs), says, "Only a handful of art schools teach cartooning or caricature as a major part of curriculum, so it's hard to find instruction on how to do it. Caricature is such a specialized sort of thing, and diverse; you can’t teach it like you teach people how to draw comics, where [there's] storytelling technique and sequential art tricks and a science behind it, so to speak." Overall, what Richmond and others strive for is to “translate [your] art skill [into caricature], really lean into it—no matter how you practice.”

3. IT CAN BE GREAT TRAINING FOR OTHER ART FORMS.

Richmond says that when he teaches at workshops around the country, he always recommends—no matter what facet of the industry they are interested in—that students try their hand at live drawing, "maybe even volunteer at the local homecoming or draw for free at a daycare center." Having to work quickly with a model in front of you develops a sensitivity to gesture, to how the body leans and how weight is distributed, that's different from the skills you get "shading something for hours," Richmond explains. When you "go back to doing longer pieces, you've got an inner eye that sees things you missed before. It's great discipline for the developing eye."

4. THEY’RE NOT (NECESSARILY) OUT TO MOCK YOU.

Caricatures have been defined as "portrait[s] with the volume turned up." But that doesn't mean they have to be mean-spirited. Richmond says, “Caricature is a depiction of someone in a humorous way, but at its best it has a narrative behind it—you’re pointing out something about their presence, not just making fun of their features.” He explains that he’s not examining someone’s face to find a nose or a chin or dimples to blow out of proportion, but "trying to understand who you are as a person and exaggerate that.”

"I want to make [clients] smile or laugh," says CeCe Holt, who sketches at events and amusement parks, and is also business manager for the non-profit International Society of Caricature Artists (ISCA). "I never want to make anybody cry."

5. THEY DON’T SWEAT IT WHEN SOMEONE DOESN’T LIKE THEIR LIKENESS …

Just because caricaturists strive to capture your essence doesn't mean you're going to like it. People can be in denial about their appearance, with a radically different idea of their weight, for instance, or even whether they have freckles. In Holt’s experience, party guests usually don’t make a fuss about their caricatures, since they haven’t directly paid for them. But when the occasional amusement park patron kicks up a fuss, “I just say I’m sorry and move on to the next person.”

Richmond is similarly blasé, pointing out that when a caricaturist is drawing a quick sketch for $15, the occasional bad portrait is bound to sneak in. "Sometimes they refuse to pay, or come back later and want their money back. Live caricature can be hair-raising, which is why I prefer working with art directors."

6. … BUT SOMETIMES CUSTOMERS RETALIATE.

Christopher Walken's caricature in the foreground at Sardi's following its unveiling in 2010.
Christopher Walken's caricature in the foreground at Sardi's following its unveiling in 2010.
Jemal Countess/Getty Images

Occasionally, customers do try to turn the tables. Ipecacxink, a caricature artist at a Midwest theme park, writes in a Reddit AMA about a boy she accidentally made very upset with her drawing. "I went to lunch right after I did it. Apparently while I was gone, he came back and drew a circle with spikey hair, glasses, and frowny eyebrows and a note that said, 'How do you like someone making fun of you?!' under it. He then placed it on my chair. It was hilarious. I saved it."

At Sardi's—the Times Square tourist destination known for its wall of caricatures—some of the celebrities depicted have gotten mad enough to take down their pictures, the restaurant's owner told AMNew York. It used to be that the in-house caricaturist (who's paid in meals instead of money) would hand over unfinished versions to the subjects first, to get the seal of approval, before going on to later exaggerate their features. That's stopped, but these days the caricatures have become less humorous, and more like regular portraits—which helps keep the peace between the restaurant and its famous clientele.

7. THEY CAN DO PORTRAITS IN AS LITTLE AS THREE MINUTES.

When she’s sketching guests at amusement parks like Worlds of Fun in Kansas City, Missouri, Holt aims to churn out a black-and-white portrait in three minutes. Working at a wedding reception, where she might add color, six minutes is the max. Much of this has to do with fitting in as many guests as possible—“You have to be fast to get through the crowd or they’ll leave,” she says.

For Holt, the need for speed means she has to “go with her instincts; there isn’t time to second-guess” a depiction. For Richmond, working quickly means caricaturists develop a "sixth sense" for how to capture expressions: “You develop an instinct for people, whether they’re energetic and outgoing, or more quiet." Some of that means honing in on their signature details: "Friends behind will be going, 'It’s the smile! That's exactly how he looks!'" Richmond says.

8. BORING-LOOKING CUSTOMERS ARE THE HARDEST.

Man's hands with pencils drawing a woman's portrait
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The caricaturist's worst fear is the customer who comes in looking exactly like the girl (or guy) next door. "Most people are surprised to hear that what I consider to be the most difficult sort of person to draw is one that is completely average looking," caricaturist GertrudisSlugworth, who works at a theme park, wrote on Reddit."I will get a bland looking individual every once in a while, and when it happens I usually try to focus more on things like clothes, hair, or jewelry to get a decent likeness."

On the other hand, people who are naturally distinctive-looking are often artist favorites. Richmond says he particularly loves drawing Slash, the guitarist from Guns N’ Roses. “He’s already funny looking, with no features, just glasses, hair, and a big top hat, so you don’t have to work that hard,” he says. “You can just do him standing there with his guitar by his ankles, like he plays it, or exaggerate how he puts his head back, which shows a lot about him as a player.”

9. THEY MAY CHANGE THEIR TECHNIQUE TO SUIT THE WAY YOU LOOK.

When she first started in the business, Holt says she dreaded drawing people who weren’t thin; she was afraid they might take offense at her portraits, although she didn’t intend any. Over the years she’s honed a technique in which she draws faces using a soft line that thickens toward the bottom. The result is “Cute, but they still feel like it looks like them,” Holt says.

GertrudisSlugworth writes that for people with obvious deformities, she may forego exaggerations, even though those are normally the hallmarks of caricature: "I find the best way to handle it is to go more realistic than exaggerated, depending on their attitude. Sometimes if it's an easy fix (e.g missing an eye), the customer will just ask to be drawn as 'normal.' For the most part though, people recognize any obvious deformities they have, and accept your portrayal of them."

10. STREET ARTISTS HAVE AN ADVANTAGE.

Tourists look at caricaturists in Rome
PATRICK HERTZOG/AFP/Getty Images

Richmond says that artists "sitting in front of a museum while the subject is in front of them have more of an advantage" than he does when it comes to creating an expressive caricature, since he often has to work from photos, which don't show gesture and personality in the same way. "When I'm working from 2D photos, all you’ve got is what the photo shows you, and it's basically superficial. It doesn’t really do it."

Holt agrees: "Working from a picture is different from getting your first instincts from a person." When a freelance client wants her to draw someone from photos, she says she'll at least ask for multiple photos to work from, especially body shots, which help to show posture—yet another indicator of the subject's personality.

11. THEY'RE INCREASINGLY IN DEMAND.

Richmond says that although staff cartoonists may be disappearing at newspapers as that industry shrinks, editorial cartooning—which often relies on caricature—“is experiencing a boom right now." Some of this is thanks to the heated political climate, he notes. But there's a deeper reason, too: "Most media stories, TV shows, or articles are, at bottom, about people and need images of people to illustrate [them]," Richmond says. "Caricature is one thing you can’t do with a camera, so when you need a humorous touch, caricature is a great solution."

12. THERE'S A CARICATURIST CONVENTION.

The ISCA hosts an annual convention each November that draws hundreds of caricaturists from around the world. Aside from a week of guest speakers, seminars, and demonstrations, the main attraction is a days-long competition in which the artists draw each other for prizes in categories like best color technique and most humorous. (The big award there is called the Golden Nosey.) Richmond says, “The variety of styles [there] is crazy: acrylic painting, pastels, airbrush, sculpture, and everything in between.” Holt says there's even an artist who spits ink out of his mouth.

13. THEY MIGHT HIDE THINGS IN THEIR PORTRAITS.

Artwork by Al Hirschfeld on display at The New York Botanical Garden in 2011
Astrid Stawiarz/Getty Images

Richmond says that a favorite stylist of his is the late Al Hirschfeld, who for decades hid his daughter’s name, Nina, in his cartoons of cultural icons for The New York Times. (Hirschfeld would append the number of Ninas to his signature, creating a kind of game for readers). Ipecacxink says she "used to draw a picture of my face in [subject's] pupils sometimes. Really tiny. Or, I used to draw a little radioactive symbol somewhere in the drawing. We had to wear these god-awful neon yellow shirts to work, and I always felt we were radioactive."

14. THEY CAN TELL WHEN YOU DON'T WANT A DRAWING.

Occasionally, parents, friends, or partners will purchase a drawing for someone who just isn't interested. In that case, the caricaturist can probably pick up on it: "They either wouldn't look at you, wouldn't smile, or just sit down funny," ipecacxink writes. "I tried to handle it professionally. I would talk, if they wouldn't talk, I'd be quiet, but smile like an idiot when it was all said and done ... I always tried to be friendly to lessen the likelihood of them leaving without paying."

15. THEY MIGHT BE SWAPPING THEIR PENCILS FOR A TABLET.

Some contemporary caricaturists paint portraits, like Owens’s traditional satirical masters once did. They may also be adept with other analog media, like bullet-tip markers, color sticks (basically colored pencils with no wood casings), pen and brush, and paper. But thanks to the changing needs of publications in an online age, which want all files submitted electronically, caricature artists working in their studios have also gone digital. Holt sometimes works on an iPad Pro with an Apple Pencil in Procreate. Richmond now does all his coloring on a computer or a tablet. “[A tablet’s] so convenient, because it’s like having unlimited amounts of paper, and your pencil never needs to be sharpened, and all your tools fit in a tiny bag,” he says. “But it’s still about the creativity behind it. Computers can’t do it all on their own.”

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14 Secrets of Costco Employees
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Costco has become something of a unicorn in the brick-and-mortar industry. While employees at other chains express concerns over low wages and questionable management choices, the 200,000-plus ground troops at Costco’s massive shopping centers rave about generous pay ($13 to $22.50 hourly, depending on seniority), comprehensive benefits, and pension plans. After one year of employment, the turnover rate is only 6 percent, compared to an average of 16 percent across the retail industry. Not having to incur costs of training replacements is just one reason the company keeps prices low.

It’s no secret that Costco employees are a relatively happy bunch. But we wanted a little more information, so we’ve asked several current Costco workers about everything from pet peeves to nail polish bans to revoking memberships. (All requested we use only their first names to preserve anonymity.) Here’s what they had to tell us about life in the pallets.

1. WORKING THERE IS BETTER THAN GOING TO THE GYM.

Turns out that navigating a warehouse full of goods stacked to the ceiling is kind of like getting an all-day gym pass. “I walk about five to eight miles a day on average, and that's all within the confines of the store,” says Rachael, a Costco employee in Colorado. “When you see pallets stacked with 50-pound bags of flour or sugar or dog food or cat litter, a lot of that stuff had to be stacked by hand by employees before the store opens. Ditto for those giant stacks of shoes and bottles of salsa or five-gallon jugs of cooking oil. It's a lot of hard work.”

2. THEY CAN DO THEIR SHOPPING AFTER HOURS.

Costco shopping carts are arranged together
Brendan Smialowski, Getty Images

While employees typically don’t get shopping discounts, they have something that’s arguably better: the opportunity to shop in a near-empty store. “You can shop after hours, and a lot of employees do that,” says Kathleen, a Costco employee in Washington state. “You just bring your cart to the front register.” The store will keep the member service counter open so workers can check out after other registers have closed.

3. THE GENEROUS RETURN POLICY CAN GET MESSY.

Costco infamously places very few restrictions on returns. Most anything purchased there can be brought back for a refund as part of the company’s overall emphasis on exceptional customer service. Naturally, some members are willing to abuse the privilege. “Members return couches that are over five years old, and interestingly enough, they still have the receipt,” Rachael says. “My guess is that they buy that couch with the intention of returning it someday, so they tape the receipt to the bottom of the couch so they don't lose it. Then, when they've worn it out and want something new, they bring it back and get a full refund.”

Rachael has also seen a member return a freezer that was allegedly no longer working. The store refunded both the cost of the appliance and the spoiled meat inside. “The meat smelled like death,” she says.

4. THEY CAN ALSO TELL WHEN YOU’RE A SERIAL RETURNER.

A shopper at Costco looks at the computer display
Tim Boyle, Getty Images

Costco purchase records typically date back 10 years or so, but employees working the return counter don’t always need to reference your account to know that you're making a habit of getting refunds. “When someone comes in to return something without a receipt and they go, ‘Oh, you can look it up on my account,’ that’s a tell,” says Thomas, an employee in California. “It tells me you return so much stuff that you know what we can find on the computer.”

5. THERE’S A CONVENIENCE STORE-WITHIN-A-STORE.

While employees are generally allowed to eat their lunch or dinner meals in the food court, not all of them are crazy about pizza and hot dogs as part of their daily diet. Many opt for the employee break room, which—in some warehouse locations—looks more like a highway rest stop. Rows of vending machines offer fresh meals, snacks, and sodas, along with a complete kitchen for preparing food brought from home. “[It’s a] relatively new addition that is being implemented at more warehouses,” says Steve, an employee in California. “It's basically like a gas station's convenience store, with both frozen and fresh meals and snacks. The only difference is the prices are more reasonable.”

6. THERE’S A GOOD REASON THERE ISN’T AN EXPRESS CHECKOUT LANE.

A Costco shopper goes through the checkout lane
Joe Raedle, Getty Images

Walk into a Costco and you’ll probably notice an employee with a click counter taking inventory of incoming members. According to Rachael, that head count gets relayed to the supervisor in charge of opening registers. “They know that for a certain amount of people entering the store, within a certain amount of time, there should be a certain amount of registers open to accommodate those shoppers who are ready to check out,” she says. If there aren’t enough cashiers on hand, the supervisor can pull from other departments: Most employees are “cross-trained” to help out when areas are understaffed.

7. THERE’S A METHOD TO THE RECEIPT CHECK.

Customers sometimes feel offended when they’re met at the exit by an employee scanning their receipt, but it’s all in an effort to mitigate loss prevention and keep prices low. “We’re looking for items on the bottom of the cart, big items like TVs, or alcohol,” Thomas says. Typically, the value of these items might make it worth the risk for a customer who's trying to shoplift—and they're worth the double-check.

8. THEY TAKE SAFE FOOD HANDLING TO A NEW LEVEL ...

A Costco employee works in food preparation
Justin Sullivan, Getty Images

At Costco, employees are expected to exercise extreme caution when preparing and serving hot dogs, pizza, chicken and other food to members. “If an employee forgets to remove their apron before exiting the department, they must remove that apron, toss it into the hamper, and put on a fresh apron because now it's contaminated,” Rachael says. “Or, let's say a member asks for a slice of cheese pizza. We place that piece onto a plate, with tongs, of course, then place the plate onto the counter. If the member says, ‘Oh darn, I've changed my mind, I'd rather have pepperoni pizza,’ then we have to toss the pizza that they didn't want into the trash. Once it hits the counter, it can't come back.” Some store protocols even prohibit employees from wearing nail polish in food prep areas—it could chip and get into the food.

9. ... BUT WORKING AT THE FOOD COURT CAN PREPARE THEM FOR ANYTHING.

Costco employees who find themselves behind the counter at the chain’s food court say it's one of the few less-than-pleasant experiences of working there. For some members, the dynamic of waiting on food and peering over a service counter can make them forget their manners. “Usually members are rude when they are waiting on their pizza during a busy time,” Steve says. “If an employee can excel in the food court, any other position in the warehouse is pretty easy by comparison.”

10. THEY GET FREE TURKEYS.

Costco’s generous wages and benefits keep employment applications stacked high. What people don’t realize, Kathleen says, is that the company’s attention to employee satisfaction can result in getting gifted a giant bird. “We get free turkeys for Thanksgiving,” she says. “I didn’t even know that before I started working there. It’s a nice perk.”

11. THEY CAN REVOKE YOUR MEMBERSHIP.

Shoppers go down an aisle at Costco
Gabriel Buoys, AFP/Getty Images

But it’s got to be a pretty extreme situation. According to Thomas, memberships can be terminated if a member is caught stealing or having a physical altercation inside the store. For less severe infractions, employees can make notes under a “comments” section of your membership. They’ll do that for frequent returns, if you’re verbally aggressive, or if you like to rummage through pre-packaged produce looking for the best apples. (Don’t do that.)

12. MANAGERS GET THEIR HANDS DIRTY.

During peak business times on weekends and around holidays, the influx of customer traffic can get so formidable that managers jump in with employees to make sure everything gets taken care of. “Most people would be surprised if they realized that the person who just put all of their groceries into their cart at the registers or who helped load that huge mattress into their car was actually the store's general manager,” Rachael says.

13. EVERY DAILY STORE OPENING IS CONTROLLED CHAOS …

Shoppers appear in front of a Costco store
Scott Olsen, Getty Images

Like most any retail store, Costco prides itself on presenting a clean, efficient, and organized layout that holds little trace of the labor that went into overnight stocking or display preparation. But if a customer ever happened to see the store in the last hour before opening each day, they’d witness a flurry of activity. “It's controlled chaos with loud music along with the blaring of the forklift sirens,” Steve says. “Employees are rushing to finish and clean up, drivers are rushing to put merchandising in the steel [shelving], and the floor scrubber slowly but surely makes its way around the warehouse. It truly is a remarkable choreography that happens seven days a week.”

14. … AND EVERY CLOSING IS A SLOW MARCH.

To avoid stragglers, Costco employees form a line and walk down aisles to encourage customers to move toward the front of the store so they can check out before closing. Once the doors are locked, overnight stocking begins in anticipation of another day at the world’s coziest warehouse. “Our store has over 250 employees altogether,” Rachael says. “If all of us do our little bit, then it's a well-oiled machine that runs without a hitch.”

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