CHICAGO HAS ITS OWN ENTERTAINMENT POWERHOUSE! 🎬🌆
Meet Gabriella "Ella" Patino, a Chicago Talent Agent with The Rock Talent Agency — and my latest guest on The Demia Avery Show – The Industry!
Ella is giving us the inside scoop on what it's really like to work with actors in the Chicago market, what agents are looking for, and what it takes for talent to build a career beyond simply getting an audition.
And here's something Chicago actors definitely want to know about 👀…
The Rock Talent Agency has booked talent for the ONE CHICAGO UNIVERSE — including Chicago Fire, Chicago P.D., and Chicago Med.
🔥 Chicago Fire
🚔 Chicago P.D.
🏥 Chicago Med
So yes - we're talking about the business of getting actors from Chicago to the screen!
Ella brings a fresh perspective to the conversation, and if you're an actor, aspiring actor, or simply fascinated by what happens behind the scenes of television and film, you're going to want to hear what she has to say.
🎥 The Demia Avery Show – The Industry
🎙️ Hosted by Demia Avery
Chicago talent. Chicago agent. Chicago industry.
#TheDemiaAveryShow #TheIndustry #EllaPatino #ChicagoTalentAgent #ChicagoAgent #TheRockTalentAgency #ChicagoActors #ChicagoEntertainment #OneChicago #ChicagoFire #ChicagoPD #ChicagoMed #TalentAgent #ActingIndustry #FilmAndTelevision #ActorsLife
00:00:32 --> 00:00:37 [music]
00:00:54 --> 00:00:56 >> Hello, hello everyone. This is Demia
00:00:56 --> 00:00:58 Avery with the Demia Avery Show The
00:00:58 --> 00:01:00 Industry. And guess what, guys? Of
00:01:00 --> 00:01:02 course, we have another wonderful guest
00:01:02 --> 00:01:05 today. So, look, Chicago is home to some
00:01:05 --> 00:01:07 of television's biggest productions,
00:01:07 --> 00:01:10 including Chicago Fire, Chicago PD,
00:01:10 --> 00:01:13 Chicago Med, and The Bear. And behind
00:01:13 --> 00:01:15 the scenes are the agents helping actors
00:01:15 --> 00:01:17 turn opportunities into careers. But my
00:01:17 --> 00:01:19 next guest is making her mark in that
00:01:19 --> 00:01:22 very market. She's an on-camera talent
00:01:22 --> 00:01:25 agency with The Rock Agency, a SAG-AFTRA
00:01:25 --> 00:01:27 franchised agency representing talent in
00:01:27 --> 00:01:29 film, TV, and commercials with
00:01:29 --> 00:01:31 connections extending beyond the Midwest
00:01:31 --> 00:01:33 to LA and New York. She earned her
00:01:34 --> 00:01:35 master's degree in management from
00:01:35 --> 00:01:38 DePaul University, sharing her industry
00:01:38 --> 00:01:40 knowledge on professional panels, and
00:01:40 --> 00:01:42 helping bring Chicago's creative
00:01:42 --> 00:01:44 community together through networking
00:01:44 --> 00:01:46 events. So, what does it take to get an
00:01:46 --> 00:01:47 agent's attention in one of the
00:01:47 --> 00:01:49 country's busiest busiest television
00:01:49 --> 00:01:52 markets? We're about to find out. Please
00:01:52 --> 00:01:55 welcome the beautiful Gabriella Ella
00:01:55 --> 00:01:58 Patino. Welcome. Thank you. Thank you so
00:01:58 --> 00:02:00 much for having me. Oh, you're very
00:02:00 --> 00:02:02 welcome. Now listen Ella, you spent a
00:02:02 --> 00:02:04 little time in LA before going back to
00:02:04 --> 00:02:06 Chicago. Now most people think you have
00:02:06 --> 00:02:08 to move to LA to make it in the
00:02:08 --> 00:02:10 entertainment industry. What does
00:02:10 --> 00:02:11 Chicago
00:02:11 --> 00:02:14 have that made you say, "You know what?
00:02:14 --> 00:02:16 I'm coming home."
00:02:16 --> 00:02:20 >> Yeah. So yeah, I grew up here in like
00:02:20 --> 00:02:23 the Chicago land area. I obviously went
00:02:23 --> 00:02:26 to school here. I think
00:02:26 --> 00:02:29 what sets Chicago kind of apart from
00:02:29 --> 00:02:32 like LA or even other parts of the
00:02:32 --> 00:02:33 country is
00:02:33 --> 00:02:36 it just is very homey.
00:02:36 --> 00:02:40 I've heard and have experienced on set
00:02:40 --> 00:02:43 just some really amazing people.
00:02:43 --> 00:02:45 Everyone's very kind. They want to help
00:02:45 --> 00:02:48 you. Everyone's
00:02:48 --> 00:02:50 you know understands like this is a
00:02:50 --> 00:02:53 business and then also like you can
00:02:53 --> 00:02:55 network and connect and ask questions
00:02:55 --> 00:02:59 and it's a place of like learning.
00:02:59 --> 00:03:01 And I also think what sets it apart is
00:03:01 --> 00:03:02 just
00:03:02 --> 00:03:04 Chicago is
00:03:04 --> 00:03:06 you know, people just think of downtown
00:03:06 --> 00:03:09 but it's Chicago's vast
00:03:09 --> 00:03:11 in both the north and
00:03:11 --> 00:03:15 south side and has a lot of culture.
00:03:15 --> 00:03:18 It's kind of a very big melting pot of
00:03:18 --> 00:03:19 you know, different people. So I feel
00:03:19 --> 00:03:21 like there's just so many amazing
00:03:21 --> 00:03:23 stories
00:03:23 --> 00:03:24 that are being told here.
00:03:24 --> 00:03:25 >> Yeah.
00:03:25 --> 00:03:27 Yeah. I love I love Chicago. I don't
00:03:27 --> 00:03:29 know if you if you know that my sister
00:03:29 --> 00:03:31 and I are originally from Indiana. We're
00:03:31 --> 00:03:32 from Gary.
00:03:32 --> 00:03:33 >> Oh, I didn't know that.
00:03:33 --> 00:03:34 >> Uh-huh.
00:03:34 --> 00:03:34 >> [laughter]
00:03:34 --> 00:03:36 >> So that's where we're from. So we did
00:03:36 --> 00:03:38 visit Chicago quite a bit, you know, in
00:03:38 --> 00:03:40 our younger years and things like that.
00:03:40 --> 00:03:42 So yeah, we love it there. And I love
00:03:42 --> 00:03:45 that you talked about the the culture
00:03:45 --> 00:03:48 there and how the industry works there.
00:03:48 --> 00:03:50 You're more of I mean you of course
00:03:50 --> 00:03:52 you're business but it it sounds like
00:03:52 --> 00:03:55 more of a tight knit. Everybody kind of
00:03:55 --> 00:03:57 you know, getting along type well you
00:03:57 --> 00:03:59 know what I'm saying. So would I be
00:03:59 --> 00:04:00 correct in saying that?
00:04:00 --> 00:04:04 >> Yeah, I would say yeah, it's definitely
00:04:04 --> 00:04:05 um
00:04:05 --> 00:04:07 yeah, more collaborative.
00:04:07 --> 00:04:09 Not not to say other areas aren't that
00:04:09 --> 00:04:11 way, but I would say yeah, very
00:04:11 --> 00:04:13 collaborative, more
00:04:13 --> 00:04:14 um
00:04:14 --> 00:04:16 yeah, I just think
00:04:16 --> 00:04:17 working together.
00:04:17 --> 00:04:19 >> Yeah, yeah. Now, you mentioned learning,
00:04:19 --> 00:04:21 and I'm glad you said that because you
00:04:21 --> 00:04:23 have a master's degree in management,
00:04:23 --> 00:04:25 which I find interesting because being a
00:04:25 --> 00:04:28 talent agent is part of a business. It
00:04:28 --> 00:04:29 but it's not just part of a business,
00:04:29 --> 00:04:32 it's part psychology,
00:04:32 --> 00:04:34 part babysitting. No, I'm just kidding.
00:04:34 --> 00:04:35 But how much
00:04:35 --> 00:04:36 >> [laughter]
00:04:36 --> 00:04:37 >> how much of what you learned in school
00:04:37 --> 00:04:40 actually helps you deal with actors in
00:04:40 --> 00:04:43 this crazy industry?
00:04:43 --> 00:04:44 >> Yeah, I think communication is such a
00:04:44 --> 00:04:47 big thing. Um
00:04:47 --> 00:04:48 and I went to film school for my
00:04:48 --> 00:04:51 undergrad, and even though we learned
00:04:51 --> 00:04:54 like business in the industry, like if
00:04:54 --> 00:04:55 you're, you know, on set or, you know,
00:04:55 --> 00:04:57 different things, like working with
00:04:57 --> 00:05:00 others, um it's very different when
00:05:00 --> 00:05:02 you're, you know, working with actors,
00:05:02 --> 00:05:05 humans, individuals on a daily basis,
00:05:05 --> 00:05:08 and not just like a week or two weeks or
00:05:08 --> 00:05:10 however long you're on set.
00:05:10 --> 00:05:11 Um
00:05:11 --> 00:05:13 and so I think my master's degree gave
00:05:13 --> 00:05:17 me not only just more like business
00:05:17 --> 00:05:22 um helping to understand like finance
00:05:22 --> 00:05:24 type stuff within the industry.
00:05:24 --> 00:05:27 Um cuz we read so many contracts, and
00:05:27 --> 00:05:29 you're dealing with, you know, a lot of
00:05:29 --> 00:05:30 moving parts.
00:05:30 --> 00:05:30 >> Mhm.
00:05:30 --> 00:05:32 >> Um but then also just communication with
00:05:32 --> 00:05:36 when it comes to um
00:05:36 --> 00:05:40 you know, talking to others, how to, um
00:05:40 --> 00:05:44 you know, give advice, help,
00:05:44 --> 00:05:45 um
00:05:45 --> 00:05:47 guidance, point them in the right
00:05:47 --> 00:05:52 direction, um from a place of, you know,
00:05:52 --> 00:05:54 we're all in this together, and we're
00:05:54 --> 00:05:55 you're we're part of a team versus, you
00:05:55 --> 00:05:58 know, we're we're separate.
00:05:58 --> 00:06:00 Obviously, they're coming to us for
00:06:00 --> 00:06:02 representation, so you're adding
00:06:02 --> 00:06:05 somebody to your team to help you be
00:06:05 --> 00:06:06 seen.
00:06:06 --> 00:06:07 Um
00:06:07 --> 00:06:09 and so, yeah, I think it just helped
00:06:09 --> 00:06:11 overall
00:06:11 --> 00:06:14 with the communication level of like you
00:06:14 --> 00:06:17 are as I like to say, being an agent is
00:06:17 --> 00:06:19 kind of working in HR cuz you're dealing
00:06:19 --> 00:06:20 with a lot of different
00:06:20 --> 00:06:22 >> Yeah, that's a good way of looking at it
00:06:22 --> 00:06:22 though.
00:06:22 --> 00:06:26 >> Yeah. And so, it definitely is like you
00:06:26 --> 00:06:27 have to
00:06:27 --> 00:06:28 have knowledge in kind of all the
00:06:28 --> 00:06:30 different areas of
00:06:30 --> 00:06:34 just being a human cuz it is human in
00:06:34 --> 00:06:36 you know, two people in you know,
00:06:36 --> 00:06:38 interacting or more.
00:06:38 --> 00:06:40 >> Yeah. Yeah, now Chicago has some major
00:06:40 --> 00:06:42 television
00:06:42 --> 00:06:44 productions, especially the Chicago
00:06:44 --> 00:06:46 shows. For actors that's trying to break
00:06:46 --> 00:06:48 into that market, what do
00:06:48 --> 00:06:50 what do Chicago casting directors tend
00:06:50 --> 00:06:53 to look for that might be different from
00:06:53 --> 00:06:59 LA or Atlanta?
00:06:59 --> 00:07:02 >> And and this this kind of is a two-fold
00:07:02 --> 00:07:04 cuz I think they look
00:07:04 --> 00:07:07 at very similar things.
00:07:07 --> 00:07:10 But also, I think they're looking for
00:07:10 --> 00:07:13 that kind of Midwestern type feel like
00:07:13 --> 00:07:15 that um
00:07:15 --> 00:07:16 >> That authentic thing.
00:07:16 --> 00:07:19 >> Yeah, being authentic to yourself, to
00:07:19 --> 00:07:22 the character. Um
00:07:22 --> 00:07:25 you know, very similar to if you watch
00:07:25 --> 00:07:27 Law & Order cuz it's very in the same
00:07:27 --> 00:07:29 world. They they're looking for that
00:07:29 --> 00:07:32 kind of New York vibe. That that you
00:07:32 --> 00:07:35 know, home type feel. And so, it's a
00:07:35 --> 00:07:40 very similar thing here. Um
00:07:40 --> 00:07:41 Is that they're looking for the
00:07:41 --> 00:07:44 authentic Chicago kind of feel of you,
00:07:44 --> 00:07:47 the character. Um Yeah, I would say
00:07:47 --> 00:07:50 that's kind of what like they mostly are
00:07:50 --> 00:07:53 looking for is just you being yourself,
00:07:53 --> 00:07:56 taking a risk, you know, like
00:07:56 --> 00:07:58 reading the script and kind of
00:07:58 --> 00:08:00 putting your own spin to it in the in a
00:08:00 --> 00:08:02 way. I think it's makes you stand out in
00:08:02 --> 00:08:05 comparison to others.
00:08:05 --> 00:08:07 >> Yeah, and I agree with you. And Chicago
00:08:07 --> 00:08:10 it they can be a trip because I saw this
00:08:10 --> 00:08:12 What was this thing that's going viral
00:08:12 --> 00:08:15 with the actor Morris Chestnut? And he's
00:08:15 --> 00:08:17 he's playing I don't know what show he's
00:08:17 --> 00:08:19 on for with Chicago, but he says
00:08:19 --> 00:08:22 something slang to another person. He's
00:08:22 --> 00:08:24 supposed to be this hard character and
00:08:24 --> 00:08:25 he says something slang to this other
00:08:25 --> 00:08:28 person and I guess he didn't say it
00:08:28 --> 00:08:30 quite right
00:08:30 --> 00:08:32 and those Chicago people were
00:08:32 --> 00:08:35 they were hammering him in the comment.
00:08:35 --> 00:08:37 You know, so I think it's kind of cool
00:08:37 --> 00:08:39 though because it's you know it's it's
00:08:39 --> 00:08:41 culture, it's that authenticity, you
00:08:41 --> 00:08:44 know, that that I I hear you say that
00:08:44 --> 00:08:46 they like to to bring to the character.
00:08:46 --> 00:08:49 So that's pretty cool. So let's talk a
00:08:49 --> 00:08:51 little bit about submissions. Now,
00:08:51 --> 00:08:53 you're looking through actors headshots
00:08:53 --> 00:08:55 and reels and resumes. And everybody
00:08:55 --> 00:08:57 wants representation.
00:08:57 --> 00:08:59 What's something an actor can do that
00:08:59 --> 00:09:02 immediately makes you curious enough to
00:09:02 --> 00:09:04 take a closer look?
00:09:04 --> 00:09:06 >> So,
00:09:06 --> 00:09:06 um
00:09:06 --> 00:09:08 again, twofold of question. So if I get
00:09:08 --> 00:09:11 submissions through my email, I think
00:09:11 --> 00:09:14 your subject line
00:09:14 --> 00:09:16 is most intriguing. So if your subject
00:09:16 --> 00:09:18 line, you know,
00:09:18 --> 00:09:20 um catches my eye, has, you know,
00:09:20 --> 00:09:23 something interesting to say, like it's
00:09:23 --> 00:09:26 not just like looking for representation
00:09:26 --> 00:09:29 right off the bat, like if it, you know,
00:09:29 --> 00:09:29 just
00:09:29 --> 00:09:34 describes something about yourself or um
00:09:34 --> 00:09:37 gives a snippet into who you are, then
00:09:37 --> 00:09:39 I'm a little bit more intrigued to like
00:09:39 --> 00:09:41 open the email, read the rest of what
00:09:41 --> 00:09:44 like you have to share. Um and then in
00:09:44 --> 00:09:47 that body of like your email, um you
00:09:47 --> 00:09:49 know, highlighting what work that you
00:09:49 --> 00:09:52 have done, if you have done any work, um
00:09:52 --> 00:09:55 and or highlighting like your skills, if
00:09:55 --> 00:09:56 you've, you know, the classes you've
00:09:56 --> 00:09:58 taken.
00:09:58 --> 00:09:59 Um
00:09:59 --> 00:10:01 And that doesn't necessarily be like
00:10:01 --> 00:10:03 name drop every everything that you've
00:10:03 --> 00:10:06 done, but I think it's more or less like
00:10:06 --> 00:10:08 telling a story. If you've gone to a
00:10:08 --> 00:10:11 film festival most recently and have a
00:10:11 --> 00:10:12 story about that. Like something that's
00:10:12 --> 00:10:15 going to intrigue me.
00:10:15 --> 00:10:18 Um and then after that then I do like
00:10:18 --> 00:10:20 pull up your resume, look at your resume
00:10:20 --> 00:10:22 to kind of see what your credits are,
00:10:22 --> 00:10:23 like where you would potentially be
00:10:23 --> 00:10:25 placed,
00:10:25 --> 00:10:27 um you know, within
00:10:27 --> 00:10:29 our market. Um
00:10:29 --> 00:10:31 and then, you know, watch your reel or
00:10:31 --> 00:10:34 watch clips or whatever that you send to
00:10:34 --> 00:10:34 me.
00:10:34 --> 00:10:34 >> Yeah.
00:10:34 --> 00:10:36 >> Um
00:10:36 --> 00:10:39 it That's one way. And then we do have
00:10:39 --> 00:10:41 an online form that a lot of folks fill
00:10:41 --> 00:10:44 out and so on that one,
00:10:44 --> 00:10:45 um
00:10:45 --> 00:10:47 you know, I'm not getting like fun tag,
00:10:47 --> 00:10:50 you know, tags in your subject line, but
00:10:50 --> 00:10:52 um what intrigues me the most is a lot
00:10:52 --> 00:10:54 of times like your headshots to the one
00:10:54 --> 00:10:56 that you pick as like the main one that
00:10:56 --> 00:10:58 comes up cuz I'm like, oh, that's
00:10:58 --> 00:11:00 intriguing or oh, that's different than
00:11:00 --> 00:11:01 what I've seen before.
00:11:01 --> 00:11:02 >> Right.
00:11:02 --> 00:11:04 >> Um and then, you know, I kind of jump
00:11:04 --> 00:11:06 right into your resume or if you send
00:11:06 --> 00:11:08 again like clips, video, that kind of
00:11:08 --> 00:11:12 content. Um even if folks have an IMDb
00:11:12 --> 00:11:15 link, like I'll pop and look at that um
00:11:15 --> 00:11:17 cuz that sometimes gives like other
00:11:17 --> 00:11:18 information that you might have not
00:11:18 --> 00:11:19 shared.
00:11:19 --> 00:11:20 >> Right.
00:11:20 --> 00:11:21 >> Um
00:11:21 --> 00:11:22 but yeah, I would say if you email me
00:11:22 --> 00:11:25 directly, um
00:11:25 --> 00:11:27 the subject line is what kind of
00:11:27 --> 00:11:30 catches my eye off the bat. Um
00:11:30 --> 00:11:31 >> Good thing to know. That's a good thing
00:11:31 --> 00:11:33 for actors to know cuz I don't know I
00:11:33 --> 00:11:36 mean, most of them that I see are are
00:11:36 --> 00:11:38 pretty basic like you said like looking
00:11:38 --> 00:11:39 for representation. That doesn't make me
00:11:39 --> 00:11:41 really want to
00:11:41 --> 00:11:43 open up your email. I'm like, okay,
00:11:43 --> 00:11:45 great, but you know, show me something
00:11:45 --> 00:11:47 about you. So I I get you. I get it.
00:11:47 --> 00:11:48 >> Yeah.
00:11:48 --> 00:11:50 >> If you want to let's talk about markets
00:11:50 --> 00:11:51 like
00:11:51 --> 00:11:53 different markets. If an actor is based
00:11:53 --> 00:11:54 in Chicago
00:11:54 --> 00:11:54 >> Yeah.
00:11:54 --> 00:11:56 >> but wants to audition for projects in
00:11:56 --> 00:11:59 Atlanta or New York or LA, how realistic
00:11:59 --> 00:12:01 is that? And and you know, do they need
00:12:01 --> 00:12:04 to have a place before an agent can
00:12:04 --> 00:12:07 confidently, you know, submit them? How
00:12:07 --> 00:12:08 do you feel about
00:12:08 --> 00:12:11 >> Since now everything is a a of the time
00:12:11 --> 00:12:14 like, can you be local hire to New York?
00:12:14 --> 00:12:16 Can you be local hire to
00:12:16 --> 00:12:18 Utah?
00:12:18 --> 00:12:19 Um
00:12:19 --> 00:12:21 I think a lot of it is like you know
00:12:21 --> 00:12:23 getting yourself to those various
00:12:23 --> 00:12:25 locations. Now like the main major
00:12:25 --> 00:12:28 cities um for the most part if I have
00:12:28 --> 00:12:31 actor who lives here who wants to
00:12:31 --> 00:12:34 you know be submitted for shows in New
00:12:34 --> 00:12:37 York or Atlanta or LA and don't have
00:12:37 --> 00:12:39 current representation and we're you
00:12:39 --> 00:12:42 know wanting to submit them there. Um
00:12:42 --> 00:12:45 more or less a lot of the times they'll
00:12:45 --> 00:12:46 have a friend or family member that
00:12:46 --> 00:12:49 lives in one of those major areas.
00:12:49 --> 00:12:49 >> Mhm.
00:12:49 --> 00:12:51 >> Um
00:12:51 --> 00:12:53 but I always tell them you know you're
00:12:53 --> 00:12:55 going into a new place where those
00:12:55 --> 00:12:57 casting directors don't know you.
00:12:57 --> 00:12:57 >> Yeah.
00:12:57 --> 00:12:59 >> Um and so you have to build upon those
00:12:59 --> 00:13:02 relationships really anyway they can cuz
00:13:02 --> 00:13:05 obviously as an agent we're constantly
00:13:05 --> 00:13:07 building upon those relationships in
00:13:07 --> 00:13:10 different facets. Um but because
00:13:10 --> 00:13:13 everything's so virtual you know
00:13:13 --> 00:13:17 trying to get in front of them anyway
00:13:17 --> 00:13:19 possible even if they can
00:13:19 --> 00:13:20 um
00:13:20 --> 00:13:23 you know go to New York at some point
00:13:23 --> 00:13:25 and like take a class or take an online
00:13:25 --> 00:13:27 class with a New York um you know
00:13:27 --> 00:13:30 casting director
00:13:30 --> 00:13:30 um
00:13:30 --> 00:13:33 or you know office studio
00:13:33 --> 00:13:35 um is a great way just to also know what
00:13:35 --> 00:13:37 the community's like.
00:13:37 --> 00:13:37 >> Right.
00:13:37 --> 00:13:40 >> Because it's going to be differentish
00:13:40 --> 00:13:43 than like you know what they're used to
00:13:43 --> 00:13:46 here in in their home area or where
00:13:46 --> 00:13:48 they're where they're currently based.
00:13:48 --> 00:13:51 Um just like if I have an actor move to
00:13:51 --> 00:13:53 a different location and they've never
00:13:53 --> 00:13:55 experienced that I'm like you got to get
00:13:55 --> 00:13:59 immersed kind of into that scene so that
00:13:59 --> 00:14:00 like
00:14:00 --> 00:14:02 you understand what that market looks
00:14:02 --> 00:14:02 like.
00:14:02 --> 00:14:05 >> Yeah. Yeah. Well let me ask you just
00:14:05 --> 00:14:07 your personal opinion about something.
00:14:07 --> 00:14:08 Let's say you have two actors
00:14:08 --> 00:14:09 >> Yeah.
00:14:09 --> 00:14:11 >> who are equally talented. One is
00:14:11 --> 00:14:13 consistently checking in asking
00:14:13 --> 00:14:15 questions and staying visible. The other
00:14:15 --> 00:14:18 one is quiet and professional and only
00:14:18 --> 00:14:21 contacts you when it's necessary. Does
00:14:21 --> 00:14:24 either approach influence how you work
00:14:24 --> 00:14:26 with them?
00:14:26 --> 00:14:30 >> No, I think I treat everyone the same.
00:14:30 --> 00:14:30 Um
00:14:30 --> 00:14:32 but I do
00:14:32 --> 00:14:36 I do like when actors are proactive in
00:14:36 --> 00:14:40 the sense of communication so that
00:14:40 --> 00:14:42 I'm not having to chase you necessarily
00:14:42 --> 00:14:44 for like details.
00:14:44 --> 00:14:45 Um
00:14:45 --> 00:14:48 I do check-ins with my actors um like
00:14:48 --> 00:14:50 once a month not obviously every single
00:14:50 --> 00:14:51 month you're
00:14:51 --> 00:14:53 not the same actors going to get a
00:14:53 --> 00:14:55 check-in cuz that would be excessive,
00:14:55 --> 00:14:57 but they do get check-ins for me because
00:14:57 --> 00:14:58 I
00:14:58 --> 00:15:00 with I like being on the same page. I
00:15:00 --> 00:15:01 like to know what they're doing
00:15:01 --> 00:15:03 especially for my actors that do have
00:15:03 --> 00:15:06 other agents in other markets and are
00:15:06 --> 00:15:08 working in other markets. Like I still
00:15:08 --> 00:15:10 like to know about those jobs cuz it's
00:15:10 --> 00:15:12 going to help me
00:15:12 --> 00:15:14 you know, better pitch them to various
00:15:14 --> 00:15:17 roles in my market
00:15:17 --> 00:15:19 um and get them seen. So
00:15:19 --> 00:15:21 No, I would just say the more proactive
00:15:21 --> 00:15:23 you are
00:15:23 --> 00:15:24 um
00:15:24 --> 00:15:26 you know, the better that like your
00:15:26 --> 00:15:28 agent knows what's going on.
00:15:28 --> 00:15:30 >> Yeah, I agree with you. I agree with
00:15:30 --> 00:15:31 you. Now let's talk about something
00:15:31 --> 00:15:33 after actors don't always talk about and
00:15:33 --> 00:15:37 that's timing. So have you met an actor
00:15:37 --> 00:15:39 you thought
00:15:39 --> 00:15:40 this person was incredibly talented but
00:15:40 --> 00:15:43 knew they weren't but they weren't quite
00:15:43 --> 00:15:45 ready just yet for representation.
00:15:45 --> 00:15:47 What was missing and what would have
00:15:47 --> 00:15:49 made the difference for you?
00:15:49 --> 00:15:53 >> Yeah, so um
00:15:53 --> 00:15:55 in after meetings if you know, I meet an
00:15:55 --> 00:15:58 actor and we're having a chat and I kind
00:15:58 --> 00:16:01 of you know, based off it can
00:16:01 --> 00:16:02 have things to do with your resume. It
00:16:02 --> 00:16:04 can have nothing to do with my resume.
00:16:04 --> 00:16:07 We represent actors that are
00:16:07 --> 00:16:09 you know, just starting out and actors
00:16:09 --> 00:16:12 that are seasoned veterans. So it it
00:16:12 --> 00:16:14 just really depends. Um
00:16:14 --> 00:16:17 but I the ones that are kind of on that
00:16:17 --> 00:16:19 cusp of just
00:16:19 --> 00:16:20 you know
00:16:20 --> 00:16:23 maybe need more materials. So, like you
00:16:23 --> 00:16:25 you need to do
00:16:25 --> 00:16:27 a handful more student films or short
00:16:27 --> 00:16:30 films to just get more materials under
00:16:30 --> 00:16:34 your belt. Um to have a better reel or
00:16:34 --> 00:16:35 better clips.
00:16:35 --> 00:16:35 >> Yeah.
00:16:35 --> 00:16:39 >> Um it could also be like hey
00:16:39 --> 00:16:41 right now we need you to get new
00:16:41 --> 00:16:43 headshots, like better more professional
00:16:43 --> 00:16:46 headshots if you don't currently you
00:16:46 --> 00:16:48 know, if they don't have any. Um
00:16:48 --> 00:16:51 sometimes it's also like
00:16:51 --> 00:16:54 you don't have you know, you need to
00:16:54 --> 00:16:57 take these specific more classes. Like I
00:16:57 --> 00:17:01 want you to get in front of um these
00:17:01 --> 00:17:02 people or I want you to go to this
00:17:02 --> 00:17:03 studio.
00:17:03 --> 00:17:05 >> Mhm.
00:17:05 --> 00:17:07 >> Especially when it comes to like young
00:17:07 --> 00:17:10 adults that are just out of college or
00:17:10 --> 00:17:13 just you know, are teenagers or
00:17:13 --> 00:17:15 um they're kind of at I don't want to
00:17:15 --> 00:17:17 say that weird stage, but if you've only
00:17:17 --> 00:17:20 ever had you know, classes or experience
00:17:20 --> 00:17:22 in school, it's going to be very
00:17:22 --> 00:17:25 different than going to an acting studio
00:17:25 --> 00:17:27 um and being with like other adults,
00:17:27 --> 00:17:30 other you know, professionals. Um
00:17:30 --> 00:17:33 and so sometimes those are like little
00:17:33 --> 00:17:35 little things that they like can go and
00:17:35 --> 00:17:38 do um that can like you know, set them
00:17:38 --> 00:17:40 apart. Um
00:17:40 --> 00:17:42 and make them a little bit more ready to
00:17:42 --> 00:17:45 have like representation. Plus also
00:17:45 --> 00:17:48 sometimes it's
00:17:48 --> 00:17:50 where they're at in like
00:17:50 --> 00:17:53 communication level, like how well are
00:17:53 --> 00:17:56 they going to communicate? Um or are
00:17:56 --> 00:17:59 they ready to like, you know, if they've
00:17:59 --> 00:18:02 been submitting themselves to all these
00:18:02 --> 00:18:04 projects, are you ready to have somebody
00:18:04 --> 00:18:06 else be doing that and you're not having
00:18:06 --> 00:18:07 to take that on?
00:18:07 --> 00:18:07 >> Right.
00:18:07 --> 00:18:09 >> Um
00:18:09 --> 00:18:10 yeah, it's kind of like where where
00:18:10 --> 00:18:12 where their level is cuz sometimes
00:18:12 --> 00:18:14 actors are like, I'm ready for an agent.
00:18:14 --> 00:18:17 I'm ready for that, but then they get an
00:18:17 --> 00:18:19 agent and they're like
00:18:19 --> 00:18:22 lost or they get an agent, and they
00:18:22 --> 00:18:24 think that like they don't have to do
00:18:24 --> 00:18:25 anything else after that.
00:18:25 --> 00:18:27 >> Oh, they have to Yeah.
00:18:27 --> 00:18:31 >> a partnership. Like you still have to do
00:18:31 --> 00:18:33 as we we like to say at our agency, it's
00:18:33 --> 00:18:36 a 50/50 partnership. Like I'm doing
00:18:36 --> 00:18:39 probably more than 50%, but 50% of the
00:18:39 --> 00:18:40 work on my end.
00:18:40 --> 00:18:42 >> give me your 50% and
00:18:42 --> 00:18:44 >> Yeah, and then I'm like, you also have
00:18:44 --> 00:18:46 to be doing 50% of the work in the sense
00:18:46 --> 00:18:48 of, you know, taking classes, getting in
00:18:48 --> 00:18:50 front of those casting directors,
00:18:50 --> 00:18:52 networking with people. Like there's
00:18:52 --> 00:18:56 other things that you need to be doing.
00:18:56 --> 00:18:57 And just it have to be in a certain
00:18:57 --> 00:19:00 mental head head space, too.
00:19:00 --> 00:19:01 >> Yeah.
00:19:01 --> 00:19:04 >> In order for it to to work. You just
00:19:04 --> 00:19:05 Once you get an agent, it doesn't just
00:19:05 --> 00:19:07 mean like, "And I'm done."
00:19:07 --> 00:19:09 >> Mhm. Mhm.
00:19:09 --> 00:19:10 Oh, well, thank you. I'm waiting I'm
00:19:10 --> 00:19:11 going to sit back, and I'm just going to
00:19:11 --> 00:19:13 wait for all this good stuff to come my
00:19:13 --> 00:19:15 way. You have to like you said, you have
00:19:15 --> 00:19:17 to meet in the middle somewhere.
00:19:17 --> 00:19:18 >> Yeah.
00:19:18 --> 00:19:19 >> But this question I I want you to put
00:19:19 --> 00:19:22 your agent hat aside.
00:19:22 --> 00:19:22 >> Yeah.
00:19:22 --> 00:19:24 >> For just a second. When you look at the
00:19:24 --> 00:19:26 entertainment industry today, what's one
00:19:26 --> 00:19:28 thing you wish actors understood about
00:19:28 --> 00:19:30 the people that work behind the scenes
00:19:30 --> 00:19:39 to help their careers?
00:19:39 --> 00:19:42 >> That there's a so many moving parts.
00:19:42 --> 00:19:42 >> Mhm.
00:19:42 --> 00:19:44 >> I think
00:19:44 --> 00:19:46 there's
00:19:46 --> 00:19:49 so many people involved that
00:19:49 --> 00:19:54 actors don't see, and or don't know that
00:19:54 --> 00:19:58 are working on a project, or doing X
00:19:58 --> 00:19:59 thing for,
00:19:59 --> 00:20:03 you know, and we're all vital pieces.
00:20:03 --> 00:20:03 >> Mhm.
00:20:03 --> 00:20:04 >> I think.
00:20:04 --> 00:20:04 >> Mhm.
00:20:04 --> 00:20:07 >> Um but just knowing that like there are
00:20:07 --> 00:20:08 a lot of moving parts,
00:20:08 --> 00:20:09 >> Yeah.
00:20:09 --> 00:20:13 >> and we're all trying to work together,
00:20:13 --> 00:20:13 >> Yeah.
00:20:13 --> 00:20:14 >> um to like
00:20:14 --> 00:20:17 get to the final product. I guess is
00:20:17 --> 00:20:18 like
00:20:18 --> 00:20:20 without my agent, I guess, brain. That's
00:20:20 --> 00:20:22 like
00:20:22 --> 00:20:24 Before I was an agent, that was kind of
00:20:24 --> 00:20:26 the like thing
00:20:26 --> 00:20:28 that you
00:20:28 --> 00:20:30 knew but also didn't know that there's
00:20:30 --> 00:20:32 just so many moving parts
00:20:32 --> 00:20:35 to the industry in in a whole. Like
00:20:35 --> 00:20:37 there's just so many different key
00:20:37 --> 00:20:39 pieces.
00:20:39 --> 00:20:41 And you you need them to like mesh for
00:20:41 --> 00:20:42 it to work together.
00:20:42 --> 00:20:45 >> Yeah. You know what I A lot of actors
00:20:45 --> 00:20:49 don't know it A question also reminds me
00:20:49 --> 00:20:50 of um
00:20:50 --> 00:20:54 Say if you have a you have an actor,
00:20:54 --> 00:20:56 let's just say the actor was a rude kind
00:20:56 --> 00:20:59 of an actor. He was the person he or she
00:20:59 --> 00:21:02 was always rude. What actors some actors
00:21:02 --> 00:21:07 don't realize is that that world, the
00:21:07 --> 00:21:09 industry, we all know each other.
00:21:09 --> 00:21:11 So
00:21:11 --> 00:21:13 you may think, "Okay, I got rude with
00:21:13 --> 00:21:16 this person, but it's never going to get
00:21:16 --> 00:21:19 to the other person." But it does
00:21:19 --> 00:21:22 because you all eventually
00:21:22 --> 00:21:24 you you work together, you have
00:21:24 --> 00:21:26 conferences together, you have workshops
00:21:26 --> 00:21:30 together, you talk to each other. So
00:21:30 --> 00:21:33 I find that, you know
00:21:33 --> 00:21:35 just be on your best behavior because
00:21:35 --> 00:21:37 you just don't know who you're talking
00:21:37 --> 00:21:38 to. And would you would you agree with
00:21:38 --> 00:21:39 that?
00:21:39 --> 00:21:40 >> Yeah, I think it's
00:21:40 --> 00:21:42 you know
00:21:42 --> 00:21:44 I I always like to say the industry
00:21:44 --> 00:21:46 feels really big.
00:21:46 --> 00:21:47 >> Mhm.
00:21:47 --> 00:21:50 >> And you feel like you're one piece piece
00:21:50 --> 00:21:52 of a really big part, but then
00:21:52 --> 00:21:55 once you get in it, it's actually a lot
00:21:55 --> 00:21:57 smaller. Because again, like you said,
00:21:57 --> 00:21:59 we we all are interconnected in some
00:21:59 --> 00:22:00 way.
00:22:00 --> 00:22:00 >> Yeah.
00:22:00 --> 00:22:03 >> We all know somebody who knows somebody.
00:22:03 --> 00:22:04 Um
00:22:04 --> 00:22:06 and so
00:22:06 --> 00:22:09 just being yourself, too. Like if
00:22:09 --> 00:22:11 you're not yourself, others can feel
00:22:11 --> 00:22:14 that. You know, I think there's a human
00:22:14 --> 00:22:16 level to that. Like if you're not being
00:22:16 --> 00:22:17 yourself or you're acting a certain way
00:22:17 --> 00:22:19 because you're like
00:22:19 --> 00:22:21 "I'm in front of all these, you know,
00:22:21 --> 00:22:24 whoever." Just being yourself, I think
00:22:24 --> 00:22:27 makes everybody kind of on the same
00:22:27 --> 00:22:28 playing field.
00:22:28 --> 00:22:28 >> Yeah.
00:22:28 --> 00:22:31 >> Um
00:22:31 --> 00:22:34 and also like then
00:22:34 --> 00:22:36 you're not you're going to going to be
00:22:36 --> 00:22:38 more genuine that way.
00:22:38 --> 00:22:38 >> Right.
00:22:38 --> 00:22:40 >> Um but yeah, I think being on your best
00:22:40 --> 00:22:42 behavior like you know, you never know
00:22:42 --> 00:22:43 who you're going to meet.
00:22:43 --> 00:22:43 >> Mhm.
00:22:43 --> 00:22:46 >> Um you never know who's going to hear
00:22:46 --> 00:22:48 something or say something.
00:22:48 --> 00:22:49 >> Mhm.
00:22:49 --> 00:22:53 >> Um so you know what does professionalism
00:22:53 --> 00:22:56 look for each person? Hopefully very
00:22:56 --> 00:22:57 similar.
00:22:57 --> 00:22:58 >> Right.
00:22:58 --> 00:23:01 >> But you never know like what opportunity
00:23:01 --> 00:23:04 is going to lead to something else um
00:23:04 --> 00:23:05 or not. So
00:23:05 --> 00:23:07 >> Agreed. Agreed. Now you're giving us
00:23:07 --> 00:23:09 some great info, but now I want to see
00:23:09 --> 00:23:12 how you handle yourself when you don't
00:23:12 --> 00:23:14 have time to think like an agent. So
00:23:14 --> 00:23:15 we're going to play a little game called
00:23:15 --> 00:23:17 I'd rather. I'm going to give you two
00:23:17 --> 00:23:19 choices. You have to pick one. You can't
00:23:19 --> 00:23:22 think about it too hard, okay?
00:23:22 --> 00:23:22 >> Yeah.
00:23:22 --> 00:23:24 >> All right.
00:23:24 --> 00:23:26 I'd rather represent an actor who calls
00:23:26 --> 00:23:29 me every single day or one who
00:23:29 --> 00:23:32 disappears for 6 months and suddenly
00:23:32 --> 00:23:35 asks, "Have you heard anything?"
00:23:35 --> 00:23:36 >> One. The first one.
00:23:36 --> 00:23:37 >> Okay.
00:23:37 --> 00:23:39 >> I'd rather you call me every single day
00:23:39 --> 00:23:42 even though that might get a little
00:23:42 --> 00:23:43 annoying.
00:23:43 --> 00:23:44 Um
00:23:44 --> 00:23:46 versus somebody that like completely
00:23:46 --> 00:23:47 disappears and falls off the face of
00:23:47 --> 00:23:50 Earth and then 6 months later is like
00:23:50 --> 00:23:52 "Have you heard done anything? Seen
00:23:52 --> 00:23:54 anything? Heard anything?" And I'm like
00:23:54 --> 00:23:55 "I haven't heard from you."
00:23:55 --> 00:23:57 >> Haven't heard from you.
00:23:57 --> 00:23:58 >> [laughter]
00:23:58 --> 00:23:59 >> Like
00:23:59 --> 00:24:00 >> And I think sometimes they forget that
00:24:00 --> 00:24:02 they're not the only one you represent.
00:24:02 --> 00:24:05 So you know, I think it would be
00:24:05 --> 00:24:07 advantageous if they
00:24:07 --> 00:24:10 keep you you know, keep themselves fresh
00:24:10 --> 00:24:12 in your mind, then you can you know,
00:24:12 --> 00:24:13 then you can
00:24:13 --> 00:24:16 >> Yeah. I'm like I tell my actors I'm like
00:24:16 --> 00:24:18 I see your face every single day.
00:24:18 --> 00:24:18 >> Yeah.
00:24:18 --> 00:24:20 >> Cuz I submit you every single day.
00:24:20 --> 00:24:20 >> Mhm.
00:24:20 --> 00:24:21 >> You don't get to see my face every
00:24:21 --> 00:24:23 single day, but like I should still be
00:24:23 --> 00:24:26 on top of mind of like "Oh, I have to
00:24:26 --> 00:24:29 tell my agent blah blah blah or oh I
00:24:29 --> 00:24:31 just booked these things and I need to
00:24:31 --> 00:24:34 book out for these dates. I need to tell
00:24:34 --> 00:24:36 my agents. Like we should still be on
00:24:36 --> 00:24:37 the top of your mind even though you
00:24:37 --> 00:24:40 don't get to see our lovely faces.
00:24:40 --> 00:24:43 When I get to see your face and
00:24:43 --> 00:24:45 you know, care about your career every
00:24:45 --> 00:24:45 single day.
00:24:45 --> 00:24:48 >> Absolutely. Okay, next one. I'd rather
00:24:48 --> 00:24:51 sit through 50 terrible auditions in one
00:24:51 --> 00:24:54 day or tell one extremely confident
00:24:54 --> 00:24:59 actor that they really cannot act.
00:24:59 --> 00:25:01 >> Sorry, repeat the first one. I heard the
00:25:01 --> 00:25:02 last one, sorry.
00:25:02 --> 00:25:03 >> I'd rather sit through 50 terrible
00:25:03 --> 00:25:05 auditions in one day.
00:25:05 --> 00:25:07 >> Okay. And then the last one was
00:25:07 --> 00:25:10 >> tell or tell one extremely confident
00:25:10 --> 00:25:14 actor that they really can't act.
00:25:14 --> 00:25:16 >> Ooh.
00:25:16 --> 00:25:18 Mhm, maybe two.
00:25:18 --> 00:25:21 >> [laughter]
00:25:21 --> 00:25:23 >> I think two is is so much harder.
00:25:23 --> 00:25:24 >> Yeah. Yeah.
00:25:24 --> 00:25:28 >> It's so much harder as not only as a
00:25:28 --> 00:25:31 human in general cuz we hate criticism
00:25:31 --> 00:25:34 and hate being told those things.
00:25:34 --> 00:25:35 Um
00:25:35 --> 00:25:37 but it makes you stronger.
00:25:37 --> 00:25:38 >> Yeah.
00:25:38 --> 00:25:39 >> When you have to do it.
00:25:39 --> 00:25:42 >> Agreed. Okay, a couple more. I'd rather
00:25:42 --> 00:25:44 have an actor send me a self-tape with
00:25:44 --> 00:25:46 the dog barking throughout their entire
00:25:46 --> 00:25:48 scene
00:25:48 --> 00:25:50 or have their mother reading the other
00:25:50 --> 00:25:52 character's line with more emotion than
00:25:52 --> 00:25:56 the actor.
00:25:56 --> 00:25:59 >> [laughter]
00:25:59 --> 00:26:01 >> Personally, one would be
00:26:01 --> 00:26:02 >> Yeah.
00:26:02 --> 00:26:07 >> I I yeah. Two, I have experience
00:26:07 --> 00:26:09 and that is sometimes hard and it is
00:26:09 --> 00:26:13 hard cuz like if the parent's giving it
00:26:13 --> 00:26:13 >> Yeah.
00:26:13 --> 00:26:15 >> and the kid's not giving it, you like
00:26:15 --> 00:26:17 you can you can hear it
00:26:17 --> 00:26:19 right off the bat.
00:26:19 --> 00:26:22 >> Mhm, mhm. That's so funny. And how do
00:26:22 --> 00:26:25 you even do with that? You like
00:26:25 --> 00:26:28 >> Yeah, it's like a it's a hard one.
00:26:28 --> 00:26:28 >> Yeah.
00:26:28 --> 00:26:31 >> Um
00:26:31 --> 00:26:33 Yeah, it's a hard one.
00:26:33 --> 00:26:35 You know, you you encourage those
00:26:35 --> 00:26:36 parents,
00:26:36 --> 00:26:38 um you know, to get their kids more
00:26:38 --> 00:26:40 training, too. Cuz if the kid's more
00:26:40 --> 00:26:43 confident, they'll, you know, have a
00:26:43 --> 00:26:45 better time.
00:26:45 --> 00:26:45 Um
00:26:45 --> 00:26:48 and sometimes we we have to tell the
00:26:48 --> 00:26:50 parent to like not overshadow their
00:26:50 --> 00:26:51 child, either.
00:26:51 --> 00:26:53 >> Wow. Wow.
00:26:53 --> 00:26:55 >> But that's, you know,
00:26:55 --> 00:26:55 >> That's great.
00:26:55 --> 00:26:56 >> they go home.
00:26:56 --> 00:26:58 >> Okay, so last one.
00:26:58 --> 00:27:01 I'd rather spend an entire day being an
00:27:01 --> 00:27:05 actor going on on auditions, or have one
00:27:05 --> 00:27:07 of your actors spend a day doing your
00:27:07 --> 00:27:09 job as an agent.
00:27:09 --> 00:27:11 >> Actor do my job for a day.
00:27:11 --> 00:27:12 >> Really?
00:27:12 --> 00:27:12 >> [laughter]
00:27:12 --> 00:27:15 >> I think that would be
00:27:15 --> 00:27:16 quite an experience.
00:27:16 --> 00:27:18 >> Yeah.
00:27:18 --> 00:27:18 >> [laughter]
00:27:18 --> 00:27:21 >> And I think they like I again,
00:27:21 --> 00:27:23 I think they would understand it a
00:27:23 --> 00:27:26 little bit and be a little bit more
00:27:26 --> 00:27:29 empathetic and understanding.
00:27:29 --> 00:27:31 Um if they like knew what agents and
00:27:31 --> 00:27:33 managers and other people in the
00:27:33 --> 00:27:35 industry did if they like walked a day
00:27:35 --> 00:27:36 in their shoes.
00:27:36 --> 00:27:39 >> Absolutely. Absolutely. But Ella, this
00:27:39 --> 00:27:41 has been so much fun. Thank you for
00:27:41 --> 00:27:43 giving us a little insight into the
00:27:43 --> 00:27:45 Chicago entertainment market. More
00:27:45 --> 00:27:47 importantly, helping actors understand
00:27:47 --> 00:27:48 what it really takes to build a career
00:27:48 --> 00:27:50 and strong relationships with their
00:27:50 --> 00:27:52 agent. And to everybody watching,
00:27:52 --> 00:27:54 remember, having an agent is just one
00:27:54 --> 00:27:56 part of the equation. You still got to
00:27:56 --> 00:27:59 do the work, stay prepared, and give
00:27:59 --> 00:28:01 people a reason to believe in you. So,
00:28:01 --> 00:28:04 thank you, Ella, for coming on our show.
00:28:04 --> 00:28:05 Thanks for hanging out with us. And
00:28:05 --> 00:28:08 until next time, I'm Demetrius Avery.
00:28:08 --> 00:28:09 This is Demetrius Avery Show, and we'll
00:28:09 --> 00:28:13 talk to you later. Bye-bye.
00:28:13 --> 00:30:38 Very
00:30:38 --> 00:32:41 >> Mhm.
00:34:46 --> 00:34:48