What does it REALLY take to build a career in entertainment? 🎬
On this episode of The Demia Avery Show – The Industry, Demia Avery sits down with award-winning casting director, producer, director, talent coach and creator of RAD Media, Rhavynn Drummer.
After nearly 20 years at Tyler Perry Studios, where she worked on more than 40 television series and feature films—including Sistas, The Haves and the Have Nots, House of Payne, and Meet the Browns—Rhavynn has plenty of stories, lessons and REAL talk to share.
We’re talking about the things actors don't always get to hear: surviving the waiting game, knowing when you need an agent or manager, social media, self-tapes, first impressions, common mistakes and what the entertainment business has taught Rhavynn personally.
And yes…there's plenty of fun and laughter along the way! 😂
If you're an actor, creative or simply curious about what happens behind the scenes, you don't want to miss this conversation.
💬 What part of the entertainment industry do you wish someone had explained to you? Tell us in the comments!
Don't forget to LIKE, SUBSCRIBE & SHARE!
#TheDemiaAveryShow #TheIndustry #RhavynnDrummer #RADMedia #TylerPerryStudios #CastingDirector #Actors #Acting #EntertainmentIndustry #SelfTape #Auditions #ActorTips
00:00:00 --> 00:00:04 If you got a dream, come closer. [music]
00:00:04 --> 00:00:07 If you want to shine, come over. We're
00:00:07 --> 00:00:11 breaking all the rules tonight.
00:00:11 --> 00:00:12 Yeah, we stepping [music]
00:00:12 --> 00:00:17 in the spotlight. This the industry
00:00:17 --> 00:00:17 [music]
00:00:17 --> 00:00:21 where everybody trying to be
00:00:21 --> 00:00:25 [music] lights.
00:00:25 --> 00:00:30 living out the movie. [music]
00:00:30 --> 00:00:32 >> Hello everyone. This is Deia Avery with
00:00:32 --> 00:00:35 the Deia Avery Show, the industry. Thank
00:00:35 --> 00:00:37 you so much for joining me today. We
00:00:38 --> 00:00:40 have such a special guest in the house
00:00:40 --> 00:00:42 today. I was just telling her I haven't
00:00:42 --> 00:00:44 seen her in ages. Well, maybe I
00:00:44 --> 00:00:45 shouldn't say ages because that makes us
00:00:45 --> 00:00:49 sound old, right? [laughter]
00:00:49 --> 00:00:51 >> It's been a long time though.
00:00:51 --> 00:00:52 >> [laughter]
00:00:52 --> 00:00:55 >> But I want to make sure I I'm a a big
00:00:55 --> 00:00:57 advocate of intros, so I want to make
00:00:57 --> 00:01:00 sure you get your flowers. From casting
00:01:00 --> 00:01:02 some of television's biggest shows to
00:01:02 --> 00:01:04 helping actors understand what really
00:01:04 --> 00:01:05 happens on the other side of the
00:01:06 --> 00:01:08 audition room. Today's guest has built
00:01:08 --> 00:01:10 an incredible career in the
00:01:10 --> 00:01:12 entertainment industry. She spent nearly
00:01:12 --> 00:01:14 two decades at Tyler Perry Studios where
00:01:14 --> 00:01:17 she cast more than 40 television series
00:01:17 --> 00:01:19 and feature films along with seven
00:01:19 --> 00:01:21 touring stage plays. Her impressive
00:01:22 --> 00:01:24 credits include The Have Not, Sister, If
00:01:24 --> 00:01:27 You uh If Loving You Is Wrong, House of
00:01:27 --> 00:01:30 Pain and Meet the Brown, and so so so
00:01:30 --> 00:01:32 much more. She's also worked with major
00:01:32 --> 00:01:34 networks and brands including BET,
00:01:34 --> 00:01:38 Nickelodeon, Stars, Nike, and today she
00:01:38 --> 00:01:40 continues to develop talent as a coach,
00:01:40 --> 00:01:44 director, producer, and the founder of
00:01:44 --> 00:01:47 Rad Media. Today we're getting the real
00:01:47 --> 00:01:49 deal about casting, auditions, the
00:01:49 --> 00:01:51 industry, and what it takes to build a
00:01:51 --> 00:01:53 career that lasts. Please welcome the
00:01:54 --> 00:01:56 phenomenal Raven Drummer. Welcome.
00:01:56 --> 00:01:59 >> Oh, that was good. Thank you. That was a
00:01:59 --> 00:02:01 good intro. I appreciate that. Oh,
00:02:01 --> 00:02:03 >> you're so welcome. You're so welcome.
00:02:03 --> 00:02:07 Now, let's go back. Let's go back. Let's
00:02:07 --> 00:02:08 start at the beginning because I always
00:02:08 --> 00:02:11 want to know how somebody actually got
00:02:11 --> 00:02:14 here. You graduated from UVA and somehow
00:02:14 --> 00:02:17 ended up in Tyler Perry Studios
00:02:17 --> 00:02:18 >> somehow. Yeah.
00:02:18 --> 00:02:20 >> What was happening in your life when
00:02:20 --> 00:02:22 that opportunity came along?
00:02:22 --> 00:02:25 >> Um well, first I went to the University
00:02:25 --> 00:02:28 of Virginia to become a doctor and I
00:02:28 --> 00:02:32 took chemistry and I failed it twice and
00:02:32 --> 00:02:35 I was like this is not for me. Um so you
00:02:36 --> 00:02:37 know I shifted gears. So, I went from
00:02:37 --> 00:02:39 being a doctor, now being in the drama
00:02:39 --> 00:02:41 department, and now I'm a you know, I'm
00:02:41 --> 00:02:44 a theater major. And honestly, I it was
00:02:44 --> 00:02:47 like spring semester of senior year. It
00:02:47 --> 00:02:49 was my last semester in college, and I
00:02:49 --> 00:02:53 just had no idea what I was going to do.
00:02:53 --> 00:02:55 Everybody else had grad schools and
00:02:55 --> 00:02:57 jobs, and I'm like, I I got nothing. I
00:02:57 --> 00:02:58 was like, I'm going to be back home and
00:02:58 --> 00:03:00 just trying to figure out like how to
00:03:00 --> 00:03:04 get a job. And I had a friend of mine
00:03:04 --> 00:03:06 who um a friend of the family and she
00:03:06 --> 00:03:09 was working at Tyler Paris Studios and I
00:03:09 --> 00:03:11 was like please is there's any if
00:03:11 --> 00:03:12 there's anything and I was like you know
00:03:12 --> 00:03:14 what let me do she said come to Atlanta
00:03:14 --> 00:03:15 and you can do like our summer
00:03:16 --> 00:03:18 internship and so I was like I'll I'll
00:03:18 --> 00:03:20 be in Atlanta just for the summer and
00:03:20 --> 00:03:22 I'll just intern at Tala Perry Studios
00:03:22 --> 00:03:24 and I'll figure it out right
00:03:24 --> 00:03:29 >> and lo and behold a summer became a year
00:03:29 --> 00:03:33 and a year became came 19 years. So like
00:03:33 --> 00:03:35 I'm still in Atlanta [laughter]
00:03:35 --> 00:03:38 and this was back in 2007. So like you
00:03:38 --> 00:03:40 know like like things at Tyler Perry
00:03:40 --> 00:03:42 Studios are just kind of starting. This
00:03:42 --> 00:03:44 is when they were filming I started they
00:03:44 --> 00:03:47 were filming the very first 100 episodes
00:03:47 --> 00:03:50 of House of Pain. So like there weren't
00:03:50 --> 00:03:52 one hour things. It was just like got a
00:03:52 --> 00:03:54 sitcom and a couple movies, you know. So
00:03:54 --> 00:03:57 um so it was so exciting. But that's
00:03:57 --> 00:03:59 kind of how it all started for me. So,
00:03:59 --> 00:04:01 what made you stay? Because 19 years,
00:04:01 --> 00:04:03 honey, that's that's longer than most
00:04:03 --> 00:04:06 marriages at these days, [laughter]
00:04:06 --> 00:04:08 what made you stay? And you know, when
00:04:08 --> 00:04:10 you look back at it now, what did those
00:04:10 --> 00:04:12 years teach you about the business that
00:04:12 --> 00:04:14 you couldn't have learned anywhere?
00:04:14 --> 00:04:15 >> Yeah.
00:04:15 --> 00:04:19 >> What made me stay was Jesus, the Lord.
00:04:19 --> 00:04:23 [laughter] It was I I I
00:04:24 --> 00:04:25 had this quote in my mind. It was like,
00:04:25 --> 00:04:28 "Bloom where you're planted." And I feel
00:04:28 --> 00:04:31 like God divinely divinely
00:04:31 --> 00:04:33 placed me there to bloom.
00:04:33 --> 00:04:35 >> Um, and just to give it a little bit of
00:04:35 --> 00:04:38 context, too, like as a freshman in
00:04:38 --> 00:04:40 college, I wrote in my diary like I'm
00:04:40 --> 00:04:41 going to work at Tyler Perry Studios
00:04:41 --> 00:04:43 after I seen Diary of a Mad Black Woman.
00:04:43 --> 00:04:44 >> Yeah.
00:04:44 --> 00:04:45 >> I forgot that I wrote that. And
00:04:45 --> 00:04:47 literally like as I'm working at Tyler
00:04:47 --> 00:04:49 Perry Studios, I'm like, I forgot that I
00:04:49 --> 00:04:50 had written this. I had manifested this
00:04:50 --> 00:04:52 like years before.
00:04:52 --> 00:04:55 Um, but I think what what kept me
00:04:55 --> 00:04:57 staying is that
00:04:57 --> 00:05:02 the people, the crew, the team was such
00:05:02 --> 00:05:06 a phenomenal experience to work with.
00:05:06 --> 00:05:11 And it was a blessing to be like on the
00:05:11 --> 00:05:13 the front end of a company literally
00:05:13 --> 00:05:15 making history of a company like
00:05:15 --> 00:05:17 completely defying the odds project
00:05:17 --> 00:05:20 after project year after year. And I
00:05:20 --> 00:05:21 think like what I learned if I've
00:05:21 --> 00:05:25 learned anything is that the opinions of
00:05:25 --> 00:05:27 others is the only thing that will hold
00:05:27 --> 00:05:29 you back. And what I mean by that is,
00:05:29 --> 00:05:32 you know, I I I always say like I think
00:05:32 --> 00:05:35 that, you know, Tyler Perry's genius, I
00:05:35 --> 00:05:37 think, is it's not just in terms of the
00:05:37 --> 00:05:40 projects. It's just that the fact that
00:05:40 --> 00:05:44 he he does what is inwardly where he is
00:05:44 --> 00:05:47 inwardly led and and despite all the
00:05:48 --> 00:05:50 noise like he keeps on like pushing
00:05:50 --> 00:05:53 forward and I think I think so many
00:05:53 --> 00:05:55 artists stop.
00:05:55 --> 00:05:57 >> Um and I think so many artists rely on
00:05:57 --> 00:05:59 like rules and what we should do and
00:05:59 --> 00:06:00 what we shouldn't do and what's okay to
00:06:00 --> 00:06:02 do. And I worked at a studio that like
00:06:02 --> 00:06:05 completely landlasted all the shoods,
00:06:05 --> 00:06:07 land blasted all the like what you can
00:06:07 --> 00:06:09 do, how you can make a movie, how you
00:06:09 --> 00:06:10 can cast people, what you can talk
00:06:10 --> 00:06:12 about, and found success and found an
00:06:12 --> 00:06:14 audience. So if I learned anything, like
00:06:14 --> 00:06:17 there are no rules. There's no rules.
00:06:17 --> 00:06:18 There's no, you know, we're only putting
00:06:18 --> 00:06:21 ourselves into the boxes that we make,
00:06:21 --> 00:06:23 you know. Um, and as artists, like our
00:06:23 --> 00:06:27 job is to to find those limitations,
00:06:27 --> 00:06:28 tear them down, and keep going.
00:06:28 --> 00:06:29 >> Yeah.
00:06:30 --> 00:06:32 And you know, something I always wanted
00:06:32 --> 00:06:34 to ask, now it's rumored because I've
00:06:34 --> 00:06:36 never actually been on the set
00:06:36 --> 00:06:41 >> that um you know, the Tyler Perry way is
00:06:41 --> 00:06:44 to um do things really fast.
00:06:44 --> 00:06:46 >> Do things really fast.
00:06:46 --> 00:06:46 >> Yeah.
00:06:46 --> 00:06:50 >> Now, with that being said,
00:06:50 --> 00:06:53 >> did that have an effect on how you deal
00:06:54 --> 00:06:56 with uh casting and and things like
00:06:56 --> 00:06:58 that? And how were you able to to keep
00:06:58 --> 00:07:00 up with that type of pace?
00:07:00 --> 00:07:03 >> Cool girl, we was working.
00:07:03 --> 00:07:05 No. Um,
00:07:05 --> 00:07:09 so one, I I had a phenomenal team and
00:07:09 --> 00:07:11 and it was three of us. Like three of us
00:07:11 --> 00:07:13 doing everything. When I say everything,
00:07:13 --> 00:07:15 like every single project you we saw
00:07:15 --> 00:07:17 like we were the ones casting and
00:07:17 --> 00:07:19 putting people in those roles for every
00:07:19 --> 00:07:21 single project. Yeah.
00:07:21 --> 00:07:24 >> Um, so I've had an incredible team to
00:07:24 --> 00:07:29 work with. I think that I did have to
00:07:29 --> 00:07:33 um adjust how I approach things in order
00:07:33 --> 00:07:35 to survive the pacing. Yes.
00:07:35 --> 00:07:38 >> Um I am someone like I like to take my
00:07:38 --> 00:07:40 time. I like to dig in. Like I like to
00:07:40 --> 00:07:45 kind of like really settle in. Um and I
00:07:45 --> 00:07:48 found that I had to really start
00:07:48 --> 00:07:52 trusting others in order to to to do the
00:07:52 --> 00:07:53 timing. I had to trust the agents who
00:07:53 --> 00:07:55 were sending me t tapes. I had to trust
00:07:55 --> 00:07:58 the casting assistants and associates. I
00:07:58 --> 00:07:59 had we had to figure out a system where
00:07:59 --> 00:08:00 like, you know, it just got to the point
00:08:00 --> 00:08:02 like I just cannot even watch all these
00:08:02 --> 00:08:05 auditions having to train and teach
00:08:05 --> 00:08:07 people, hey, this is what I'm looking
00:08:07 --> 00:08:09 for. So, you know, like we we developed
00:08:10 --> 00:08:12 a system where like um so I would have
00:08:12 --> 00:08:14 my casting associate or casting
00:08:14 --> 00:08:16 assistant watch auditions and they would
00:08:16 --> 00:08:18 just grade people. I said just give them
00:08:18 --> 00:08:20 a A, B or C and then I would only watch
00:08:20 --> 00:08:22 the A's and the B's, you know, so
00:08:22 --> 00:08:24 everyone and it was based off of me
00:08:24 --> 00:08:26 instructing them on like what I'm
00:08:26 --> 00:08:29 looking for. Um, so we had we we had to
00:08:29 --> 00:08:32 develop a system um to be able to handle
00:08:32 --> 00:08:34 the load. But thankfully and also we had
00:08:34 --> 00:08:35 to like
00:08:36 --> 00:08:39 work on like I so I when I first started
00:08:39 --> 00:08:40 I work with a producer his name was
00:08:40 --> 00:08:43 Ruben Cannon and he he would also say
00:08:43 --> 00:08:45 cast above the role
00:08:45 --> 00:08:47 >> and he what he meant by that it's like
00:08:47 --> 00:08:49 cast somebody who is capable of doing
00:08:49 --> 00:08:52 more than what the role is asking.
00:08:52 --> 00:08:55 >> And so I found that not just to cast
00:08:55 --> 00:08:57 above the role but in order to survive
00:08:57 --> 00:08:58 the pacing that these actors are going
00:08:58 --> 00:09:00 to have to do like I always had to cast
00:09:00 --> 00:09:02 above the role. I was always trying to
00:09:02 --> 00:09:05 cast somebody who was capable of doing
00:09:05 --> 00:09:07 more than what I was asking them cuz I
00:09:07 --> 00:09:09 knew if you're only going to get one to
00:09:09 --> 00:09:11 one or two takes and have to move
00:09:11 --> 00:09:13 quickly, like I knew I had to find an
00:09:13 --> 00:09:15 actor who's going to be ready. So that
00:09:15 --> 00:09:16 was another thing. It's like I feel like
00:09:16 --> 00:09:21 I was becoming very um intentional about
00:09:21 --> 00:09:23 about only sending people that I felt
00:09:23 --> 00:09:25 like could handle the weight of what I
00:09:25 --> 00:09:27 knew that they would be asked to do.
00:09:27 --> 00:09:30 >> Yeah. Yeah. And I would imagine if you
00:09:30 --> 00:09:32 know if you ever had decided to go
00:09:32 --> 00:09:37 anywhere else having that experience
00:09:37 --> 00:09:37 [laughter]
00:09:37 --> 00:09:39 >> I think there is something I tell people
00:09:39 --> 00:09:41 who've worked with Tyler Perry something
00:09:41 --> 00:09:42 there is something where it's like I
00:09:42 --> 00:09:44 know I can do anything that's not that I
00:09:44 --> 00:09:48 feel I know like I know
00:09:48 --> 00:09:49 >> I can do anything
00:09:50 --> 00:09:53 >> because I have survived the the pacing
00:09:53 --> 00:09:56 the demands all those things and there
00:09:56 --> 00:09:58 is something about it like I I do feel
00:09:58 --> 00:10:01 like I'm capable of anything within this
00:10:01 --> 00:10:04 industry or outside of it because of the
00:10:04 --> 00:10:05 work that we were doing.
00:10:05 --> 00:10:08 >> Yeah. Now, I I got I have a such a fun
00:10:08 --> 00:10:10 kind of a funny question. So,
00:10:10 --> 00:10:11 >> yes.
00:10:11 --> 00:10:13 >> Okay. So, you're in the casting process.
00:10:13 --> 00:10:15 Uh you've been around so many actors
00:10:15 --> 00:10:17 over the years, and I'm sure you've seen
00:10:17 --> 00:10:19 the good, the bad, the ugly, the
00:10:19 --> 00:10:20 nervous.
00:10:20 --> 00:10:20 >> Oh, yeah.
00:10:20 --> 00:10:23 >> Overly confident. I have no idea what
00:10:23 --> 00:10:26 I'm doing. Y everything in between. But
00:10:26 --> 00:10:29 if you're say that you see an actor that
00:10:30 --> 00:10:32 you see has so much potential,
00:10:32 --> 00:10:35 >> what is something actors do that makes
00:10:35 --> 00:10:36 you want to reach through the screen and
00:10:36 --> 00:10:39 be like, "BABY, STOP DOING THAT cuz I I
00:10:39 --> 00:10:43 really like you." But [laughter]
00:10:43 --> 00:10:47 >> there's so many things. Let me see. Um
00:10:47 --> 00:10:51 I think something that actors do is um
00:10:51 --> 00:10:55 sometimes actors are so obedient.
00:10:55 --> 00:10:57 I know people going to be like, I got I
00:10:57 --> 00:10:58 know people wouldn't expect me to say
00:10:58 --> 00:11:00 that, but I mean it was like sometimes
00:11:00 --> 00:11:03 people would approach our work and it
00:11:03 --> 00:11:05 was like they had to be so like follow
00:11:06 --> 00:11:07 the rules, but you told me to come in
00:11:07 --> 00:11:09 this way and I this, you know, I'm
00:11:09 --> 00:11:10 supposed to be looking and there's four
00:11:10 --> 00:11:12 people over here and the word was, you
00:11:12 --> 00:11:14 know, this is versus, you know, this
00:11:14 --> 00:11:16 isn't what I don't know, whatever it is.
00:11:16 --> 00:11:19 And I'm like, I felt like they were so
00:11:20 --> 00:11:22 obedient that they lost their freedom.
00:11:22 --> 00:11:25 they lost their own freedom to be
00:11:25 --> 00:11:27 creative and to make a choice that just
00:11:27 --> 00:11:30 felt instinctually like them versus
00:11:30 --> 00:11:32 trying to be obedient to whatever the
00:11:32 --> 00:11:34 given circumstances of the sides or
00:11:34 --> 00:11:36 whatnot. So I like if anything like that
00:11:36 --> 00:11:38 was my pet peeve for like good actors
00:11:38 --> 00:11:40 who just felt like they kind of like
00:11:40 --> 00:11:42 tied their hands around their back was
00:11:42 --> 00:11:43 like I can act but I can only act within
00:11:43 --> 00:11:45 these like stipulations. So that was
00:11:45 --> 00:11:46 kind of my pet peeve.
00:11:46 --> 00:11:48 >> And you want to say snap out of snap
00:11:48 --> 00:11:48 out? [laughter]
00:11:48 --> 00:11:51 >> Yes. like like let loose, have fun,
00:11:51 --> 00:11:54 relax, you know. So, yeah.
00:11:54 --> 00:11:56 >> Now, you know what? Nobody talks about
00:11:56 --> 00:11:58 this as part of like the the acting
00:11:58 --> 00:12:01 audition. So, you audition, then you
00:12:01 --> 00:12:02 wait.
00:12:02 --> 00:12:03 >> Yeah.
00:12:03 --> 00:12:05 >> Get a call back, then you wait.
00:12:05 --> 00:12:05 >> Yeah.
00:12:05 --> 00:12:07 >> Get pinned, then you wait.
00:12:07 --> 00:12:07 [clears throat]
00:12:07 --> 00:12:08 >> Awful.
00:12:08 --> 00:12:10 >> What should actors actually be doing
00:12:10 --> 00:12:12 during that time in your opinion instead
00:12:12 --> 00:12:14 of driving themselves crazy wondering if
00:12:14 --> 00:12:16 they got their part?
00:12:16 --> 00:12:19 um meditating, exercising, having fun,
00:12:19 --> 00:12:21 spending time with their family, cooking
00:12:21 --> 00:12:24 a good meal, like whatever it is that
00:12:24 --> 00:12:27 makes them feel alive and just
00:12:27 --> 00:12:32 energetically feel safe, alive, fun,
00:12:32 --> 00:12:35 connected, focus on all of those things
00:12:36 --> 00:12:38 because at the end of the day, like I've
00:12:38 --> 00:12:41 always felt your role will not miss you.
00:12:41 --> 00:12:44 It will not miss you. And so I think you
00:12:44 --> 00:12:47 spending two, three weeks, four weeks
00:12:47 --> 00:12:49 stressing about if I got it and kind of
00:12:49 --> 00:12:51 going over in your head, like it's
00:12:51 --> 00:12:53 something that if it's yours, it's
00:12:53 --> 00:12:57 yours. So I think use that time with all
00:12:57 --> 00:13:00 of the things that bring you joy. And if
00:13:00 --> 00:13:02 you get it, congratulations. And if not,
00:13:02 --> 00:13:05 it's not time lost. It's just time that
00:13:05 --> 00:13:06 you spent
00:13:06 --> 00:13:09 >> indulging and and investing in yourself.
00:13:09 --> 00:13:11 >> Yeah. Yeah. I love that. I love that.
00:13:11 --> 00:13:13 Now, here's something actors always
00:13:13 --> 00:13:16 wonder about. Um, agents, managers,
00:13:16 --> 00:13:19 coaches, publicists, all these people.
00:13:19 --> 00:13:21 In your opinion, what does an actor
00:13:21 --> 00:13:23 actually when do they actually need all
00:13:23 --> 00:13:25 these people? And, you know, when are
00:13:25 --> 00:13:27 they jumping into having a whole team
00:13:27 --> 00:13:30 before they actually need need one?
00:13:30 --> 00:13:31 >> I think that you should invest in an
00:13:31 --> 00:13:34 agent. Like I think that well I think
00:13:34 --> 00:13:36 that once you have I was going to say
00:13:36 --> 00:13:38 once you know what you're doing like
00:13:38 --> 00:13:40 once you've actually invested in the
00:13:40 --> 00:13:42 craft once you've worked with a with
00:13:42 --> 00:13:46 either a team or work with um um like an
00:13:46 --> 00:13:49 acting coach or a class I do think that
00:13:49 --> 00:13:51 you should be very vigilant about
00:13:51 --> 00:13:53 getting agency representation. I think
00:13:53 --> 00:13:55 this just like you know you have to be
00:13:55 --> 00:13:57 on the court and a lot of times like you
00:13:57 --> 00:13:58 can't you're not even on the court if
00:13:58 --> 00:14:00 you don't have somebody like an agent
00:14:00 --> 00:14:02 who's representing you because a lot of
00:14:02 --> 00:14:03 times you know you don't even know about
00:14:03 --> 00:14:06 the project. So I do encourage actors to
00:14:06 --> 00:14:08 do their research reach out to other
00:14:08 --> 00:14:11 their know their tribe their actor
00:14:11 --> 00:14:13 friends and I do think that you get an
00:14:13 --> 00:14:17 agent a good reputable agent um that can
00:14:17 --> 00:14:19 really help you start to build your
00:14:19 --> 00:14:21 credit. I don't think that you should
00:14:21 --> 00:14:24 get a manager until
00:14:24 --> 00:14:27 um well or I take that back. I'll say
00:14:27 --> 00:14:29 agent or a manager, but I do I I do feel
00:14:30 --> 00:14:31 like
00:14:31 --> 00:14:33 understanding what a manager does is I
00:14:33 --> 00:14:35 think something that people don't really
00:14:35 --> 00:14:37 understand. Like a manager is meant to
00:14:37 --> 00:14:40 manage your career, your life, your
00:14:40 --> 00:14:42 schedule. They usually take a larger
00:14:42 --> 00:14:44 percent than maybe what an agent would
00:14:44 --> 00:14:45 take. a manager can help you find an
00:14:46 --> 00:14:48 agent. But I think a lot of times people
00:14:48 --> 00:14:49 feel like I have an agent and I need to
00:14:50 --> 00:14:52 rush and get a manager too when um
00:14:52 --> 00:14:54 sometimes they may having some overlap
00:14:54 --> 00:14:56 or if you don't really have anything to
00:14:56 --> 00:14:57 manage yet. You know people with
00:14:57 --> 00:15:00 managers have photooots and have
00:15:00 --> 00:15:02 magazine interviews and things like that
00:15:02 --> 00:15:04 and that's the you know those are the
00:15:04 --> 00:15:06 people who do that manager schedule. So
00:15:06 --> 00:15:09 for me, I feel like either use your
00:15:09 --> 00:15:12 manager to get an agent or if you have
00:15:12 --> 00:15:15 your manager then um or or or you have
00:15:15 --> 00:15:17 an agent, stick with your agent and then
00:15:17 --> 00:15:18 when you get to that point in your
00:15:18 --> 00:15:20 career where you actually have a lot of
00:15:20 --> 00:15:22 things that need to be managed outside
00:15:22 --> 00:15:24 of just the auditions, then you get a
00:15:24 --> 00:15:26 manager. I do when it comes to
00:15:26 --> 00:15:29 publicist, I may be a little different
00:15:29 --> 00:15:30 on this because I feel like people are
00:15:30 --> 00:15:31 like, you know what, I'm going to get a
00:15:31 --> 00:15:35 publicist like when I've made it. Um, I
00:15:35 --> 00:15:38 actually like people
00:15:38 --> 00:15:39 like let's say if you have a big
00:15:40 --> 00:15:42 project, if you if you're about to be in
00:15:42 --> 00:15:45 the Odyssey, Star Wars, I don't know,
00:15:45 --> 00:15:47 Marvel, I actually think you should
00:15:47 --> 00:15:49 invest one of your checks and get a
00:15:49 --> 00:15:52 publicist then. Like I don't I wouldn't
00:15:52 --> 00:15:54 wait till you were famous to get a
00:15:54 --> 00:15:56 publicist. I think that using the
00:15:56 --> 00:15:58 momentum of something that you booked,
00:15:58 --> 00:16:00 get the publicist instead of giving
00:16:00 --> 00:16:02 them, you know, six months, maybe you
00:16:02 --> 00:16:04 give them one or two months and let them
00:16:04 --> 00:16:06 pitch you and push you as much as you
00:16:06 --> 00:16:09 can in that time. That's what I would I
00:16:09 --> 00:16:11 do. I I had a friend of mine who did
00:16:11 --> 00:16:14 that um for uh Straw and it was great. I
00:16:14 --> 00:16:16 I think he had a lot of opportunities
00:16:16 --> 00:16:19 that came because um I think a publicist
00:16:19 --> 00:16:23 puts you in position. So, I think that
00:16:23 --> 00:16:25 if it were me and I booked something and
00:16:25 --> 00:16:26 I knew when it was going to be released,
00:16:26 --> 00:16:29 I would absolutely invest into getting a
00:16:29 --> 00:16:31 publicist quickly.
00:16:31 --> 00:16:33 >> Yeah. And and I get that. And I often
00:16:33 --> 00:16:37 wonder like people that say if they have
00:16:38 --> 00:16:40 um
00:16:40 --> 00:16:42 a independent publicist, one that they
00:16:42 --> 00:16:45 hired, I think sometimes they depend on
00:16:45 --> 00:16:48 like whatever project that they're in.
00:16:48 --> 00:16:49 Usually that network or something like
00:16:50 --> 00:16:53 that actually has their own, you know,
00:16:53 --> 00:16:55 has their own uh PR and things like
00:16:55 --> 00:16:57 that. Do you think they should have that
00:16:57 --> 00:17:00 in addition to or
00:17:00 --> 00:17:02 >> Oh, wait. Say say that one more time.
00:17:02 --> 00:17:03 I'm sorry. There was some vacuuming
00:17:03 --> 00:17:04 happening. I wanted to make sure it's
00:17:04 --> 00:17:06 not. I'm sorry. Say that one more time.
00:17:06 --> 00:17:07 >> Okay. [laughter]
00:17:08 --> 00:17:09 Okay. Say like like you said, somebody
00:17:09 --> 00:17:12 had uh had a part in Marvel or something
00:17:12 --> 00:17:14 like and they decided, okay, I do need
00:17:14 --> 00:17:16 some public uh publicity here.
00:17:16 --> 00:17:17 >> Yeah.
00:17:17 --> 00:17:21 >> Um should they hire an independent
00:17:21 --> 00:17:24 publicist? because sometimes they kind
00:17:24 --> 00:17:27 of rely on the network's
00:17:27 --> 00:17:31 >> PR as opposed to, you know,
00:17:31 --> 00:17:32 >> having their own.
00:17:32 --> 00:17:35 >> Get your own. If you're not numbers like
00:17:35 --> 00:17:37 one through, depending on the project,
00:17:37 --> 00:17:38 one through five, one through seven, one
00:17:38 --> 00:17:41 through 10, get your own because the
00:17:41 --> 00:17:42 publicist is really going to be focusing
00:17:42 --> 00:17:45 on, you know, number one through
00:17:45 --> 00:17:46 whatever on the call sheet. Not to say
00:17:46 --> 00:17:49 that, you know, they won't be looking
00:17:49 --> 00:17:51 out out for opportunities for you, but I
00:17:51 --> 00:17:54 would go ahead and invest in getting my
00:17:54 --> 00:17:56 own individual one depending on where I
00:17:56 --> 00:17:59 land on that particular call sheet. But
00:17:59 --> 00:18:03 yeah, I think that I I think that I
00:18:03 --> 00:18:04 think that investing making that an
00:18:04 --> 00:18:08 investment um doing it yourself, maybe
00:18:08 --> 00:18:09 having that publicist work with whoever
00:18:09 --> 00:18:11 whatever publicist is on the project or
00:18:11 --> 00:18:13 whatever publicist work with works with
00:18:13 --> 00:18:16 the studio is is going to be a plus for
00:18:16 --> 00:18:19 you as an actor. And I wish more actors
00:18:19 --> 00:18:20 thought
00:18:20 --> 00:18:23 >> positioning more, you know, like
00:18:23 --> 00:18:25 auditioning is great. This is someone
00:18:25 --> 00:18:26 who like I love auditions and I love
00:18:26 --> 00:18:28 craft, but
00:18:28 --> 00:18:31 I am seeing that
00:18:31 --> 00:18:34 the visibility of positioning matters
00:18:34 --> 00:18:36 just as much as you having a strong
00:18:36 --> 00:18:36 audition.
00:18:36 --> 00:18:39 >> Yeah. Yeah. Now, you were talking about,
00:18:39 --> 00:18:41 you know, how some um actors early on in
00:18:41 --> 00:18:43 their careers and maybe they don't need
00:18:43 --> 00:18:47 a a publicist right now or but they have
00:18:47 --> 00:18:50 an agent and they have a manager. Do you
00:18:50 --> 00:18:54 ever get the the agent manager conflict
00:18:54 --> 00:18:54 uh situation?
00:18:54 --> 00:18:56 >> You know, thankfully it doesn't happen
00:18:56 --> 00:18:58 often. Thankfully, it doesn't happen
00:18:58 --> 00:18:59 often, but there have been one or two
00:18:59 --> 00:19:01 times where either that manager was the
00:19:01 --> 00:19:03 one who was getting in the way of the
00:19:03 --> 00:19:05 deal, you know. Um, so thankfully, it
00:19:06 --> 00:19:08 doesn't happen often, and most of the
00:19:08 --> 00:19:10 times those agent manager relationships
00:19:10 --> 00:19:13 are are are done well, but there have
00:19:13 --> 00:19:15 been one or two times where I felt like
00:19:15 --> 00:19:17 there was some conflict, there was some
00:19:17 --> 00:19:19 disagreement, one wanted this rate, one
00:19:19 --> 00:19:21 was okay with this one, and it
00:19:21 --> 00:19:23 definitely created some discord for
00:19:24 --> 00:19:26 sure. So, I think be aware of that if
00:19:26 --> 00:19:28 you do have, you know, you know, there's
00:19:28 --> 00:19:30 some agents and managers that often work
00:19:30 --> 00:19:33 together, you know, like great, but I
00:19:33 --> 00:19:35 think being on one accord is is going to
00:19:35 --> 00:19:37 be huge because you don't want anything
00:19:37 --> 00:19:39 to delay your booking,
00:19:39 --> 00:19:41 >> right? Absolutely. Now, let's talk a
00:19:41 --> 00:19:43 little bit about social media. How
00:19:43 --> 00:19:44 important
00:19:44 --> 00:19:47 >> is social media? And does um their
00:19:47 --> 00:19:51 presence as far as as you're concerned
00:19:51 --> 00:19:53 as a casting director, do you go on
00:19:53 --> 00:19:55 people's social media and look at look
00:19:55 --> 00:19:57 at what's going on with them?
00:19:57 --> 00:19:59 >> Never.
00:19:59 --> 00:20:00 [laughter]
00:20:00 --> 00:20:01 >> Well, that's good to know.
00:20:01 --> 00:20:03 >> You know what, but
00:20:03 --> 00:20:08 >> but um like if I said like maybe.1%
00:20:08 --> 00:20:10 of the time, but not really. I will say
00:20:10 --> 00:20:12 I do keep like if I see somebody who's
00:20:12 --> 00:20:14 really special, I do keep a little
00:20:14 --> 00:20:17 folder called talent in my social media
00:20:17 --> 00:20:18 and I occasionally like just put
00:20:18 --> 00:20:20 somebody in there, but I it's like if it
00:20:20 --> 00:20:24 comes through my like, you know, uh for
00:20:24 --> 00:20:26 you page, you know, but I'm not like,
00:20:26 --> 00:20:28 oh, let me like look up this person. I
00:20:28 --> 00:20:31 haven't really done that. However, um I
00:20:31 --> 00:20:33 was on a panel and we all said the same
00:20:33 --> 00:20:34 thing
00:20:34 --> 00:20:37 >> and then I like right after the panel,
00:20:37 --> 00:20:40 somebody had shown me um like some skits
00:20:40 --> 00:20:43 or scenes that some actors had done with
00:20:43 --> 00:20:45 social media and it was just two people
00:20:45 --> 00:20:47 like in a relationship and I want to say
00:20:47 --> 00:20:49 they had like 700 views and I was
00:20:49 --> 00:20:53 like, "Oh, you guys don't do social
00:20:53 --> 00:20:55 media for us." Like you don't do social
00:20:55 --> 00:20:58 media for casting directors. you do it
00:20:58 --> 00:21:01 for you. Like you do it because it's a
00:21:01 --> 00:21:03 part of your packaging or you just want
00:21:03 --> 00:21:05 another opportunity to act or you want
00:21:05 --> 00:21:07 people to see what you can do. So I
00:21:07 --> 00:21:09 think like if you are going to use
00:21:09 --> 00:21:11 social media and I do think it's a
00:21:11 --> 00:21:13 wonderful tool to use, but I wouldn't
00:21:13 --> 00:21:15 use it because I'm trying to get casting
00:21:15 --> 00:21:17 directors to pay attention to me. It's
00:21:17 --> 00:21:19 like I I would use it because like I
00:21:19 --> 00:21:21 want to be creative. I want people to
00:21:21 --> 00:21:23 see what I can do. I want to build an
00:21:23 --> 00:21:25 audience. Like I would I would use it
00:21:25 --> 00:21:27 for that instead of trying to get my
00:21:27 --> 00:21:28 attention.
00:21:28 --> 00:21:31 >> Yeah. Because I do see a lot of actors,
00:21:31 --> 00:21:33 you know, posting their reals, posting
00:21:33 --> 00:21:36 their or maybe even posting like an
00:21:36 --> 00:21:37 audition that they just had or
00:21:37 --> 00:21:39 something.
00:21:39 --> 00:21:39 >> So
00:21:39 --> 00:21:42 >> I never watch those.
00:21:42 --> 00:21:45 >> Okay. So you guys not do that because
00:21:45 --> 00:21:46 Raven's not watching.
00:21:46 --> 00:21:48 >> You could do it. You could do it for
00:21:48 --> 00:21:51 your friends, you know. I I just I can't
00:21:52 --> 00:21:53 really You know why? because it's like I
00:21:53 --> 00:21:56 watch auditions cuz like I get paid too.
00:21:56 --> 00:21:57 I'm like I'm not about to judge on
00:21:57 --> 00:21:59 social media. I want to veg out, you
00:21:59 --> 00:22:02 know? So I don't want to work. So yeah,
00:22:02 --> 00:22:07 I I've seen it but I don't really watch
00:22:07 --> 00:22:10 reals on I don't like if someone puts
00:22:10 --> 00:22:12 like an audition or real I haven't
00:22:12 --> 00:22:15 really watched it on social media. Um,
00:22:15 --> 00:22:16 maybe something else like if they were
00:22:16 --> 00:22:19 in a project like an actual clip of
00:22:19 --> 00:22:22 something, but even then I'm just, you
00:22:22 --> 00:22:25 know, I just it's not a place where I go
00:22:25 --> 00:22:26 to look for talent.
00:22:26 --> 00:22:28 >> Yeah. Yeah.
00:22:28 --> 00:22:31 >> Let's talk a little bit about your your
00:22:31 --> 00:22:34 producing and your directing and all all
00:22:34 --> 00:22:36 those things. What are you doing now
00:22:36 --> 00:22:39 beside well in addition to casting
00:22:39 --> 00:22:40 still? Correct.
00:22:40 --> 00:22:44 >> Yeah. Yes. Yes. Yes. Yes. So this year I
00:22:44 --> 00:22:46 I gave myself a goal like I I wanted to
00:22:46 --> 00:22:48 film 10 verticals this year and so far
00:22:48 --> 00:22:51 we've done six and I'm like and I didn't
00:22:51 --> 00:22:52 even know how we were going to get to
00:22:52 --> 00:22:54 six but I'm like okay we got we got six
00:22:54 --> 00:22:56 I got four more to go. Um so yeah so in
00:22:56 --> 00:22:59 addition to C and that's not including
00:22:59 --> 00:23:01 two that I directed for two separate
00:23:02 --> 00:23:05 vertical companies. So yes, so my
00:23:05 --> 00:23:08 company Rat Media, we are producing and
00:23:08 --> 00:23:09 developing
00:23:09 --> 00:23:11 um we've done we've done a lot of micro
00:23:11 --> 00:23:13 dramas. We work we've done stu uh
00:23:13 --> 00:23:17 stories for brands and so we have a team
00:23:17 --> 00:23:21 of people from crews already set up. We
00:23:21 --> 00:23:24 have writers that we work with um that
00:23:24 --> 00:23:27 are developing projects that we are uh
00:23:27 --> 00:23:30 releasing and filming. Uh so we've done
00:23:30 --> 00:23:34 that. I have a a definite passion for
00:23:34 --> 00:23:36 creativity, for directing, so I've got a
00:23:36 --> 00:23:38 chance to do it this year. I've learned
00:23:38 --> 00:23:40 a lot about myself. I learned a lot
00:23:40 --> 00:23:42 about the process. It was wildly
00:23:42 --> 00:23:46 intimidating, but um for me, like that's
00:23:46 --> 00:23:48 a part of my growth. Like I love
00:23:48 --> 00:23:50 casting, but I've always wanted to do
00:23:50 --> 00:23:53 more than just cast. So getting a chance
00:23:53 --> 00:23:55 to really put my foot in the ring as a
00:23:55 --> 00:23:57 producer and director has actually
00:23:57 --> 00:23:59 helped me have the language to speak
00:23:59 --> 00:24:01 with actors as well because I know what
00:24:01 --> 00:24:03 it feels like. Like I know what it feels
00:24:03 --> 00:24:05 like when it's like, oh, I'm trying
00:24:05 --> 00:24:07 something new and I'm about to do
00:24:07 --> 00:24:09 something and I don't know if it's right
00:24:09 --> 00:24:13 or I may have to have a hit to my ego or
00:24:13 --> 00:24:15 um I don't, you know, I'm I'm trying to
00:24:15 --> 00:24:17 find ways that I can be bold and create
00:24:17 --> 00:24:19 courageous and I'm like still figuring
00:24:19 --> 00:24:23 it out. like I know what that feels like
00:24:23 --> 00:24:25 um from a creative standpoint. So yeah,
00:24:25 --> 00:24:27 I've been stretching myself a lot this
00:24:27 --> 00:24:30 year creatively and also you know in
00:24:30 --> 00:24:31 terms of the business and it's been
00:24:31 --> 00:24:35 we've had so many I'm so grateful. I
00:24:35 --> 00:24:36 think one of the things that I'm like so
00:24:36 --> 00:24:39 proud of is that I love being able to be
00:24:39 --> 00:24:41 like, "Yeah, I helped you get another
00:24:41 --> 00:24:44 ring on your credit or some footage for
00:24:44 --> 00:24:46 your real um or another opportunity to
00:24:46 --> 00:24:49 work." Like that brings me so much joy
00:24:49 --> 00:24:51 and that is something that we have been
00:24:51 --> 00:24:54 graced to do consistently in the midst
00:24:54 --> 00:24:57 of this industry that feels very um
00:24:57 --> 00:24:58 unsure.
00:24:58 --> 00:25:00 >> Well, let me ask you this. With that
00:25:00 --> 00:25:02 being said, you've done so much for
00:25:02 --> 00:25:04 other people and like you said, you you
00:25:04 --> 00:25:06 feel good when you help someone with
00:25:06 --> 00:25:09 their career or whatever that they need
00:25:10 --> 00:25:12 >> with the producing and with Rad Media
00:25:12 --> 00:25:14 and things like that. This is for you.
00:25:14 --> 00:25:15 >> Yes.
00:25:15 --> 00:25:18 >> So, how does that feel for that you're
00:25:18 --> 00:25:21 doing something for for Raven?
00:25:21 --> 00:25:22 >> Very uncomfortable and why I'm in
00:25:22 --> 00:25:25 therapy. Okay. [laughter]
00:25:25 --> 00:25:27 No, but honestly, like I'll never forget
00:25:27 --> 00:25:30 a couple of years ago, I had a I I met a
00:25:30 --> 00:25:33 life coach in our very first session. He
00:25:33 --> 00:25:35 said, "You make magic happen for
00:25:36 --> 00:25:37 everybody else, but you don't make magic
00:25:37 --> 00:25:41 happen for you." And I like immediately
00:25:41 --> 00:25:43 like was like, "Okay, I'm done. Sign
00:25:43 --> 00:25:46 me." Like, bust out crying. And so I
00:25:46 --> 00:25:49 feel like the past
00:25:49 --> 00:25:54 six years has been my attempt at
00:25:54 --> 00:25:58 investing in making magic happen for me
00:25:58 --> 00:26:01 and really doing it without guilt,
00:26:01 --> 00:26:05 without apology and saying I am going to
00:26:05 --> 00:26:07 put my best foot forward and making
00:26:07 --> 00:26:09 magic happen. And it's still hard, trust
00:26:09 --> 00:26:10 me. Like I am still like you know what I
00:26:10 --> 00:26:12 sign off for too many casting things and
00:26:12 --> 00:26:14 I don't have any time for myself. like I
00:26:14 --> 00:26:15 am still having that conversation with
00:26:15 --> 00:26:18 myself all the time. Um, but it's
00:26:18 --> 00:26:20 something I'm conscious about and I'm
00:26:20 --> 00:26:23 really conscious about the ways in which
00:26:23 --> 00:26:24 I've been able to show up for other
00:26:24 --> 00:26:27 actors and artists showing up for myself
00:26:27 --> 00:26:28 just as fervently.
00:26:28 --> 00:26:30 >> Yeah, I love that. I love that. Now,
00:26:30 --> 00:26:32 we're going to do something really fun.
00:26:32 --> 00:26:34 We're going to play a game called I'd
00:26:34 --> 00:26:35 rather.
00:26:35 --> 00:26:36 >> Oh, okay.
00:26:36 --> 00:26:39 >> Okay. So, I'm going to give you the the
00:26:39 --> 00:26:40 questions and you can't think about it
00:26:40 --> 00:26:42 too hard. You got to tell what you'd
00:26:42 --> 00:26:44 rather. Hold on.
00:26:44 --> 00:26:45 >> You ready?
00:26:45 --> 00:26:46 >> Yes, I'm ready.
00:26:46 --> 00:26:49 >> Would you rather have to watch 500
00:26:49 --> 00:26:51 auditions in one day or sit through a
00:26:51 --> 00:26:53 12-hour production meeting when nobody
00:26:53 --> 00:26:55 can agree on anything?
00:26:55 --> 00:26:57 >> Oh, 12-h hour production meeting. I love
00:26:58 --> 00:27:01 the drama. [laughter]
00:27:01 --> 00:27:03 >> Yes. I'm just going to be like, give me
00:27:03 --> 00:27:05 the tea. 12 hour production meeting all
00:27:05 --> 00:27:06 day. [laughter]
00:27:06 --> 00:27:08 >> That's funny. Okay. So, would you rather
00:27:08 --> 00:27:11 have your phone die at 2% while you're
00:27:11 --> 00:27:14 waiting for an important phone call or
00:27:14 --> 00:27:16 accidentally send a text complaining
00:27:16 --> 00:27:22 about somebody to that person?
00:27:22 --> 00:27:25 >> Phone die. I [laughter]
00:27:25 --> 00:27:27 feel I can I can I can find an excuse of
00:27:28 --> 00:27:29 like I can't
00:27:29 --> 00:27:31 >> call them back, right? You can call them
00:27:31 --> 00:27:33 back, but you can't phone. [laughter]
00:27:33 --> 00:27:34 Yeah.
00:27:34 --> 00:27:36 >> Okay. Would you rather work with an
00:27:36 --> 00:27:39 actor who never stops talking
00:27:39 --> 00:27:43 >> or one every question with I don't know.
00:27:43 --> 00:27:45 >> Oh god. [laughter]
00:27:45 --> 00:27:48 Uh never stops talking. Never stop
00:27:48 --> 00:27:50 talking. Yeah.
00:27:50 --> 00:27:51 >> I've worked with a couple actors who've
00:27:51 --> 00:27:53 never stopped talking. At least at least
00:27:53 --> 00:27:55 we can eventually get some place. Yeah.
00:27:55 --> 00:27:57 >> Right. Right.
00:27:57 --> 00:27:58 >> Would you rather be on a set where the
00:27:58 --> 00:28:00 air conditioning is broke
00:28:00 --> 00:28:02 >> or one where the heat is blasting all
00:28:02 --> 00:28:05 day?
00:28:05 --> 00:28:08 That's a good one. Oh, where the air
00:28:08 --> 00:28:10 conditioning is broke or the heat is
00:28:10 --> 00:28:13 blasting all day.
00:28:13 --> 00:28:16 Oh, that's a Okay. I tend to be slightly
00:28:16 --> 00:28:17 cold naturatured, so I'd probably say
00:28:17 --> 00:28:19 heat blasting. Like I like I'm the type
00:28:19 --> 00:28:22 of person like if it's warm outside, I
00:28:22 --> 00:28:23 can kind of be in my car without air
00:28:23 --> 00:28:24 conditioning for a little bit.
00:28:24 --> 00:28:27 >> Girl, no.
00:28:27 --> 00:28:29 [laughter]
00:28:29 --> 00:28:31 >> Okay. Would you rather have to tell a
00:28:31 --> 00:28:33 famous actor, "No, that's not working."
00:28:33 --> 00:28:36 or tell a producer, "We need to do that
00:28:36 --> 00:28:38 scene again."
00:28:38 --> 00:28:39 >> Ooh,
00:28:39 --> 00:28:42 I would rather
00:28:42 --> 00:28:44 Ooh. Oh, that's a good one. Do I tell a
00:28:44 --> 00:28:46 famous actor, "No, that's not working or
00:28:46 --> 00:28:47 producer we need to do that scene
00:28:48 --> 00:28:50 again." Um,
00:28:50 --> 00:28:52 I would probably say, "Tell the famous
00:28:52 --> 00:28:55 actor that no, it's not working."
00:28:55 --> 00:28:57 >> I say, "Let's fix it. Let's fix it now.
00:28:57 --> 00:28:59 Let's see. [laughter]
00:28:59 --> 00:29:00 >> Yeah.
00:29:00 --> 00:29:01 >> We have a couple more.
00:29:01 --> 00:29:02 >> Yes.
00:29:02 --> 00:29:04 >> Okay. Would you rather work on a
00:29:04 --> 00:29:06 production where everybody is early but
00:29:06 --> 00:29:08 nobody knows what's happening?
00:29:08 --> 00:29:08 >> Oh gosh.
00:29:08 --> 00:29:11 >> Or everybody knows exactly what's
00:29:11 --> 00:29:13 happening but everyone is late.
00:29:13 --> 00:29:14 >> Everyone's late.
00:29:14 --> 00:29:15 >> And that's probably because I would be
00:29:15 --> 00:29:18 one of the ones that [laughter]
00:29:18 --> 00:29:22 Yes. Everyone's late.
00:29:22 --> 00:29:24 >> Okay. Would you rather accidentally walk
00:29:24 --> 00:29:26 into the wrong audition room or
00:29:26 --> 00:29:28 accidentally call someone by the wrong
00:29:28 --> 00:29:30 name for an entire day?
00:29:30 --> 00:29:34 >> Um, I have called someone by the wrong
00:29:34 --> 00:29:36 not for an entire day but multiple
00:29:36 --> 00:29:39 times. Um, I would probably rather walk
00:29:39 --> 00:29:42 into the wrong audition room though.
00:29:42 --> 00:29:43 [laughter]
00:29:43 --> 00:29:45 >> Thank you Raven for playing so playing
00:29:46 --> 00:29:47 that game with me. It's always fun
00:29:47 --> 00:29:49 because we get to see the personalities
00:29:49 --> 00:29:51 of the
00:29:51 --> 00:29:53 >> I love it. I love it.
00:29:53 --> 00:29:54 >> Well, thank you so much. We don't want
00:29:54 --> 00:29:56 to take too much of your time, but thank
00:29:56 --> 00:29:59 you so much for the conversation. I love
00:29:59 --> 00:30:01 >> you've been uh able to experience this
00:30:02 --> 00:30:03 industry from so many different
00:30:03 --> 00:30:05 perspectives, not just casting talent,
00:30:05 --> 00:30:08 but actually helping actors understand
00:30:08 --> 00:30:10 the business, trust themselves, and
00:30:10 --> 00:30:12 create their own opportunities. And for
00:30:12 --> 00:30:15 everyone watching, this is Deia Avery,
00:30:15 --> 00:30:17 the Deia Avery show, the industry. Thank
00:30:17 --> 00:30:18 you, Raven.
00:30:18 --> 00:30:21 >> Thank you, Deia. This was fantastic. So,
00:30:21 --> 00:30:22 thank you so much.
00:30:22 --> 00:30:24 >> Oh, thank you. All right, guys. Talk to
00:30:24 --> 00:30:28 you soon. Bye bye.