What does it REALLY take to turn talent into a career?
On this episode of The Demia Avery Show — The Industry, I sit down with Los Angeles talent manager Lynne Marks, VP and Founder of PKM Talent Management, for a candid and fun conversation about what it takes to navigate the entertainment business.
Lynne began her career as an actress in the UK before moving to Los Angeles, where she built an impressive career in talent management and became known for her ability to discover, develop and help build the careers of talented actors.
Her PKM clients have worked on major Broadway productions including Hamilton, Dear Evan Hansen, The Lion King, & Juliet, Some Like It Hot and The Book of Mormon, as well as major film and television projects including Sons of Anarchy, Pose, The Flash, Obi-Wan and Five Nights at Freddy's.
We talk about what talent managers REALLY look for, why talented actors don't always book, the difference between having talent and building a career, the business side of acting, social media, auditions, and what actors need to understand about the industry today.
And yes… we have some fun too! 😂 Lynne takes on my Would You Rather game, and some of those questions get VERY interesting!
🎬 The Demia Avery Show — The Industry
Where we go behind the scenes with the people who help make the entertainment business happen.
If you're an actor, aspiring actor, filmmaker, casting professional or simply love the entertainment industry, subscribe to the channel and join the conversation!
What was your biggest takeaway from Lynne's advice? 👇🏽
#TheDemiaAveryShow #TheIndustry #LynneMarks #PKMTalent #TalentManagement #TalentManager #LosAngeles #LAEntertainment #Actors #ActingCareer #ActingTips #EntertainmentIndustry #Hollywood #Broadway #ActorsLife #Casting #FilmAndTelevision #ActorAdvice #EntertainmentBusiness
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 --> 00:00:31 Living out the movie. [music]
00:00:31 --> 00:00:33 >> Hello. Hello everyone. This is Deia
00:00:33 --> 00:00:35 Avery with the Demia Avery Show, the
00:00:35 --> 00:00:38 industry. And we have yet another
00:00:38 --> 00:00:41 special guest with us today. Today we're
00:00:41 --> 00:00:43 talking all about the business of
00:00:43 --> 00:00:45 building a career in entertainment. And
00:00:45 --> 00:00:47 I have a powerhouse in the industry
00:00:47 --> 00:00:49 joining me. She started her career as an
00:00:49 --> 00:00:52 actress in the UK after graduating from
00:00:52 --> 00:00:54 Mountain View Theater School. She moved
00:00:54 --> 00:00:56 to LA and eventually became the VP and
00:00:56 --> 00:00:59 founder of PKM Talent Management, one of
00:00:59 --> 00:01:02 LA's highly respected talent management
00:01:02 --> 00:01:05 companies. Now, her clients have worked
00:01:05 --> 00:01:07 on Broadway productions like Hamilton,
00:01:07 --> 00:01:10 Dear Evan Hansen, The Lion King, The
00:01:10 --> 00:01:12 Book of Mormon, and major film and
00:01:12 --> 00:01:14 television uh television projects
00:01:14 --> 00:01:17 including Sons of Anarchy, The Flash,
00:01:17 --> 00:01:19 Obi-Wan, and Five Nights at Freddy's.
00:01:19 --> 00:01:21 She's also worked with talent in
00:01:21 --> 00:01:23 recording and gaming, commercials, and
00:01:23 --> 00:01:26 endorsements. She has done it all.
00:01:26 --> 00:01:27 Please welcome to the show, the Demia
00:01:28 --> 00:01:30 Avery Show, The Industry, Lynn Marx.
00:01:30 --> 00:01:33 Welcome. Nice to meet you.
00:01:33 --> 00:01:35 >> Oh, you're so welcome. We're so glad to
00:01:35 --> 00:01:38 to talk with you today. Now,
00:01:38 --> 00:01:41 >> let's get right into it. Let's go back.
00:01:41 --> 00:01:42 >> Okay.
00:01:42 --> 00:01:44 >> You actually started out as an actress,
00:01:44 --> 00:01:47 if I'm if I'm speaking correctly, in the
00:01:47 --> 00:01:48 UK.
00:01:48 --> 00:01:50 >> So, take me back to the young man. What
00:01:50 --> 00:01:52 What made you say, "Yep, acting is what
00:01:52 --> 00:01:55 I want to do?"
00:01:55 --> 00:01:58 Um, I was quite academic at school
00:01:58 --> 00:02:01 actually, but I I felt that acting would
00:02:01 --> 00:02:04 be much more fun and a lot easier than
00:02:04 --> 00:02:07 than going to university like my sister
00:02:07 --> 00:02:09 did. I think I I think I maybe maybe
00:02:09 --> 00:02:11 that wasn't the right choice back then.
00:02:11 --> 00:02:14 But anyway, so I got into it took me a
00:02:14 --> 00:02:16 while. I I didn't really know how to
00:02:16 --> 00:02:18 audition. And that's maybe something a
00:02:18 --> 00:02:21 lot of your your listeners have that I
00:02:21 --> 00:02:22 didn't know how to audition. And I was
00:02:22 --> 00:02:24 just from a small village in England.
00:02:24 --> 00:02:26 And so the first time I tried, I didn't
00:02:26 --> 00:02:28 get into drama school. And so I spent a
00:02:28 --> 00:02:30 year training myself. You know, I didn't
00:02:30 --> 00:02:32 have a lot of money. So I, you know, had
00:02:32 --> 00:02:34 a part-time job. And I took singing
00:02:34 --> 00:02:36 lessons and acting lessons. And then I
00:02:36 --> 00:02:38 learned how to audition because I
00:02:38 --> 00:02:40 realized that's what it was all about.
00:02:40 --> 00:02:42 It was the audition. And then I got into
00:02:42 --> 00:02:44 one of the top drama schools. Went there
00:02:44 --> 00:02:46 for three years and um, you know,
00:02:46 --> 00:02:49 started working in in mainly in theater,
00:02:49 --> 00:02:51 a little bit of television. And then I
00:02:51 --> 00:02:53 was actually touring in the far east in
00:02:53 --> 00:02:56 Asia on an amazing tour. I was in a
00:02:56 --> 00:02:59 comedy. I played the sexy secretary. It
00:02:59 --> 00:03:01 was, you know, typical British kind of
00:03:01 --> 00:03:03 farical stuff.
00:03:03 --> 00:03:05 >> And that's where I met a young attorney
00:03:05 --> 00:03:06 who was American. Okay.
00:03:06 --> 00:03:08 >> On the island of Guam and the rest is
00:03:08 --> 00:03:10 history. I ended up in the US.
00:03:10 --> 00:03:14 >> Wow. Now, what made you like maybe I'm
00:03:14 --> 00:03:16 actually better at helping other people
00:03:16 --> 00:03:18 build their careers than than I was at
00:03:18 --> 00:03:20 building my own? And what made you want
00:03:20 --> 00:03:22 to get into management?
00:03:22 --> 00:03:25 >> Uh, the honest truth is that I wasn't
00:03:25 --> 00:03:29 very good at an American accent.
00:03:29 --> 00:03:31 >> I I don't know. I was I was doing a lot
00:03:31 --> 00:03:35 of theater in the US and my husband at
00:03:35 --> 00:03:37 the time said, "Lynn, you know, is this
00:03:37 --> 00:03:39 do you want to struggle? I mean, I know
00:03:39 --> 00:03:41 you're very talented and he was very
00:03:41 --> 00:03:43 supportive, but he said, you know, maybe
00:03:43 --> 00:03:44 you want to look at other parts of the
00:03:44 --> 00:03:46 industry just in case this doesn't work
00:03:46 --> 00:03:49 out." So, I went to a couple of seminars
00:03:50 --> 00:03:52 back in the day on how to be an agent,
00:03:52 --> 00:03:54 how to be a manager, and one of the
00:03:54 --> 00:03:57 people at the seminars stood up and
00:03:57 --> 00:03:59 said, "I'm looking for people to kind of
00:04:00 --> 00:04:01 intern and work at a children's
00:04:01 --> 00:04:03 management company." And I thought,
00:04:03 --> 00:04:06 "What the heck?" And I actually started
00:04:06 --> 00:04:07 working there and became head of talent
00:04:07 --> 00:04:10 development. And that sort of started it
00:04:10 --> 00:04:11 all. And then when I got pregnant with
00:04:11 --> 00:04:14 my first child, I didn't want to be in
00:04:14 --> 00:04:18 that kind of crazy 7:00 a.m. to 9:00 at
00:04:18 --> 00:04:20 night on a headphone all the time. It
00:04:20 --> 00:04:23 was a very busy busy job. So I decided
00:04:23 --> 00:04:26 to uh join with my partners and form
00:04:26 --> 00:04:27 what we have today.
00:04:27 --> 00:04:31 >> Love it. Love it. Now, okay.
00:04:31 --> 00:04:34 So I would imagine moving from the UK to
00:04:34 --> 00:04:37 Did you go directly to LA when you
00:04:37 --> 00:04:39 >> No. No, we went a lot of different
00:04:39 --> 00:04:41 places. Um, we moved around. We were in
00:04:41 --> 00:04:44 Miami and Sacramento, a a lot of
00:04:44 --> 00:04:47 different places, but we ended up in LA
00:04:47 --> 00:04:49 because I felt that that's where I
00:04:49 --> 00:04:51 needed to be at the time because I was
00:04:51 --> 00:04:53 pursuing acting and my husband also was
00:04:53 --> 00:04:55 able to to work here.
00:04:55 --> 00:04:59 >> Was that a big for you for you guys?
00:04:59 --> 00:05:00 >> Um, well, [clears throat] for me, coming
00:05:00 --> 00:05:02 to America was a big change. I really
00:05:02 --> 00:05:04 loved England and didn't particularly
00:05:04 --> 00:05:07 want to leave.
00:05:07 --> 00:05:07 >> [laughter]
00:05:07 --> 00:05:09 >> But uh you know I wasn't really making
00:05:09 --> 00:05:12 the money so I had to go where you know
00:05:12 --> 00:05:16 but as it is now I'm I'm glad. But um I
00:05:16 --> 00:05:18 really I really appreciated how in
00:05:18 --> 00:05:21 England the craft of acting was really
00:05:21 --> 00:05:23 really sort of um respected.
00:05:24 --> 00:05:24 >> Yeah.
00:05:24 --> 00:05:26 >> You went to drama school and you studied
00:05:26 --> 00:05:27 and you wouldn't even dream of
00:05:27 --> 00:05:29 auditioning before you did that. And so
00:05:29 --> 00:05:31 over here was a little tricky for me at
00:05:31 --> 00:05:33 first because had to get used to the
00:05:33 --> 00:05:34 fact that people would they just want
00:05:34 --> 00:05:36 [snorts] to be actors so they just start
00:05:36 --> 00:05:38 acting and I was like there's a craft
00:05:38 --> 00:05:39 you've got to study you've got to learn
00:05:40 --> 00:05:42 and I still
00:05:42 --> 00:05:44 now I bring that into my clients you
00:05:44 --> 00:05:47 know I expect you to to study this as a
00:05:47 --> 00:05:47 craft
00:05:47 --> 00:05:49 >> but you know what a lot of actors they
00:05:49 --> 00:05:52 don't a lot of actors uh beginner actors
00:05:52 --> 00:05:53 I should say
00:05:53 --> 00:05:56 >> they do exactly what you said a lot of
00:05:56 --> 00:05:57 them just know that they're you know
00:05:57 --> 00:06:00 they have this personality ities and and
00:06:00 --> 00:06:02 people have told people told me that I
00:06:02 --> 00:06:03 know how to act, you know, that kind of
00:06:04 --> 00:06:09 thing. But I'm glad to hear you say that
00:06:09 --> 00:06:11 you respect the fact that they actually
00:06:11 --> 00:06:14 go in to classes and take classes and
00:06:14 --> 00:06:18 and actually learn how to hone that
00:06:18 --> 00:06:21 skill. So, I'm very glad to hear you say
00:06:21 --> 00:06:22 that.
00:06:22 --> 00:06:24 >> Yeah. I mean, it's a craft. Now, if you
00:06:24 --> 00:06:26 can't, like I say to clients, if you
00:06:26 --> 00:06:27 can't afford to go to an acting class,
00:06:27 --> 00:06:29 I'm not going to say you have to go
00:06:29 --> 00:06:31 spend hundreds of dollars on an acting
00:06:31 --> 00:06:33 class. If you can't do that, then, you
00:06:33 --> 00:06:36 know, study film and television. Um,
00:06:36 --> 00:06:37 there's like now we have the internet,
00:06:37 --> 00:06:41 print out scripts, record yourself. Um,
00:06:41 --> 00:06:43 try out different characters because
00:06:43 --> 00:06:47 it's a craft. We basically actors are
00:06:47 --> 00:06:49 studying human behavior. They're
00:06:49 --> 00:06:50 bringing it to life, you know, they're
00:06:50 --> 00:06:54 mirroring back. Um and we have to as the
00:06:54 --> 00:06:57 audience believe there's a truth and as
00:06:57 --> 00:07:01 much as there are sometimes you know
00:07:01 --> 00:07:04 overnight successes most of the time the
00:07:04 --> 00:07:07 really good actors have studied as I say
00:07:07 --> 00:07:09 there are exceptions but most of the
00:07:09 --> 00:07:12 time you'll find out the stars that we
00:07:12 --> 00:07:16 see um they they take it very seriously
00:07:16 --> 00:07:17 they work on their craft.
00:07:17 --> 00:07:19 >> Yeah. I'm glad to hear you also say that
00:07:19 --> 00:07:22 that you you gave a good nugget for
00:07:22 --> 00:07:25 everyone for those who can't actually
00:07:25 --> 00:07:27 afford the acting classes because you
00:07:27 --> 00:07:29 know sometimes they can be
00:07:29 --> 00:07:32 >> you know and and but you also gave
00:07:32 --> 00:07:35 different ways on and things that they
00:07:35 --> 00:07:38 can do to hone their skill. But if you
00:07:38 --> 00:07:40 can't afford it and you have to do it on
00:07:40 --> 00:07:43 your own, really do it on your own.
00:07:43 --> 00:07:45 Don't just look at a couple of of films
00:07:45 --> 00:07:47 and be like, "Okay, I'm good now. Oh, I
00:07:47 --> 00:07:49 can I can go do that. So, I really love
00:07:49 --> 00:07:53 that you touched on that. Now,
00:07:53 --> 00:07:54 >> I've heard through the great round
00:07:54 --> 00:07:56 people say you have a really good eye
00:07:56 --> 00:07:58 for talent.
00:07:58 --> 00:08:00 >> So, what is the thing that you see in an
00:08:00 --> 00:08:03 actor that makes you think, "Oh, you
00:08:03 --> 00:08:05 know what? There's something there's
00:08:05 --> 00:08:06 something about here. There's something
00:08:06 --> 00:08:09 here." What is it that you look for?
00:08:09 --> 00:08:12 >> So, I look for what we all look for when
00:08:12 --> 00:08:15 we're watching a television show or a
00:08:15 --> 00:08:18 series. I look to be transported away
00:08:18 --> 00:08:21 from thinking I'm watching an actor in a
00:08:21 --> 00:08:24 show to thinking I'm watching a person
00:08:24 --> 00:08:25 going through something. Like even
00:08:25 --> 00:08:28 yesterday I was watching a tape of a
00:08:28 --> 00:08:29 brand new client. She's only young.
00:08:29 --> 00:08:31 She's only 11.
00:08:31 --> 00:08:31 >> Okay.
00:08:31 --> 00:08:33 >> And it's the first tape that I first
00:08:33 --> 00:08:36 audition tape she'd sent me. And that's
00:08:36 --> 00:08:38 always very nerve-wracking for me
00:08:38 --> 00:08:40 because they can be great at a showcase
00:08:40 --> 00:08:43 or in an interview, but when they start
00:08:43 --> 00:08:45 to do the self tapes and this little
00:08:45 --> 00:08:48 girl, her reactions were so they weren't
00:08:48 --> 00:08:51 thought out. They were so instinct
00:08:51 --> 00:08:53 instinctive. Just like a human being, as
00:08:53 --> 00:08:55 you know, when something upsets, we we
00:08:55 --> 00:08:58 react, we pause, we I always say to my
00:08:58 --> 00:09:01 clients, human beings are messy.
00:09:01 --> 00:09:03 >> Play a messy human. We're not we don't
00:09:03 --> 00:09:06 speak in a in a in a mannered tone. We
00:09:06 --> 00:09:09 don't we're we're we're we breathe in
00:09:09 --> 00:09:12 weird places. We we get confused. We
00:09:12 --> 00:09:15 sniff. We wipe our face. That's okay.
00:09:15 --> 00:09:18 Cuz And this little girl, I was like,
00:09:18 --> 00:09:22 "Wow, I really feel like I'm watching a
00:09:22 --> 00:09:26 little girl who's embarrassed by Yeah,
00:09:26 --> 00:09:27 >> great.
00:09:27 --> 00:09:29 >> You got it." Mhm.
00:09:29 --> 00:09:31 >> You know, and I think that's what I look
00:09:31 --> 00:09:34 for in talent. Somebody who's able to
00:09:34 --> 00:09:37 just allow the experience to come
00:09:37 --> 00:09:40 through them and to react as if they
00:09:40 --> 00:09:42 would in that situation. That's not
00:09:42 --> 00:09:43 easy.
00:09:43 --> 00:09:46 >> That's true. And I guess you um you can
00:09:46 --> 00:09:48 also say you believe them.
00:09:48 --> 00:09:51 >> So So you know what I mean? You believe
00:09:51 --> 00:09:53 them. Now, is it possible that an actor
00:09:53 --> 00:09:56 you you find an actor that you you're
00:09:56 --> 00:09:58 crazy about, they have all this talent,
00:09:58 --> 00:10:00 but still may not be somebody you would
00:10:00 --> 00:10:03 manage.
00:10:03 --> 00:10:05 >> I don't manage people in my own
00:10:05 --> 00:10:06 neighborhood
00:10:06 --> 00:10:08 >> or close to where I live.
00:10:08 --> 00:10:09 >> Okay.
00:10:09 --> 00:10:11 >> Um and I'm lucky because I live in a
00:10:11 --> 00:10:13 mountain community just outside LA. So,
00:10:13 --> 00:10:15 that makes that quite convenient.
00:10:15 --> 00:10:17 >> Okay. Um,
00:10:17 --> 00:10:22 I don't manage a child if the parent
00:10:22 --> 00:10:24 gives me the indication that they're
00:10:24 --> 00:10:28 going to be somebody who
00:10:28 --> 00:10:30 now I'm a this is hard to say. I'm a
00:10:30 --> 00:10:32 great advocate for parents. I'm a parent
00:10:32 --> 00:10:34 myself.
00:10:34 --> 00:10:36 >> So, I have so much respect for my
00:10:36 --> 00:10:36 parents.
00:10:36 --> 00:10:40 >> Yeah. But there are some parents who
00:10:40 --> 00:10:42 maybe they don't trust me or they don't
00:10:42 --> 00:10:44 believe what I'm saying or they'll doubt
00:10:44 --> 00:10:46 me all the time or they'll don't think
00:10:46 --> 00:10:48 I'm trying hard enough or if if I get
00:10:48 --> 00:10:53 the vibe that a parent of a child client
00:10:53 --> 00:10:55 >> might not be great to work with.
00:10:55 --> 00:10:56 >> Yeah,
00:10:56 --> 00:10:57 >> I probably wouldn't work with the child.
00:10:57 --> 00:10:59 Not there's nothing against the child.
00:10:59 --> 00:11:01 It's just I don't have enough time in my
00:11:01 --> 00:11:05 day. And that doesn't mean I I I invite
00:11:05 --> 00:11:08 questions. I invite concerns from
00:11:08 --> 00:11:09 parents all the time.
00:11:09 --> 00:11:11 >> It's just there's a slight difference.
00:11:11 --> 00:11:12 >> Yeah.
00:11:12 --> 00:11:15 >> Um maybe a little demanding or not
00:11:15 --> 00:11:18 respectful or um Yeah. So
00:11:18 --> 00:11:21 >> I get it. And they have to they have to
00:11:21 --> 00:11:23 as their management if you're going to
00:11:23 --> 00:11:27 take them on, they have to have trust in
00:11:27 --> 00:11:30 you. So you can't have that in back of
00:11:30 --> 00:11:32 your head all the time. Okay. either
00:11:32 --> 00:11:34 they don't trust me or I'm going to have
00:11:34 --> 00:11:37 to combat them with something because no
00:11:37 --> 00:11:39 matter what I do, they're going to
00:11:39 --> 00:11:40 always come back with something else or
00:11:40 --> 00:11:42 either say that something might be
00:11:42 --> 00:11:44 better or something, you know. So, they
00:11:44 --> 00:11:47 have to have some trust in your
00:11:47 --> 00:11:50 capabilities as a manager to do the very
00:11:50 --> 00:11:52 best for their child. Would you agree?
00:11:52 --> 00:11:55 >> Yeah. And I also sort of say to actors
00:11:55 --> 00:11:57 like there's a lot that I do that you
00:11:57 --> 00:11:59 don't see. So I respect that that can be
00:11:59 --> 00:12:02 difficult and and if you are concerned
00:12:02 --> 00:12:06 you always you know ask but as much as
00:12:06 --> 00:12:08 you're asking me what I'm doing you need
00:12:08 --> 00:12:11 to look at yourself and say what I'm
00:12:11 --> 00:12:15 doing as an actor.
00:12:15 --> 00:12:17 Excuse me. Have I looked at my materials
00:12:17 --> 00:12:19 lately online?
00:12:19 --> 00:12:22 >> Are my head shot dynamic? Is my resume
00:12:22 --> 00:12:24 up to date? Are the reels that I've got
00:12:24 --> 00:12:26 on there are they going to jump out?
00:12:26 --> 00:12:28 because it's so competitive. I wish it
00:12:28 --> 00:12:31 wasn't, but it is. And so, you can be
00:12:31 --> 00:12:33 the greatest actor in the world, but if
00:12:33 --> 00:12:35 your tools and materials that your reps
00:12:35 --> 00:12:37 have to work with are subpar.
00:12:37 --> 00:12:39 >> Mhm.
00:12:39 --> 00:12:41 >> And also, if your tapes if your tapes
00:12:41 --> 00:12:43 are not if if I give you an audition
00:12:43 --> 00:12:45 tape and you ask repeatedly for
00:12:45 --> 00:12:46 extensions
00:12:46 --> 00:12:49 >> or your tapes are late, you know,
00:12:49 --> 00:12:51 they're going to move on. It's not my
00:12:51 --> 00:12:54 fault. I'll do my best. I'll try.
00:12:54 --> 00:12:56 >> Yeah. Um, if you don't have a lot of
00:12:56 --> 00:12:59 credits, it I can't pitch you for every
00:13:00 --> 00:13:02 single thing. Casting directors would
00:13:02 --> 00:13:03 get annoyed at me.
00:13:03 --> 00:13:05 >> I get that. I totally get that. I
00:13:05 --> 00:13:07 totally get that.
00:13:07 --> 00:13:10 >> Um, so there's an expectation, but if
00:13:10 --> 00:13:13 you the ones I always say to my actors,
00:13:13 --> 00:13:15 be a squeaky wheel.
00:13:15 --> 00:13:17 >> Send me your tapes. Show me something
00:13:17 --> 00:13:19 you're working on in class.
00:13:19 --> 00:13:22 >> Remind me. Be fresh. you know, um, if
00:13:22 --> 00:13:24 you hear about something on the, you
00:13:24 --> 00:13:26 know, from a friend, let me know. I'll
00:13:26 --> 00:13:27 find out. If I don't know about it
00:13:28 --> 00:13:30 already, I'll find out. It's a team and
00:13:30 --> 00:13:32 a lot of actors just sit back.
00:13:32 --> 00:13:34 >> I agree with you. I agree with you. And
00:13:34 --> 00:13:36 it's kind of like, you know, I may hear
00:13:36 --> 00:13:40 from you one month and then maybe three
00:13:40 --> 00:13:42 or four months down the line that
00:13:42 --> 00:13:44 sometimes I know and I hear that a lot
00:13:44 --> 00:13:47 of agents and and managers, they'll say,
00:13:47 --> 00:13:49 you know, well, I haven't heard from
00:13:49 --> 00:13:53 this person like in months and they kind
00:13:53 --> 00:13:57 of expect that, you know, that you're in
00:13:57 --> 00:13:59 the they're in the forefront of your
00:13:59 --> 00:14:01 mind and and and things like that. So I
00:14:01 --> 00:14:02 agree with you with keeping the
00:14:02 --> 00:14:04 communication open and keeping it fresh
00:14:04 --> 00:14:07 in your head. And then sometimes you
00:14:07 --> 00:14:10 know in companies you have more you're
00:14:10 --> 00:14:14 managing more than one person. So
00:14:14 --> 00:14:16 sometimes I think that they're tunnel v
00:14:16 --> 00:14:19 they have tunnel vision like it they
00:14:19 --> 00:14:21 only manage you're only managing that
00:14:21 --> 00:14:23 one person instead of like how many
00:14:23 --> 00:14:25 others. So your attention is divided.
00:14:26 --> 00:14:27 Even though you're doing the best for
00:14:27 --> 00:14:29 that person, but the attention is also
00:14:30 --> 00:14:31 divided.
00:14:31 --> 00:14:32 >> You know, they've got to understand if
00:14:32 --> 00:14:35 you're not working,
00:14:35 --> 00:14:38 >> myself and my colleagues as managers and
00:14:38 --> 00:14:39 agents,
00:14:39 --> 00:14:41 >> we need to make money. So if you're not
00:14:41 --> 00:14:42 working, we've also got to focus
00:14:42 --> 00:14:44 attention on the ones that are working.
00:14:44 --> 00:14:44 [laughter]
00:14:44 --> 00:14:46 Doesn't mean we're not trying to get you
00:14:46 --> 00:14:48 work, right? But we're not solely
00:14:48 --> 00:14:50 focused on you because we've also got to
00:14:50 --> 00:14:52 keep the h having the people that are
00:14:52 --> 00:14:53 bringing in the money which is enabling
00:14:54 --> 00:14:56 us to continue to represent you without
00:14:56 --> 00:14:57 making any money.
00:14:57 --> 00:14:58 >> Right. Right. Right.
00:14:58 --> 00:15:00 >> You know, it's it's a hard it's actually
00:15:00 --> 00:15:03 a hard business for raps. We we don't
00:15:03 --> 00:15:05 make any money till you make money.
00:15:05 --> 00:15:07 [snorts] Um and so, you know, there can
00:15:08 --> 00:15:10 be years and years we work for free. You
00:15:10 --> 00:15:12 know, it's it's it's can be it can be
00:15:12 --> 00:15:14 rough with children because children
00:15:14 --> 00:15:16 take a long time. Sometimes you take on
00:15:16 --> 00:15:19 a child at 10 and they don't really
00:15:19 --> 00:15:20 start to come into their own till
00:15:20 --> 00:15:21 they're 16.
00:15:21 --> 00:15:23 >> Ain't that something? And then their
00:15:23 --> 00:15:25 their whole their their face changes,
00:15:25 --> 00:15:28 their voice changes, their hair changes,
00:15:28 --> 00:15:30 everything changes. So what you were
00:15:30 --> 00:15:33 marketing before five months ago is
00:15:33 --> 00:15:36 different from a you know a year from
00:15:36 --> 00:15:39 now. So I totally get it. Now do you
00:15:39 --> 00:15:42 think actors Let me ask you this. Well,
00:15:42 --> 00:15:44 there there's one question I did want to
00:15:44 --> 00:15:47 ask you and I think you probably touched
00:15:47 --> 00:15:49 on it that
00:15:49 --> 00:15:53 say for example um I've heard you say
00:15:53 --> 00:15:57 how you appreciate when the actor um
00:15:57 --> 00:16:01 hones their craft but also acting
00:16:01 --> 00:16:03 understanding that acting is a business.
00:16:03 --> 00:16:06 What do you wish more actors understood
00:16:06 --> 00:16:09 about the business side of the industry?
00:16:09 --> 00:16:15 the keeping keeping the um the tools or
00:16:15 --> 00:16:17 the things that we have to market them
00:16:17 --> 00:16:19 fresh.
00:16:19 --> 00:16:21 >> Like I go on people's accounts sometimes
00:16:22 --> 00:16:24 and their videos are years old.
00:16:24 --> 00:16:25 >> Yeah.
00:16:25 --> 00:16:28 >> Their head shot are years old. Their
00:16:28 --> 00:16:31 resume hasn't been updated. Um you know,
00:16:31 --> 00:16:34 or they've got a million videos on there
00:16:34 --> 00:16:36 and I don't know. I don't have time to
00:16:36 --> 00:16:38 go through a million videos. you know,
00:16:38 --> 00:16:41 give me two or three strong videos. Make
00:16:41 --> 00:16:43 it easy for me to submit you. Give me
00:16:43 --> 00:16:45 dynamic
00:16:45 --> 00:16:47 head shot. I'm with a lot of my clients
00:16:47 --> 00:16:48 in the south. I actually have a
00:16:48 --> 00:16:51 photographer called Anna Grace White who
00:16:51 --> 00:16:54 I actually work directly with when she's
00:16:54 --> 00:16:57 on a shoot. I had two today. And she
00:16:57 --> 00:16:59 literally text me the pictures as she's
00:16:59 --> 00:17:03 taking and I'll say, "I don't need a
00:17:03 --> 00:17:07 million looks. I just need one strong
00:17:07 --> 00:17:09 dynamic
00:17:09 --> 00:17:12 young man or woman, young girl that's
00:17:12 --> 00:17:14 going to jump off the page.
00:17:14 --> 00:17:16 >> That's what I need. I don't need them to
00:17:16 --> 00:17:18 be pissed off. I don't need them to be
00:17:18 --> 00:17:21 pouty, you know. And so I'll be going,
00:17:21 --> 00:17:24 "No, no, no. Yes, now we're getting it
00:17:24 --> 00:17:27 now." Because that headsh shot can make
00:17:27 --> 00:17:29 the difference between getting an
00:17:29 --> 00:17:31 audition or not because cast directors
00:17:31 --> 00:17:32 look at thousands of them.
00:17:32 --> 00:17:34 >> Yeah. go ahead and jump off the page.
00:17:34 --> 00:17:37 >> Yeah. Now, let's talk a quick second
00:17:37 --> 00:17:39 about sometimes the attitude of an
00:17:39 --> 00:17:43 actor. Meaning, say, do you think actors
00:17:43 --> 00:17:45 sometimes put too much emphasis on I
00:17:46 --> 00:17:48 didn't get the part instead of looking
00:17:48 --> 00:17:50 at the bigger picture of building a
00:17:50 --> 00:17:52 career?
00:17:52 --> 00:17:54 >> Well, I mean, it's hard. I being having
00:17:54 --> 00:17:57 been an actor myself that it's it feels
00:17:57 --> 00:17:58 very personal and and it's very
00:17:58 --> 00:18:01 disappointing especially actually some
00:18:01 --> 00:18:03 of my actors are getting to a level
00:18:03 --> 00:18:04 where they're getting to producers on
00:18:04 --> 00:18:06 almost everything
00:18:06 --> 00:18:08 >> and they're not getting it and that's
00:18:08 --> 00:18:09 hard too like you'd think you'd love
00:18:09 --> 00:18:12 that situation but but I think an actor
00:18:12 --> 00:18:14 does have to think every you've heard
00:18:14 --> 00:18:16 this a million time every audition isn't
00:18:16 --> 00:18:19 the audition for the next job
00:18:19 --> 00:18:20 >> you may not be right for that the odds
00:18:20 --> 00:18:23 of you getting any job are very small if
00:18:23 --> 00:18:25 you think there's, you know, a hundred
00:18:25 --> 00:18:27 or 200 actors and there's one role,
00:18:27 --> 00:18:30 right? So, the odds are not great. So,
00:18:30 --> 00:18:33 you just have to have a great attitude,
00:18:33 --> 00:18:37 bring your best to it, and also live a
00:18:37 --> 00:18:40 full life so that you're not just
00:18:40 --> 00:18:41 desperate.
00:18:41 --> 00:18:41 >> Yeah.
00:18:41 --> 00:18:43 >> To book something. You've got other
00:18:43 --> 00:18:44 things
00:18:44 --> 00:18:45 >> going on in your life.
00:18:45 --> 00:18:47 >> Yeah, that's a good point. have have
00:18:47 --> 00:18:50 other things happening so you don't
00:18:50 --> 00:18:52 solely concentrate because you can get
00:18:52 --> 00:18:55 eaten up by that the whole thing and
00:18:55 --> 00:19:00 it's a it's a it's a game of no no no no
00:19:00 --> 00:19:03 no no no no and finally you get a yes
00:19:03 --> 00:19:05 but you might get a thousand nos so you
00:19:05 --> 00:19:08 have to kind of be prepared for that and
00:19:08 --> 00:19:10 I would rather have other things to
00:19:10 --> 00:19:13 focus on you know so I don't focus on
00:19:13 --> 00:19:14 the rejection part
00:19:14 --> 00:19:18 >> keep yourself healthy happy. Connect to
00:19:18 --> 00:19:20 your reps. Be positive. When we give you
00:19:20 --> 00:19:23 an audition, say, "Got it. I'm on it."
00:19:23 --> 00:19:25 That's all. Don't come back with a
00:19:25 --> 00:19:27 million questions unless they are valid,
00:19:27 --> 00:19:30 of course. Right? It's okay to refuse
00:19:30 --> 00:19:32 something if you don't feel comfortable.
00:19:32 --> 00:19:34 If it's nudity or the language or the
00:19:34 --> 00:19:37 subject, but for the most part, try to
00:19:37 --> 00:19:39 be I always say to my clients, all I
00:19:39 --> 00:19:42 want to hear is got it on it.
00:19:42 --> 00:19:42 >> Yeah.
00:19:42 --> 00:19:45 >> Bringing it. That's it.
00:19:45 --> 00:19:46 got to do it.
00:19:46 --> 00:19:46 >> Yeah.
00:19:46 --> 00:19:49 >> You know, and I always ask them to text
00:19:49 --> 00:19:51 me their tapes before they send them in.
00:19:51 --> 00:19:53 Let me have a look.
00:19:53 --> 00:19:54 >> You know, I'll work with you. I'll say,
00:19:54 --> 00:19:56 "Hey, this one's strong. This one's not
00:19:56 --> 00:19:58 so strong." Casting directors probably
00:19:58 --> 00:20:00 watch maybe three to five seconds for
00:20:00 --> 00:20:01 tape.
00:20:01 --> 00:20:02 >> So, it has to be those first few
00:20:02 --> 00:20:03 seconds.
00:20:03 --> 00:20:06 >> Yeah. Wow. Wow.
00:20:06 --> 00:20:10 >> Now, this is a is a $10 million
00:20:10 --> 00:20:14 question. who a lot of actors,
00:20:14 --> 00:20:17 especially new actors and even some old,
00:20:17 --> 00:20:20 they cross between
00:20:20 --> 00:20:22 they don't quite understand the duties
00:20:22 --> 00:20:25 of a manager versus an agent.
00:20:25 --> 00:20:26 >> Yeah.
00:20:26 --> 00:20:29 >> You know, so what would just to kind of
00:20:29 --> 00:20:31 clarify in your terms, what would you
00:20:31 --> 00:20:35 say the difference would be?
00:20:35 --> 00:20:39 >> Um, a manager has less clients.
00:20:39 --> 00:20:42 a manager does more handholding
00:20:42 --> 00:20:46 it and the manager's job changes as the
00:20:46 --> 00:20:47 client's career changes. So in the
00:20:48 --> 00:20:49 beginning, say I'm just finding a brand
00:20:50 --> 00:20:53 new actor. I'm teaching them how to to a
00:20:53 --> 00:20:55 degree self tape. I'm watching their
00:20:55 --> 00:20:57 tapes. I'm helping them get head shot
00:20:57 --> 00:20:59 and if they're young, I'm helping their
00:20:59 --> 00:21:02 parents get work permits and set up bank
00:21:02 --> 00:21:04 accounts. I'm watching every audition
00:21:04 --> 00:21:07 tape and all that kind of stuff. Then
00:21:07 --> 00:21:10 then they start booking. Maybe they book
00:21:10 --> 00:21:13 something like um I have a kid on Ted
00:21:13 --> 00:21:17 Lasso. So that needed negotiation with
00:21:17 --> 00:21:19 the agent. The agent legally negotiates.
00:21:19 --> 00:21:21 Of course they consult with the manager
00:21:21 --> 00:21:22 and the manager consults with the
00:21:22 --> 00:21:24 parent. So there's a lot of negotiation.
00:21:24 --> 00:21:27 Sometimes attorneys brought in. Then as
00:21:27 --> 00:21:30 a client builds, we start with PR.
00:21:30 --> 00:21:33 >> A show's coming out series regular. Do
00:21:33 --> 00:21:36 we bring in a PR rep? We help interview
00:21:36 --> 00:21:39 PR reps. I have done everything for
00:21:39 --> 00:21:42 clients from, you know, working with PR,
00:21:42 --> 00:21:48 working with press to um paying bills to
00:21:48 --> 00:21:50 um booking security because of death
00:21:50 --> 00:21:51 threats. Wow.
00:21:51 --> 00:21:56 >> Um, yeah. I mean, it's as a manager,
00:21:56 --> 00:21:58 I've worked on endorsements. I've worked
00:21:58 --> 00:22:00 on, you know, m music videos, been there
00:22:00 --> 00:22:03 for a client. I've got them tickets to
00:22:03 --> 00:22:05 shows. I've ordered birthday gifts for
00:22:05 --> 00:22:08 their spouses. I mean, it depends on the
00:22:08 --> 00:22:10 level of the client.
00:22:10 --> 00:22:12 >> You read scripts,
00:22:12 --> 00:22:14 >> you you know, you talk with your client,
00:22:14 --> 00:22:17 you talk with the um agent. Hey, they
00:22:17 --> 00:22:19 they're willing to do this, but they're
00:22:19 --> 00:22:22 not willing to do that. You play devil's
00:22:22 --> 00:22:24 advocate. Sometimes you shield your
00:22:24 --> 00:22:26 client from their bad behavior with the
00:22:26 --> 00:22:28 agent. You kind of come across as the
00:22:28 --> 00:22:31 bad guy to maybe make them look better.
00:22:31 --> 00:22:33 There's a lot of things you do. You're
00:22:33 --> 00:22:34 almost like the parent.
00:22:34 --> 00:22:35 >> Yeah.
00:22:35 --> 00:22:37 >> I'm like a parent to my actors.
00:22:37 --> 00:22:38 [laughter]
00:22:38 --> 00:22:42 I protect them in a way. And but I also
00:22:42 --> 00:22:43 have a lot of respect for my agent. So,
00:22:43 --> 00:22:45 we work very closely.
00:22:45 --> 00:22:48 >> Yeah. I love it. So, okay. I have a
00:22:48 --> 00:22:50 little game we're going to play. It was
00:22:50 --> 00:22:51 going to be a lot of fun. But before we
00:22:51 --> 00:22:55 get into that, I I want to make sure
00:22:55 --> 00:22:59 that I covered this and I if in fact,
00:22:59 --> 00:23:03 let's how do I want to phrase this? If
00:23:03 --> 00:23:06 you could give every struggling actor
00:23:06 --> 00:23:10 some career advice on, you know, what
00:23:10 --> 00:23:11 can actually change the way they
00:23:11 --> 00:23:13 approach their career, what what would
00:23:13 --> 00:23:15 that be?
00:23:15 --> 00:23:17 >> I think going back to what I said
00:23:17 --> 00:23:19 before, study the craft of acting.
00:23:19 --> 00:23:20 >> Yeah.
00:23:20 --> 00:23:22 um be a good business person and always
00:23:22 --> 00:23:25 know that if you're really serious about
00:23:25 --> 00:23:27 this, you want to be one step ahead of
00:23:27 --> 00:23:30 everybody else. You want to have tiptop
00:23:30 --> 00:23:32 head shots. Look at them critically.
00:23:32 --> 00:23:34 Have other people look at them. Have
00:23:34 --> 00:23:37 people watch your tapes. Make sure your
00:23:37 --> 00:23:40 resume is sharp and clean. We don't need
00:23:40 --> 00:23:41 too much. We don't need a million
00:23:41 --> 00:23:44 pictures. We just need one or two strong
00:23:44 --> 00:23:46 ones. We don't need a million tapes. We
00:23:46 --> 00:23:48 just need one or two strong ones. that
00:23:48 --> 00:23:51 your tapes are in on time, if not early,
00:23:52 --> 00:23:54 >> and they're well shot and you've done
00:23:54 --> 00:23:57 your homework. You know, you are just
00:23:57 --> 00:23:59 trying to be one step ahead of everyone
00:23:59 --> 00:24:00 else.
00:24:00 --> 00:24:01 >> Yeah. Yeah.
00:24:01 --> 00:24:04 >> Got to work. It's hard work.
00:24:04 --> 00:24:04 >> Yes.
00:24:04 --> 00:24:06 >> Yes. But that's the name of the game,
00:24:06 --> 00:24:08 right? [laughter]
00:24:08 --> 00:24:11 >> No pain. No gain.
00:24:11 --> 00:24:13 >> It's not an easy thing.
00:24:13 --> 00:24:15 >> So, let's get let's have some fun. So,
00:24:15 --> 00:24:17 we're going to play a game called I'd
00:24:17 --> 00:24:20 rather. And I'm going to ask you some
00:24:20 --> 00:24:22 questions. And you can't think too much
00:24:22 --> 00:24:24 about it. You just kind of have to to
00:24:24 --> 00:24:27 answer the questions. Okay. You ready?
00:24:27 --> 00:24:27 >> Yes.
00:24:27 --> 00:24:30 >> Would you rather manage the next
00:24:30 --> 00:24:32 Scarlett Johansson or discover the next
00:24:32 --> 00:24:35 Denzel Washington before anybody else
00:24:35 --> 00:24:37 knows who they are?
00:24:37 --> 00:24:38 >> Oh, definitely the next Denzel
00:24:38 --> 00:24:40 Washington before anybody else knows who
00:24:40 --> 00:24:42 they are. [laughter]
00:24:42 --> 00:24:45 >> Okay. Would you rather have a client
00:24:46 --> 00:24:48 who's amazingly talented but calls you
00:24:48 --> 00:24:51 15 times a day or one who never calls
00:24:52 --> 00:24:55 you but forgets to answer your emails?
00:24:55 --> 00:24:58 >> I think I think the amazingly tal I I'll
00:24:58 --> 00:25:00 always go for the amazingly talented.
00:25:00 --> 00:25:02 >> Okay. [laughter]
00:25:02 --> 00:25:03 There's hope there.
00:25:03 --> 00:25:05 >> Right. Right. Would you ra
00:25:05 --> 00:25:07 >> I can talk to them. All right.
00:25:07 --> 00:25:10 >> Right. [laughter]
00:25:10 --> 00:25:12 Would you rather watch a truly terrible
00:25:12 --> 00:25:15 audition or listen to an actor tell you
00:25:15 --> 00:25:16 for 10 minutes why they should have
00:25:16 --> 00:25:21 gotten part?
00:25:21 --> 00:25:24 >> The terrible audition.
00:25:24 --> 00:25:26 [laughter]
00:25:26 --> 00:25:29 >> I don't want to listen to you for
00:25:29 --> 00:25:31 >> No, because there's no point. Like you
00:25:31 --> 00:25:33 don't know what they're looking for. You
00:25:33 --> 00:25:34 don't know why. It could be because you
00:25:34 --> 00:25:37 look like that kid they they don't like
00:25:37 --> 00:25:39 or they're I don't know. You know, we
00:25:39 --> 00:25:41 it's it's really hard to understand why
00:25:41 --> 00:25:43 people don't get a part. It it can be so
00:25:43 --> 00:25:46 many things that we have no.
00:25:46 --> 00:25:48 >> So true. Okay. Would you rather have
00:25:48 --> 00:25:51 your client book a huge Netflix series
00:25:51 --> 00:25:55 or star on a Broadway for two years?
00:25:55 --> 00:25:56 >> Netflix.
00:25:56 --> 00:25:58 >> All right. Would you rather manage an
00:25:58 --> 00:26:01 actor who is always 30 minutes early or
00:26:01 --> 00:26:03 one who is always 10 minutes late but
00:26:03 --> 00:26:07 somehow keeps booking?
00:26:07 --> 00:26:08 [snorts]
00:26:08 --> 00:26:10 >> Oh,
00:26:10 --> 00:26:13 [laughter]
00:26:13 --> 00:26:14 it's a business 10 minutes late but
00:26:14 --> 00:26:15 keeps booking.
00:26:15 --> 00:26:19 >> But keeps booking. Okay. All right.
00:26:19 --> 00:26:22 Would you rather have a uh would you
00:26:22 --> 00:26:25 rather have to tell an actor you're not
00:26:25 --> 00:26:28 ready yet or you're talented but your
00:26:28 --> 00:26:32 attitude is the problem?
00:26:32 --> 00:26:35 Well, I've done
00:26:35 --> 00:26:39 the latter
00:26:39 --> 00:26:42 because that happens a lot. A lot of
00:26:42 --> 00:26:45 actors think that's kind of the
00:26:45 --> 00:26:47 oldfashioned way. It used to be that if
00:26:47 --> 00:26:49 you had an attitude like that was
00:26:49 --> 00:26:51 respected, it's not anymore.
00:26:51 --> 00:26:52 >> Yeah.
00:26:52 --> 00:26:55 >> Like being I know quite a few actors
00:26:55 --> 00:26:56 that have lost jobs because of their
00:26:56 --> 00:26:58 attitude.
00:26:58 --> 00:27:00 >> But I don't think I answered that
00:27:00 --> 00:27:02 correct, but I'm just telling that's
00:27:02 --> 00:27:03 that's a gem to share.
00:27:03 --> 00:27:04 >> Yeah.
00:27:04 --> 00:27:07 >> No longer being like, I want this. I
00:27:07 --> 00:27:10 want the trailer. I people I guess it's
00:27:10 --> 00:27:13 the advent of cell phones and
00:27:13 --> 00:27:15 people just don't like that stuff. Yeah,
00:27:15 --> 00:27:17 >> they won't put up with it. You'll get
00:27:17 --> 00:27:19 fired.
00:27:19 --> 00:27:19 >> Okay,
00:27:19 --> 00:27:21 >> they'll find you.
00:27:21 --> 00:27:23 >> Okay, just a couple more. Would you
00:27:23 --> 00:27:25 rather have a client with zero so uh
00:27:25 --> 00:27:27 social media presence but incredible
00:27:27 --> 00:27:31 talent or two million followers and
00:27:31 --> 00:27:35 questionable acting skills?
00:27:35 --> 00:27:37 >> No social. Very talented.
00:27:37 --> 00:27:40 >> Okay. Okay. All right. Would you rather
00:27:40 --> 00:27:43 be stuck on a 12-hour flight next to an
00:27:43 --> 00:27:46 actor who won't stop talking about their
00:27:46 --> 00:27:48 career or a casting director who won't
00:27:48 --> 00:27:53 tell you what they're casting?
00:27:53 --> 00:27:57 >> The casting director. [laughter]
00:27:57 --> 00:28:00 >> Okay. I got
00:28:00 --> 00:28:01 >> the actor.
00:28:01 --> 00:28:04 >> Yeah. Yeah. Okay. Fine. There's one last
00:28:04 --> 00:28:06 question. Would you rather be able to
00:28:06 --> 00:28:10 guarantee one actor you represent a
00:28:10 --> 00:28:13 20-year career or have the ability
00:28:13 --> 00:28:16 discover one completely unknown actor
00:28:16 --> 00:28:19 who becomes a superstar?
00:28:20 --> 00:28:21 >> The ability to discover the unknown
00:28:21 --> 00:28:23 actor.
00:28:23 --> 00:28:26 >> Yeah. Got it. Got it. Awesome. Awesome,
00:28:26 --> 00:28:27 man. Thank you.
00:28:27 --> 00:28:30 >> I love finding a new I love [laughter] I
00:28:30 --> 00:28:32 have an absolute love for actors.
00:28:32 --> 00:28:34 >> Yeah. in a way that I really I keep
00:28:34 --> 00:28:36 going back to that. I really respect the
00:28:36 --> 00:28:38 craft of it. So when I see someone who
00:28:38 --> 00:28:41 can mimic human behavior and bring
00:28:41 --> 00:28:43 emotions to life and show a reflection
00:28:43 --> 00:28:46 back of us, that to me is the beauty and
00:28:46 --> 00:28:49 the magic of movies and theater of which
00:28:49 --> 00:28:51 I love equally by the way.
00:28:51 --> 00:28:51 >> Love it.
00:28:51 --> 00:28:54 >> But the TV might make more money,
00:28:54 --> 00:28:56 [laughter]
00:28:56 --> 00:28:59 >> but I have plenty of Broadway actors.
00:28:59 --> 00:29:01 >> That was so much fun. But I think what I
00:29:01 --> 00:29:03 really love about this conversation is
00:29:04 --> 00:29:06 the behind, you know, behind everything,
00:29:06 --> 00:29:08 there's a lot of wisdom that you gave
00:29:08 --> 00:29:10 for our actors who are serious about
00:29:10 --> 00:29:13 building their careers. You given us a
00:29:13 --> 00:29:15 lot to think about today.
00:29:15 --> 00:29:17 So before we think wrap everything up, I
00:29:17 --> 00:29:19 just want to thank you for sitting down
00:29:19 --> 00:29:22 with us today, sharing everything, and
00:29:22 --> 00:29:25 come back at any any time and anything
00:29:26 --> 00:29:27 you want to talk about, we could talk
00:29:27 --> 00:29:28 about. I don't care if it's about cats,
00:29:28 --> 00:29:30 dogs, puppies, whatever you want to talk
00:29:30 --> 00:29:32 about. [laughter]
00:29:32 --> 00:29:34 >> We'd love to. Thank you. It would be an
00:29:34 --> 00:29:36 honor. And thank you. You are amazing to
00:29:36 --> 00:29:37 talk to.
00:29:37 --> 00:29:39 >> Oh, thank you so much. Thank you. Thank
00:29:39 --> 00:29:41 you. All right, guys. We want to thank
00:29:41 --> 00:29:44 Lin Marks for joining us today. And we
00:29:44 --> 00:29:46 are out of here. This is Demia Avery,
00:29:46 --> 00:29:49 the Demia Avery Show. Talk to you later.
00:29:49 --> 00:29:52 Bye bye.