Welcome to the premiere episode of The Demia Avery Show: The Industry! 🎬
In our very first episode, I sit down with actor, coach, and co-owner of Get Taped, Matthew Cornwell, for an insightful and entertaining conversation designed to help actors at every stage of their journey.
We discuss self-taping, audition strategies, industry expectations, common mistakes actors make, and practical tips that can help performers put their best foot forward in today's entertainment industry.
Whether you're just getting started or you're a seasoned actor looking to sharpen your skills, this episode is packed with valuable advice you won't want to miss.
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00:00:03 --> 00:00:11 [music]
00:00:31 --> 00:00:33 >> Hello everyone. This is Demia Avery with
00:00:33 --> 00:00:36 the Demia Avery show the industry. Now
00:00:36 --> 00:00:38 this is the show where actors,
00:00:38 --> 00:00:40 creatives, and industry professionals
00:00:41 --> 00:00:43 come together to talk about the business
00:00:43 --> 00:00:45 behind the business. So today we're
00:00:45 --> 00:00:48 sitting down with someone who has helped
00:00:48 --> 00:00:51 countless actors navigate auditions,
00:00:51 --> 00:00:54 self-tapes, and career decisions. He's a
00:00:54 --> 00:00:57 working actor, an educator, and the
00:00:57 --> 00:00:59 co-owner of Get Taped, one of Atlanta's
00:00:59 --> 00:01:02 most trusted resources for actors. We're
00:01:02 --> 00:01:05 talking self-tapes, auditions, industry
00:01:06 --> 00:01:08 myths, career advice, and maybe even a
00:01:08 --> 00:01:10 few stories from behind the scenes. So
00:01:10 --> 00:01:13 let's jump right into it. Please welcome
00:01:13 --> 00:01:16 Matthew Cornwell. Welcome.
00:01:16 --> 00:01:18 >> Thank you so much. It's a pleasure to be
00:01:18 --> 00:01:20 here and what a lovely introduction.
00:01:20 --> 00:01:22 >> Oh, thank you so much. Thank you so
00:01:22 --> 00:01:26 much. Now before we get into it
00:01:26 --> 00:01:29 everything, please tell us a little more
00:01:29 --> 00:01:31 about Get Taped. For those who who don't
00:01:31 --> 00:01:32 know anything about Get Taped, I don't
00:01:32 --> 00:01:35 know who that could possibly be, but for
00:01:35 --> 00:01:38 those who don't know, and um tell us a
00:01:38 --> 00:01:39 little bit about your journey and how
00:01:40 --> 00:01:42 did you go from engineering to acting
00:01:42 --> 00:01:45 and be eventually becoming co-owner of
00:01:45 --> 00:01:47 one of Atlanta's most trusted actor
00:01:47 --> 00:01:49 resources?
00:01:49 --> 00:01:52 >> Yeah. So as you said, I was an engineer
00:01:52 --> 00:01:53 in a former life and that's actually
00:01:53 --> 00:01:55 what brought me to Atlanta was I was
00:01:55 --> 00:01:57 getting my master's degree at Georgia
00:01:57 --> 00:01:59 Tech. Uh back when I thought that was
00:01:59 --> 00:02:01 sort of the the logical thing to do with
00:02:01 --> 00:02:03 my life was to pursue something that was
00:02:03 --> 00:02:05 steady income. I mean, what a what a
00:02:05 --> 00:02:08 novel idea. Um
00:02:08 --> 00:02:10 but all through my life I had uh
00:02:10 --> 00:02:12 been artistic uh starting with drawing
00:02:12 --> 00:02:14 and painting and then uh discovered
00:02:14 --> 00:02:16 acting in high school and continued a
00:02:16 --> 00:02:18 little bit of in in my undergrad, but
00:02:18 --> 00:02:19 then when I came to Georgia Tech I
00:02:19 --> 00:02:21 started doing more once I
00:02:21 --> 00:02:23 became sort of more familiar with the
00:02:23 --> 00:02:24 the city.
00:02:24 --> 00:02:27 Flash forward to I had a a job at in a
00:02:27 --> 00:02:30 corporate uh sort of uh
00:02:30 --> 00:02:32 a corporate setting for a couple years,
00:02:32 --> 00:02:34 but I by that time I'd gotten my first
00:02:34 --> 00:02:37 agent, who I'm actually still with uh 24
00:02:37 --> 00:02:38 years later.
00:02:38 --> 00:02:42 And um when I decided to leave that job,
00:02:42 --> 00:02:43 uh which was a basically in the
00:02:43 --> 00:02:46 consulting world, I decided to just see,
00:02:46 --> 00:02:47 you know, with this extra time can I
00:02:47 --> 00:02:50 start to actually put more investment
00:02:50 --> 00:02:52 into this career when, you know, we're
00:02:52 --> 00:02:55 talking back in 2000 and well, this
00:02:55 --> 00:02:58 would have been 2003, 2004 when there
00:02:58 --> 00:02:59 still wasn't much of an industry here in
00:02:59 --> 00:03:03 Atlanta. Um but uh I decided to kind of
00:03:03 --> 00:03:05 just keep going with that as as long as
00:03:05 --> 00:03:08 it seemed viable. And those were the
00:03:08 --> 00:03:09 poor years, right? Those were the years
00:03:09 --> 00:03:12 of living uh pay to paycheck to paycheck
00:03:12 --> 00:03:14 and those paychecks coming from seven,
00:03:14 --> 00:03:16 eight different sources.
00:03:16 --> 00:03:18 Um and then in '05, that's when
00:03:18 --> 00:03:21 self-taping kind of started. There was a
00:03:21 --> 00:03:22 couple productions that were on the
00:03:22 --> 00:03:25 coast uh over on the East Coast like uh
00:03:25 --> 00:03:28 I think Army was maybe starting up and
00:03:28 --> 00:03:29 they started they started requesting
00:03:29 --> 00:03:33 tapes uh of the agents. And so at at at
00:03:33 --> 00:03:36 the agency uh that I was at, um the
00:03:36 --> 00:03:38 owner knew that I was technically
00:03:38 --> 00:03:40 proficient and she asked me to go ahead
00:03:40 --> 00:03:41 and
00:03:41 --> 00:03:43 help set up the room there because they
00:03:43 --> 00:03:44 were asking the agents to put all the
00:03:44 --> 00:03:45 actors on tape.
00:03:45 --> 00:03:46 >> Okay.
00:03:46 --> 00:03:49 >> And uh and so then I became sort of the
00:03:49 --> 00:03:52 de facto technical person who not only
00:03:52 --> 00:03:53 set up the physical room, but then was
00:03:53 --> 00:03:55 actually the reader for for those
00:03:55 --> 00:03:58 actors. And
00:03:58 --> 00:04:00 sort of those next 5 years was the the
00:04:00 --> 00:04:04 growth of our TV and film business here
00:04:04 --> 00:04:06 in Atlanta as we got the first tax
00:04:06 --> 00:04:09 incentive and then that got revamped and
00:04:09 --> 00:04:10 that's when stuff really started coming
00:04:10 --> 00:04:11 here.
00:04:11 --> 00:04:14 And so by 2010, which is when
00:04:14 --> 00:04:16 my wife and I Brooke got married
00:04:16 --> 00:04:17 and she was actually coincidentally
00:04:18 --> 00:04:19 doing the same thing at her agency. She
00:04:19 --> 00:04:21 had she was doing the reading for the
00:04:21 --> 00:04:23 actors and and helping put actors on
00:04:23 --> 00:04:24 tape.
00:04:24 --> 00:04:28 But by 2010, that became such a
00:04:28 --> 00:04:30 a drain on the resources of the agencies
00:04:30 --> 00:04:32 to continue to do this for the actors
00:04:32 --> 00:04:34 because now it was happening so often.
00:04:34 --> 00:04:35 Every day they were having to put actors
00:04:35 --> 00:04:36 on tape.
00:04:36 --> 00:04:37 >> Yeah.
00:04:37 --> 00:04:40 >> So they had to kind of start to
00:04:40 --> 00:04:42 one by one the agencies started to stop
00:04:42 --> 00:04:45 offering that to the actors, which then
00:04:45 --> 00:04:48 created a vacuum, a need for actors to
00:04:48 --> 00:04:50 figure out well, how do I get taped now?
00:04:50 --> 00:04:51 >> Yeah.
00:04:51 --> 00:04:52 >> Which is one of the reasons why we we
00:04:52 --> 00:04:53 called it that, right? We just said,
00:04:53 --> 00:04:55 well, let's just call it get taped. That
00:04:55 --> 00:04:57 sounds like [laughter] a
00:04:57 --> 00:04:58 logical name.
00:04:58 --> 00:05:01 >> That's so funny. I remember I remember
00:05:01 --> 00:05:02 my sister. I remember Jerry Avery for
00:05:03 --> 00:05:04 those
00:05:04 --> 00:05:06 Jerry Avery over at the Avery agency. I
00:05:06 --> 00:05:10 remember her having people come into the
00:05:10 --> 00:05:13 office all the time and it was just I
00:05:13 --> 00:05:14 mean it was just so many people. It was
00:05:14 --> 00:05:16 back-to-back and
00:05:16 --> 00:05:18 I can't imagine. I was like, oh my
00:05:18 --> 00:05:21 goodness. So I remember those times.
00:05:21 --> 00:05:24 >> Yeah. And and not only was it a a
00:05:24 --> 00:05:25 a drain on the resources of like having
00:05:25 --> 00:05:27 to have a physical space, the equipment,
00:05:28 --> 00:05:29 and then someone dedicated to taping all
00:05:29 --> 00:05:32 day, but then, you know, of course, if
00:05:32 --> 00:05:34 if I'm at my agent's office, I want to
00:05:34 --> 00:05:36 pop in and say hello and multiply that
00:05:36 --> 00:05:39 by dozens of actors and then now the
00:05:39 --> 00:05:41 agent can't get a day's work done
00:05:41 --> 00:05:43 because they're trying to be nice to
00:05:43 --> 00:05:44 each of their actors coming through and
00:05:45 --> 00:05:46 wanting to steal 5 minutes of their
00:05:46 --> 00:05:47 time.
00:05:47 --> 00:05:47 >> Yeah.
00:05:47 --> 00:05:50 >> And so it's it was a it was just sort of
00:05:50 --> 00:05:51 inevitable that the agents were going to
00:05:51 --> 00:05:54 have to outsource that and and sort of
00:05:54 --> 00:05:56 put that on the actor. And so we were
00:05:56 --> 00:05:58 doing it out of our apartment when we
00:05:58 --> 00:06:00 got married and that started growing
00:06:00 --> 00:06:03 to from like one a week to one a day and
00:06:03 --> 00:06:05 then it it became too much for our, you
00:06:05 --> 00:06:08 know, our house to our little apartment.
00:06:08 --> 00:06:10 So we that's when we first moved into an
00:06:10 --> 00:06:14 actual space in 20 2012.
00:06:14 --> 00:06:14 >> Mhm.
00:06:14 --> 00:06:15 >> And it just kind of grew from there.
00:06:15 --> 00:06:16 We've been through a few different
00:06:16 --> 00:06:19 locations as leases came up and and as
00:06:19 --> 00:06:22 we needed, you know,
00:06:22 --> 00:06:24 a different space, a bigger space.
00:06:24 --> 00:06:25 And then it's it's grown to the point
00:06:25 --> 00:06:27 now where we now offer classes and
00:06:28 --> 00:06:30 workshops and career consultations and
00:06:30 --> 00:06:32 and all these other things.
00:06:32 --> 00:06:33 And that that's just been sort of the
00:06:33 --> 00:06:36 natural growth of of our business.
00:06:36 --> 00:06:38 >> That's amazing. Now, I'm going to I'm
00:06:38 --> 00:06:40 going to rely on your expertise here. So
00:06:40 --> 00:06:42 what's the difference do you think
00:06:42 --> 00:06:46 between a self-tape that gets watched
00:06:47 --> 00:06:50 and a self-tape that gets remembered?
00:06:50 --> 00:06:53 >> Ooh, I love the way you phrased that.
00:06:53 --> 00:06:54 Cuz
00:06:54 --> 00:06:55 you know, if if you get a casting
00:06:55 --> 00:06:58 director in a public forum,
00:06:58 --> 00:06:59 they of course are going to say that
00:06:59 --> 00:07:02 they watch everything. And and not that
00:07:02 --> 00:07:05 I would question that integrity at all,
00:07:05 --> 00:07:06 but I I think it's a very interesting
00:07:06 --> 00:07:08 distinction to say, "Yeah, yeah, I watch
00:07:08 --> 00:07:09 all of them, but you know, what do I
00:07:09 --> 00:07:12 remember? What what's sort of sticky in
00:07:12 --> 00:07:14 my brain?" And
00:07:14 --> 00:07:15 um
00:07:15 --> 00:07:16 part of this is my opinion, but but it's
00:07:16 --> 00:07:18 also the I think the compilation of all
00:07:18 --> 00:07:21 of those Q&A's that I've attended and
00:07:21 --> 00:07:23 interviews that I've seen with casting
00:07:23 --> 00:07:25 as well. So it's it's sort of all of
00:07:25 --> 00:07:27 that together, which is
00:07:27 --> 00:07:29 um you know, a tape that's remembered is
00:07:29 --> 00:07:30 someone that
00:07:30 --> 00:07:32 maybe
00:07:32 --> 00:07:33 mysteriously, I mean, this feels almost
00:07:33 --> 00:07:35 like it's a paradox that you're just
00:07:35 --> 00:07:39 being yourself. I think the the tapes or
00:07:39 --> 00:07:40 the auditions that stand out for the
00:07:40 --> 00:07:43 wrong reasons are when actors sort of
00:07:43 --> 00:07:45 fall victim to this idea that I have to
00:07:45 --> 00:07:46 do something. I have to have a gimmick.
00:07:46 --> 00:07:49 I have to do something to stand out and
00:07:49 --> 00:07:52 I need to make a bold choice and
00:07:52 --> 00:07:54 and then that bold choice is coming from
00:07:55 --> 00:07:56 maybe even a point of fear like I'm I'm
00:07:56 --> 00:07:59 I'm I'm I'm I'm fearing not getting this
00:07:59 --> 00:08:01 this booking and so I need to do
00:08:01 --> 00:08:02 something drastic.
00:08:02 --> 00:08:03 >> Yeah.
00:08:03 --> 00:08:05 >> And so that's a reason to stand out for
00:08:05 --> 00:08:07 the for the wrong, you know, reasons.
00:08:07 --> 00:08:08 >> Mhm.
00:08:08 --> 00:08:10 >> Um but the ones I get remembered are the
00:08:10 --> 00:08:12 are the actors who who trust that they
00:08:12 --> 00:08:15 were requested for a reason that they
00:08:15 --> 00:08:17 actually fit this this role already in
00:08:17 --> 00:08:20 some way and they're in tune with that
00:08:20 --> 00:08:22 part of themselves. Like they like when
00:08:22 --> 00:08:23 I get called in for a cop, I know why
00:08:23 --> 00:08:25 I'm getting called in for cop.
00:08:25 --> 00:08:25 >> Yeah.
00:08:25 --> 00:08:27 >> And so I don't have to make crazy bold
00:08:27 --> 00:08:30 choices in order to be memorable. I
00:08:30 --> 00:08:32 actually get have to do the opposite and
00:08:32 --> 00:08:34 and start to trust myself.
00:08:34 --> 00:08:34 >> Yeah.
00:08:34 --> 00:08:37 >> Which sounds so painfully simple and yet
00:08:37 --> 00:08:39 it's it's very hard for actors to
00:08:39 --> 00:08:40 embrace that.
00:08:40 --> 00:08:42 And I think the reason is a lot of us
00:08:42 --> 00:08:44 get into this business because we love
00:08:44 --> 00:08:46 the idea of hiding behind a mask, of
00:08:46 --> 00:08:48 putting on a costume, of
00:08:48 --> 00:08:50 becoming a character. And so if you tell
00:08:50 --> 00:08:52 someone, "No, no, no, stop trying to put
00:08:52 --> 00:08:54 something on and actually I just need
00:08:54 --> 00:08:57 you to reveal your your true self."
00:08:57 --> 00:08:57 >> Yeah.
00:08:57 --> 00:09:00 >> That feels like, "Oh, that's exposing. I
00:09:00 --> 00:09:00 DON'T
00:09:00 --> 00:09:01 >> SELF.
00:09:01 --> 00:09:02 >> [laughter]
00:09:03 --> 00:09:04 >> I'M SUPPOSED TO BE ACTING. I'm not
00:09:04 --> 00:09:06 supposed to show you my true self.
00:09:07 --> 00:09:08 >> Exactly. And that's that's that's
00:09:09 --> 00:09:10 intimidating to a lot of people until
00:09:10 --> 00:09:13 they realize that that is what becomes
00:09:13 --> 00:09:15 memorable is trusting that there is
00:09:15 --> 00:09:17 something about this face and this
00:09:17 --> 00:09:19 essence that that will stick with them
00:09:19 --> 00:09:21 if I trust it. But if I try to mask it
00:09:21 --> 00:09:24 and build upon it and distract you with
00:09:24 --> 00:09:26 something that actually can do the
00:09:26 --> 00:09:29 opposite and make me go, "Ah, I really
00:09:29 --> 00:09:30 was hoping that this was going to be a
00:09:30 --> 00:09:31 good read." and then they and they move
00:09:31 --> 00:09:33 on to the next one.
00:09:33 --> 00:09:35 >> And that actually brings me to my next
00:09:35 --> 00:09:37 question. You have you kind of touched
00:09:37 --> 00:09:38 on it, but if you wanted to add
00:09:38 --> 00:09:41 something to it when people are
00:09:41 --> 00:09:42 self-taping,
00:09:42 --> 00:09:46 what are they spending way too much time
00:09:46 --> 00:09:48 worrying about? And and what should they
00:09:48 --> 00:09:50 actually be focusing on? You know what I
00:09:50 --> 00:09:51 mean?
00:09:51 --> 00:09:52 >> Mhm.
00:09:52 --> 00:09:54 I think that they
00:09:54 --> 00:09:55 I'm seeing a
00:09:55 --> 00:09:57 a vast majority are worried too much
00:09:57 --> 00:10:00 about the actual lines.
00:10:00 --> 00:10:02 Um and I want to be careful with that
00:10:02 --> 00:10:05 because on the one hand, I fully support
00:10:05 --> 00:10:07 and I hold myself accountable to
00:10:07 --> 00:10:09 respecting the writer. Uh I want to get
00:10:09 --> 00:10:11 into that writer's head to understand
00:10:11 --> 00:10:13 why they wrote the character this way.
00:10:13 --> 00:10:15 And and if it's written not the way I
00:10:16 --> 00:10:18 talk, I'm going to do my darndest to
00:10:18 --> 00:10:21 figure out how to um digest that
00:10:21 --> 00:10:23 dialogue and make it feel natural when
00:10:23 --> 00:10:24 it does come out of my mouth.
00:10:24 --> 00:10:24 >> Right.
00:10:24 --> 00:10:25 >> Um
00:10:25 --> 00:10:27 that said, um that's the way you
00:10:27 --> 00:10:30 practice, uh you know, in the rehearsal
00:10:30 --> 00:10:32 before you get into the taping room.
00:10:32 --> 00:10:32 >> Mhm.
00:10:32 --> 00:10:34 >> Um and and I think too many people are
00:10:34 --> 00:10:35 then stepping into that taping room
00:10:36 --> 00:10:37 where now it's game time. You know, it's
00:10:37 --> 00:10:41 it's the time to to to show up and and
00:10:41 --> 00:10:43 you know, hit that home run or it's
00:10:43 --> 00:10:44 World Cup season, so maybe it's the you
00:10:44 --> 00:10:47 know, to to make that goal. And if
00:10:47 --> 00:10:49 you're thinking about those mechanical
00:10:49 --> 00:10:52 things of do I have my lines down? Do uh
00:10:52 --> 00:10:54 you know, do I have all these things
00:10:54 --> 00:10:57 down? Um now I'm in my head and I'm not
00:10:57 --> 00:10:58 present in the moment.
00:10:58 --> 00:10:59 >> Mhm.
00:10:59 --> 00:11:02 >> And so so many actors are carrying that
00:11:02 --> 00:11:04 last bit of rehearsal into the room and
00:11:05 --> 00:11:06 it can really get in their way because
00:11:06 --> 00:11:08 now they want to do a second take simply
00:11:08 --> 00:11:10 because they missed one word.
00:11:10 --> 00:11:10 >> Yeah.
00:11:10 --> 00:11:12 >> And they weren't able to let go and be
00:11:12 --> 00:11:13 free.
00:11:13 --> 00:11:13 >> Yeah.
00:11:13 --> 00:11:15 >> And so I think that's the thing that
00:11:15 --> 00:11:16 actors
00:11:16 --> 00:11:17 uh you know, be concerned with it in
00:11:17 --> 00:11:19 your prep and in your rehearsal. But
00:11:19 --> 00:11:21 it's like when you step into that that
00:11:21 --> 00:11:22 space, whether it's at home or whether
00:11:22 --> 00:11:25 it's in a a taping service like this,
00:11:25 --> 00:11:26 uh that's the time to let go. This is
00:11:26 --> 00:11:28 the time to play. This is the time to
00:11:28 --> 00:11:31 start noticing the room and noticing
00:11:31 --> 00:11:33 your reader and and then incorporate
00:11:33 --> 00:11:36 that into the performance as opposed to
00:11:36 --> 00:11:37 being, you know, sort of locked in this
00:11:37 --> 00:11:39 memory of
00:11:39 --> 00:11:41 what you're trying to accomplish.
00:11:41 --> 00:11:43 >> Yeah. Now,
00:11:43 --> 00:11:45 just in your opinion, a lot of actors
00:11:45 --> 00:11:48 think that success comes down to talent
00:11:48 --> 00:11:50 alone.
00:11:50 --> 00:11:52 Um for what you've seen, what do you
00:11:52 --> 00:11:55 think separates actors who keep moving
00:11:55 --> 00:11:59 forward from those who stay stuck?
00:11:59 --> 00:12:01 >> Mhm.
00:12:01 --> 00:12:04 I think um all of us are susceptible,
00:12:04 --> 00:12:06 all of us actors. I think I mean all
00:12:06 --> 00:12:07 humans, but but in the in the world of
00:12:07 --> 00:12:09 the arts, maybe it's it's it's a it's a
00:12:09 --> 00:12:12 bigger problem of of dealing with the
00:12:12 --> 00:12:14 disappointments because, you know, we're
00:12:14 --> 00:12:16 putting a piece of ourselves out there
00:12:17 --> 00:12:18 every time we audition and it is it is
00:12:18 --> 00:12:20 hurtful.
00:12:20 --> 00:12:22 Um it it hurts our our hearts when we
00:12:22 --> 00:12:24 don't get booked. And and even if I can
00:12:24 --> 00:12:26 intellectually understand that it's for
00:12:27 --> 00:12:29 a thousand reasons that I didn't get
00:12:29 --> 00:12:30 booked and it has nothing to do with
00:12:30 --> 00:12:32 anything personal. Right. Even when I
00:12:32 --> 00:12:34 can, you know, get my mind around that,
00:12:34 --> 00:12:37 it it still hurts the heart and and so,
00:12:37 --> 00:12:38 you know, if you have a hundred
00:12:38 --> 00:12:40 auditions and don't book any,
00:12:40 --> 00:12:42 that's, you know, that's chipping away
00:12:42 --> 00:12:44 at at um
00:12:44 --> 00:12:45 your sanity sometimes.
00:12:45 --> 00:12:46 >> Yeah.
00:12:46 --> 00:12:48 >> And and so, uh
00:12:48 --> 00:12:50 you know, actors can get really bogged
00:12:50 --> 00:12:53 down in that and
00:12:53 --> 00:12:56 that can then, understandably, um
00:12:56 --> 00:12:57 make it hard to hang in there. You know,
00:12:57 --> 00:12:59 like the old classic poster of the
00:12:59 --> 00:13:00 kitten hanging out on a branch and it
00:13:00 --> 00:13:01 says hang in there.
00:13:01 --> 00:13:02 >> Yeah.
00:13:02 --> 00:13:05 >> Um and and so, I think a lot of
00:13:05 --> 00:13:06 uh eventually you need luck in the
00:13:06 --> 00:13:08 industry. You know, there has to be some
00:13:08 --> 00:13:10 measure of luck, but but I like the old
00:13:10 --> 00:13:12 definition of the preparation meeting
00:13:12 --> 00:13:13 opportunity.
00:13:13 --> 00:13:13 >> Right.
00:13:13 --> 00:13:16 >> That you have to show up to get lucky
00:13:16 --> 00:13:18 and um
00:13:18 --> 00:13:19 again, understandably, so many actors
00:13:19 --> 00:13:22 get worn down that they end up um
00:13:22 --> 00:13:24 becoming very pessimistic or they stop
00:13:24 --> 00:13:27 doing in work um or they just leave the
00:13:27 --> 00:13:28 industry all together
00:13:28 --> 00:13:30 for greener pastures.
00:13:30 --> 00:13:32 And I think it's the ones that sort of
00:13:32 --> 00:13:34 build that foundation of training
00:13:34 --> 00:13:36 and then understand that it's going to
00:13:36 --> 00:13:39 be a marathon and that it's
00:13:39 --> 00:13:40 it's going to be the long game and I
00:13:40 --> 00:13:42 just need to hang in there and and I do
00:13:42 --> 00:13:45 need to keep my mental game in check
00:13:45 --> 00:13:47 because if I allow those no's, you know,
00:13:47 --> 00:13:51 those rejections to to wear me down,
00:13:51 --> 00:13:54 then then I won't be here long enough to
00:13:54 --> 00:13:56 to actually experience that luck that
00:13:56 --> 00:13:59 will potentially bring success.
00:13:59 --> 00:14:02 >> Yeah. Now, okay, so let's say
00:14:02 --> 00:14:04 cuz you talked about preparation meeting
00:14:04 --> 00:14:06 opportunity.
00:14:06 --> 00:14:07 Let's say I moved to Atlanta just
00:14:07 --> 00:14:08 yesterday.
00:14:09 --> 00:14:10 I got a headshot,
00:14:10 --> 00:14:12 a resume,
00:14:12 --> 00:14:14 and a dream.
00:14:14 --> 00:14:16 In your opinion, cuz I can ask this
00:14:16 --> 00:14:18 question to 20 different people and
00:14:18 --> 00:14:20 they'd give me the same different
00:14:20 --> 00:14:22 answer. What's the very first thing you
00:14:22 --> 00:14:24 tell me to do if that if that's all I
00:14:24 --> 00:14:26 have right now? What what would be the
00:14:26 --> 00:14:27 first thing that you would tell me to
00:14:27 --> 00:14:28 do?
00:14:28 --> 00:14:29 >> It's interesting cuz
00:14:30 --> 00:14:31 cuz I'm sure you can ask your sister
00:14:31 --> 00:14:33 this too that when an actor comes and is
00:14:33 --> 00:14:34 like, "What's what's wrong? What am I
00:14:34 --> 00:14:35 missing? You know, what's the next
00:14:35 --> 00:14:36 thing?" And
00:14:36 --> 00:14:40 and and it's sometimes it's it's it is
00:14:40 --> 00:14:41 the materials sometimes. Like even if
00:14:41 --> 00:14:43 you have a headshot and a resume,
00:14:43 --> 00:14:44 sometimes that headshot isn't good for
00:14:44 --> 00:14:46 this market.
00:14:46 --> 00:14:46 >> Mhm.
00:14:46 --> 00:14:47 >> So that's that's sort of like the easy
00:14:47 --> 00:14:49 answer cuz it's tangible. The the harder
00:14:49 --> 00:14:51 answer
00:14:51 --> 00:14:54 is building a network because if you do
00:14:54 --> 00:14:55 have a resume, even if it's just a
00:14:55 --> 00:14:57 couple independent projects, student
00:14:57 --> 00:14:59 films, there's nothing wrong with those
00:14:59 --> 00:15:01 cuz you do have to start somewhere. And
00:15:01 --> 00:15:02 let's say you have a great headshot and
00:15:02 --> 00:15:03 let's say you also have some great
00:15:03 --> 00:15:05 training. Like those aren't the weak
00:15:05 --> 00:15:06 links,
00:15:06 --> 00:15:08 then it is going to be about building a
00:15:08 --> 00:15:10 community, which is very tough in this
00:15:10 --> 00:15:13 digital age, even in Atlanta where
00:15:13 --> 00:15:15 southern hospitality does ring true, you
00:15:15 --> 00:15:17 know, like people are very welcoming and
00:15:17 --> 00:15:20 nice here. It can be very difficult to
00:15:20 --> 00:15:22 figure out like, you know, where is my
00:15:22 --> 00:15:25 tribe? Who are my people? How do I get
00:15:25 --> 00:15:27 plugged in? And so when people do ask me
00:15:27 --> 00:15:30 that, um sometimes it's about like uh in
00:15:30 --> 00:15:32 the in the spring is the Atlanta Film
00:15:32 --> 00:15:34 Festival and and like just being around
00:15:34 --> 00:15:36 other artists and filmmakers can be a
00:15:36 --> 00:15:39 way to start to to build that community
00:15:39 --> 00:15:41 uh at least expose yourself. I think the
00:15:41 --> 00:15:43 48 Hour Film Project just happened here
00:15:43 --> 00:15:45 in Atlanta, but those types of events um
00:15:45 --> 00:15:47 anytime you see screenings and in public
00:15:47 --> 00:15:49 events that
00:15:49 --> 00:15:51 you can show up at um to start to rub
00:15:51 --> 00:15:53 shoulders with other artists and other
00:15:53 --> 00:15:55 filmmakers and other actors
00:15:55 --> 00:15:57 um because if all those other boxes have
00:15:57 --> 00:15:59 been checked of like good headshot, uh
00:15:59 --> 00:16:02 somewhat of a resume, and even um uh
00:16:02 --> 00:16:04 training, then then it really is getting
00:16:05 --> 00:16:07 to know people and and exposing yourself
00:16:07 --> 00:16:08 um
00:16:08 --> 00:16:09 and you know,
00:16:09 --> 00:16:11 if you come to get tape to tape, right?
00:16:11 --> 00:16:13 That's going to cost you money. So I
00:16:13 --> 00:16:15 highly uh
00:16:15 --> 00:16:16 uh encourage people to do all the free
00:16:16 --> 00:16:18 stuff, right? Go to the events that are
00:16:18 --> 00:16:21 free, the Q&A's that are free, and and
00:16:21 --> 00:16:24 start to get to know your city and your
00:16:24 --> 00:16:26 market um
00:16:26 --> 00:16:27 although if you don't have a home setup
00:16:27 --> 00:16:28 and you are going to use a taping
00:16:29 --> 00:16:31 service, then you know, do the buffet.
00:16:31 --> 00:16:33 Check out all the taping services cuz
00:16:33 --> 00:16:34 you'll you're going to find something
00:16:34 --> 00:16:36 different about each one.
00:16:36 --> 00:16:37 Um you're going to find the one that
00:16:37 --> 00:16:40 really does align with your energy and
00:16:40 --> 00:16:43 your vibe such that you might find that
00:16:43 --> 00:16:45 that's a home for you and you actually
00:16:45 --> 00:16:47 start to get to know those people.
00:16:47 --> 00:16:48 Um
00:16:48 --> 00:16:49 cuz the the the faster you can build
00:16:49 --> 00:16:51 that network, uh
00:16:51 --> 00:16:55 the less you'll feel isolated and sort
00:16:55 --> 00:16:57 of wondering what you should be doing.
00:16:57 --> 00:16:58 Um
00:16:58 --> 00:16:59 and so yeah, trying to find those
00:16:59 --> 00:17:02 resources which it's not always easy. I
00:17:02 --> 00:17:03 I completely understand.
00:17:03 --> 00:17:07 >> Yeah. Now you worked both as an actor, a
00:17:07 --> 00:17:11 coach. Now what piece of advice do you
00:17:11 --> 00:17:12 find yourself
00:17:12 --> 00:17:16 giving over and over and over again, but
00:17:16 --> 00:17:18 you know, because they still need to
00:17:18 --> 00:17:19 hear it.
00:17:19 --> 00:17:21 Do you have anything like that?
00:17:21 --> 00:17:24 >> Yeah, I I I would say a lot of the the
00:17:24 --> 00:17:25 when someone asks me for feedback in the
00:17:25 --> 00:17:27 room, um
00:17:27 --> 00:17:29 uh after the let's say they've done a
00:17:29 --> 00:17:31 couple takes and we're watching playback
00:17:31 --> 00:17:32 and you know, they're they're they're
00:17:32 --> 00:17:34 looking for some sort of reassurance or
00:17:34 --> 00:17:37 or some sort of input or even a career
00:17:37 --> 00:17:39 consultation if someone is is coming in
00:17:39 --> 00:17:43 for that, um it's uh again, it kind of
00:17:43 --> 00:17:44 goes back to something that we touched
00:17:44 --> 00:17:46 on, which is um
00:17:46 --> 00:17:49 so much so that so much of actors so
00:17:49 --> 00:17:51 many actors are looking to to find
00:17:51 --> 00:17:53 something uh find that success, find the
00:17:53 --> 00:17:55 character. You know, they're in the
00:17:55 --> 00:17:57 search and so often the answer I mean,
00:17:57 --> 00:18:00 it sounds like I'm some sort of uh uh
00:18:00 --> 00:18:02 Zen guru here. You know, but the answer
00:18:02 --> 00:18:04 is within. Um
00:18:04 --> 00:18:05 and what I [clears throat] mean by that
00:18:05 --> 00:18:07 is is it's so hard to wake up in the
00:18:07 --> 00:18:10 morning, look in the mirror and and and
00:18:10 --> 00:18:12 look at that reflection and say, "Yes,
00:18:12 --> 00:18:14 this is what casting is looking for."
00:18:14 --> 00:18:14 >> Yeah.
00:18:14 --> 00:18:18 >> This face, this personality. And uh you
00:18:18 --> 00:18:19 know, we hear about imposter syndrome,
00:18:19 --> 00:18:21 that can happen not only at the audition
00:18:21 --> 00:18:22 phase, but even on set.
00:18:22 --> 00:18:23 >> Yeah.
00:18:23 --> 00:18:25 >> So, uh usually the the guidance or the
00:18:25 --> 00:18:27 feedback that I'm giving is is somewhere
00:18:27 --> 00:18:29 in that neighborhood of trying to
00:18:29 --> 00:18:31 reassure someone, which can be hard to
00:18:31 --> 00:18:33 do in in you know, 30 seconds when we're
00:18:33 --> 00:18:35 in the room between takes. But to
00:18:35 --> 00:18:38 reassure someone that no no no, trust
00:18:38 --> 00:18:40 that you are enough. Like the the fact
00:18:40 --> 00:18:42 that you got called in
00:18:42 --> 00:18:44 and and Jerah could could could verify
00:18:44 --> 00:18:45 this. The fact that they're auditioning
00:18:45 --> 00:18:48 means that not only did Jerah believe in
00:18:48 --> 00:18:50 that actor such that he submitted them,
00:18:50 --> 00:18:50 >> Yeah.
00:18:50 --> 00:18:52 >> but casting said, "Yes, I want to see
00:18:52 --> 00:18:54 them for this role." And so, it's like
00:18:54 --> 00:18:56 you already have two cheerleaders who
00:18:56 --> 00:18:58 think you can do this, who think the
00:18:58 --> 00:19:01 core of who you are is enough. You need
00:19:01 --> 00:19:02 the training, you need all those other
00:19:02 --> 00:19:04 things, of course. Uh you know, craft is
00:19:04 --> 00:19:06 important, but so many actors have the
00:19:06 --> 00:19:08 craft, have whatever that minimum
00:19:08 --> 00:19:11 requirement is. It's it's more that
00:19:11 --> 00:19:13 mindset of they they think that it can't
00:19:13 --> 00:19:15 be that simple. I have to be doing
00:19:16 --> 00:19:18 something on top of that to convince
00:19:18 --> 00:19:19 them.
00:19:19 --> 00:19:21 And and it really is beautiful when an
00:19:21 --> 00:19:24 actor um comes to that realization that
00:19:24 --> 00:19:26 what they showed up with today is enough
00:19:26 --> 00:19:28 and that they can rest in that and they
00:19:28 --> 00:19:30 can even celebrate that
00:19:30 --> 00:19:31 whether or not they book it, you know,
00:19:31 --> 00:19:33 but if they can be confident and
00:19:33 --> 00:19:34 comfortable with themselves,
00:19:35 --> 00:19:37 um that that's that's so much of the
00:19:37 --> 00:19:39 game right there.
00:19:39 --> 00:19:41 >> I love that you said that even if they
00:19:41 --> 00:19:44 don't book it that to at least just
00:19:44 --> 00:19:46 celebrate that you have the opportunity
00:19:46 --> 00:19:50 to to even do that. That's I I love that
00:19:50 --> 00:19:52 because like you said earlier that you
00:19:52 --> 00:19:55 hear you get that rejection over and
00:19:55 --> 00:19:56 over and that's just part of the game
00:19:56 --> 00:19:59 until you you know, you will get a yes,
00:19:59 --> 00:20:01 but you know, you hear that all the
00:20:01 --> 00:20:03 time. So I think that's amazing what you
00:20:03 --> 00:20:05 said of there. Now, I do want to have a
00:20:05 --> 00:20:07 little fun.
00:20:07 --> 00:20:08 So I might catch you off guard a little
00:20:08 --> 00:20:13 bit. So if actors were action figures,
00:20:13 --> 00:20:15 what three accessories should every
00:20:15 --> 00:20:18 actor come with in the box when they
00:20:18 --> 00:20:20 come to record with you?
00:20:20 --> 00:20:22 >> [laughter]
00:20:22 --> 00:20:24 >> I love that.
00:20:24 --> 00:20:26 Uh they'd have to have a cell phone,
00:20:26 --> 00:20:28 right? To to not only record their
00:20:28 --> 00:20:29 audition, but you know, to take that
00:20:30 --> 00:20:31 that selfie every once in a while
00:20:31 --> 00:20:34 because we we all know social media is
00:20:34 --> 00:20:35 is important.
00:20:35 --> 00:20:37 Um so cell phone
00:20:37 --> 00:20:39 gosh, 20 years ago it would have been
00:20:39 --> 00:20:41 they'd have to have a headshot, right?
00:20:41 --> 00:20:42 They'd have to have a headshot. Nowadays
00:20:42 --> 00:20:43 we don't we don't need the physical
00:20:43 --> 00:20:46 headshot. Um
00:20:46 --> 00:20:48 probably because and and for better for
00:20:49 --> 00:20:50 worse, you know, I made sure I was
00:20:50 --> 00:20:52 clean-shaven today. So maybe something
00:20:52 --> 00:20:54 in the in the realm of of I don't want
00:20:54 --> 00:20:56 to say vanity, but in you know, like for
00:20:56 --> 00:20:58 me it might be a mustache comb. You
00:20:58 --> 00:20:59 know, so my action figure would have a
00:20:59 --> 00:21:00 little mustache comb to make sure my
00:21:00 --> 00:21:01 mustache is
00:21:01 --> 00:21:02 >> Right.
00:21:02 --> 00:21:03 >> is right.
00:21:03 --> 00:21:05 Um or it might be a compact mirror or
00:21:05 --> 00:21:08 you know, some sort of a product to to
00:21:08 --> 00:21:10 to touch up last second. Um
00:21:10 --> 00:21:11 >> Yeah.
00:21:11 --> 00:21:12 >> Cuz until you're on set, you know, when
00:21:12 --> 00:21:14 you have everybody else taking care of
00:21:14 --> 00:21:16 you, we have to take care of ourselves.
00:21:16 --> 00:21:18 And then, uh the third thing would let's
00:21:18 --> 00:21:19 see. It would be something around
00:21:19 --> 00:21:22 self-care in in terms of
00:21:22 --> 00:21:25 uh whether it's uh um
00:21:25 --> 00:21:27 Ooh, what would it be in a in a physical
00:21:27 --> 00:21:30 like form for for an accessory? But it'd
00:21:30 --> 00:21:33 be something to um
00:21:33 --> 00:21:35 you know, to maybe practice mindfulness
00:21:35 --> 00:21:38 or or maybe even like a
00:21:38 --> 00:21:40 a lavender-scented something or other to
00:21:40 --> 00:21:41 kind of calm the nerves when you're
00:21:41 --> 00:21:43 sitting in the audition room.
00:21:43 --> 00:21:44 >> Yeah.
00:21:44 --> 00:21:45 >> So, a candle, right? So, just so that we
00:21:45 --> 00:21:47 can do something physical, right? It
00:21:47 --> 00:21:48 would be
00:21:48 --> 00:21:50 It'd be It'd be really weird to walk
00:21:50 --> 00:21:51 around with a candle, but
00:21:51 --> 00:21:52 >> [laughter]
00:21:52 --> 00:21:54 >> Hey, whatever your method is, whatever
00:21:54 --> 00:21:57 works for you, I'm okay with that.
00:21:57 --> 00:21:59 I'm okay with that. Now, you've seen a
00:21:59 --> 00:22:01 lot of auditions over the years. Now,
00:22:01 --> 00:22:04 without saying any names,
00:22:04 --> 00:22:06 what's one of the funniest or most
00:22:06 --> 00:22:08 memorable moments you've ever witnessed,
00:22:08 --> 00:22:09 you think?
00:22:10 --> 00:22:11 >> Ooh.
00:22:11 --> 00:22:12 Um
00:22:12 --> 00:22:14 So, we've been taping actors for now
00:22:14 --> 00:22:17 over uh gosh, you know, it's well over
00:22:17 --> 00:22:19 decade. And so, this would have been in
00:22:19 --> 00:22:21 one of our first locations.
00:22:21 --> 00:22:22 Uh
00:22:22 --> 00:22:24 It was It was one of these like cute
00:22:24 --> 00:22:27 moments of of an actor um
00:22:27 --> 00:22:29 uh celebrating themselves, which is so
00:22:29 --> 00:22:31 rare, but in a way that that also
00:22:31 --> 00:22:33 revealed their newness. And so, the
00:22:33 --> 00:22:35 actor um
00:22:35 --> 00:22:38 uh did a did a a take and and I was
00:22:38 --> 00:22:40 there ready to to help them out if if
00:22:40 --> 00:22:41 necessary. You know, we we take the
00:22:41 --> 00:22:43 posture of you're here to do your work,
00:22:43 --> 00:22:45 so we're not going to interfere. If you
00:22:45 --> 00:22:47 engage us and ask us, then, you know, if
00:22:47 --> 00:22:48 we have any sort of thoughts, we will
00:22:48 --> 00:22:50 give them to you. But we really do want
00:22:50 --> 00:22:52 to defer to the actor and let them do
00:22:52 --> 00:22:53 the work they came to do. And so, this
00:22:53 --> 00:22:55 actor, he does a take and then he
00:22:55 --> 00:22:57 watches playback. And I'm waiting for
00:22:57 --> 00:22:59 him to be like, "Ah, gosh, yeah, I need
00:22:59 --> 00:23:01 to do that again."
00:23:01 --> 00:23:03 But instead, afterwards, he he just kind
00:23:03 --> 00:23:05 of there was like this pause as he's
00:23:05 --> 00:23:07 staring at himself and he goes,
00:23:07 --> 00:23:09 "Man, am I am I trying to win an Oscar
00:23:09 --> 00:23:10 here or what?"
00:23:10 --> 00:23:13 And he was he was enamored with the
00:23:13 --> 00:23:16 performance. And and it and it and it
00:23:16 --> 00:23:18 tickled me cuz on the one hand, you
00:23:18 --> 00:23:21 know, I saw a very green actor who um
00:23:21 --> 00:23:23 who who who was not ready for primetime.
00:23:23 --> 00:23:24 Um
00:23:24 --> 00:23:26 And so, you know, there there was a
00:23:26 --> 00:23:27 little bit of a gap in understanding
00:23:27 --> 00:23:29 there of of of what would sort of book
00:23:29 --> 00:23:32 the role. But I love the fact that he he
00:23:32 --> 00:23:34 was able to love himself in that moment,
00:23:34 --> 00:23:36 which like I said is so rare. Most
00:23:36 --> 00:23:37 actors
00:23:37 --> 00:23:39 the best thing they'll say is, "I didn't
00:23:39 --> 00:23:43 hate it." And it's just like, "Aw."
00:23:43 --> 00:23:45 What? I don't want you to hate it, you
00:23:45 --> 00:23:46 know?
00:23:46 --> 00:23:48 So, for him to be so far on the other
00:23:48 --> 00:23:50 side of the the spectrum of, you know,
00:23:50 --> 00:23:51 thinking it was an Oscar-winning
00:23:51 --> 00:23:53 performance, I was like, "Hey, if that
00:23:53 --> 00:23:54 means you're leaving here feeling good
00:23:54 --> 00:23:56 about yourself." And even if he had
00:23:56 --> 00:23:59 asked me for for help, it's like, "I'm
00:23:59 --> 00:24:00 not going to be able to, you know,
00:24:00 --> 00:24:02 elevate his craft in one little session
00:24:02 --> 00:24:04 to to something else."
00:24:04 --> 00:24:06 So, uh to me that was a win for him that
00:24:06 --> 00:24:09 that he was, you know, really feeling
00:24:09 --> 00:24:12 good about that work. And my my hope is
00:24:12 --> 00:24:14 that then he just continues to train.
00:24:14 --> 00:24:15 Um
00:24:15 --> 00:24:16 But then we have a thousand He's already
00:24:16 --> 00:24:17 there.
00:24:17 --> 00:24:19 >> already there at the at the at the Oscar
00:24:19 --> 00:24:21 thing. So.
00:24:21 --> 00:24:22 >> [laughter]
00:24:22 --> 00:24:23 >> Exactly.
00:24:23 --> 00:24:25 But but then there's just there's so
00:24:25 --> 00:24:27 many crazy stories of of what casting
00:24:28 --> 00:24:30 has asked actors to do um
00:24:30 --> 00:24:32 that, you know, they'll they'll come in
00:24:32 --> 00:24:33 and be like, "So, this is what, you
00:24:33 --> 00:24:35 know, what I have to do." And uh so it
00:24:35 --> 00:24:37 it's a constant um
00:24:37 --> 00:24:40 new new experience every day for us of
00:24:40 --> 00:24:41 of like what is this actor going to have
00:24:41 --> 00:24:42 to do.
00:24:42 --> 00:24:43 Um
00:24:43 --> 00:24:44 so, yeah. So so many stories when it
00:24:45 --> 00:24:47 comes to what happens in that taping
00:24:47 --> 00:24:48 room.
00:24:48 --> 00:24:50 >> Now, I'm going to take this a little
00:24:50 --> 00:24:53 little further. So, if the walls of Get
00:24:53 --> 00:24:55 Tape could talk,
00:24:55 --> 00:24:56 what do you think they'd say about the
00:24:56 --> 00:24:58 actors?
00:24:58 --> 00:25:00 >> Um
00:25:00 --> 00:25:03 it would be uh this uh this
00:25:03 --> 00:25:06 this curiosity of of why did they do it?
00:25:06 --> 00:25:08 Um which which you could take it two
00:25:08 --> 00:25:10 different ways. It could be that sort of
00:25:10 --> 00:25:11 uh
00:25:11 --> 00:25:12 cuz when the actors are coming in with
00:25:12 --> 00:25:14 the weight of the world, the weight of
00:25:14 --> 00:25:16 the industry, the
00:25:16 --> 00:25:18 uh the amount of time it's been since
00:25:18 --> 00:25:21 their last booking, um you know, I think
00:25:21 --> 00:25:23 the walls would be like you know,
00:25:23 --> 00:25:24 something else might make you happier.
00:25:24 --> 00:25:27 And so, you know, have you have you
00:25:27 --> 00:25:29 discovered your why? Like what keeps you
00:25:29 --> 00:25:30 coming back? Is it
00:25:30 --> 00:25:31 >> Yeah.
00:25:31 --> 00:25:32 >> Uh I think it was like Einstein, his
00:25:32 --> 00:25:34 definition of insanity was doing the
00:25:34 --> 00:25:36 same thing over and over and expecting a
00:25:36 --> 00:25:39 different outcome. Um and so sometimes
00:25:39 --> 00:25:41 actors it it I think the walls would be
00:25:41 --> 00:25:43 like yeah, it seems like nothing is
00:25:43 --> 00:25:46 changing in terms of your mindset. Um
00:25:46 --> 00:25:49 and so I wonder if they know why they're
00:25:49 --> 00:25:51 doing it. Um
00:25:51 --> 00:25:53 and on the on the flip side, right?
00:25:53 --> 00:25:54 Especially cuz we're in a corporate
00:25:54 --> 00:25:56 building. So all of our neighbors are
00:25:56 --> 00:25:58 just like normal people doing normal
00:25:58 --> 00:25:59 corporate jobs.
00:25:59 --> 00:26:01 So I think in that sense the walls would
00:26:01 --> 00:26:04 also be like uh I am fascinated like
00:26:04 --> 00:26:06 with this. Like why would anyone
00:26:06 --> 00:26:08 voluntarily choose to expose themselves
00:26:08 --> 00:26:10 like this? Expose their vulnerabilities,
00:26:10 --> 00:26:13 expose their inner you know, these inner
00:26:13 --> 00:26:15 parts of their personality. So I think
00:26:15 --> 00:26:16 it could be either way, the the
00:26:16 --> 00:26:19 curiosity of of um the why. Like why why
00:26:19 --> 00:26:21 do they do this? Cuz it it is so
00:26:21 --> 00:26:23 fascinating to the outside world.
00:26:23 --> 00:26:25 >> Yeah.
00:26:25 --> 00:26:26 Wow.
00:26:26 --> 00:26:28 You know what? And that that is such a
00:26:28 --> 00:26:29 good point cuz most of us we think we
00:26:29 --> 00:26:33 know why, but we don't have a clear
00:26:33 --> 00:26:35 a clear reason. And I I think what
00:26:35 --> 00:26:38 you're saying it it has to be it should
00:26:38 --> 00:26:39 be clear.
00:26:39 --> 00:26:41 It should be clear and then that way
00:26:41 --> 00:26:43 that it continues continues to help you
00:26:43 --> 00:26:45 go on your your journey and stay
00:26:45 --> 00:26:47 inspired if you remember that cuz
00:26:47 --> 00:26:49 sometimes we forget. I know I forget all
00:26:49 --> 00:26:51 the time. So
00:26:51 --> 00:26:52 >> [laughter]
00:26:52 --> 00:26:56 >> So awesome. Now, this is a little bit of
00:26:56 --> 00:27:00 a personal question only because I love
00:27:00 --> 00:27:02 when people have businesses, I do
00:27:02 --> 00:27:05 believe that the more that they know
00:27:05 --> 00:27:08 about the person behind the business,
00:27:08 --> 00:27:10 the more that they trust
00:27:10 --> 00:27:13 your services and and your advice and
00:27:13 --> 00:27:15 things like that. I promise you it's not
00:27:15 --> 00:27:18 too personal. It's fun. It's fun.
00:27:18 --> 00:27:19 >> [laughter]
00:27:19 --> 00:27:21 >> Okay, so we got to do this and then we
00:27:21 --> 00:27:23 have a little bit of a rapid-fire game.
00:27:23 --> 00:27:25 I hope you will enjoy.
00:27:25 --> 00:27:26 So, this is my last question. If we
00:27:26 --> 00:27:30 looked at your Netflix watch list
00:27:31 --> 00:27:32 or movie collection right now, what
00:27:32 --> 00:27:35 actor or movie would we find that you
00:27:35 --> 00:27:39 never get tired of watching?
00:27:39 --> 00:27:42 >> Um, let's see.
00:27:42 --> 00:27:45 It would probably be Wow.
00:27:45 --> 00:27:47 There's a few. Uh, I'm I'm thinking of
00:27:47 --> 00:27:48 like the stuff that we're watching right
00:27:48 --> 00:27:50 now, my wife and I and and whatnot, but
00:27:50 --> 00:27:51 like
00:27:51 --> 00:27:54 um,
00:27:54 --> 00:27:55 it would
00:27:55 --> 00:27:57 I'll just go with my gut. Chris Pratt.
00:27:57 --> 00:28:01 Um, and I've enjoyed his journey from
00:28:01 --> 00:28:03 sort of dopey uh,
00:28:03 --> 00:28:05 actor on on Parks and Recreation to
00:28:06 --> 00:28:09 becoming leading man, um, but also, you
00:28:09 --> 00:28:10 know, watching him navigate his personal
00:28:10 --> 00:28:12 life and and not being shy about his
00:28:12 --> 00:28:14 faith, uh, you know, in a in a public
00:28:14 --> 00:28:16 way, which can be dangerous, you know,
00:28:16 --> 00:28:19 for a big celebrity who is sort of at
00:28:19 --> 00:28:21 the top of their game to to be so open
00:28:21 --> 00:28:23 with with their spiritu- spirituality or
00:28:23 --> 00:28:25 their or their religion like that. Um,
00:28:25 --> 00:28:27 and he's just one of those guys that
00:28:27 --> 00:28:28 even if the the project itself isn't
00:28:29 --> 00:28:30 that great, uh,
00:28:30 --> 00:28:33 I know that he won't ever sort of let me
00:28:33 --> 00:28:34 down in terms of like, yeah, that's
00:28:34 --> 00:28:36 that's Chris Pratt bringing Chris Pratt
00:28:36 --> 00:28:37 and that's that's why I'm watching it.
00:28:37 --> 00:28:38 So,
00:28:38 --> 00:28:39 um,
00:28:39 --> 00:28:40 yeah, he he's the first one that comes
00:28:40 --> 00:28:41 to mind.
00:28:41 --> 00:28:43 >> Awesome. Awesome. Now, we're going to
00:28:43 --> 00:28:45 play a little bit of
00:28:45 --> 00:28:48 rapid-fire. So,
00:28:48 --> 00:28:50 one word answers only. You ready?
00:28:50 --> 00:28:51 >> Great.
00:28:51 --> 00:28:55 >> Self-tape or in-person audition?
00:28:55 --> 00:28:57 >> In-person.
00:28:57 --> 00:28:59 >> Comedy or drama?
00:28:59 --> 00:29:01 >> Comedy.
00:29:01 --> 00:29:03 >> Marvel or DC?
00:29:03 --> 00:29:04 >> Ooh.
00:29:04 --> 00:29:06 DC.
00:29:06 --> 00:29:09 >> Let's see. Coffee or tea?
00:29:09 --> 00:29:11 >> Coffee.
00:29:11 --> 00:29:15 >> Dream actor to work with?
00:29:15 --> 00:29:17 >> Uh,
00:29:17 --> 00:29:19 Charlize Theron.
00:29:19 --> 00:29:19 >> Oh,
00:29:20 --> 00:29:20 >> [laughter]
00:29:20 --> 00:29:23 >> the most underrated acting skill?
00:29:23 --> 00:29:25 >> Improv.
00:29:25 --> 00:29:26 >> Mm.
00:29:26 --> 00:29:29 One word that describes Atlanta's film
00:29:29 --> 00:29:32 industry.
00:29:32 --> 00:29:35 >> Um,
00:29:35 --> 00:29:37 burgeoning. Sort of
00:29:37 --> 00:29:39 What I think that I think I'm saying it
00:29:39 --> 00:29:40 right, like on the cusp of like
00:29:40 --> 00:29:41 exploding, you know?
00:29:41 --> 00:29:42 >> Yeah.
00:29:42 --> 00:29:45 Awesome. Awesome. Thank you so much for
00:29:45 --> 00:29:46 playing that with
00:29:46 --> 00:29:47 >> [laughter]
00:29:47 --> 00:29:48 >> for playing that
00:29:48 --> 00:29:50 >> that challenge.
00:29:50 --> 00:29:52 >> So, do me a favor and tell everybody how
00:29:52 --> 00:29:54 they can, um,
00:29:54 --> 00:29:56 go if you have a website or social
00:29:56 --> 00:29:58 media, if they need to get in touch with
00:29:58 --> 00:30:00 you, how do they do that?
00:30:00 --> 00:30:02 >> Yeah. Um, the website is gettape.com.
00:30:02 --> 00:30:04 There's a hyphen in there, so it's
00:30:04 --> 00:30:07 get-taped.com.
00:30:07 --> 00:30:09 On Instagram, uh, it's just all one
00:30:09 --> 00:30:12 word, get taped, uh, which has, you
00:30:12 --> 00:30:14 know, the g e t t a p e d.
00:30:14 --> 00:30:16 Um, we're
00:30:16 --> 00:30:18 not on TikTok, uh, but we are also on
00:30:18 --> 00:30:21 Facebook. Uh, but Instagram is the best
00:30:21 --> 00:30:23 or the website. And and that's where you
00:30:23 --> 00:30:25 you can learn about all of our services
00:30:25 --> 00:30:26 and
00:30:26 --> 00:30:27 and also then to get in touch with
00:30:27 --> 00:30:30 myself or Brooke or any of our staff.
00:30:30 --> 00:30:32 >> Awesome. All right. Well, Matthew, thank
00:30:32 --> 00:30:34 you so much for spending time with us
00:30:34 --> 00:30:36 today.
00:30:36 --> 00:30:38 And to everyone watching, whether you're
00:30:38 --> 00:30:39 just getting started or you've been
00:30:39 --> 00:30:42 chasing your dreams for years, remember
00:30:42 --> 00:30:44 that every professional in this industry
00:30:44 --> 00:30:46 started as a beginner. Keep learning,
00:30:46 --> 00:30:48 keep growing, keep creating
00:30:48 --> 00:30:50 opportunities for yourself. I'm Demia
00:30:50 --> 00:30:53 Avery, and this has been the Demia Avery
00:30:53 --> 00:30:56 show, The Industry. Thank you, Matthew.
00:30:56 --> 00:30:58 >> You're so welcome. Thanks for having me.
00:30:58 --> 00:31:00 >> Have a good one.
00:31:00 --> 00:31:02 >> [laughter]