Are great actors born...or are they built through consistent training?
In this powerful episode of The Demia Avery Show – The Industry, host Demia Avery sits down with Catherine Dyer, Co-Founder of Drama, Inc., to discuss what truly separates working actors from everyone else.
Catherine shares her perspective on why consistent training matters, what actors should do from the moment they receive an audition, and how to develop a process that leads to stronger, more confident performances.
Whether you're just beginning your acting journey or you're a seasoned professional, this conversation is filled with practical advice you can apply to your next audition.
🎭 In this interview, you'll learn:
• Why training shouldn't stop between auditions
• A professional audition preparation process
• How successful actors stay sharp year-round
• Tips that can help elevate your performances
👍 If you enjoy interviews that educate and inspire actors, be sure to LIKE, SUBSCRIBE, and turn on notifications so you never miss an episode of The Demia Avery Show – The Industry.
📺 New interviews feature casting directors, talent agents, acting coaches, actors, and other industry professionals dedicated to helping you grow your career.
Subscribe today and join our community of actors who are committed to mastering their craft!
#CatherineDyer #DramaInc #TheDemiaAveryShow #TheIndustry #Acting #Actors #AuditionTips #ActingCoach #ActorTraining #FilmIndustry #TVActors #CastingDirectors #WorkingActor #EntertainmentIndustry #Audition #CareerAdvice
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
00:00:07 --> 00:00:11 breaking all the rules tonight.
00:00:11 --> 00:00:12 Yeah, we stepping [music]
00:00:12 --> 00:00:16 in the spotlight is the industry.
00:00:16 --> 00:00:17 Where [music]
00:00:17 --> 00:00:21 everybody trying to be
00:00:21 --> 00:00:23 [music] nice.
00:00:23 --> 00:00:25 Oh,
00:00:25 --> 00:00:29 living up the tree. [music]
00:00:29 --> 00:00:31 So excited.
00:00:31 --> 00:00:33 >> Hello. Hello everyone and welcome to the
00:00:33 --> 00:00:35 Demia Avery show, the industry. I am
00:00:36 --> 00:00:39 your host Deia Avery. And today I'm so
00:00:39 --> 00:00:41 excited to introduce the guest who has
00:00:41 --> 00:00:43 made an incredible impact on the
00:00:43 --> 00:00:45 entertainment industry both in front of
00:00:45 --> 00:00:48 the camera and behind the scenes. She is
00:00:48 --> 00:00:50 an accomplished actor with credits that
00:00:50 --> 00:00:52 include Stranger Things, The Morning
00:00:52 --> 00:00:55 Show, Sweet Magnolia's, The Ter uh The
00:00:55 --> 00:00:57 Terminal List, The Young and the
00:00:57 --> 00:00:59 Restless, and many other film and
00:00:59 --> 00:01:01 television projects. She's also an Emmy
00:01:01 --> 00:01:03 nominated producer and the co-founder
00:01:03 --> 00:01:06 and owner of Drama Inc., one of the most
00:01:06 --> 00:01:08 soughtafter premier acting schools in
00:01:08 --> 00:01:10 the Southeast, where she's helped
00:01:10 --> 00:01:13 countless actors develop their craft and
00:01:13 --> 00:01:15 build longlasting careers. Now, whether
00:01:15 --> 00:01:17 you're a seasoned actor or just
00:01:17 --> 00:01:18 beginning your journey, today's
00:01:18 --> 00:01:20 conversation is filled with insight,
00:01:20 --> 00:01:23 encouragement, and practical advice from
00:01:23 --> 00:01:25 someone who truly understands what it
00:01:25 --> 00:01:27 takes to succeed in this business.
00:01:27 --> 00:01:30 Please join me in welcoming the
00:01:30 --> 00:01:33 incredibly talented Catherine Dyer.
00:01:33 --> 00:01:36 >> Oh, go on. Go on.
00:01:36 --> 00:01:39 >> Wow. I hope I live up to that. I
00:01:39 --> 00:01:41 >> absolutely you do. And if I had a a
00:01:41 --> 00:01:42 longer page, we'd be going down the
00:01:42 --> 00:01:47 page. So, yes. Yes. Yes. Yes. And yes.
00:01:47 --> 00:01:49 >> Thank you. [laughter] I am happy to be
00:01:49 --> 00:01:50 here.
00:01:50 --> 00:01:51 >> I'm so glad that you're here. And I've
00:01:51 --> 00:01:53 been getting a lot of people saying, you
00:01:53 --> 00:01:54 know, you really should have Katherine
00:01:54 --> 00:01:55 on the show because she's absolutely
00:01:56 --> 00:01:58 amazing. So, I just so happy that you
00:01:58 --> 00:02:00 decided to join us.
00:02:00 --> 00:02:03 >> Well, I'm glad to be here and uh I adore
00:02:03 --> 00:02:06 your sister. So, she asked and I'm here.
00:02:06 --> 00:02:08 >> Oh, hey Jara. [laughter]
00:02:08 --> 00:02:09 >> Hi, Jara.
00:02:09 --> 00:02:11 >> All right. So, Katherine, you wore so
00:02:11 --> 00:02:13 many hats in this industry. actor,
00:02:13 --> 00:02:16 producer, entrepreneur, coach. Which
00:02:16 --> 00:02:18 role has taught you the most about
00:02:18 --> 00:02:22 yourself, you think, and why?
00:02:22 --> 00:02:22 [sighs]
00:02:22 --> 00:02:24 >> Starting off with the hard ball
00:02:24 --> 00:02:26 questions. Okay. [laughter]
00:02:26 --> 00:02:31 I think um I think teaching
00:02:31 --> 00:02:33 >> has really taught me a lot about myself
00:02:33 --> 00:02:37 because I found such confidence. I'm a
00:02:37 --> 00:02:40 late bloomer and I found confidence late
00:02:40 --> 00:02:41 in life. You know, I think of all the
00:02:42 --> 00:02:44 years that I banged my head against the
00:02:44 --> 00:02:47 wall as an actor, thinking all the actor
00:02:47 --> 00:02:49 thoughts, gosh, I'm not good enough. I'm
00:02:49 --> 00:02:50 not tall enough. I'm not pretty enough.
00:02:50 --> 00:02:52 I'm not talented enough. Oh, it's it's
00:02:52 --> 00:02:54 terrible what we do to ourselves.
00:02:54 --> 00:02:58 >> And I got in front of a classroom and I
00:02:58 --> 00:03:00 felt great about what what I was doing
00:03:00 --> 00:03:03 and people were listening to me,
00:03:03 --> 00:03:05 >> you know, because I spoke from the heart
00:03:05 --> 00:03:08 >> and I found my confidence that way. So,
00:03:08 --> 00:03:11 and also aging helps.
00:03:11 --> 00:03:13 >> You [laughter] know, I when older actors
00:03:13 --> 00:03:15 come into my class and say, "I know I'm
00:03:15 --> 00:03:16 getting started late." And I said, "No,
00:03:16 --> 00:03:20 you're great." Because we innately have
00:03:20 --> 00:03:22 more confidence as we age.
00:03:22 --> 00:03:22 >> That's true.
00:03:22 --> 00:03:25 >> And we feel stronger about saying, "I'm
00:03:25 --> 00:03:27 not going to do that."
00:03:27 --> 00:03:29 >> And we don't, you know, it's we don't
00:03:29 --> 00:03:31 >> unapologetically, too. We It was just
00:03:31 --> 00:03:33 like, "No." [laughter]
00:03:33 --> 00:03:34 >> Yeah. Yeah. Yeah.
00:03:34 --> 00:03:36 >> Yeah. You know, if we have to rough
00:03:36 --> 00:03:37 ruffle some feathers, we ruffle some
00:03:37 --> 00:03:38 feathers.
00:03:38 --> 00:03:40 >> Yeah, I agree with you. I agree with
00:03:40 --> 00:03:43 you. Now, Drama Inc. has become one of
00:03:43 --> 00:03:46 the most uh respected acting studios in
00:03:46 --> 00:03:49 Southeast when you um and you know who
00:03:49 --> 00:03:51 you work with started and what was the
00:03:51 --> 00:03:54 vision and and what do you think that's
00:03:54 --> 00:03:56 made it so successful and you know
00:03:56 --> 00:03:58 throughout these years?
00:03:58 --> 00:04:01 Well, um I I got to hand it to, you
00:04:01 --> 00:04:03 know, uh owners or Claire Bronson,
00:04:03 --> 00:04:05 myself, Scott Pythus, and Jason
00:04:05 --> 00:04:06 Macdonald.
00:04:06 --> 00:04:09 >> And Scott recently left, uh the business
00:04:09 --> 00:04:13 of he just wanted to concentrate more on
00:04:13 --> 00:04:15 acting, which is, you know, wonderful
00:04:15 --> 00:04:17 for him, but we miss him.
00:04:17 --> 00:04:20 >> Um Jason had the vision to begin with,
00:04:20 --> 00:04:24 I've got to say, and we all were, okay,
00:04:24 --> 00:04:25 let's do it. It was like one step in
00:04:25 --> 00:04:27 front of the other. let let's keep
00:04:27 --> 00:04:31 going. And and I tell you, I um
00:04:31 --> 00:04:33 again, confidence. I'm like, I'm not
00:04:33 --> 00:04:35 sure I can do this. How do I know what
00:04:35 --> 00:04:36 to do?
00:04:36 --> 00:04:38 >> But I'll tell you, one of the classes
00:04:38 --> 00:04:42 that I was teaching on camera basics.
00:04:42 --> 00:04:44 Um it was the maybe second or third
00:04:44 --> 00:04:45 class.
00:04:45 --> 00:04:48 The class ended, students walked out
00:04:48 --> 00:04:50 >> and I parked in the back and I drove
00:04:50 --> 00:04:52 around front. So, it was probably 10
00:04:52 --> 00:04:54 minutes after the students left. And I
00:04:54 --> 00:04:57 saw the whole class standing there
00:04:58 --> 00:04:59 talking, talking, talking, talking,
00:04:59 --> 00:05:01 talking, and I went, "We've hit
00:05:01 --> 00:05:01 something."
00:05:01 --> 00:05:02 >> Yeah.
00:05:02 --> 00:05:03 >> This is this is community.
00:05:04 --> 00:05:04 >> Yeah.
00:05:04 --> 00:05:07 >> This is what this is. They're excited.
00:05:07 --> 00:05:09 And that got me excited. But also, I
00:05:09 --> 00:05:13 think one reason for our success is our
00:05:13 --> 00:05:17 passion, our hearts are in this. We
00:05:17 --> 00:05:19 believe fully everything that comes out
00:05:19 --> 00:05:22 of our mouths. Also,
00:05:22 --> 00:05:24 we every instructor at Drama Inc. will
00:05:24 --> 00:05:28 not belittle or humiliate or scream at
00:05:28 --> 00:05:31 or make someone feel lesser than.
00:05:31 --> 00:05:32 >> Yeah.
00:05:32 --> 00:05:35 >> Because we're artists. We're humans. And
00:05:35 --> 00:05:37 both of those entities are very
00:05:37 --> 00:05:38 sensitive.
00:05:38 --> 00:05:39 >> Yeah. Yeah.
00:05:39 --> 00:05:40 >> So, we listen, we're not going to say
00:05:40 --> 00:05:42 you're going to be a star. You know,
00:05:42 --> 00:05:43 you're great. Everything you do is
00:05:43 --> 00:05:45 great. We give
00:05:45 --> 00:05:47 >> constructive feedback.
00:05:47 --> 00:05:48 >> Love that.
00:05:48 --> 00:05:51 >> Not everything everyone does is great.
00:05:51 --> 00:05:52 you you know [laughter]
00:05:52 --> 00:05:54 >> right tell you
00:05:54 --> 00:05:57 >> but honestly okay so with that being
00:05:57 --> 00:05:59 said
00:05:59 --> 00:06:01 you have a lot of actors that that come
00:06:01 --> 00:06:02 they walk through your doors that pass
00:06:02 --> 00:06:05 through your doors have you ever met an
00:06:05 --> 00:06:08 actor who walked into the class and
00:06:08 --> 00:06:10 immediately you thought to yourself okay
00:06:10 --> 00:06:12 they're going to make it they're going
00:06:12 --> 00:06:14 to make it what what did you see that
00:06:14 --> 00:06:18 everyone else you know may have missed
00:06:18 --> 00:06:20 >> you know make it of course is kind of
00:06:20 --> 00:06:21 relative. What does it mean? You know,
00:06:21 --> 00:06:23 it means different things to different
00:06:23 --> 00:06:24 people.
00:06:24 --> 00:06:27 >> There have been a a scant few
00:06:27 --> 00:06:28 >> who
00:06:28 --> 00:06:31 >> I think between the four of us have had
00:06:31 --> 00:06:33 had a student that we thought, all
00:06:33 --> 00:06:36 right, this person is different. There's
00:06:36 --> 00:06:39 something very raw and very honest about
00:06:39 --> 00:06:41 the work that this person is doing.
00:06:41 --> 00:06:42 >> Yeah.
00:06:42 --> 00:06:44 >> It's almost
00:06:44 --> 00:06:47 like the it thing, you know, it's it's
00:06:47 --> 00:06:49 intangible. There's there's just it's
00:06:49 --> 00:06:51 hard to describe, right? I mean, you as
00:06:51 --> 00:06:53 an agent, you know, it
00:06:53 --> 00:06:54 >> Yeah.
00:06:54 --> 00:06:56 >> And not that this, you know, this person
00:06:56 --> 00:06:59 is a very talented actor um still
00:06:59 --> 00:07:01 auditioning. You know, this one person
00:07:01 --> 00:07:02 I'm I'm talking about in particular,
00:07:02 --> 00:07:04 still auditioning, still trying to get
00:07:04 --> 00:07:06 the work, but the work is always solid.
00:07:06 --> 00:07:10 Her bad day is anyone else's great day.
00:07:10 --> 00:07:11 >> Right. Right.
00:07:11 --> 00:07:11 >> You know.
00:07:11 --> 00:07:14 >> Right. And then speaking of that that it
00:07:14 --> 00:07:15 factor thing,
00:07:15 --> 00:07:16 >> this is water, people. This is water,
00:07:16 --> 00:07:18 not [laughter] mine.
00:07:18 --> 00:07:22 But listen, so I if speaking of the if
00:07:22 --> 00:07:26 factor thing, there have been times and
00:07:26 --> 00:07:29 I I wonder if you agree that that person
00:07:29 --> 00:07:32 may not have been the most talented or
00:07:32 --> 00:07:35 had the most training or had the you
00:07:35 --> 00:07:37 know looked like this, but something
00:07:37 --> 00:07:40 it's just like there's something there
00:07:40 --> 00:07:41 that you know. Yes.
00:07:41 --> 00:07:43 >> That's extraordinary. Would you agree to
00:07:43 --> 00:07:44 that?
00:07:44 --> 00:07:45 >> Yes. There is a I have a class called
00:07:46 --> 00:07:47 OC40.
00:07:47 --> 00:07:47 >> Okay.
00:07:48 --> 00:07:49 >> It's for actors over 40.
00:07:50 --> 00:07:51 >> Okay.
00:07:51 --> 00:07:53 >> And um
00:07:53 --> 00:07:56 there's they get my jokes. That's why I
00:07:56 --> 00:07:57 that's the only reason why I have the
00:07:57 --> 00:07:59 class so I can make jokes. They go they
00:07:59 --> 00:08:01 get all my references. Um there's a man
00:08:01 --> 00:08:06 in that class who kind of does one thing
00:08:06 --> 00:08:08 >> but it's his personality
00:08:08 --> 00:08:11 >> and he does his scene work and I give
00:08:11 --> 00:08:13 him you know we go back and forth and
00:08:13 --> 00:08:16 it's kind of the sameness in what he
00:08:16 --> 00:08:17 does
00:08:18 --> 00:08:21 >> but he there's a charisma a charm a
00:08:21 --> 00:08:23 likability
00:08:23 --> 00:08:25 >> and um an openness about him.
00:08:25 --> 00:08:26 >> Yeah.
00:08:26 --> 00:08:28 >> That is infectious.
00:08:28 --> 00:08:29 >> Yeah. He hasn't been in class in a few
00:08:30 --> 00:08:31 months. And
00:08:31 --> 00:08:33 >> three times a week students will say,
00:08:33 --> 00:08:34 "When's so and so coming back?" I'm
00:08:34 --> 00:08:37 like, "I Well, he's in New York working,
00:08:37 --> 00:08:39 so he's doing his thing."
00:08:39 --> 00:08:39 >> Yeah.
00:08:39 --> 00:08:42 >> Which is great. I mean, he doesn't have
00:08:42 --> 00:08:43 to be,
00:08:43 --> 00:08:45 >> you know, the best actor on the planet.
00:08:45 --> 00:08:47 He's pretty good. He gets by. He's fine.
00:08:48 --> 00:08:49 >> So, more power to him.
00:08:49 --> 00:08:52 >> That's right. That's right. Now when you
00:08:52 --> 00:08:54 receive an audition, let let us know
00:08:54 --> 00:08:56 because we have a lot of actors that are
00:08:56 --> 00:09:00 watching and you know they especially
00:09:00 --> 00:09:03 the new I would say the beginners
00:09:03 --> 00:09:05 they are confused like okay what should
00:09:05 --> 00:09:07 I do first? You know what I mean? So
00:09:07 --> 00:09:09 when you receive an audition what is
00:09:09 --> 00:09:11 your process or like kind of walk us
00:09:11 --> 00:09:14 through Katherine's routine from the
00:09:14 --> 00:09:16 moment you open your email to like okay
00:09:16 --> 00:09:18 I got this audition until you ready to
00:09:18 --> 00:09:21 perform. It just happened yesterday. I'm
00:09:21 --> 00:09:22 getting a few more auditions, by the
00:09:22 --> 00:09:24 way.
00:09:24 --> 00:09:26 >> So, that's that's good. Uh,
00:09:26 --> 00:09:27 industrywise,
00:09:27 --> 00:09:29 um,
00:09:29 --> 00:09:30 you know, I teach this in my class,
00:09:30 --> 00:09:34 quick turnaround, and in the breakdown,
00:09:34 --> 00:09:36 >> what I do, what I I tell people I have
00:09:36 --> 00:09:37 my three Ps,
00:09:38 --> 00:09:38 >> okay?
00:09:38 --> 00:09:41 >> And this is sort of overall.
00:09:41 --> 00:09:44 Um, I'm prepared, I'm professional, and
00:09:44 --> 00:09:47 I come from a place of peace
00:09:47 --> 00:09:49 >> when I'm working. meaning
00:09:49 --> 00:09:53 I need all the calm that I can possibly
00:09:53 --> 00:09:54 get
00:09:54 --> 00:09:57 >> before I walk onto a set
00:09:57 --> 00:09:58 >> because it can be intimidating. It can
00:09:58 --> 00:10:00 be scary. You walk onto a set. Oh,
00:10:00 --> 00:10:03 there's Robert Dairo. Oh, okay.
00:10:03 --> 00:10:05 >> Morning, Bob. You know,
00:10:05 --> 00:10:10 >> I I walk on and act as if you see Bob
00:10:10 --> 00:10:13 Dairo every day. But what I do, the
00:10:13 --> 00:10:15 first thing I do is I have what I call
00:10:15 --> 00:10:18 my hour of power. I'm I know it sounds
00:10:18 --> 00:10:19 dorky.
00:10:20 --> 00:10:25 I close the door. No cell phone, no dog.
00:10:25 --> 00:10:29 And I work one solid hour on my script.
00:10:29 --> 00:10:29 >> Okay.
00:10:29 --> 00:10:32 >> I go through I answer the questions. Who
00:10:32 --> 00:10:33 am I? Who am I talking to? What's my
00:10:33 --> 00:10:35 relationship? Where is this taking
00:10:35 --> 00:10:38 place? Um what are the given
00:10:38 --> 00:10:40 circumstances? What do I want in this
00:10:40 --> 00:10:43 scene? What's my moment before? All of
00:10:43 --> 00:10:45 those standard questions
00:10:45 --> 00:10:48 >> I ask myself and I read it several times
00:10:48 --> 00:10:50 before I make choices and before I
00:10:50 --> 00:10:52 answer those questions. I read it
00:10:52 --> 00:10:54 several times
00:10:54 --> 00:10:57 >> and then I'll start memorizing.
00:10:57 --> 00:10:59 >> Don't memorize first. Do not memorize
00:10:59 --> 00:11:00 first because you don't even know what
00:11:00 --> 00:11:01 the scene's about. Right.
00:11:01 --> 00:11:02 >> And you have to read it several times.
00:11:02 --> 00:11:04 Apparently Anthony Hopkins reads his
00:11:04 --> 00:11:06 scripts 250 times.
00:11:06 --> 00:11:07 >> Wow.
00:11:08 --> 00:11:09 >> Every time you read
00:11:09 --> 00:11:11 >> Why does he do that? just that is it you
00:11:11 --> 00:11:15 act on instinct instead of of you know
00:11:15 --> 00:11:18 what you memorize or is that just just a
00:11:18 --> 00:11:18 thing?
00:11:18 --> 00:11:20 >> It's it's gleaning something different
00:11:20 --> 00:11:22 every time you read it.
00:11:22 --> 00:11:22 >> Okay.
00:11:22 --> 00:11:24 >> And I know I'm not going to read a
00:11:24 --> 00:11:26 script 250 times,
00:11:26 --> 00:11:29 but I will reread things several times
00:11:29 --> 00:11:32 because almost every time you reread it,
00:11:32 --> 00:11:34 >> something else pops up. Whether it's
00:11:34 --> 00:11:37 something you say to someone that you
00:11:37 --> 00:11:39 missed the nuance of it in the first
00:11:39 --> 00:11:41 read or whether it's another character
00:11:41 --> 00:11:43 talking about you.
00:11:43 --> 00:11:45 >> Oh, I I didn't see that. That's
00:11:45 --> 00:11:47 interesting. Underline that. So that
00:11:47 --> 00:11:49 will inform
00:11:49 --> 00:11:52 my process, my my work, my
00:11:52 --> 00:11:53 >> character, if you will.
00:11:53 --> 00:11:54 >> Right.
00:11:54 --> 00:11:57 >> And then I don't say I only work one
00:11:57 --> 00:11:59 hour on an audition, trust me. But I've
00:11:59 --> 00:12:01 got that I've got that solid. I've got
00:12:01 --> 00:12:02 that down pat.
00:12:02 --> 00:12:04 >> Right. And then it's always percolating
00:12:04 --> 00:12:08 in my brain. I will, you know, I'll walk
00:12:08 --> 00:12:10 the dog. I'll saying my lines, thinking
00:12:10 --> 00:12:12 about it. I'll fold laundry. I'll kind
00:12:12 --> 00:12:13 of get it in my bones.
00:12:13 --> 00:12:17 >> And I read it um before I go to bed.
00:12:17 --> 00:12:19 >> I read my scenes before I go to I this
00:12:19 --> 00:12:22 yesterday I got two auditions for the
00:12:22 --> 00:12:24 same project, two completely different
00:12:24 --> 00:12:27 characters. One is three scenes, one is
00:12:27 --> 00:12:29 one scene, two are monologues. And I'm
00:12:29 --> 00:12:30 like,
00:12:30 --> 00:12:31 >> yeah,
00:12:31 --> 00:12:33 >> you know, I have a folder of things
00:12:33 --> 00:12:35 typed out. How am I going to do this?
00:12:35 --> 00:12:36 What am I going to wear? What am I, you
00:12:36 --> 00:12:40 know, how's this going to work? Um, and
00:12:40 --> 00:12:42 it kind of kept me up last night.
00:12:42 --> 00:12:42 >> Yeah.
00:12:42 --> 00:12:44 >> Percolating, percolating, percolating.
00:12:44 --> 00:12:44 >> Mhm.
00:12:44 --> 00:12:47 >> Got up this morning, did work on it. I
00:12:47 --> 00:12:49 got a good hold on it.
00:12:49 --> 00:12:50 >> Um, in fact, after this, I'm going to
00:12:50 --> 00:12:52 do, of course, more work on it. It's due
00:12:52 --> 00:12:54 Friday.
00:12:54 --> 00:12:57 >> Okay. I'm taping tomorrow evening with
00:12:57 --> 00:12:59 um a colleague.
00:13:00 --> 00:13:02 I'd rather get it in a little earlier,
00:13:02 --> 00:13:04 but I need the time,
00:13:04 --> 00:13:05 >> right?
00:13:05 --> 00:13:08 >> And I'd love to book one of the roles.
00:13:08 --> 00:13:10 If I don't, on to the next one.
00:13:10 --> 00:13:12 >> On to the next. What do you do about
00:13:12 --> 00:13:14 anxiety? Because I know that
00:13:14 --> 00:13:19 >> drink [laughter]
00:13:19 --> 00:13:23 >> because I know that, you know, I I heard
00:13:23 --> 00:13:25 you say, you know, you have to keep
00:13:25 --> 00:13:28 practicing over and over and over and
00:13:28 --> 00:13:29 and things like that and then eventually
00:13:29 --> 00:13:32 you just go to bed. But I do know a lot
00:13:32 --> 00:13:35 of actors have extreme anxiety about
00:13:35 --> 00:13:38 that audition and they may overdo it. I
00:13:38 --> 00:13:40 don't know what what do you what do you
00:13:40 --> 00:13:43 do when it when anxiety rears its ugly
00:13:43 --> 00:13:44 head?
00:13:44 --> 00:13:45 >> Um
00:13:45 --> 00:13:47 that's also kind of a younger generation
00:13:47 --> 00:13:49 thing too. Would you agree with that?
00:13:49 --> 00:13:51 >> I I would I would say so. Yeah.
00:13:51 --> 00:13:51 >> Yeah.
00:13:51 --> 00:13:53 >> It goes back to what talking about
00:13:53 --> 00:13:55 earlier about the you know when you're
00:13:56 --> 00:13:57 when you're a little older you think
00:13:57 --> 00:13:58 about things a little bit different.
00:13:58 --> 00:13:59 Okay.
00:13:59 --> 00:14:01 >> Right. Not that I don't have anxiety. Of
00:14:02 --> 00:14:05 course I do. I'm human. I have some
00:14:05 --> 00:14:08 favorite meditations that I listen to.
00:14:08 --> 00:14:09 Okay. Mhm.
00:14:09 --> 00:14:13 >> I take the onus off of the audition. I I
00:14:13 --> 00:14:16 mean this one audition is huge.
00:14:16 --> 00:14:17 >> Yeah.
00:14:17 --> 00:14:19 >> I was anxious. I was very anxious
00:14:20 --> 00:14:23 yesterday. I I That's why I didn't sleep
00:14:23 --> 00:14:25 well. If I don't book it, I don't book
00:14:25 --> 00:14:27 it. And then I wasn't the right type. I
00:14:27 --> 00:14:28 wasn't, you know, maybe they don't know
00:14:28 --> 00:14:30 what I mean. This is a male female
00:14:30 --> 00:14:32 thing. It could they're looking for male
00:14:32 --> 00:14:33 or female. They don't know what they
00:14:33 --> 00:14:34 want until they see it.
00:14:34 --> 00:14:35 >> Yeah.
00:14:35 --> 00:14:37 >> We have to show them what they want.
00:14:37 --> 00:14:38 Um,
00:14:38 --> 00:14:41 I I have some favorite meditations that
00:14:41 --> 00:14:44 I do and I trust that I was sent this
00:14:44 --> 00:14:45 audition
00:14:46 --> 00:14:47 because they wanted to see me.
00:14:47 --> 00:14:48 >> Yeah.
00:14:48 --> 00:14:49 >> You know, the casting directors went,
00:14:49 --> 00:14:52 "Let's let's look at Cat Dyer."
00:14:52 --> 00:14:55 >> So, I I've got that going into it.
00:14:55 --> 00:14:55 >> Yeah.
00:14:55 --> 00:14:56 >> Right.
00:14:56 --> 00:14:59 >> I'm not I'm not random, I don't think.
00:14:59 --> 00:15:00 [laughter]
00:15:00 --> 00:15:04 And I breathing a lot of u meditative
00:15:04 --> 00:15:05 breathing
00:15:05 --> 00:15:08 >> you know just sitting for a minute and
00:15:08 --> 00:15:10 doing deep breaths really nice you know
00:15:10 --> 00:15:14 diaphragm breathing knowing that what
00:15:14 --> 00:15:16 could go wrong what's the worst that
00:15:16 --> 00:15:19 could happen you don't the role
00:15:19 --> 00:15:21 >> really no and you're even selftaping so
00:15:21 --> 00:15:23 it's not like you're walking into a room
00:15:23 --> 00:15:25 those jitters are gone
00:15:25 --> 00:15:29 >> so breathing little meditating
00:15:29 --> 00:15:31 taking that moment, finding that place
00:15:32 --> 00:15:34 of peace which I mentioned earlier,
00:15:34 --> 00:15:36 finding your peace.
00:15:36 --> 00:15:39 >> Now, one thing that I really when I talk
00:15:39 --> 00:15:43 to actors or just um actors, singers,
00:15:44 --> 00:15:46 whomever, and when I talk to them, I'm a
00:15:46 --> 00:15:50 big advocate of staying sharp. Meaning,
00:15:50 --> 00:15:51 you know how professional athletes don't
00:15:51 --> 00:15:54 stop practicing once they make the team?
00:15:54 --> 00:15:56 >> Should actors look at training the same
00:15:56 --> 00:15:58 way? And so, why is that important?
00:15:58 --> 00:16:00 Yeah. exercising those muscles cuz I
00:16:00 --> 00:16:02 know a lot of people that just kind of,
00:16:02 --> 00:16:04 you know, they take a class here and
00:16:04 --> 00:16:07 there and then if nothing is going on,
00:16:07 --> 00:16:09 they just won't do anything at all. So,
00:16:09 --> 00:16:11 how do you feel about that?
00:16:11 --> 00:16:12 >> That's when you should be doing
00:16:12 --> 00:16:14 something [laughter] when nothing's
00:16:14 --> 00:16:17 going on. You know, we have that that
00:16:17 --> 00:16:19 the old trope of the actor's tool belt
00:16:19 --> 00:16:21 and the toolkit and you want to sharpen
00:16:22 --> 00:16:24 those tools always. Mhm.
00:16:24 --> 00:16:29 >> Um yes, I you know t take I I suggest
00:16:29 --> 00:16:31 actors to take improv. Improv for the
00:16:31 --> 00:16:35 actor, um a scene study class, a
00:16:35 --> 00:16:38 technique class, and a continuing on
00:16:38 --> 00:16:39 camera class. Those to me are the are
00:16:40 --> 00:16:43 good four pillars of of your foundation.
00:16:43 --> 00:16:43 >> Okay.
00:16:43 --> 00:16:47 >> An ongoing cam on camera class is like
00:16:47 --> 00:16:49 going to the gym,
00:16:50 --> 00:16:50 >> right? Yeah.
00:16:50 --> 00:16:54 >> Our classes at Drama Inc. Um,
00:16:54 --> 00:16:56 you choose your own scene. You come into
00:16:56 --> 00:16:59 class, you do it, you the the uh
00:16:59 --> 00:17:01 instructor gives you feedback and you go
00:17:01 --> 00:17:02 back and forth and let's try this and
00:17:02 --> 00:17:05 what if this and and you sort of massage
00:17:05 --> 00:17:10 it and find where it might land or
00:17:10 --> 00:17:12 should land. You know, there's no
00:17:12 --> 00:17:13 there's no perfection. There's no
00:17:14 --> 00:17:15 perfection in this. And your
00:17:15 --> 00:17:16 perfectionist needs to get rid of the
00:17:16 --> 00:17:19 perfectionism. I mean, perfectionism
00:17:19 --> 00:17:22 equates with um paranoia.
00:17:22 --> 00:17:23 >> Okay.
00:17:23 --> 00:17:25 >> Right. If you're thinking, "Oh, this
00:17:25 --> 00:17:26 isn't perfect. This isn't perfect." Then
00:17:26 --> 00:17:27 you're getting paranoid. Then you're
00:17:27 --> 00:17:28 getting in your head and you're you
00:17:28 --> 00:17:30 completely lost the scene. But yes, I
00:17:30 --> 00:17:32 think
00:17:32 --> 00:17:34 >> I I think I think you need to go to the
00:17:34 --> 00:17:35 gym. It's like your body. And this is
00:17:36 --> 00:17:38 my, you know, this is my
00:17:38 --> 00:17:41 industry from the top of my head to my
00:17:41 --> 00:17:42 toes.
00:17:42 --> 00:17:43 >> Yeah.
00:17:43 --> 00:17:44 >> This is my instrument. This is my
00:17:44 --> 00:17:46 industry. And I need to keep everything
00:17:46 --> 00:17:48 sharp, including physically going to the
00:17:48 --> 00:17:49 gym.
00:17:49 --> 00:17:50 >> I love that.
00:17:50 --> 00:17:53 >> And this Yeah. And also, it's community,
00:17:53 --> 00:17:54 right?
00:17:54 --> 00:17:56 >> And you you're kibbitzing with other
00:17:56 --> 00:17:57 other actors and you're learning and
00:17:57 --> 00:17:59 maybe someone's writing a screenplay and
00:17:59 --> 00:18:01 maybe you're going to get cast in
00:18:01 --> 00:18:03 something, you know, a little indie,
00:18:04 --> 00:18:05 >> which is wonderful. That's what it's all
00:18:05 --> 00:18:06 about.
00:18:06 --> 00:18:08 >> So, if you keep your if you keep your
00:18:08 --> 00:18:10 skills sharp, what's what's the what's
00:18:10 --> 00:18:13 the quote? If you if you stay ready, if
00:18:13 --> 00:18:14 you stay ready, you don't have to worry
00:18:14 --> 00:18:16 about getting ready.
00:18:16 --> 00:18:17 >> Oh, that's good. I don't know that
00:18:17 --> 00:18:20 quote. Yeah, that's good. That's great.
00:18:20 --> 00:18:22 That's [laughter] great. There's a book
00:18:22 --> 00:18:25 um I I tell actors to read uh especially
00:18:25 --> 00:18:28 newer actors. It's an actor's life by
00:18:28 --> 00:18:29 Jenna Fischer.
00:18:29 --> 00:18:29 >> Okay.
00:18:29 --> 00:18:32 >> Who is uh Pam on um
00:18:32 --> 00:18:34 >> The Office.
00:18:34 --> 00:18:36 >> And she talks about graduating from
00:18:36 --> 00:18:39 college, moving to LA, and waiting to be
00:18:39 --> 00:18:41 famous.
00:18:41 --> 00:18:43 She didn't take classes. She didn't get
00:18:43 --> 00:18:44 out and meet anyone. She was like,
00:18:44 --> 00:18:48 "Okay, I'm here." And then once she got
00:18:48 --> 00:18:50 into the community and was taking
00:18:50 --> 00:18:52 classes and doing theater and, you know,
00:18:52 --> 00:18:54 little productions here and there,
00:18:54 --> 00:18:55 >> then it just grow. It's like a, you
00:18:55 --> 00:18:57 know, a ripple effect. It just grows and
00:18:57 --> 00:18:59 grows and grows and grows positively.
00:18:59 --> 00:19:00 All positively.
00:19:00 --> 00:19:03 >> Yeah. Love it. Now, in your opinion, if
00:19:03 --> 00:19:06 you had two equally talented actors,
00:19:06 --> 00:19:09 one trains consistently, and one who
00:19:09 --> 00:19:11 only prepares when an audition comes in,
00:19:11 --> 00:19:12 which actor are you putting the money
00:19:12 --> 00:19:14 on?
00:19:14 --> 00:19:16 >> Which actor am I what? What's the
00:19:16 --> 00:19:17 >> putting your money on? putting your
00:19:18 --> 00:19:20 money on or or you feel that's going to
00:19:20 --> 00:19:22 get the part or however that you
00:19:22 --> 00:19:24 >> I'm gonna put my money on the actor that
00:19:24 --> 00:19:26 trains because I know they're not going
00:19:26 --> 00:19:30 to get to set and freak out. [laughter]
00:19:30 --> 00:19:31 >> Right.
00:19:32 --> 00:19:33 >> Uhhuh.
00:19:33 --> 00:19:35 >> The actor that trains. I don't care
00:19:35 --> 00:19:40 where you train. Um but yeah, I mean and
00:19:40 --> 00:19:42 I know there are some actors that wait
00:19:42 --> 00:19:43 till the last minute and say, "Let me
00:19:43 --> 00:19:44 just do this audition, send it in."
00:19:44 --> 00:19:46 Well, that's going to that speaks a lot
00:19:46 --> 00:19:48 about how you work. And then what about
00:19:48 --> 00:19:50 the the work that you actually do once
00:19:50 --> 00:19:52 you book the job? You're just going to
00:19:52 --> 00:19:54 get on set and say the lines. You know,
00:19:54 --> 00:19:56 as Spencer Tracy said about acting, all
00:19:56 --> 00:19:57 you have to do is hit your mark and say
00:19:57 --> 00:20:01 your lines with feeling, [laughter]
00:20:01 --> 00:20:02 >> you know, I want to know that someone
00:20:02 --> 00:20:03 has worked.
00:20:03 --> 00:20:03 >> Yeah.
00:20:03 --> 00:20:05 >> I want to know that someone understands
00:20:05 --> 00:20:09 the nuance of the craft. M Now I have a
00:20:09 --> 00:20:10 question to ask about you personally
00:20:10 --> 00:20:13 because you stay relevant in an industry
00:20:13 --> 00:20:15 that's constantly changing. So what's
00:20:16 --> 00:20:18 the secret you think to having a career
00:20:18 --> 00:20:23 instead of just a few good years
00:20:23 --> 00:20:26 [laughter]
00:20:26 --> 00:20:29 staying in it. I try to stay positive.
00:20:29 --> 00:20:32 It's very very hard to stay positive.
00:20:32 --> 00:20:35 2025 was the worst year in our industry,
00:20:35 --> 00:20:37 in our market.
00:20:37 --> 00:20:38 >> Yeah.
00:20:39 --> 00:20:42 >> I refuse to make jokes like, "Oh, you
00:20:42 --> 00:20:44 got an audition? I don't know what
00:20:44 --> 00:20:47 that's like." I refuse to give into that
00:20:47 --> 00:20:49 sort of negative
00:20:49 --> 00:20:51 humor, if you will.
00:20:51 --> 00:20:52 >> Um, I refuse to say, "Oh my god, I
00:20:52 --> 00:20:54 haven't worked in two years. I'm not
00:20:54 --> 00:20:56 going to give into that." I really try
00:20:56 --> 00:20:58 to stay positive.
00:20:58 --> 00:20:59 >> It's hard.
00:20:59 --> 00:20:59 >> Yeah,
00:21:00 --> 00:21:01 >> it's really very hard. And I I just
00:21:02 --> 00:21:04 booked I just shot the Miss Pat show.
00:21:04 --> 00:21:05 >> Oh, nice.
00:21:05 --> 00:21:06 >> With Robert Townsand.
00:21:06 --> 00:21:09 >> Oh, I love it. I love it.
00:21:09 --> 00:21:10 >> I was I was very excited.
00:21:10 --> 00:21:11 >> Yeah.
00:21:11 --> 00:21:13 >> And I going into it, I thought, "Okay,
00:21:13 --> 00:21:14 let me audition. Let me get this
00:21:14 --> 00:21:16 audition."
00:21:16 --> 00:21:20 >> Um and then I did the I did my work, got
00:21:20 --> 00:21:23 to booked it, got to set, and
00:21:24 --> 00:21:26 Robert Townsen massaged this scene and
00:21:26 --> 00:21:29 it was just glorious. I mean it was not
00:21:29 --> 00:21:33 a big scene but it was wonderful what he
00:21:33 --> 00:21:35 did and it was amazing you know I was
00:21:35 --> 00:21:39 just tickled at the craft of it all.
00:21:39 --> 00:21:39 >> Yeah.
00:21:40 --> 00:21:43 >> So that I left there just I was stoked.
00:21:43 --> 00:21:45 I went back on a high again. I Okay. All
00:21:45 --> 00:21:46 right. I'm fine.
00:21:46 --> 00:21:47 >> We're good.
00:21:47 --> 00:21:48 >> That's what we do. [laughter]
00:21:48 --> 00:21:50 >> You know the actor's life is up and down
00:21:50 --> 00:21:51 and up and down and down.
00:21:52 --> 00:21:53 >> Yes it is. And I think
00:21:53 --> 00:21:57 >> a lot of [laughter]
00:21:57 --> 00:21:59 >> but a lot of a lot of people especially
00:21:59 --> 00:22:01 the ones that's really just starting
00:22:01 --> 00:22:03 don't realize how up and down things
00:22:03 --> 00:22:04 are.
00:22:04 --> 00:22:06 >> They don't realize it and sometimes they
00:22:06 --> 00:22:08 can become a little frustrated and
00:22:08 --> 00:22:10 thinking you know that it's all these
00:22:10 --> 00:22:13 outside external forces not maybe not
00:22:13 --> 00:22:15 doing this or something's not happening
00:22:15 --> 00:22:19 here when when in fact the industry goes
00:22:19 --> 00:22:20 up and down all the time.
00:22:20 --> 00:22:23 >> All the time. Yeah. Yeah.
00:22:23 --> 00:22:26 >> And and also the actor will think, "What
00:22:26 --> 00:22:27 did I do wrong?"
00:22:28 --> 00:22:29 >> That's true. That's true.
00:22:29 --> 00:22:31 >> It's me. What did I do wrong? Where
00:22:31 --> 00:22:34 often times those external forces are
00:22:34 --> 00:22:36 the issue and it's not you.
00:22:36 --> 00:22:37 >> Yeah.
00:22:38 --> 00:22:41 >> But um yeah, remaining finding things
00:22:41 --> 00:22:44 that you love to do outside of the
00:22:44 --> 00:22:46 industry, right? Mhm.
00:22:46 --> 00:22:48 >> You know, your hobbies,
00:22:48 --> 00:22:49 >> whether it's just reading or doing
00:22:49 --> 00:22:52 crossword puzzles, whatever.
00:22:52 --> 00:22:53 >> Finding those things, finding your
00:22:53 --> 00:22:56 community, you know, writing groups.
00:22:56 --> 00:22:56 >> Yeah.
00:22:56 --> 00:22:57 >> You want to get into writing group or
00:22:58 --> 00:23:00 see or scene doing scenes with each
00:23:00 --> 00:23:00 other.
00:23:00 --> 00:23:02 >> I love that.
00:23:02 --> 00:23:03 >> You know, to to stay sharp getting
00:23:03 --> 00:23:05 finding scenes and taping them for each
00:23:05 --> 00:23:06 other.
00:23:06 --> 00:23:07 >> And of course, that's when, you know,
00:23:07 --> 00:23:09 that's where classes come in.
00:23:09 --> 00:23:11 >> You know, I know I know as actors, we
00:23:11 --> 00:23:14 don't have a lot of money.
00:23:14 --> 00:23:16 >> Yeah. Yeah.
00:23:16 --> 00:23:16 >> But
00:23:16 --> 00:23:18 >> but [laughter]
00:23:18 --> 00:23:23 >> but um the I the I read the book um
00:23:23 --> 00:23:25 Green Lights by Matthew McConna.
00:23:25 --> 00:23:26 >> Okay. Love him.
00:23:26 --> 00:23:28 >> I actually listened to it. If you listen
00:23:28 --> 00:23:31 to it, it's great because of his voice.
00:23:31 --> 00:23:33 Same same with Viola Davis. Her book was
00:23:33 --> 00:23:34 amazing.
00:23:34 --> 00:23:34 >> Yeah.
00:23:34 --> 00:23:36 >> If you haven't listened to it, he talks
00:23:36 --> 00:23:40 about maybe I shouldn't He talks about
00:23:40 --> 00:23:43 Okay. He talks about um he was sort of
00:23:43 --> 00:23:46 off the off-the cuff actor. He had he
00:23:46 --> 00:23:50 had a natural juna. Right.
00:23:50 --> 00:23:50 >> Right. Right.
00:23:50 --> 00:23:52 >> He's one that you just sort of look at
00:23:52 --> 00:23:53 and go, "Okay, that guy's got something.
00:23:53 --> 00:23:54 I don't know what it is, but he's
00:23:54 --> 00:23:56 there's something very interesting."
00:23:56 --> 00:23:57 >> Yeah.
00:23:57 --> 00:24:01 >> And he was booking smaller jobs and he
00:24:01 --> 00:24:03 booked a job and he didn't take classes.
00:24:03 --> 00:24:04 >> Okay.
00:24:04 --> 00:24:06 >> And he booked a job and he didn't look
00:24:06 --> 00:24:08 at the I think it was for small role in
00:24:08 --> 00:24:11 an indie. wasn't he wasn't famous yet
00:24:11 --> 00:24:13 >> and he said to himself, "You know what?
00:24:13 --> 00:24:15 I'm just going to get to set and then
00:24:15 --> 00:24:16 read the sides."
00:24:16 --> 00:24:17 >> Mhm.
00:24:18 --> 00:24:19 >> So, he gets to set. I guess it was one
00:24:19 --> 00:24:22 scene. He gets to set and they give him
00:24:22 --> 00:24:25 his little mini sides and it was an
00:24:25 --> 00:24:27 espanol. It was all in Spanish.
00:24:27 --> 00:24:27 >> Uh
00:24:28 --> 00:24:30 >> oh. Okay.
00:24:30 --> 00:24:32 >> So, he said he told the director, "Can I
00:24:32 --> 00:24:36 have a few minutes? [laughter]
00:24:36 --> 00:24:38 >> Let me take this class real quick.
00:24:38 --> 00:24:39 [laughter]
00:24:39 --> 00:24:41 Oh my god. I mean, I kind of appreciate
00:24:41 --> 00:24:45 the cockiness or confidence of it, but
00:24:45 --> 00:24:46 >> I No.
00:24:46 --> 00:24:47 >> Oh my god.
00:24:47 --> 00:24:48 >> You just get yourself into trouble,
00:24:48 --> 00:24:49 right?
00:24:49 --> 00:24:51 >> So, that's where preparation comes in.
00:24:51 --> 00:24:52 >> Yeah.
00:24:52 --> 00:24:53 >> A thousand%.
00:24:53 --> 00:24:55 >> I love that. I love that. Now, when
00:24:56 --> 00:24:58 opportunities start coming in, cuz we
00:24:58 --> 00:24:59 talked about, you know, how things might
00:24:59 --> 00:25:01 be slow sometimes or whatever. What
00:25:01 --> 00:25:03 separates do you think what separates
00:25:03 --> 00:25:06 the actor who continues getting hired
00:25:06 --> 00:25:09 from those who disappear after like one
00:25:09 --> 00:25:12 booking? What do you think?
00:25:12 --> 00:25:14 >> Um, I don't know. Some people might find
00:25:14 --> 00:25:16 it too difficult and say, "This is
00:25:16 --> 00:25:18 ridiculous. You know, I'm I'm not doing
00:25:18 --> 00:25:19 this anymore."
00:25:19 --> 00:25:21 >> You know, being easy. Well, being
00:25:21 --> 00:25:24 prepared, right? knowing, being
00:25:24 --> 00:25:26 professional, like I said earlier, being
00:25:26 --> 00:25:29 professional, being prepared, and and
00:25:29 --> 00:25:33 and being kind,
00:25:33 --> 00:25:36 >> being nice. I know that sounds very
00:25:36 --> 00:25:38 simplistic, but
00:25:38 --> 00:25:40 >> people want to work with nice people.
00:25:40 --> 00:25:41 >> Yeah.
00:25:41 --> 00:25:43 >> You know, don't talk to cra don't
00:25:43 --> 00:25:46 complain to someone at Crafty about the
00:25:46 --> 00:25:48 first AD because that could be his wife
00:25:48 --> 00:25:50 or vice versa.
00:25:50 --> 00:25:51 >> Yeah.
00:25:51 --> 00:25:55 Just be kind to everyone. I mean,
00:25:55 --> 00:25:57 >> it goes a long way.
00:25:57 --> 00:25:58 >> It goes a long way. I don't I don't know
00:25:58 --> 00:25:59 if I can answer that question
00:25:59 --> 00:26:02 completely. Um I mean, I've known people
00:26:02 --> 00:26:05 who have taken classes for a year
00:26:05 --> 00:26:08 >> and then said, "This is too hard.
00:26:08 --> 00:26:08 >> Wow.
00:26:08 --> 00:26:10 >> I'm I'm I don't I don't want to do this
00:26:10 --> 00:26:11 anymore." Which is fine. That's that
00:26:12 --> 00:26:12 that's great
00:26:12 --> 00:26:14 >> if you know what your limits are. You
00:26:14 --> 00:26:16 know what I mean? If you know that this
00:26:16 --> 00:26:18 something is not for you, it's but then
00:26:18 --> 00:26:20 sometimes you think things are not for
00:26:20 --> 00:26:23 you and then it totally ends up you you
00:26:23 --> 00:26:25 know what I mean? So you just never
00:26:25 --> 00:26:25 know.
00:26:25 --> 00:26:28 >> I mean in terms of auditions that's what
00:26:28 --> 00:26:30 happened with me with Stranger Things.
00:26:30 --> 00:26:31 >> Yeah.
00:26:31 --> 00:26:33 >> I did I was not auditioning for roles
00:26:33 --> 00:26:34 like that.
00:26:34 --> 00:26:36 >> I was auditioning for the Pearls.
00:26:36 --> 00:26:37 >> Yeah.
00:26:37 --> 00:26:39 >> You know upscale stuff and that came in
00:26:39 --> 00:26:42 and I thought this isn't really okay and
00:26:42 --> 00:26:43 now it's all I do.
00:26:43 --> 00:26:46 >> Yeah. [laughter]
00:26:46 --> 00:26:48 No, it it it really is a lesson because
00:26:48 --> 00:26:52 even for me as a a um host and like
00:26:52 --> 00:26:53 journalist and things like that,
00:26:53 --> 00:26:56 >> people that know me
00:26:56 --> 00:26:59 know that I'm actually kind of quiet. I
00:26:59 --> 00:27:01 don't really talk that that much.
00:27:01 --> 00:27:04 >> So, they're surprised to see I'm even
00:27:04 --> 00:27:07 surprised to see me actually doing
00:27:07 --> 00:27:09 interviews and things like that. So, you
00:27:09 --> 00:27:12 just never know what, you know, if you
00:27:12 --> 00:27:15 stick it out, what you actually would be
00:27:15 --> 00:27:18 good at or what you actually may like
00:27:18 --> 00:27:19 and didn't think that you would ever
00:27:19 --> 00:27:20 like it, you know.
00:27:20 --> 00:27:23 >> Absolutely. I I'm shy. I'm I'm very shy,
00:27:23 --> 00:27:26 so it takes it takes some Excuse me. It
00:27:26 --> 00:27:27 [clears throat] takes some prepping for
00:27:27 --> 00:27:29 me to walk into the classroom and and
00:27:29 --> 00:27:31 and be there.
00:27:31 --> 00:27:31 >> Yeah.
00:27:31 --> 00:27:32 >> Um
00:27:32 --> 00:27:33 >> but I love it.
00:27:33 --> 00:27:34 >> Yeah.
00:27:34 --> 00:27:36 >> Yeah. I love doing it. Yes. I'm I'm not
00:27:36 --> 00:27:39 the characters that I portray.
00:27:39 --> 00:27:39 >> Yeah.
00:27:40 --> 00:27:41 >> And and these two that I'm auditioning
00:27:41 --> 00:27:44 for are that type of of woman. I'm like,
00:27:44 --> 00:27:45 "Bring it.
00:27:45 --> 00:27:46 >> Bring it. [laughter]
00:27:46 --> 00:27:47 >> Let me do it."
00:27:48 --> 00:27:49 >> Awesome. Now, if you're starting if
00:27:49 --> 00:27:51 you're an actor that's just starting out
00:27:51 --> 00:27:53 and as a coach, like if they're starting
00:27:53 --> 00:27:55 out from scratch, knowing everything
00:27:55 --> 00:27:58 that you know now, what do you think you
00:27:58 --> 00:28:01 um what would your first six months look
00:28:01 --> 00:28:03 like just knowing everything you know
00:28:03 --> 00:28:03 now?
00:28:04 --> 00:28:06 >> Oh gosh. I well I have my current class
00:28:06 --> 00:28:11 of on camera basics are I'd say nine out
00:28:11 --> 00:28:16 of ten students are brand spanking new
00:28:16 --> 00:28:20 >> and what often happens with newer actors
00:28:20 --> 00:28:23 is when can I get an agent?
00:28:23 --> 00:28:24 >> Yeah.
00:28:24 --> 00:28:25 >> When can I get in front of a casting
00:28:25 --> 00:28:29 director? I'm like no [laughter]
00:28:29 --> 00:28:31 >> and they don't understand it. And you
00:28:31 --> 00:28:33 know, people, you know, watch TV or
00:28:33 --> 00:28:35 films and think it's easy. They I could
00:28:35 --> 00:28:38 do that. Acting looks easy.
00:28:38 --> 00:28:40 >> Um,
00:28:40 --> 00:28:41 learn the craft.
00:28:41 --> 00:28:42 >> Yeah.
00:28:42 --> 00:28:44 >> Of acting. There's time. There's no
00:28:44 --> 00:28:47 rush. There's no rush for anything.
00:28:47 --> 00:28:48 [clears throat] Excuse me. If you want
00:28:48 --> 00:28:51 to be famous, go to Tik Tok,
00:28:51 --> 00:28:52 >> right? Don't be an actor to become
00:28:52 --> 00:28:54 famous. Please, please, please. We're
00:28:54 --> 00:28:57 storytellers. We want to tell stories,
00:28:57 --> 00:28:59 >> good, bad, and ugly. Right.
00:29:00 --> 00:29:03 >> Learn the craft. Find an instructor that
00:29:03 --> 00:29:07 you trust. And as you're learning, then
00:29:07 --> 00:29:09 you know, you'll feel when, okay, I
00:29:09 --> 00:29:12 think I have the tools to to break down
00:29:12 --> 00:29:14 an audition side. Let me get on Actor's
00:29:14 --> 00:29:16 Access.
00:29:16 --> 00:29:18 >> Uh, let me get some head shot. Don't get
00:29:18 --> 00:29:20 head shot right away. Wait until you
00:29:20 --> 00:29:23 kind of know who you are as an actor.
00:29:23 --> 00:29:23 >> Yeah.
00:29:23 --> 00:29:26 >> As a as a human being in this new world.
00:29:26 --> 00:29:29 >> Yeah. Um,
00:29:29 --> 00:29:31 don't rush. Just don't rush it. Learn
00:29:31 --> 00:29:34 things first because an agent if you get
00:29:34 --> 00:29:36 in front of Well, I just said this to to
00:29:36 --> 00:29:38 someone the other day. He he dropped a
00:29:38 --> 00:29:41 class because he wanted to do a casting
00:29:41 --> 00:29:42 director workshop.
00:29:42 --> 00:29:43 >> Mhm.
00:29:43 --> 00:29:46 >> And I said, "You might want to take the
00:29:46 --> 00:29:47 class before you meet the casting
00:29:48 --> 00:29:48 director." Mhm.
00:29:48 --> 00:29:50 >> He didn't respond.
00:29:50 --> 00:29:52 >> Because a casting director will see you
00:29:52 --> 00:29:54 in a scene workshop, whatever.
00:29:54 --> 00:29:55 >> Mhm.
00:29:55 --> 00:29:57 >> And they might think, "Wow, what a great
00:29:58 --> 00:30:00 type. What a great look. I'll see them
00:30:00 --> 00:30:01 in a year." When they know what they're
00:30:01 --> 00:30:01 doing.
00:30:01 --> 00:30:02 >> When they know what they're doing.
00:30:02 --> 00:30:05 Absolutely. Absolutely. Wow.
00:30:06 --> 00:30:07 >> You don't want to make a bad impression
00:30:07 --> 00:30:09 because it's it doesn't go away.
00:30:09 --> 00:30:10 >> Yeah. Yeah.
00:30:10 --> 00:30:11 >> You know,
00:30:11 --> 00:30:13 >> they remember you like the casting
00:30:13 --> 00:30:15 directors and stuff. Oh, they remember
00:30:15 --> 00:30:16 you. So
00:30:16 --> 00:30:18 >> they do and they and they have notes,
00:30:18 --> 00:30:20 you know, on the back end of Actors
00:30:20 --> 00:30:21 Access.
00:30:21 --> 00:30:22 >> They take notes.
00:30:22 --> 00:30:23 >> Wow.
00:30:23 --> 00:30:26 >> So every time you know your your file
00:30:26 --> 00:30:27 pops up, oh, he auditioned for such and
00:30:27 --> 00:30:29 such and he wasn't ready and maybe we'll
00:30:29 --> 00:30:31 see him in six months. That's that sort
00:30:31 --> 00:30:31 of thing.
00:30:31 --> 00:30:33 >> They remember. Yeah,
00:30:33 --> 00:30:33 >> that's great.
00:30:33 --> 00:30:35 >> And also if you're auditioning, if
00:30:35 --> 00:30:36 you're submitting things on Actors
00:30:36 --> 00:30:37 Access,
00:30:37 --> 00:30:40 >> either confirm or or decline. Don't
00:30:40 --> 00:30:42 leave it. let them know because there
00:30:42 --> 00:30:44 are people on the other end expecting
00:30:44 --> 00:30:46 you expecting an answer from you
00:30:46 --> 00:30:49 >> and if you can't make it don't do it
00:30:49 --> 00:30:50 >> right right
00:30:50 --> 00:30:51 >> don't do it
00:30:51 --> 00:30:53 >> now you know when you spoke of Tik Tok
00:30:53 --> 00:30:54 and I'm so glad that you did because
00:30:54 --> 00:30:56 because actors often feel pressured to
00:30:56 --> 00:30:59 become influencers as well so how
00:31:00 --> 00:31:02 important do you think social media
00:31:02 --> 00:31:05 really is and you know where should
00:31:05 --> 00:31:06 actors [clears throat] avoid getting
00:31:06 --> 00:31:08 distracted because it it can literally
00:31:08 --> 00:31:10 be a distraction
00:31:10 --> 00:31:13 It can and it's, you know, the industry
00:31:13 --> 00:31:16 is changing. Um,
00:31:16 --> 00:31:19 we had a workshop. It wasn't how to
00:31:19 --> 00:31:22 become an influencer, but it was for
00:31:22 --> 00:31:26 actors how to make money from social
00:31:26 --> 00:31:27 media.
00:31:27 --> 00:31:30 >> That was that's why we did it. It was it
00:31:30 --> 00:31:31 was really terrific.
00:31:31 --> 00:31:33 >> Yeah.
00:31:33 --> 00:31:37 In my opin Well, social um
00:31:37 --> 00:31:40 Netflix isn't necessarily going to look
00:31:40 --> 00:31:42 at your social media,
00:31:42 --> 00:31:43 >> okay,
00:31:43 --> 00:31:45 >> life for a co-star role,
00:31:45 --> 00:31:46 >> right?
00:31:46 --> 00:31:47 >> I don't even know if they'll look at it
00:31:47 --> 00:31:49 for a bigger role. A smaller production,
00:31:49 --> 00:31:52 an indie production might look at your
00:31:52 --> 00:31:55 social media life and see how many
00:31:55 --> 00:31:57 followers you followers you have. And if
00:31:57 --> 00:31:58 you're in the mix for the audition and
00:31:58 --> 00:32:00 you do a good job, they might like she's
00:32:00 --> 00:32:03 got 500 followers. It would be good
00:32:03 --> 00:32:05 to get those eyeballs to our project,
00:32:05 --> 00:32:06 right?
00:32:06 --> 00:32:08 >> But I don't think it's a be all end all
00:32:08 --> 00:32:10 for social media
00:32:10 --> 00:32:11 >> for actors.
00:32:11 --> 00:32:12 >> I agree.
00:32:12 --> 00:32:14 >> I'm not on that. I'm not on that much.
00:32:14 --> 00:32:16 >> No,
00:32:16 --> 00:32:18 >> I'm gonna ask you something. It's it's
00:32:18 --> 00:32:21 it's a little little fun. Okay. So,
00:32:21 --> 00:32:21 okay,
00:32:21 --> 00:32:23 >> let's pretend a casting director called
00:32:23 --> 00:32:25 and said, "Catherine, you can play any
00:32:25 --> 00:32:27 character in television or movie or
00:32:27 --> 00:32:29 movie history,
00:32:29 --> 00:32:31 >> who are you choosing and why?"
00:32:31 --> 00:32:37 >> Oh my god.
00:32:37 --> 00:32:41 Um,
00:32:41 --> 00:32:43 that's really tough. The thing the what
00:32:43 --> 00:32:46 pops into my mind is uh Merryill Street
00:32:46 --> 00:32:47 and Sophie's Choice.
00:32:47 --> 00:32:51 >> Ah, love Merryill. Okay.
00:32:51 --> 00:32:54 I mean that performance first of all but
00:32:54 --> 00:32:58 what a layered
00:32:58 --> 00:33:01 performance she gave and what I mean I
00:33:01 --> 00:33:03 can't imagine or can imagine the
00:33:03 --> 00:33:05 research the actor does for a role like
00:33:06 --> 00:33:06 that.
00:33:06 --> 00:33:07 >> Yeah. Yeah.
00:33:07 --> 00:33:10 >> You know it was it's it's harrowing
00:33:10 --> 00:33:12 >> that that whole story. If anyone hasn't
00:33:12 --> 00:33:16 watched it watch Sophie's Choice. Um
00:33:16 --> 00:33:18 that's just popped into my head.
00:33:18 --> 00:33:19 >> Yeah. If I had more time, I'd come up
00:33:19 --> 00:33:21 with different answers maybe or other
00:33:21 --> 00:33:21 answers.
00:33:21 --> 00:33:24 >> No, that that's a great answer. That's a
00:33:24 --> 00:33:25 great answer.
00:33:25 --> 00:33:27 >> Good question. Good question.
00:33:27 --> 00:33:29 >> Now, for as far as your legacy, when one
00:33:29 --> 00:33:30 of your students finally books that
00:33:30 --> 00:33:33 dream role years after leaving your
00:33:33 --> 00:33:35 class, what's that feeling like for you?
00:33:35 --> 00:33:38 Or does it ever get old?
00:33:38 --> 00:33:42 >> Well, I have to speak to um Alexis
00:33:42 --> 00:33:44 Louderder.
00:33:44 --> 00:33:45 >> Do you know her?
00:33:45 --> 00:33:47 >> I I do not know who I don't know her.
00:33:47 --> 00:33:50 She she took classes at drama in she
00:33:50 --> 00:33:53 became a friend. I I'm sure she studied
00:33:53 --> 00:33:55 elsewhere so we can't take all of the um
00:33:55 --> 00:33:58 credit for it. And she's ambitious and I
00:33:58 --> 00:34:01 don't mean that in a pjorative way.
00:34:01 --> 00:34:03 She's she knows what she wants and she
00:34:03 --> 00:34:04 and she goes for it.
00:34:04 --> 00:34:07 >> And she's gotten she did a film called
00:34:07 --> 00:34:10 uh Cop Shop a few years ago.
00:34:10 --> 00:34:13 >> Might have been pre- pandemic.
00:34:14 --> 00:34:17 >> That sounds familiar. Okay. She was the
00:34:17 --> 00:34:19 main lead with Gerard Butler.
00:34:19 --> 00:34:20 >> Yeah,
00:34:20 --> 00:34:22 >> she was phenomenal.
00:34:22 --> 00:34:23 >> Wow.
00:34:23 --> 00:34:26 >> She was amazing. I didn't I mean I was
00:34:26 --> 00:34:28 so thrilled. I was so happy for her. I
00:34:28 --> 00:34:30 didn't think well we did that,
00:34:30 --> 00:34:30 >> right?
00:34:30 --> 00:34:32 >> You know, she learned she learned basics
00:34:32 --> 00:34:33 with us,
00:34:33 --> 00:34:35 >> but she went on and forged her own
00:34:35 --> 00:34:38 career and she didn't let it happen to
00:34:38 --> 00:34:40 her. She she made it happen.
00:34:40 --> 00:34:43 >> Yeah. agencies, managers, you know, the
00:34:44 --> 00:34:47 whole world. I'm always thrilled when
00:34:47 --> 00:34:48 somebody books something. I got two
00:34:48 --> 00:34:52 emails last week from new students who
00:34:52 --> 00:34:55 who book things and it's it's great. I
00:34:55 --> 00:34:57 love it. I love it. I love it.
00:34:57 --> 00:35:00 >> Yeah. I I love it when when Jara mostly
00:35:00 --> 00:35:01 gets, you know, she gets to call and she
00:35:02 --> 00:35:04 has to call her the uh talent and tell
00:35:04 --> 00:35:06 that they booked something. She says
00:35:06 --> 00:35:09 that there's nothing else like that.
00:35:09 --> 00:35:09 >> Yeah.
00:35:10 --> 00:35:13 >> Yeah. Yeah, I love AMT. Uh, my agency,
00:35:13 --> 00:35:15 they all three agents get on the phone.
00:35:15 --> 00:35:15 >> Uhhuh.
00:35:16 --> 00:35:17 >> And I I answer the phone. I went and
00:35:17 --> 00:35:20 they say, "Hi, cat. Hi, cat." Okay. What
00:35:20 --> 00:35:22 is it? I know [laughter] what that is.
00:35:22 --> 00:35:25 >> I love it. I love it. Now, I'm a firm
00:35:25 --> 00:35:28 believer also that people once they get
00:35:28 --> 00:35:30 to know you as a person, they they learn
00:35:30 --> 00:35:33 to trust you and things like that. So, I
00:35:33 --> 00:35:36 have some fun personal questions. It's
00:35:36 --> 00:35:38 not personal personal. I promise this is
00:35:38 --> 00:35:39 all fun.
00:35:39 --> 00:35:39 >> [laughter]
00:35:39 --> 00:35:41 >> It's all fun. It's rapid fire, but it's
00:35:41 --> 00:35:44 it's just it gives you a gives people an
00:35:44 --> 00:35:46 idea of who you are.
00:35:46 --> 00:35:49 >> You ready? Okay. So, give me the first
00:35:49 --> 00:35:52 answer that comes to mind. Peanut butter
00:35:52 --> 00:35:55 or chocolate?
00:35:55 --> 00:35:57 >> Chocolate.
00:35:57 --> 00:35:58 [laughter]
00:35:58 --> 00:35:59 >> Coffee or tea?
00:35:59 --> 00:36:01 >> Coffee.
00:36:01 --> 00:36:05 >> Morning person or night owl? Uh
00:36:05 --> 00:36:08 um I'm kind of in the middle, but I hate
00:36:08 --> 00:36:10 waking up early and I'm in the wrong
00:36:10 --> 00:36:11 industry, aren't I?
00:36:11 --> 00:36:12 >> All right. [laughter]
00:36:12 --> 00:36:14 >> Okay. Beach or mountains?
00:36:14 --> 00:36:15 >> Beach.
00:36:15 --> 00:36:16 >> Yes. Yes.
00:36:16 --> 00:36:18 >> Dirty yell.
00:36:18 --> 00:36:22 >> Favorite comfort food?
00:36:22 --> 00:36:25 >> Favorite comfort food. That would be um
00:36:25 --> 00:36:27 [laughter] I can't believe I'm telling
00:36:27 --> 00:36:30 this. That would be Ruffles potato chips
00:36:30 --> 00:36:33 and French onion dip. Oh, that's my
00:36:33 --> 00:36:36 favorite. That is my absolute favorite.
00:36:36 --> 00:36:40 Okay. Comedy or drama?
00:36:40 --> 00:36:43 [laughter]
00:36:43 --> 00:36:44 >> Comedy.
00:36:44 --> 00:36:47 >> Okay. Last show you binged watched?
00:36:48 --> 00:36:50 >> Oh, Shisa.
00:36:50 --> 00:36:52 Um,
00:36:52 --> 00:36:54 I'm watching stuff all the time.
00:36:54 --> 00:36:57 >> Yeah.
00:36:57 --> 00:37:01 >> Oh, god. DTF Detroit. I binge watched.
00:37:01 --> 00:37:05 Um, there's a a German show on Netflix
00:37:05 --> 00:37:06 called Cassandra.
00:37:06 --> 00:37:08 >> Uhhuh.
00:37:08 --> 00:37:09 >> I binge watch. That's something
00:37:10 --> 00:37:10 interesting.
00:37:10 --> 00:37:11 >> Okay.
00:37:11 --> 00:37:14 >> Yeah, that was that was fun.
00:37:14 --> 00:37:16 >> Love it. One actor you still love to
00:37:16 --> 00:37:19 work with?
00:37:20 --> 00:37:23 >> I would still love to work Oh,
00:37:23 --> 00:37:25 um
00:37:25 --> 00:37:28 gosh. Well, I worked with Dairo,
00:37:28 --> 00:37:31 so that was pretty amazing. Yeah.
00:37:31 --> 00:37:33 >> Um
00:37:33 --> 00:37:36 I don't know. I I think Merryill would
00:37:36 --> 00:37:37 be fun to work with, I think. I don't
00:37:37 --> 00:37:38 know. I'd be so intimidated, though.
00:37:38 --> 00:37:42 >> Yeah. Me, too.
00:37:42 --> 00:37:44 >> Mouth open like Yeah.
00:37:44 --> 00:37:47 >> Vio Yeah. Viola Davis talks about it in
00:37:47 --> 00:37:49 her book. She when she did uh Doubt.
00:37:49 --> 00:37:50 >> Yeah.
00:37:50 --> 00:37:53 >> And she was already something. Viola was
00:37:53 --> 00:37:55 and she and she worked with Merryill.
00:37:55 --> 00:37:56 She was nervous. She was a nervous
00:37:56 --> 00:37:57 wreck.
00:37:57 --> 00:38:00 >> Yeah. Okay. So, if you weren't an actor,
00:38:00 --> 00:38:03 what would you be?
00:38:03 --> 00:38:05 >> Um, [sighs and gasps]
00:38:05 --> 00:38:07 probably I would have gone into
00:38:08 --> 00:38:09 psychology
00:38:09 --> 00:38:12 >> counseling, which I mean those two kind
00:38:12 --> 00:38:12 of melt
00:38:12 --> 00:38:14 >> kind of marry each other. Yeah. Yeah.
00:38:14 --> 00:38:16 >> Yeah. Or maybe criminal justice.
00:38:16 --> 00:38:19 >> Oh, nice. Nice. That's different.
00:38:19 --> 00:38:22 >> I It is. Well, I I enjoy a true crime
00:38:22 --> 00:38:22 >> Yeah.
00:38:22 --> 00:38:25 >> I enjoy a true crime podcast or show.
00:38:26 --> 00:38:26 >> Love it.
00:38:26 --> 00:38:28 >> Love documentaries. What's one thing
00:38:28 --> 00:38:32 your students always tease you about?
00:38:32 --> 00:38:38 >> They don't tease me. [laughter]
00:38:38 --> 00:38:39 >> They don't tease me.
00:38:39 --> 00:38:41 >> I don't know. What do they tease me
00:38:41 --> 00:38:45 about?
00:38:45 --> 00:38:46 >> I I have to pass on that one. I can't
00:38:46 --> 00:38:48 think of what they tease her.
00:38:48 --> 00:38:50 >> They don't tease her. They don't tease
00:38:50 --> 00:38:50 her.
00:38:50 --> 00:38:52 >> The newer ones certainly don't. Maybe my
00:38:52 --> 00:38:56 OC40 teachers. Maybe they teased me
00:38:56 --> 00:38:57 about, you know, the the references, the
00:38:57 --> 00:38:59 old TV show references.
00:38:59 --> 00:39:01 >> A that is hilarious. Okay, so this is
00:39:01 --> 00:39:04 the last question. Finish the sentence.
00:39:04 --> 00:39:12 A successful actor is someone who
00:39:12 --> 00:39:14 studies,
00:39:14 --> 00:39:19 is positive, and smart.
00:39:19 --> 00:39:20 >> Love it.
00:39:20 --> 00:39:21 >> Be smart.
00:39:21 --> 00:39:21 >> Yeah.
00:39:22 --> 00:39:25 >> Be logical. H. Now, there are actors
00:39:25 --> 00:39:27 watching today who may be thinking about
00:39:27 --> 00:39:29 giving up. So, maybe they haven't booked
00:39:29 --> 00:39:32 in a while or they had questions whether
00:39:32 --> 00:39:35 you know they have what it takes. If you
00:39:35 --> 00:39:37 could speak directly to the actor for
00:39:37 --> 00:39:39 just a few seconds, what would you want
00:39:39 --> 00:39:41 them to hear?
00:39:41 --> 00:39:44 >> I would tell you people to
00:39:44 --> 00:39:45 don't give up until you've really tried.
00:39:46 --> 00:39:48 It's a very difficult industry
00:39:48 --> 00:39:51 >> and and that's at many levels and the
00:39:51 --> 00:39:53 industry right now well it's coming I I
00:39:53 --> 00:39:55 feel like it's coming back a little bit
00:39:55 --> 00:39:57 this in the past few months as I said
00:39:57 --> 00:40:00 before 2025 was bad everywhere
00:40:00 --> 00:40:02 just don't give up if it burns inside of
00:40:02 --> 00:40:04 you
00:40:04 --> 00:40:06 >> then continue stay in classes so even if
00:40:06 --> 00:40:08 you're not booking you're doing
00:40:08 --> 00:40:10 something for your craft and surround
00:40:10 --> 00:40:12 yourself
00:40:12 --> 00:40:16 with fountains not drinks trains.
00:40:16 --> 00:40:17 >> Love that. Love that.
00:40:17 --> 00:40:19 >> Right. I mean, if you're with people
00:40:19 --> 00:40:20 that say, you know, how's your little
00:40:20 --> 00:40:22 acting thing going? That that's that's
00:40:22 --> 00:40:24 negative and that doesn't do anything
00:40:24 --> 00:40:24 for you,
00:40:24 --> 00:40:25 >> right?
00:40:25 --> 00:40:27 >> So, surround yourself, again, staying in
00:40:27 --> 00:40:28 class, you're going to build your
00:40:28 --> 00:40:30 community and you you're all you all
00:40:30 --> 00:40:32 want the same goal.
00:40:32 --> 00:40:34 >> And also, I would say do not judge
00:40:34 --> 00:40:37 yourself against other actors. Please, I
00:40:37 --> 00:40:38 beg of you.
00:40:38 --> 00:40:39 >> Do not say, "Well, she got three
00:40:39 --> 00:40:41 auditions and I didn't get any." She's
00:40:41 --> 00:40:43 not you. You're not her.
00:40:43 --> 00:40:43 >> Right.
00:40:43 --> 00:40:47 >> Right. We are we're each of us. So, you
00:40:47 --> 00:40:51 know, unique, obviously. Duh. There's no
00:40:51 --> 00:40:53 there's not another Katherine Dyer,
00:40:53 --> 00:40:55 right? I'm the only one that can do what
00:40:55 --> 00:40:57 I do. So, you can't compare yourself to
00:40:57 --> 00:40:58 what I do,
00:40:58 --> 00:40:59 >> right?
00:40:59 --> 00:40:59 >> Absolutely.
00:40:59 --> 00:41:02 >> Yeah. Just try to stay positive.
00:41:02 --> 00:41:05 >> Now, just as we closing this out,
00:41:05 --> 00:41:08 >> is there anyone that you want to say
00:41:08 --> 00:41:11 hello to, say thank you to, or anybody
00:41:11 --> 00:41:12 like that?
00:41:12 --> 00:41:15 >> Hell no. No, I'm kidding. [laughter]
00:41:15 --> 00:41:18 >> And with that,
00:41:18 --> 00:41:20 >> listen, you know, my Drama Inc. family
00:41:20 --> 00:41:23 has been uh remarkable.
00:41:23 --> 00:41:23 >> Yeah.
00:41:23 --> 00:41:26 >> Um our, you know, our instructors, our
00:41:26 --> 00:41:30 students, we and we really have become a
00:41:30 --> 00:41:34 family and and they make me very happy
00:41:34 --> 00:41:37 and they are very supportive of me as I
00:41:37 --> 00:41:41 am, of them. We have our um it's called
00:41:41 --> 00:41:43 wine on the belt line. The instructors
00:41:43 --> 00:41:45 and our studio assistants, we get
00:41:45 --> 00:41:47 together at this at the studio because
00:41:47 --> 00:41:49 it we open a door and it it's open onto
00:41:49 --> 00:41:50 the belt line
00:41:50 --> 00:41:52 >> and we just kind of hang. Even though we
00:41:52 --> 00:41:53 all work together, we still get together
00:41:54 --> 00:41:57 and we hang and we you know, we might
00:41:57 --> 00:41:59 complain, we might, you know, not
00:41:59 --> 00:42:02 complain. We we are joyous in other
00:42:02 --> 00:42:03 people's successes.
00:42:03 --> 00:42:06 >> So, I got to say my my drama inc peeps.
00:42:06 --> 00:42:08 >> Love it. Love it. Well, hello drama ink
00:42:08 --> 00:42:09 peeps. I'm glad that you joined us
00:42:09 --> 00:42:11 today.
00:42:11 --> 00:42:13 >> But Katherine, thank you so much for
00:42:13 --> 00:42:14 being here, for sharing your
00:42:14 --> 00:42:17 experiences, your wisdom, your
00:42:17 --> 00:42:20 heartfelt, and you know, um, advice. I
00:42:20 --> 00:42:21 know actors everywhere are going to walk
00:42:21 --> 00:42:23 away being encouraged and inspired by
00:42:23 --> 00:42:26 this conversation. And with that being
00:42:26 --> 00:42:28 said, thank you guys for watching. Make
00:42:28 --> 00:42:30 sure you hit that subscribe, like, and
00:42:30 --> 00:42:32 share. We're going to continue bringing
00:42:32 --> 00:42:33 conversations with the industry
00:42:33 --> 00:42:35 professionals who are here to educate
00:42:35 --> 00:42:37 and inspire and help you grow in your
00:42:37 --> 00:42:40 career. Until next time, I'm Deia Avery
00:42:40 --> 00:42:42 and this has been the Demia Avery Show,
00:42:42 --> 00:42:44 the industry. Remember, I see you, we
00:42:44 --> 00:42:46 see you, and it's great to be seen.
00:42:46 --> 00:42:48 Thank you so much, Catherine.
00:42:48 --> 00:42:51 >> Thank you, Deia. [laughter]