What do agents REALLY look for when considering an actor for representation—and what can make them lose interest?
On this episode of The Demia Avery Show – The Industry, I sit down with David Doan, Vice President of Emerging Talent at CESD Talent Agency, for a fun and informative conversation about what actors need to know about navigating the entertainment industry.
David brings a unique perspective because he's seen this business from several sides of the table—as an agent, casting director and talent manager. Before CESD, he worked in casting at Nickelodeon on projects including VICTORiOUS and Big Time Rush, and he's spent more than two decades working with emerging performers.
We talk about submitting to agents, what “marketable” really means, training, the mysterious “it factor,” working with young performers and their parents, how the industry has changed, and much more.
And because we can't be serious the whole time, David also plays “YES, NO…OR IT DEPENDS?” 😂 I give him some situations actors might find themselves in—and he has to tell me whether it's a YES, a NO, or…well…it depends!
🎬 If you're an actor, parent of a young performer, acting coach or anyone trying to better understand how representation works, this conversation is for you.
SUBSCRIBE to @thedemiaaveryshow for more conversations with casting directors, agents, managers, actors and other entertainment industry professionals.
#DavidDoan #CESDTalentAgency #TheDemiaAveryShow #TheIndustry #ActingTips #Actors #TalentAgent #ActingCareer #ActorAdvice #CastingDirector #TalentManager #EmergingTalent #ActingIndustry #EntertainmentIndustry #ActorLife
00:00:00 --> 00:00:04 If you got a dream, come closer. [music]
00:00:04 --> 00:00:07 If you want to shine, come over. We're
00:00:07 --> 00:00:11 breaking all the rules tonight.
00:00:11 --> 00:00:12 Yeah, we stepping [music]
00:00:12 --> 00:00:17 in the spotlight. This the industry
00:00:17 --> 00:00:17 [music]
00:00:17 --> 00:00:21 where everybody trying to be
00:00:21 --> 00:00:27 [music] lights.
00:00:27 --> 00:00:30 >> [music]
00:00:30 --> 00:00:32 >> Hello everyone. This is Demia Avery with
00:00:32 --> 00:00:35 the Demia Avery Show, the industry. And
00:00:35 --> 00:00:37 my guest today has had the rare
00:00:37 --> 00:00:40 opportunity to see the industry from
00:00:40 --> 00:00:42 just about every side of the table as a
00:00:42 --> 00:00:45 talent manager, a casting director, and
00:00:45 --> 00:00:47 now as an agent. Along the way, he's
00:00:47 --> 00:00:49 helped cast shows like Victorious and
00:00:49 --> 00:00:52 Big Time Rush. And he earned a daytime
00:00:52 --> 00:00:54 Annie nomination for casting. And today,
00:00:54 --> 00:00:57 he helps discover and develop emerging
00:00:57 --> 00:01:01 talent as VP of emerging talent at CESD
00:01:01 --> 00:01:03 talent agency in New York City. So
00:01:04 --> 00:01:05 actors, you might want to pay attention
00:01:05 --> 00:01:07 to this one. Please welcome to the Deia
00:01:07 --> 00:01:11 Avery Show, David Don. Welcome.
00:01:11 --> 00:01:12 >> Thank you so much, Deia. I appreciate
00:01:12 --> 00:01:14 you having me. H
00:01:14 --> 00:01:15 >> You're quite welcome. And I am saying
00:01:15 --> 00:01:17 that right. The last name right is
00:01:17 --> 00:01:20 >> you are. Yep. Like phone.
00:01:20 --> 00:01:23 >> Got it. Got it. Got it. Now look. Okay.
00:01:23 --> 00:01:26 So like I said, you've been a manager, a
00:01:26 --> 00:01:29 casting director, agent. You basically
00:01:29 --> 00:01:32 sat in every chair an actor is nervous
00:01:32 --> 00:01:34 about.
00:01:34 --> 00:01:36 How has seeing the business from all
00:01:36 --> 00:01:38 those different sides changed the way
00:01:38 --> 00:01:40 you look at talent?
00:01:40 --> 00:01:43 you know, I think more so being on the
00:01:43 --> 00:01:48 casting side changes how I um how I am
00:01:48 --> 00:01:50 an agent and you know, I was a manager
00:01:50 --> 00:01:52 first and that's kind of where I learned
00:01:52 --> 00:01:53 the business. But when I was hired at
00:01:54 --> 00:01:56 Nickelodeon, um just seeing things from
00:01:56 --> 00:01:59 the other side really changed my view of
00:01:59 --> 00:02:00 how this all works.
00:02:00 --> 00:02:03 >> Um you know, when you're a rep, an agent
00:02:03 --> 00:02:04 or a manager, you're fighting to get
00:02:04 --> 00:02:06 appointments and getting your actors
00:02:06 --> 00:02:09 seen. Back in the day when I started,
00:02:09 --> 00:02:10 everyone was going in the room for
00:02:10 --> 00:02:12 auditions. So, you didn't know what they
00:02:12 --> 00:02:14 were doing. You didn't know what you
00:02:14 --> 00:02:16 know was happening in that room. Now,
00:02:16 --> 00:02:18 it's very different because everything
00:02:18 --> 00:02:20 is self tape and we're seeing it come
00:02:20 --> 00:02:22 through our desks before it goes to
00:02:22 --> 00:02:25 casting. But just being on the casting
00:02:25 --> 00:02:28 side and seeing multiple people every
00:02:28 --> 00:02:31 day doing the same audition and
00:02:31 --> 00:02:34 different takes on it really kind of
00:02:34 --> 00:02:36 opened my eyes to what really works.
00:02:36 --> 00:02:39 Because if you're an agent and you see,
00:02:39 --> 00:02:40 you know, a couple auditions for the
00:02:40 --> 00:02:43 same role, you can, you know, kind of
00:02:43 --> 00:02:45 identify what works within that small
00:02:45 --> 00:02:47 group of people. But when you're seeing
00:02:47 --> 00:02:49 a really large amount of actors doing
00:02:50 --> 00:02:52 the same thing, it becomes very clear
00:02:52 --> 00:02:54 what kind of pops and what works and
00:02:54 --> 00:02:56 what you know is people are responding
00:02:56 --> 00:02:57 to.
00:02:57 --> 00:02:59 >> Yeah. Now again, and you mentioned
00:02:59 --> 00:03:02 Nickelodeon and during the area like
00:03:02 --> 00:03:05 Victorious and the big time push. When
00:03:05 --> 00:03:08 you look at back at that time,
00:03:08 --> 00:03:11 >> uh, and you mentioned this briefly,
00:03:11 --> 00:03:15 >> what I guess still carries with you, is
00:03:15 --> 00:03:18 that, you know, from that time period,
00:03:18 --> 00:03:20 is that what still carries with you now
00:03:20 --> 00:03:22 going forward?
00:03:22 --> 00:03:24 Yeah, I mean it is a very different time
00:03:24 --> 00:03:26 in the industry. You know, uh
00:03:26 --> 00:03:28 Nickelodeon doesn't even have a New York
00:03:28 --> 00:03:31 casting office. Everything is kind of
00:03:31 --> 00:03:33 hired out through third party uh casting
00:03:33 --> 00:03:35 directors. But back in the day when I
00:03:35 --> 00:03:37 was there, yeah, we were seeing people
00:03:37 --> 00:03:40 in 1515 Broadway, you know, in in the
00:03:40 --> 00:03:44 MTV building where everything was uh VH1
00:03:44 --> 00:03:45 and all of that. It it was a very
00:03:45 --> 00:03:48 exciting time. Um, I think, you know,
00:03:48 --> 00:03:50 just what I carry is everything that
00:03:50 --> 00:03:51 I've learned from being in that
00:03:51 --> 00:03:53 building, not just at Nickelodeon, but
00:03:53 --> 00:03:56 just being in that massive building.
00:03:56 --> 00:03:59 >> Um, and you know, just learning that
00:03:59 --> 00:04:02 side of the business uh was a very
00:04:02 --> 00:04:06 valuable asset for me to as being an
00:04:06 --> 00:04:08 agent uh today.
00:04:08 --> 00:04:10 >> I would imagine with all those different
00:04:10 --> 00:04:13 uh companies, entities, is it was it a
00:04:13 --> 00:04:15 lot of chaos? Like fun chaos, good
00:04:15 --> 00:04:17 chaos? Oh yeah. No, it was a super fun
00:04:17 --> 00:04:19 building to work in. You know that like
00:04:19 --> 00:04:21 TRL was in that building if you remember
00:04:22 --> 00:04:24 back in the day where aging myself a
00:04:24 --> 00:04:26 little bit. But um yeah, it was just it
00:04:26 --> 00:04:29 was just a really fun vibe and
00:04:29 --> 00:04:31 atmosphere to be in. You know, really
00:04:31 --> 00:04:35 creative people um all seemingly loving
00:04:36 --> 00:04:39 their jobs and just a really great vibe
00:04:40 --> 00:04:42 uh to be in
00:04:42 --> 00:04:44 >> now. Okay. So, you're an agent now?
00:04:44 --> 00:04:47 >> Yes. with uh CESD when you're
00:04:47 --> 00:04:50 considering signing someone? What's
00:04:50 --> 00:04:52 grabbing your attention these days? And
00:04:52 --> 00:04:55 and has what you're looking for, has
00:04:55 --> 00:04:57 that changed throughout the years?
00:04:57 --> 00:04:59 >> Yeah, I think it changes all the time to
00:04:59 --> 00:05:01 be honest. You follow the trends
00:05:01 --> 00:05:02 obviously. You want to make sure that
00:05:02 --> 00:05:05 you have what people are looking for.
00:05:05 --> 00:05:07 Um, you know, I work a lot with young
00:05:07 --> 00:05:10 talent, um, with a very strong, uh,
00:05:10 --> 00:05:13 emphasis on 18 to early 20s because that
00:05:13 --> 00:05:15 seems to be
00:05:15 --> 00:05:17 >> what everyone wants these days, you
00:05:17 --> 00:05:19 know, especially 18 to play younger. U,
00:05:19 --> 00:05:21 but I also work with a lot of young
00:05:21 --> 00:05:24 people, younger people, kids. Um, so,
00:05:24 --> 00:05:26 you know, it depends. You know,
00:05:26 --> 00:05:29 sometimes I look for
00:05:30 --> 00:05:32 actors of, you know, that might be
00:05:32 --> 00:05:34 different and unique that's not on my
00:05:34 --> 00:05:37 list already. Um, you know, we try not
00:05:37 --> 00:05:39 to have too many of the same types on
00:05:39 --> 00:05:41 our list. Um, and just, you know,
00:05:41 --> 00:05:43 interesting people with diverse
00:05:44 --> 00:05:47 backgrounds and skill sets. Um, I think
00:05:47 --> 00:05:49 is all something that we pay attention
00:05:49 --> 00:05:52 to. And like I said, it depending on
00:05:52 --> 00:05:54 what my list looks like currently, I may
00:05:54 --> 00:05:57 be like, okay, I need this type or I
00:05:57 --> 00:05:59 need this, you know, ethnicity. I I
00:05:59 --> 00:06:01 don't have anyone in this category. So,
00:06:01 --> 00:06:03 I pay attention to that as well. But
00:06:03 --> 00:06:05 then there's also times where I will
00:06:05 --> 00:06:07 meet an actor where I'm like, I don't
00:06:07 --> 00:06:09 need this type.
00:06:09 --> 00:06:11 >> And they'll blow me away and I'm like,
00:06:11 --> 00:06:13 okay, I love this person. I want to work
00:06:13 --> 00:06:15 with you. So it's sometimes it's about
00:06:15 --> 00:06:18 type and age and sometimes it's about
00:06:18 --> 00:06:21 something completely different
00:06:21 --> 00:06:23 >> and you just kind of know when you see
00:06:23 --> 00:06:24 it
00:06:24 --> 00:06:27 >> if it's someone that you are responding
00:06:27 --> 00:06:30 to and agents are have all every we all
00:06:30 --> 00:06:32 have different opinions and different
00:06:32 --> 00:06:33 thoughts like I've certainly passed on
00:06:33 --> 00:06:35 people that have gone to become huge
00:06:36 --> 00:06:38 stars and you know and I've signed
00:06:38 --> 00:06:40 people that have never booked a job but
00:06:40 --> 00:06:42 it's not really about that for me I
00:06:42 --> 00:06:44 think it's about just finding people
00:06:44 --> 00:06:47 that you believe in and support and want
00:06:47 --> 00:06:49 to be a part of their journey.
00:06:49 --> 00:06:51 >> Now, you know what? It's so funny
00:06:51 --> 00:06:55 because I I know from our side of things
00:06:55 --> 00:06:56 and I want to know if this this happens
00:06:56 --> 00:06:59 with you too that a lot of actors that
00:06:59 --> 00:07:02 submit to you all
00:07:02 --> 00:07:06 >> they they feel like sometimes that is re
00:07:06 --> 00:07:09 a rejection on their talent as opposed
00:07:09 --> 00:07:15 to like I already have five of the same
00:07:15 --> 00:07:15 kind of
00:07:15 --> 00:07:16 >> right
00:07:16 --> 00:07:19 >> character and I mean not character but
00:07:19 --> 00:07:21 the actor
00:07:21 --> 00:07:23 Do you Yeah. Do you get that? And do you
00:07:23 --> 00:07:25 find that some people find it as being
00:07:25 --> 00:07:26 rejection?
00:07:26 --> 00:07:30 >> Um I do. I mean, if I responded to every
00:07:30 --> 00:07:32 uh submission email that I get, like
00:07:32 --> 00:07:34 cold submission in my email every day, I
00:07:34 --> 00:07:36 would not be doing my job because they
00:07:36 --> 00:07:38 come a lot.
00:07:38 --> 00:07:40 >> I do look at every, you know, email that
00:07:40 --> 00:07:42 comes in. Um, you know, if it's someone
00:07:42 --> 00:07:46 that is, uh, you know, sub submitting to
00:07:46 --> 00:07:47 me that's in their 50s, I don't even
00:07:47 --> 00:07:49 look at their materials because I don't
00:07:49 --> 00:07:51 focus on that age. If it's someone that
00:07:51 --> 00:07:53 looks interesting, I'll pass it along to
00:07:53 --> 00:07:56 the larger group at the agency that only
00:07:56 --> 00:07:58 focuses on 18 plus.
00:07:58 --> 00:07:58 >> Okay.
00:07:58 --> 00:08:02 >> Um, but, you know, it's it's hard. It's
00:08:02 --> 00:08:03 really hard out there for actors. I know
00:08:03 --> 00:08:06 there's so many really talented folks
00:08:06 --> 00:08:09 that can't find representation, and it's
00:08:09 --> 00:08:10 not always about their talent. It's
00:08:10 --> 00:08:13 sometimes about timing, finding the
00:08:13 --> 00:08:16 right fit, um an agent that you know
00:08:16 --> 00:08:18 really responds to your work or your
00:08:18 --> 00:08:22 materials. Um so yeah, there is I think
00:08:22 --> 00:08:24 a lot of uh rejection out there that
00:08:24 --> 00:08:29 actors feel from agents. Um and I I feel
00:08:29 --> 00:08:30 like most of it is coming that they're
00:08:30 --> 00:08:33 just not getting responses. Um, and so I
00:08:33 --> 00:08:36 encourage people to like follow up and
00:08:36 --> 00:08:39 you know it's because one at one point I
00:08:39 --> 00:08:41 may not respond to someone and six
00:08:41 --> 00:08:43 months later I might
00:08:43 --> 00:08:45 >> actually respond to someone and whether
00:08:45 --> 00:08:47 it's in their materials or their updated
00:08:47 --> 00:08:51 marketing materials um head shot or you
00:08:51 --> 00:08:52 know even a self taped scene that
00:08:52 --> 00:08:55 they've done that you know will give us
00:08:55 --> 00:08:57 a sense of what they do
00:08:57 --> 00:08:59 >> is I think really helpful but yeah it's
00:08:59 --> 00:09:01 very it's very tough um I think for a
00:09:01 --> 00:09:02 lot of actors
00:09:02 --> 00:09:05 uh seeking representation
00:09:05 --> 00:09:06 >> today.
00:09:06 --> 00:09:09 >> Now, [snorts] okay, so actors I I get
00:09:10 --> 00:09:13 this in my email and these are questions
00:09:13 --> 00:09:14 that I get all the time, but the one
00:09:14 --> 00:09:17 question that I get most is they say
00:09:17 --> 00:09:20 that they hear the word marketable all
00:09:20 --> 00:09:23 the time. Like, you know, sometimes they
00:09:23 --> 00:09:25 have absolutely no idea what being
00:09:25 --> 00:09:28 marketable means. And and what would you
00:09:28 --> 00:09:32 say from your standpoint someone would
00:09:32 --> 00:09:34 be marketable to you?
00:09:34 --> 00:09:38 >> Um I think the materials really speak
00:09:38 --> 00:09:41 volumes um as to if someone's
00:09:41 --> 00:09:42 marketable, especially if they're brand
00:09:42 --> 00:09:44 new and they don't have you know
00:09:44 --> 00:09:48 professional reel or a you know a a a
00:09:48 --> 00:09:50 really stacked resume. Mhm.
00:09:50 --> 00:09:53 >> Marketable means someone that you can
00:09:53 --> 00:09:55 see,
00:09:55 --> 00:09:58 you know, a need for in the industry.
00:09:58 --> 00:10:01 Like right now, there's a huge um need
00:10:01 --> 00:10:04 for, as I mentioned earlier, that 18 to
00:10:04 --> 00:10:07 early 20s range that can play younger.
00:10:07 --> 00:10:09 There's a there's so many shows out
00:10:09 --> 00:10:12 there that want that right now. Um, you
00:10:12 --> 00:10:14 know, uh, I think the only exception to
00:10:14 --> 00:10:16 that is Disney Channel, which they want
00:10:16 --> 00:10:18 real teens, but for the most part,
00:10:18 --> 00:10:19 you're seeing all of these series come
00:10:19 --> 00:10:22 out and they're you're they'll say 18 to
00:10:22 --> 00:10:24 play younger. And we still deal with
00:10:24 --> 00:10:27 certain types um, like,
00:10:27 --> 00:10:29 >> you know, the high school quarterback
00:10:29 --> 00:10:31 and, you know, the the cheerleader, you
00:10:32 --> 00:10:33 know, there are still those sort of
00:10:33 --> 00:10:35 stock characters that people are looking
00:10:35 --> 00:10:39 for. They're not as um defined as they
00:10:39 --> 00:10:41 were back in the day, I would say. You
00:10:41 --> 00:10:43 know, um like when I was at Nickelodeon
00:10:43 --> 00:10:46 and the during the Victoria search, they
00:10:46 --> 00:10:48 were very specific types that they were
00:10:48 --> 00:10:52 looking for. Um so I think just being
00:10:52 --> 00:10:56 mark marketable is being something that
00:10:56 --> 00:10:59 is of I mean that is just trending in
00:10:59 --> 00:11:01 the industry and that's always going to
00:11:01 --> 00:11:04 be I think the case with this age range
00:11:04 --> 00:11:07 of 18 to early 20s. Um, and just being a
00:11:07 --> 00:11:09 specific,
00:11:09 --> 00:11:12 you know, having your own sort of unique
00:11:12 --> 00:11:14 look and style and, you know,
00:11:14 --> 00:11:15 >> right,
00:11:15 --> 00:11:18 >> is is is I think also very important,
00:11:18 --> 00:11:20 but then you have like those roles that
00:11:20 --> 00:11:23 go to the people that are exactly what
00:11:23 --> 00:11:25 they're looking for physically and, you
00:11:25 --> 00:11:27 know, uh, they present themselves
00:11:27 --> 00:11:29 exactly like what they're looking for,
00:11:29 --> 00:11:30 you know, and then, um,
00:11:30 --> 00:11:33 >> like I said, like the jock and the band
00:11:33 --> 00:11:35 geek and there's all these sort of stock
00:11:35 --> 00:11:37 characters, you know, that start that
00:11:37 --> 00:11:39 they start with and this is the type
00:11:39 --> 00:11:41 we're looking for. And then oftentimes
00:11:41 --> 00:11:43 through the audition process that can
00:11:43 --> 00:11:43 change.
00:11:43 --> 00:11:44 >> Yeah.
00:11:44 --> 00:11:46 >> And you'll see what they started looking
00:11:46 --> 00:11:48 at has shifted a little bit. And
00:11:48 --> 00:11:51 sometimes that comes from the actors
00:11:51 --> 00:11:53 that they're seeing and they're starting
00:11:53 --> 00:11:57 to say, "Okay, now I can open my mind to
00:11:57 --> 00:11:59 this character a little bit more." Um
00:11:59 --> 00:12:01 because we've all seen roles that have
00:12:01 --> 00:12:04 been released one way and they go
00:12:04 --> 00:12:06 completely other direction by the time
00:12:06 --> 00:12:08 they're through the process.
00:12:08 --> 00:12:10 >> Yeah. Because I would imagine and being
00:12:10 --> 00:12:12 marketable kind of summing up what
00:12:12 --> 00:12:14 you're saying, it's ever changing. So
00:12:14 --> 00:12:17 what was what was marketable at this
00:12:17 --> 00:12:20 point is something totally different
00:12:20 --> 00:12:23 now. So I would have just just go in
00:12:23 --> 00:12:25 there and just do you. You know what I
00:12:25 --> 00:12:27 mean? because you just don't know and
00:12:27 --> 00:12:31 you can't change your your you know the
00:12:32 --> 00:12:35 whole personality of you by what every
00:12:35 --> 00:12:37 which way that the wind blows because it
00:12:37 --> 00:12:39 doesn't come across authentic. Would you
00:12:39 --> 00:12:40 agree with that?
00:12:40 --> 00:12:42 >> I totally agree with that. You can
00:12:42 --> 00:12:44 certainly costume yourself up or you
00:12:44 --> 00:12:48 know put your put you know certain
00:12:48 --> 00:12:51 hairds or makeup to kind of uh hint at
00:12:51 --> 00:12:53 what you think they're looking for. But
00:12:53 --> 00:12:54 at the end of the day, they're going to
00:12:54 --> 00:12:55 be looking for
00:12:55 --> 00:12:58 >> the person that they feel is the most
00:12:58 --> 00:13:01 right for bringing a character to life.
00:13:01 --> 00:13:04 And when you're pretending to not to be
00:13:04 --> 00:13:05 something else, especially with these
00:13:06 --> 00:13:07 auditions, you're not bringing your true
00:13:07 --> 00:13:10 authentic self to it. So, I think it's
00:13:10 --> 00:13:13 helpful to to to just know that yeah,
00:13:13 --> 00:13:15 you're going to you have to bring
00:13:15 --> 00:13:17 yourself to whatever you're auditioning
00:13:17 --> 00:13:19 for. And if you're going to be right, if
00:13:19 --> 00:13:21 they're going to respond to you, it's
00:13:21 --> 00:13:23 not going to be because of what clothes
00:13:23 --> 00:13:26 you wore or how your hair looks or, you
00:13:26 --> 00:13:28 know, how much makeup you have on or
00:13:28 --> 00:13:30 whatever the case may be. They're going
00:13:30 --> 00:13:33 to respond to the person.
00:13:33 --> 00:13:33 >> Yeah.
00:13:33 --> 00:13:36 >> But not the other stuff.
00:13:36 --> 00:13:39 >> Right. Right. Now, okay, you get a lot
00:13:39 --> 00:13:42 of emails. We we established that. So,
00:13:42 --> 00:13:44 they're hoping to get representation.
00:13:44 --> 00:13:46 what makes you like when you get this
00:13:46 --> 00:13:48 email, what makes you keep looking at
00:13:48 --> 00:13:50 that person and what are some of the
00:13:50 --> 00:13:52 things that can make you lose interest
00:13:52 --> 00:13:54 very quickly?
00:13:54 --> 00:13:56 >> Um, you know, I don't think it needs to
00:13:56 --> 00:13:57 be there. I get a lot of emails that are
00:13:58 --> 00:14:00 like really long, you know, like if
00:14:00 --> 00:14:02 we're if it's not a referral from
00:14:02 --> 00:14:04 someone. Yeah.
00:14:04 --> 00:14:06 like a, you know, a casting director or
00:14:06 --> 00:14:08 a manager or an acting coach or just a
00:14:08 --> 00:14:10 client that is, you know, if it's not a
00:14:10 --> 00:14:12 referral and it's a cold email and I'm
00:14:12 --> 00:14:15 looking through it, I do quickly glance
00:14:15 --> 00:14:17 through it and the first thing I notice
00:14:17 --> 00:14:20 is what they look like, their age range,
00:14:20 --> 00:14:22 you know, um what kind of materials they
00:14:22 --> 00:14:24 have together, if they've worked before,
00:14:24 --> 00:14:26 if they're studying, you know, who
00:14:26 --> 00:14:28 they've studied with. Um, and I
00:14:28 --> 00:14:30 definitely think it's super important. I
00:14:30 --> 00:14:33 I get emails a lot that does that from
00:14:33 --> 00:14:34 people that's like I want to be an
00:14:34 --> 00:14:37 actor. How can I you know and but they
00:14:37 --> 00:14:38 don't include anything about themselves.
00:14:38 --> 00:14:40 I don't know. [laughter]
00:14:40 --> 00:14:43 >> I want to be an actor. I get that all
00:14:43 --> 00:14:44 the time. [laughter]
00:14:44 --> 00:14:46 >> How can I submit to you? You know, I'm
00:14:46 --> 00:14:48 like, well, by doing it this way, that's
00:14:48 --> 00:14:50 not the the best way because I'm going
00:14:50 --> 00:14:53 to ignore that email. But if you send an
00:14:53 --> 00:14:54 email with
00:14:54 --> 00:14:55 >> even if it's, you know, because I work
00:14:55 --> 00:14:57 with kids as well, I don't expect them
00:14:57 --> 00:15:00 to have professional thousand head shot,
00:15:00 --> 00:15:03 but something that looks current that is
00:15:03 --> 00:15:06 clear, you know, I don't need to see,
00:15:06 --> 00:15:09 you know, people outside, you know, do I
00:15:09 --> 00:15:11 don't need to see pictures outside of a
00:15:11 --> 00:15:13 head shot, you know, and even if it's
00:15:13 --> 00:15:15 not a professional headsh shot, right?
00:15:15 --> 00:15:17 um something that you know can act as a
00:15:17 --> 00:15:19 headsh shot that just shows me what you
00:15:19 --> 00:15:21 look like and how old you play and and
00:15:21 --> 00:15:22 all of that. But, you know, sometimes
00:15:22 --> 00:15:25 people will send so much information in
00:15:25 --> 00:15:27 an email that it's just overkill, you
00:15:27 --> 00:15:30 know. Um, I know people send like to try
00:15:30 --> 00:15:33 to capture your attention by, you know,
00:15:33 --> 00:15:35 making a a reference to someone on my
00:15:35 --> 00:15:37 list and they've seen their movies. And
00:15:37 --> 00:15:38 I think that's kind of an interesting
00:15:38 --> 00:15:41 way to kind of try to grab someone's
00:15:41 --> 00:15:43 attention. But I think it doesn't need
00:15:43 --> 00:15:45 to be souped up to where it's just a
00:15:45 --> 00:15:49 bunch of, you know, uh, uh, words that
00:15:49 --> 00:15:51 I'm not going to sit and read during my
00:15:51 --> 00:15:53 day. So, I think it needs to be short,
00:15:53 --> 00:15:54 succinct,
00:15:54 --> 00:15:56 >> uh, succinct, and, um, you know, just a
00:15:56 --> 00:16:00 picture, a resume, and a video link of
00:16:00 --> 00:16:01 something. It doesn't have to be a
00:16:01 --> 00:16:03 professional reel, but something that
00:16:03 --> 00:16:04 shows me what you do.
00:16:04 --> 00:16:05 >> Yeah.
00:16:05 --> 00:16:07 >> Because without that,
00:16:07 --> 00:16:09 >> you know, a picture only goes so far.
00:16:09 --> 00:16:11 You can say, "Oh, they're they're cute.
00:16:11 --> 00:16:13 That's someone I, you know, uh, don't
00:16:13 --> 00:16:15 have their type, but I also need to see
00:16:15 --> 00:16:18 some sort of video of what you do. Yeah.
00:16:18 --> 00:16:20 Something, a self tape that you've done
00:16:20 --> 00:16:22 or a monologue even. Um, but something
00:16:22 --> 00:16:24 that just gives me a better sense of
00:16:24 --> 00:16:26 what you are um, who you are as an
00:16:26 --> 00:16:27 actor.
00:16:27 --> 00:16:30 >> Yeah. Well, you represented talent at
00:16:30 --> 00:16:32 different stages of their careers. What
00:16:32 --> 00:16:33 happens when an actor is doing
00:16:33 --> 00:16:36 everything right, but you and the actor
00:16:36 --> 00:16:38 don't necessarily agree on what their
00:16:38 --> 00:16:40 career should look like? how to how do
00:16:40 --> 00:16:42 you navigate that relationship?
00:16:42 --> 00:16:45 >> I mean, it's just it's communication,
00:16:45 --> 00:16:47 you know? Um, if there's someone that
00:16:47 --> 00:16:49 we're completely different, you know, if
00:16:49 --> 00:16:52 we're on a different u wavelength of
00:16:52 --> 00:16:54 what what we're thinking, then it may
00:16:54 --> 00:16:55 not be the right fit.
00:16:55 --> 00:16:58 >> Um, but I think for the most part, just
00:16:58 --> 00:17:01 communicating um with your agent or your
00:17:01 --> 00:17:04 manager um making sure that they know
00:17:04 --> 00:17:06 what your goals are and what you're, you
00:17:06 --> 00:17:08 know, interested in. I have many people
00:17:08 --> 00:17:11 that won't do horror movies for example
00:17:11 --> 00:17:14 or they won't do the multicam type of
00:17:14 --> 00:17:17 shows like Disney Channel or it's a
00:17:17 --> 00:17:19 dying breed I feel like these days but
00:17:19 --> 00:17:21 they don't have that kind of comedy in
00:17:21 --> 00:17:24 them. Um, so it's just knowing what the
00:17:24 --> 00:17:26 strengths are, um, and what they're
00:17:26 --> 00:17:30 interested in. And, um, you know, there
00:17:30 --> 00:17:32 are oftentimes people are just not the
00:17:32 --> 00:17:35 right fit for the right agent. And, and
00:17:35 --> 00:17:37 that's not necessarily,
00:17:37 --> 00:17:39 uh, meaning that they're not right for
00:17:39 --> 00:17:42 the industry. But, you know, you you do
00:17:42 --> 00:17:44 have to kind of be aligned um, in terms
00:17:44 --> 00:17:46 of what you are
00:17:46 --> 00:17:49 looking to do with, you know, uh, what
00:17:49 --> 00:17:50 you what you're looking to do with your
00:17:50 --> 00:17:53 career. Um, there are people that I work
00:17:54 --> 00:17:55 with that, you know, never meet a
00:17:55 --> 00:17:57 deadline and, you know, it gets
00:17:57 --> 00:17:58 frustrating and like, is this something
00:17:58 --> 00:18:00 you're serious about? Because there's so
00:18:00 --> 00:18:02 many other people out there that really
00:18:02 --> 00:18:04 want this. So, I think just making sure
00:18:04 --> 00:18:08 that communication with your agent is
00:18:08 --> 00:18:08 um,
00:18:08 --> 00:18:10 >> you know, I have a lot of kids in in
00:18:10 --> 00:18:12 college, too, and, you know, in high
00:18:12 --> 00:18:14 school, and they have they have a lot of
00:18:14 --> 00:18:16 things going on, and they can't always
00:18:16 --> 00:18:19 make make deadlines. But if you just
00:18:19 --> 00:18:21 communicate with us, um, I think that
00:18:21 --> 00:18:23 it's easier to understand someone's
00:18:23 --> 00:18:25 schedule rather than having to chase
00:18:25 --> 00:18:28 after people when they haven't gotten
00:18:28 --> 00:18:29 their tape in on time and haven't
00:18:29 --> 00:18:32 emailed us about it. So, there's a lot
00:18:32 --> 00:18:34 of that I think that goes goes with it.
00:18:34 --> 00:18:36 But because I do work with young people
00:18:36 --> 00:18:39 as well as young adults, um it
00:18:39 --> 00:18:41 definitely is a different approach when
00:18:41 --> 00:18:43 you're, you know, when your parents are
00:18:44 --> 00:18:46 running the game or when you hit 18 and
00:18:46 --> 00:18:47 you're in college and you have to be
00:18:47 --> 00:18:50 more responsible um and, you know,
00:18:50 --> 00:18:52 communicate for yourself. So, I I do
00:18:52 --> 00:18:54 find sometimes that's a struggle when
00:18:54 --> 00:18:56 when they cross over from graduating
00:18:56 --> 00:18:59 high school to going into college. Mhm.
00:18:59 --> 00:19:02 >> Um, and I'm I'm, you know, I understand
00:19:02 --> 00:19:04 that it's not something that every kid
00:19:04 --> 00:19:06 is ready to do on their own, but, you
00:19:06 --> 00:19:09 know, we try to we try to make sure at
00:19:09 --> 00:19:10 least the teens that are getting into
00:19:10 --> 00:19:12 that, you know, junior, senior, and high
00:19:12 --> 00:19:15 school world that they're starting to be
00:19:15 --> 00:19:17 on the emails and starting to be able to
00:19:17 --> 00:19:19 take some responsibility for for
00:19:19 --> 00:19:20 everything and it's not all on their
00:19:20 --> 00:19:22 parents um any longer.
00:19:22 --> 00:19:24 >> Now, I'm glad you mentioned the parents
00:19:24 --> 00:19:25 because I do have a question.
00:19:25 --> 00:19:26 >> Yes.
00:19:26 --> 00:19:28 >> Okay.
00:19:28 --> 00:19:30 because you've worked with so many
00:19:30 --> 00:19:33 parents and of course young talent. What
00:19:33 --> 00:19:36 makes a parent an agent's dream to work
00:19:36 --> 00:19:39 with and what you know what can a parent
00:19:39 --> 00:19:41 do that makes you think oh lord this is
00:19:41 --> 00:19:43 going to be a long relationship?
00:19:43 --> 00:19:44 [laughter]
00:19:44 --> 00:19:46 >> Yes. I mean um yeah I mean I've been
00:19:46 --> 00:19:48 doing this for a little over 25 years so
00:19:48 --> 00:19:52 I have definitely seen a vast array of
00:19:52 --> 00:19:55 styles in parenting. And I think the
00:19:55 --> 00:19:57 first thing is communication. As I
00:19:57 --> 00:20:00 mentioned before, just making sure that
00:20:00 --> 00:20:02 you're communicating with us. Like I
00:20:02 --> 00:20:04 said, if you need an extension, let us
00:20:04 --> 00:20:06 know. Um,
00:20:06 --> 00:20:08 giving us information when you're not
00:20:08 --> 00:20:10 going to be out of town. Just booking
00:20:10 --> 00:20:12 out, making sure we know what's going on
00:20:12 --> 00:20:16 with you, you know, and just
00:20:16 --> 00:20:18 I think and just not being overbearing
00:20:18 --> 00:20:21 or too much. There are a lot of young
00:20:21 --> 00:20:26 actors whose parents um you know get a
00:20:26 --> 00:20:29 lot of information from message boards
00:20:29 --> 00:20:31 and all of this stuff and so a lot of
00:20:31 --> 00:20:33 parents are in the know about what's
00:20:33 --> 00:20:35 going on and what auditions are active
00:20:35 --> 00:20:40 and you know so I think not putting not
00:20:40 --> 00:20:42 uh
00:20:42 --> 00:20:44 making your agent feel like they're not
00:20:44 --> 00:20:47 doing their job um by you know oh I
00:20:47 --> 00:20:49 heard this audition is out. why isn't my
00:20:49 --> 00:20:51 daughter getting this audition? I think
00:20:51 --> 00:20:54 there has to be a level of trust where
00:20:54 --> 00:20:57 if there's not um it's not going to work
00:20:57 --> 00:20:59 and that's going to just annoy your
00:20:59 --> 00:21:02 agent. You obviously we want your child,
00:21:02 --> 00:21:05 if this is a young actor to work. If
00:21:05 --> 00:21:07 you're an adult, obviously we want you
00:21:07 --> 00:21:10 to work. We don't make money until you
00:21:10 --> 00:21:10 do.
00:21:10 --> 00:21:12 >> Right? So, you wouldn't be on my list if
00:21:12 --> 00:21:15 I didn't think you could, you know, have
00:21:15 --> 00:21:18 the potential to book work. Um, but
00:21:18 --> 00:21:20 there are oftent times, and and this
00:21:20 --> 00:21:22 goes more with, you know, young actors
00:21:22 --> 00:21:24 with the parents that they can see them,
00:21:24 --> 00:21:26 you know, and I get this. I don't have
00:21:26 --> 00:21:28 children, but if I did, I would think,
00:21:28 --> 00:21:30 yeah, they can do anything. They're my
00:21:30 --> 00:21:31 special child, you know. So, I think
00:21:31 --> 00:21:35 sometimes parents can get um in their
00:21:36 --> 00:21:37 head a little bit where they think that
00:21:37 --> 00:21:39 their child is right for everything when
00:21:39 --> 00:21:42 in reality they're really not. Um
00:21:42 --> 00:21:44 [laughter]
00:21:44 --> 00:21:46 >> so, we kind of have to like, you know,
00:21:46 --> 00:21:49 give them a reality check sometimes like
00:21:49 --> 00:21:50 this is not
00:21:50 --> 00:21:51 >> this is not
00:21:52 --> 00:21:53 >> what we should be pursuing there, you
00:21:53 --> 00:21:54 know.
00:21:54 --> 00:21:58 Um so yeah it's it's a lot of just trust
00:21:58 --> 00:22:01 and communication and you know uh making
00:22:01 --> 00:22:05 sure that we are
00:22:05 --> 00:22:07 >> yeah that you're good and you know what
00:22:07 --> 00:22:10 I I noticed too and and
00:22:10 --> 00:22:13 >> every parent you know either whether
00:22:13 --> 00:22:15 they have that dream themselves living
00:22:15 --> 00:22:17 through their children
00:22:17 --> 00:22:19 >> or they're just wanting their children
00:22:19 --> 00:22:21 their ch their child is extremely
00:22:21 --> 00:22:24 talented and they just want to do the
00:22:24 --> 00:22:26 best for their children, but that they
00:22:26 --> 00:22:28 do, I would assume, and I want to know
00:22:28 --> 00:22:32 if you agree that they have to give up a
00:22:32 --> 00:22:34 little bit of control. they have to give
00:22:34 --> 00:22:38 up control and and let the agent
00:22:38 --> 00:22:41 do or you know since the agent is the
00:22:41 --> 00:22:44 one that's helping them get these roles
00:22:44 --> 00:22:45 they have to like you said to have a
00:22:45 --> 00:22:48 level of trust in that agent that
00:22:48 --> 00:22:49 they're going to tell them the right
00:22:49 --> 00:22:52 thing or do the right things or let that
00:22:52 --> 00:22:55 be a real conversation between you guys
00:22:55 --> 00:22:57 so that you know it's for the betterment
00:22:57 --> 00:22:59 of your child. Would you agree to that?
00:23:00 --> 00:23:02 >> Absolutely 100%. And you know, and
00:23:02 --> 00:23:04 there's so many times where I'll get a
00:23:04 --> 00:23:06 call or an email from a parent where
00:23:06 --> 00:23:08 they'll ask about an audition and why
00:23:08 --> 00:23:10 didn't we get this audition? I'm like,
00:23:10 --> 00:23:12 well, because you're white and this is
00:23:12 --> 00:23:14 for an Asian girl or, you know, and they
00:23:14 --> 00:23:16 just don't have they don't have all the
00:23:16 --> 00:23:17 information.
00:23:17 --> 00:23:19 >> Right. Right. Right. There's a project
00:23:19 --> 00:23:20 that we were working on where they
00:23:20 --> 00:23:23 didn't hire the I mean this is just one
00:23:23 --> 00:23:25 of a million but where you know they
00:23:25 --> 00:23:28 finally hired the dad and so all the
00:23:28 --> 00:23:30 auditions that they saw from different
00:23:30 --> 00:23:32 ethnicities didn't matter anymore
00:23:32 --> 00:23:34 because they now have a dad that they
00:23:34 --> 00:23:35 need to match with the child that
00:23:35 --> 00:23:37 they're booking and these kind of
00:23:37 --> 00:23:40 examples go on and on but um but oftent
00:23:40 --> 00:23:41 times that's where I think the
00:23:41 --> 00:23:44 miscommunication comes with these um
00:23:44 --> 00:23:46 message boards or whatnot where there's
00:23:46 --> 00:23:49 information that is not fully accurate.
00:23:49 --> 00:23:53 Um, it drives drives reps a little crazy
00:23:53 --> 00:23:55 sometimes when we're constantly having
00:23:55 --> 00:23:57 to answer those types of questions. So,
00:23:57 --> 00:24:00 it goes back to trust. If you're not
00:24:00 --> 00:24:02 able or willing to trust the agent that
00:24:02 --> 00:24:05 you're with, um, it's probably not going
00:24:05 --> 00:24:07 to be a long relationship.
00:24:07 --> 00:24:09 >> Yeah. Yeah. Now, I have one more
00:24:09 --> 00:24:11 question before we have a little fun.
00:24:11 --> 00:24:11 >> Sure.
00:24:11 --> 00:24:13 >> Okay. So, you've been doing this a long
00:24:13 --> 00:24:17 time and you've probably had enough uh
00:24:17 --> 00:24:20 times where you thought, I didn't see
00:24:20 --> 00:24:22 that coming. What's one of the biggest
00:24:22 --> 00:24:24 surprises in this business, you know,
00:24:24 --> 00:24:27 that talent has taught you? What would
00:24:27 --> 00:24:28 you what would you say?
00:24:28 --> 00:24:31 >> You know, I would say, okay, there are
00:24:32 --> 00:24:33 it's there's a lot of things that
00:24:33 --> 00:24:35 surprise me in this business. Sometimes
00:24:35 --> 00:24:39 it's just like I had no clue that this
00:24:40 --> 00:24:41 person was going to like rise to the
00:24:41 --> 00:24:43 challenge this quickly. You know, there
00:24:43 --> 00:24:44 are a lot of people that are in this
00:24:44 --> 00:24:46 developmental stage of their careers and
00:24:46 --> 00:24:48 I sign developmental people because I
00:24:48 --> 00:24:50 it's what I do and that's and I work
00:24:50 --> 00:24:51 with young people and they're all
00:24:52 --> 00:24:54 developmental really. But I think some
00:24:54 --> 00:24:56 of the surprises is I, you know, will
00:24:56 --> 00:24:58 work with a talent for four years or so
00:24:58 --> 00:25:00 that I just believe in so much and
00:25:00 --> 00:25:03 haven't booked one co-star, you know, or
00:25:03 --> 00:25:05 anything, but I'm not dropping them. I
00:25:05 --> 00:25:06 want to, you know, let's keep we're
00:25:06 --> 00:25:08 going to keep trying this. And I think
00:25:08 --> 00:25:11 the some big surprises what happens when
00:25:11 --> 00:25:13 someone with zero credits books a huge
00:25:13 --> 00:25:16 job, you know, and that is kind of like
00:25:16 --> 00:25:19 the best feeling in the world. um just
00:25:19 --> 00:25:21 to have,
00:25:21 --> 00:25:23 you know, supported someone for so long
00:25:23 --> 00:25:26 with no return of your investment. Um
00:25:26 --> 00:25:29 >> to put it in those terms and then all of
00:25:29 --> 00:25:31 a sudden they book us a huge job and
00:25:31 --> 00:25:33 it's just like wow, wow,
00:25:33 --> 00:25:35 >> it's not going to the usual people that
00:25:35 --> 00:25:37 you think are the ones that are going to
00:25:37 --> 00:25:39 book it, you know, the name folks.
00:25:39 --> 00:25:42 >> Um so that's that's really fun for me.
00:25:42 --> 00:25:44 um you know and then also the folks that
00:25:44 --> 00:25:47 you do actually build and build and they
00:25:47 --> 00:25:49 book these co-stars and then guest stars
00:25:49 --> 00:25:51 and then they get their first series
00:25:51 --> 00:25:53 regular you know I don't know that's not
00:25:53 --> 00:25:55 quite answering your question but that's
00:25:55 --> 00:25:56 the fun
00:25:56 --> 00:25:59 >> of the job is telling someone
00:25:59 --> 00:26:00 >> that they booked their first job someone
00:26:00 --> 00:26:03 that you you know oh and then there are
00:26:03 --> 00:26:05 many times this has happened to me which
00:26:05 --> 00:26:09 I I also love where I sign someone and
00:26:09 --> 00:26:11 the very first audition I send them they
00:26:12 --> 00:26:14 And sometimes that can be bad as well
00:26:14 --> 00:26:15 because they expect things are going to
00:26:16 --> 00:26:17 be [laughter]
00:26:17 --> 00:26:20 >> I have had I have had many many
00:26:20 --> 00:26:22 experiences where someone I've signed
00:26:22 --> 00:26:24 and sent their very first audition they
00:26:24 --> 00:26:26 book a Broadway show or a series.
00:26:26 --> 00:26:27 >> Yeah.
00:26:27 --> 00:26:29 >> And then it it's harder to make sure
00:26:29 --> 00:26:30 that you're like this is not how it
00:26:30 --> 00:26:32 usually happens. [laughter]
00:26:32 --> 00:26:33 So don't get
00:26:33 --> 00:26:35 >> this is great. This is great. We're
00:26:35 --> 00:26:36 gonna we're gonna keep it right here for
00:26:36 --> 00:26:37 [laughter]
00:26:37 --> 00:26:39 >> Exactly. But I will say more often than
00:26:39 --> 00:26:42 not, I have um I have signed people that
00:26:42 --> 00:26:45 have booked right away and and and that
00:26:45 --> 00:26:48 is amazing and awesome, but it's also,
00:26:48 --> 00:26:50 you know, where you need to like ground
00:26:50 --> 00:26:52 them a little bit and say, "Okay, this
00:26:52 --> 00:26:54 is this is not how it always works.
00:26:54 --> 00:26:55 [laughter]
00:26:55 --> 00:26:57 >> People put years and years and years
00:26:57 --> 00:26:59 into this
00:26:59 --> 00:27:01 kind of job like you just booked on your
00:27:01 --> 00:27:02 first try." So
00:27:02 --> 00:27:05 >> Wow. Wow. Okay, David. So, we're going
00:27:05 --> 00:27:07 to play a little game. The game is
00:27:07 --> 00:27:10 called yes, no, or it depends. So, I'm
00:27:10 --> 00:27:12 going to give you something an actor
00:27:12 --> 00:27:16 might do. You have three choices. Yes,
00:27:16 --> 00:27:22 no, or an agent's favorite. It depends.
00:27:22 --> 00:27:23 >> And then you have to tell me why. Okay,
00:27:24 --> 00:27:24 you ready?
00:27:24 --> 00:27:25 >> Okay.
00:27:25 --> 00:27:27 >> You can't think about it too hard,
00:27:27 --> 00:27:27 though.
00:27:27 --> 00:27:28 >> All right.
00:27:28 --> 00:27:30 >> Okay. The first one. An actor reaches
00:27:30 --> 00:27:35 out to an agent on Instagram.
00:27:35 --> 00:27:37 Um
00:27:37 --> 00:27:39 it depends. [laughter]
00:27:39 --> 00:27:43 It depends. I think that uh it is
00:27:43 --> 00:27:46 not the best way to do it. But I will
00:27:46 --> 00:27:50 say there are times where in the reverse
00:27:50 --> 00:27:52 I have reached out to actors through
00:27:52 --> 00:27:54 their Instagram. You know what I mean?
00:27:54 --> 00:27:58 Um so I think it
00:27:58 --> 00:27:59 it just it depends.
00:28:00 --> 00:28:01 >> Yeah. [laughter]
00:28:01 --> 00:28:03 I think it depends on what the what the
00:28:03 --> 00:28:05 reach out looks like. You know, a a
00:28:05 --> 00:28:08 simple inquiry that brings someone to
00:28:08 --> 00:28:11 your Instagram page can absolutely get
00:28:11 --> 00:28:14 an agent like, "Oh, who is this person?
00:28:14 --> 00:28:15 This is really interesting." Because
00:28:15 --> 00:28:18 like I said, sometimes just scrolling
00:28:18 --> 00:28:20 through like Instagram. I don't even do
00:28:20 --> 00:28:22 Tik Tok. I'm too old for that.
00:28:22 --> 00:28:22 >> [laughter]
00:28:22 --> 00:28:24 >> just like scrolling through Instagram, I
00:28:24 --> 00:28:26 do find a ton of people that are super
00:28:26 --> 00:28:28 interesting and I will from their
00:28:28 --> 00:28:30 Instagram look them up to see if they're
00:28:30 --> 00:28:31 represented.
00:28:31 --> 00:28:32 >> Yeah.
00:28:32 --> 00:28:35 >> You know, or if a lot of times actors
00:28:35 --> 00:28:36 will put their rep their representation
00:28:36 --> 00:28:38 on their Instagram to make it very
00:28:38 --> 00:28:40 clear. I don't reach out to people that
00:28:40 --> 00:28:42 have representation.
00:28:42 --> 00:28:45 >> Um I just don't play that game. There's
00:28:45 --> 00:28:47 actors to go around. But yeah, I think
00:28:47 --> 00:28:50 it's it it depends. It's not something I
00:28:50 --> 00:28:52 would say definitely no to. And I do
00:28:52 --> 00:28:53 have people that reach out to me on my
00:28:53 --> 00:28:55 Instagram. A lot of times they're like
00:28:55 --> 00:28:57 hidden in that section where I don't see
00:28:57 --> 00:28:59 them for that.
00:28:59 --> 00:28:59 >> Yeah.
00:28:59 --> 00:29:00 >> But then I'll look and I'll be like,
00:29:00 --> 00:29:02 "Oh, wow. Look at all these folks." So I
00:29:02 --> 00:29:04 will I'll check out their Instagram.
00:29:04 --> 00:29:06 Sure. And if it's someone that seems
00:29:06 --> 00:29:09 interesting to me, I might explore
00:29:09 --> 00:29:10 further.
00:29:10 --> 00:29:12 >> Awesome. Okay, next one. An actor
00:29:12 --> 00:29:14 changes their look without telling their
00:29:14 --> 00:29:15 agent.
00:29:15 --> 00:29:18 >> No, no, no. [laughter]
00:29:18 --> 00:29:20 I mean, no, you should not do that.
00:29:20 --> 00:29:22 Especially if we're pitching you, you
00:29:22 --> 00:29:25 know, uh, for something specific and
00:29:25 --> 00:29:26 then you get a self tape back and
00:29:26 --> 00:29:28 they're hair, they shaved their hair off
00:29:28 --> 00:29:31 or dyed it a different color. I think
00:29:31 --> 00:29:33 it's fine to do that, but I think it
00:29:33 --> 00:29:35 needs to be um,
00:29:35 --> 00:29:36 >> you need to have that discussion with
00:29:36 --> 00:29:38 your
00:29:38 --> 00:29:40 I think we could have an opinion on I
00:29:40 --> 00:29:42 don't think you should do that or Okay,
00:29:42 --> 00:29:45 that sounds interesting. um make sure we
00:29:45 --> 00:29:46 have a current picture of you so we
00:29:46 --> 00:29:50 know, you know, we're not sending
00:29:50 --> 00:29:51 a headsh shot to a casting director and
00:29:51 --> 00:29:53 they're going to be like, "What? This is
00:29:53 --> 00:29:54 a different person." So,
00:29:54 --> 00:29:56 >> don't change your look without
00:29:56 --> 00:29:58 discussing your agent. Yeah.
00:29:58 --> 00:30:00 >> Is the role could have been for for some
00:30:00 --> 00:30:03 sweet woman with flowers dressed in
00:30:03 --> 00:30:07 flowers and they show up with earrings.
00:30:07 --> 00:30:10 >> Exactly. Exactly. So,
00:30:10 --> 00:30:13 >> okay. So, an a an actor decides they're
00:30:13 --> 00:30:15 going to move to New York with no agent,
00:30:15 --> 00:30:19 no job, and $2 in a bank.
00:30:19 --> 00:30:23 >> I mean, yes, go for it. I I moved to to
00:30:23 --> 00:30:25 New York two days after I graduated
00:30:25 --> 00:30:27 college. I I went to school for theater.
00:30:27 --> 00:30:29 I I thought I wanted to be an actor for
00:30:29 --> 00:30:32 a short period of time, but I moved here
00:30:32 --> 00:30:34 with less than that in my pocket and no
00:30:34 --> 00:30:36 agent, but a lot of friends that were
00:30:36 --> 00:30:39 moving here at the same time. So I think
00:30:39 --> 00:30:42 if it's an industry that you love and
00:30:42 --> 00:30:44 want to work in, there's so many other
00:30:44 --> 00:30:47 areas in which you can be involved as
00:30:47 --> 00:30:49 well. Um most agents, managers, casting
00:30:50 --> 00:30:53 directors, um many of them I would say
00:30:53 --> 00:30:54 were actors when they were younger or
00:30:54 --> 00:30:56 wanted to be actors when they were
00:30:56 --> 00:30:58 younger. And when I moved to New York
00:30:58 --> 00:31:00 and started waiting tables, uh I found
00:31:00 --> 00:31:03 my way into an internship that was in a
00:31:03 --> 00:31:05 casting office and I that's when I kind
00:31:05 --> 00:31:08 of realized ah this is what I want to
00:31:08 --> 00:31:10 do. I don't want to be an actor. I don't
00:31:10 --> 00:31:12 have I don't have the nerve to do that.
00:31:12 --> 00:31:13 Um but I want to work in the
00:31:14 --> 00:31:16 entertainment industry. So if you if you
00:31:16 --> 00:31:18 really want to do it, you have to kind
00:31:18 --> 00:31:21 of take a leap. So, uh I don't think you
00:31:21 --> 00:31:25 should make, you know, uh bad decisions
00:31:25 --> 00:31:28 over that, but I think if you if you
00:31:28 --> 00:31:30 want to if you want to do it,
00:31:30 --> 00:31:30 >> go for it.
00:31:30 --> 00:31:31 >> Yeah. Go for it. Go for it.
00:31:31 --> 00:31:33 >> Yeah. [laughter]
00:31:33 --> 00:31:35 >> Okay. An actor walks into your office
00:31:35 --> 00:31:39 and says, "So, how long how long you
00:31:39 --> 00:31:41 think it'll take you to make me famous?"
00:31:41 --> 00:31:44 >> I would say, "Turn around, get out." No.
00:31:44 --> 00:31:45 [laughter]
00:31:45 --> 00:31:47 Except if it's a child. If it's a kid,
00:31:47 --> 00:31:48 that's a very different thing. But if
00:31:48 --> 00:31:50 it's an adult actor that just wants to
00:31:50 --> 00:31:51 be famous, I don't want to work with
00:31:51 --> 00:31:53 them. You know, if that's if that's what
00:31:53 --> 00:31:55 their goal is, I want to work with and
00:31:56 --> 00:31:58 most I would say agents and managers
00:31:58 --> 00:31:59 would feel the same. They don't want
00:31:59 --> 00:32:01 people chasing fame. They want people
00:32:01 --> 00:32:04 that love the work. And cuz there's a
00:32:04 --> 00:32:07 lot of jobs out there that, you know,
00:32:07 --> 00:32:09 uh, are not going to make you famous,
00:32:09 --> 00:32:10 you know, but it's going to make you a
00:32:10 --> 00:32:12 better actor and it's going to make you
00:32:12 --> 00:32:15 your next job more viable because you
00:32:15 --> 00:32:17 have that experience and you have the
00:32:17 --> 00:32:19 clips from whatever you you know, even
00:32:19 --> 00:32:22 if it's a short film or something. Um, I
00:32:22 --> 00:32:24 do I do make that exception with young
00:32:24 --> 00:32:26 kids because I do hear that a lot with
00:32:26 --> 00:32:27 the really young ones. They just want to
00:32:28 --> 00:32:29 be famous.
00:32:29 --> 00:32:32 That's [laughter] so and at that age you
00:32:32 --> 00:32:34 don't know what exactly you need a
00:32:34 --> 00:32:36 personality you need a support system
00:32:36 --> 00:32:39 around you and you need um
00:32:39 --> 00:32:41 >> you know you need to be having fun when
00:32:41 --> 00:32:43 you're doing this and that part of that
00:32:43 --> 00:32:46 with young people is the desire to want
00:32:46 --> 00:32:50 to be on television or be famous or you
00:32:50 --> 00:32:52 know do what they're seeing on
00:32:52 --> 00:32:55 television and I think as you age as you
00:32:55 --> 00:32:58 get older um your priorities shift and
00:32:58 --> 00:33:01 it's not about being famous per se, but
00:33:01 --> 00:33:03 it's about being a working actor.
00:33:03 --> 00:33:06 >> Yes. Yes. Now, how about this one? An
00:33:06 --> 00:33:10 actor puts represented by CESD in their
00:33:10 --> 00:33:12 bio before you actually agreed to
00:33:12 --> 00:33:13 represent them.
00:33:13 --> 00:33:16 >> Oh, yeah. No, no, don't do that. No,
00:33:16 --> 00:33:19 >> I'm fine with them putting that anywhere
00:33:19 --> 00:33:21 once we're both on board with each
00:33:21 --> 00:33:23 other, but yeah, don't don't put that.
00:33:23 --> 00:33:25 That could work very very much against
00:33:25 --> 00:33:26 you.
00:33:26 --> 00:33:28 >> Well, that could be bad. Yeah. Yeah.
00:33:28 --> 00:33:29 [laughter]
00:33:29 --> 00:33:31 Director reaches out to me and said,
00:33:31 --> 00:33:32 "Oh, your client so and so." I'm like,
00:33:32 --> 00:33:35 "I don't know who that is." [laughter]
00:33:36 --> 00:33:38 >> Okay, just a couple more. An actor sends
00:33:38 --> 00:33:41 you a 14minute reel and says, "The good
00:33:41 --> 00:33:43 stuff starts around minute nine."
00:33:43 --> 00:33:46 >> Uh, no. Cut that. Cut that. Cut it to
00:33:46 --> 00:33:48 where the good stuff starts. No one's
00:33:48 --> 00:33:50 going to watch a 14-minute reel
00:33:50 --> 00:33:52 >> unless maybe I it's a client of mine and
00:33:52 --> 00:33:54 I want to see what they have and we, you
00:33:54 --> 00:33:55 know, we're trying to figure out what's
00:33:55 --> 00:33:59 best. uh to to use or to put out front.
00:33:59 --> 00:34:00 But if you're just trying to get
00:34:00 --> 00:34:02 representation and someone sends me a
00:34:02 --> 00:34:04 14-minute reel, I will never watch the
00:34:04 --> 00:34:07 whole thing. Um I will watch some of it
00:34:07 --> 00:34:08 and if I'm intrigued, I'll watch a
00:34:08 --> 00:34:10 little bit more or skip ahead and see
00:34:10 --> 00:34:12 what else is on there and then want to
00:34:12 --> 00:34:14 take a meeting to see who they are as a
00:34:14 --> 00:34:15 person
00:34:15 --> 00:34:16 >> cuz ultimately you want to like the
00:34:16 --> 00:34:19 people you're working with. Um, there
00:34:19 --> 00:34:20 are people that are super talented that
00:34:20 --> 00:34:24 are just not nice people that I would I
00:34:24 --> 00:34:26 I'd just rather not, you know, to be
00:34:26 --> 00:34:28 honest. I I want to work with good
00:34:28 --> 00:34:32 people and people that are kind and um
00:34:32 --> 00:34:36 gracious and, you know, uh so yeah, I I
00:34:36 --> 00:34:38 don't ever send a 14minute reel unless
00:34:38 --> 00:34:41 unless an agent says, "I want to see
00:34:41 --> 00:34:41 more.
00:34:41 --> 00:34:44 >> I want to see the I want to see more."
00:34:44 --> 00:34:46 >> Yeah, exactly. But I wouldn't start with
00:34:46 --> 00:34:47 14 minutes because no one's going to
00:34:47 --> 00:34:48 watch that.
00:34:48 --> 00:34:49 >> No. [laughter]
00:34:49 --> 00:34:51 Okay. So, the last one. An actor sees
00:34:51 --> 00:34:53 you on the Demia Avery show tonight and
00:34:54 --> 00:34:56 finds your email address.
00:34:56 --> 00:34:57 >> Sends you their head shot before the
00:34:57 --> 00:35:01 credits finish rolling. Yes. No, or
00:35:01 --> 00:35:03 >> Yes. Good for them. [laughter] Good for
00:35:03 --> 00:35:05 them. Absolutely. My email is super easy
00:35:05 --> 00:35:07 to find. It's on our website. So, it's
00:35:07 --> 00:35:09 not like it's a hard thing to get. It's
00:35:09 --> 00:35:12 on IMDb. I mean, I think it's most
00:35:12 --> 00:35:14 agents are pretty their their emails at
00:35:14 --> 00:35:17 least are pretty accessible. But yeah,
00:35:17 --> 00:35:19 like you know, of course, if if if
00:35:19 --> 00:35:22 someone emails me and puts in the
00:35:22 --> 00:35:23 subject line, they you know, and I I'll
00:35:24 --> 00:35:25 pay I'll pay extra attention if that's
00:35:25 --> 00:35:28 what they're, you know, uh if they're
00:35:28 --> 00:35:30 they're being brought to me because of
00:35:30 --> 00:35:32 this this interview, you know. Um
00:35:32 --> 00:35:33 absolutely.
00:35:33 --> 00:35:35 >> Awesome, David. Thank you. This has been
00:35:35 --> 00:35:37 so much fun and thank you for giving
00:35:37 --> 00:35:39 actors something even more valuable than
00:35:39 --> 00:35:42 a list of dos and don'ts and a better
00:35:42 --> 00:35:43 understanding of what actually happens
00:35:43 --> 00:35:45 on the other side of the table. So,
00:35:45 --> 00:35:47 thank you so much for hanging out with
00:35:47 --> 00:35:47 me and
00:35:48 --> 00:35:50 >> of course it's so lovely to to to to
00:35:50 --> 00:35:52 meet you and and thank you so much for
00:35:52 --> 00:35:55 having me and um yeah,
00:35:55 --> 00:35:58 >> if I if I if I hear hear from anyone.
00:35:58 --> 00:35:59 [laughter]
00:35:59 --> 00:36:01 >> Well, you know, you might get a lot of
00:36:01 --> 00:36:01 emails now, right?
00:36:01 --> 00:36:03 >> I know. I know. I'm like, "Oh, maybe I
00:36:03 --> 00:36:05 should." [laughter]
00:36:05 --> 00:36:06 >> All right, everybody. Everybody
00:36:06 --> 00:36:08 watching, you know what to do. Subscribe
00:36:08 --> 00:36:10 to the Demia Avery Show, the industry
00:36:10 --> 00:36:13 for more conversations with people like
00:36:13 --> 00:36:15 David who really know how this business
00:36:15 --> 00:36:17 really works. I'll see you next time.
00:36:17 --> 00:36:21 Talk to you soon. Bye-bye.