Entertainment Series 2: Kim Houston

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Welcome to another episode of
Come Together.

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All right, Kim Houston, welcome.
So happy to have you here.

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Thanks so much for the time.
I love the invitation, thank

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you.
You want to tell me just a

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little bit about yourself, who
you are and what you do, and

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we'll go from there.
Who is Kim Houston?

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Sure.
So I'm a mom, first of all, and

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I work as a casting director and
a studio owner.

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So I have an acting studio for
all kinds of different people,

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people that are actors that
currently audition, people that

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are brand new that have never
auditioned.

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And it's also a taping service
for actors that need to get

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themselves on tape since they
have changed since COVID really

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changed.
Can you tell?

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Me about that what what changed?
Since the pandemic, self taping

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has become the norm for actors
and casting directors.

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It offers a lot more
flexibility, definitely for

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them, but it also comes with its
challenges.

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There's so many pros and cons.
So an actor now has the

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flexibility to record pretty
much at their own schedule and

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they can redo, take as many
times as they want and really

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audition from anywhere.
There's no need to be near

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casting hubs like it used to be.
You know, you, you obviously

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save that way on travel and
parking and, and time off of

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work.
You have more control over your

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performance, you know, even in
terms of writing and editing,

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because normally if you walk in
a studio, it's, you know, you're

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kind of that's, that's the
situation.

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So definitely pros for, for
actors.

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I think some are that the
technical aspects, you know,

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especially for parents, you
know, lighting and sound and

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editing is usually not their
Forte.

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So if you have aisle, that's
really you know it to get on

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tape for an audition and and
that's not your skin.

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I believe there are meltdowns
that probably a lot of arguments

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between us lives on getting you
know, that the deadline done.

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So there's also this lack of
real time feedback and

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directions.
What I loved about casting, so

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they don't get that and they can
feel disconnected for sure and

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and unsure even if their tape is
being used.

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So an investment for sure in
equipment and setup and you

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know, it doesn't have to be a
lot, but it's still it's

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something that actors never used
to have to do before.

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So for casting directors are
pros.

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You know, there's an efficiency
now to reviewing the process and

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that can be on a flexible
schedule.

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I could be anywhere really.
Which do you?

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Take do you, do you take
advantage of that?

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Do you travel a lot now?
I live in North Carolina

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basically.
Oh nice, where?

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I live in Asheville since 2009
and.

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How has your home, has your home
or neighborhood been affected by

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that?
By the floods.

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Terribly so, yes, I'm so.
Sorry.

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They're more than ever now with
that, you know, there's a very,

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very strong community there and
the retail has been amazing to

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be a part of that community.
So sometimes I can't wait to get

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back for a lot of the things
that are are going on there.

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Even after the storm, when we
had no power, no water, no gas,

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I was there during that and it
was terribly frustrating

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obviously.
And I've lived through

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hurricanes in in Florida.
That is where you want to

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experience something like that,
not.

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Here people there are so good.
Did just you know, they're

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thoughtful and they're about
people enough, which is more of

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here you see, everybody's got to
have a nice car and nice clothes

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and where there people know that
people had a lot of money there

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because they they're not all
show and and I've always been

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drawn to that.
So definitely my property is

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devastated with the amount of
tree loss and damage that the

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trees did even to the ground.
They the with the amount of

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power that these 200 year old,
you know, gigantic pine trees

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fell.
They shattered our water lines,

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everything.
And it's so expensive.

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I don't know if you know to
remove debris trees from a

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property, first of all, come up
would be a fortune.

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But we had so many volunteers.
Yeah, or to just, you know,

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help.
Everybody was just, you know,

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running around with chainsaws,
like, how can I help?

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What can I do?
And so we took advantage of

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people cutting it, but then to
have to remove it, huge vehicles

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and train.
And so it's been a fortune.

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Yeah, but you know that.
I'm sorry, I'm sorry.

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It's so terrible.
You know, I mean, my, my so my

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dad has a log cabin about an
hour from there and right closer

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to Tennessee, right by
Burnsville.

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Johnson City, I think is
actually the closest place next

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to it.
Yeah.

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And so we have a lot of very
positive associations of that

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place.
And my dad, when we fly in, he

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flies to Asheville.
And then, you know, we'll either

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rent a car, pick one up.
But, you know, we love Asheville

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for the, you know, we've been
visiting for the last 10-12

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years and it's got a special
place in our hearts.

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And we heard about, you know, it
was just so it was so sad.

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And my dad called me and goes
I'm driving through and he was

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this just breaks my heart to see
what's going on.

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You know what the news shows and
then, of course, stops showing

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at a certain point and people
are still living there in tents.

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And there's been so many people
that haven't even been found.

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Hunter So I I go back and forth.
I'm really lucky to have that

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Asheville airport because
they're expanding it.

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I don't know if you've seen it
lately.

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No, no, really.
Going to Asheville in my early

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20s, my mom and her husband had
a an apple orchard just outside

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in Hendersonville.
And in my 20s, you know, you'd

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leave Miami International and
you're flying into that little

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hosted damp airport.
I hated it.

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I just thought, Oh my God, this
place is just Hickville and and

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I can't wait to get back to
Miami.

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You know, I just always had that
feeling of how long are we going

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to be here because it was always
holidays.

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Well, the airport only now and
this is, you know, 2024 started

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the rebuild is finally, you
know, being renovated after and

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it's going to probably look
better than Miami for sure, but

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they.
Probably operate better.

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Too, But the point is I
absolutely love Asheville now.

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I moved in my just about when I
turned 40 small children.

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I just had the opportunity with
the film business dying in South

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Florida completely because of
again, hurricanes are really

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what you know, kind of is always
around my life.

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So there were so many storms
that would would were coming

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through and film production just
came to a halt because, you

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know, people just didn't
understand coming from

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California and the earthquakes,
like, what do you mean we shut

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down and we evacuate?
And they had no insurance really

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for that and.
Yeah, it's massively expensive,

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right?
I mean, it's forcing to push off

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a project even for a day, right?
So they just were like, you

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know, Florida, there's no
guarantee there.

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There's especially certain times
of the year.

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And our hurricane season is so
long.

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Yeah, people, it was really a
mass exodus between 2000 and

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five, 2006.
Most of the good crew left

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knowing that you know, Atlanta
was building, they were build is

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they were accommodating you.
Know tax breaks there too, right

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In Atlanta.
Which incentives so, yeah.

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And for nothing really at that
time because you have the whole

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state to contend with.
So everything left, but before

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that it was you know, amazing to
work in South Florida.

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Anybody can tell you that around
during you know, even the 80s

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nineties was just high day of
fun productions.

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I mean we were casting for
print, for TV, for film, for for

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commercials, voice over nonstop.
Lucky to be a part of that

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development and those times
because really, you know, with

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the not as high tech technology,
things definitely were at a

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slower pace and it gave me like
me even an opportunity to learn

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more because it wasn't fast.
I mean, waiting for a script

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revision, you know, you had so
much time just waiting for

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someone who was delivery driver
to come with a new script that

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then you had to make copies and
give to the actors had to come

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to the casting office and pick
up their new scripts.

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And there would, there was just
so much more time, time to

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really consider who you were
going to present to this casting

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for your client.
You know, we really counted on

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these headshots and resumes and,
and casting was, was everything

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then because.
I'm sorry, I'm sorry to

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interrupt.
Can you give me a basic

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breakdown for anyone that
doesn't understand about what

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your job as a casting director
does?

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Yeah.
And then what you, how you look

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to prepare someone that you're
an actor or actress?

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Or do you not say I, I don't
know the I'm not up with the

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parlance, but to prepare an
actor for their for their roles.

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Casting for roughly 35 years now
been able to be in the casting

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business, which is really
fantastic.

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It's the best job ever,
honestly, ending some ticket

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sometimes really, he said come
up.

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So casting comes to fruition by
a job, say, say a commercial,

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you know, or a car Honda, they
want to advertise their car.

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So they're going to contact and
AD agency.

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But you know, something
together, whether it's point of

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purchase billboards, you know, a
commercial, whatever it is that

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they're doing car shows, you
know, they, they help them.

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So the ad agency then has a
creative director.

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You know, they've developed
storyboards.

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They they have an agency
director that overseas it all

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and they then hire production
companies.

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But first those production
companies need to bid on on the

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job to, you know, see who
they're going to and that ties

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in talents director.
It's a fighting process.

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Very, very creative on what
people come up with and how do

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you decide on on who they're
going to put this job to.

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So those are big terms for us.
You know, if if something's

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awarded and is in production,
usually is contacted and I can

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contacted by three different
production companies on the same

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job, knowing that they're
bidding and three things in the

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mix, which is really exciting.
This was back in how we used to

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do things.
Now it's very.

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When you when you were doing
that and you and you had the

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same script and you were looking
at different production

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companies, would you based on
the production company?

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Like I know obviously there's a
mere interpretations of ways to

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read scripts and ways for
different act, you know, actors

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to present the script.
Would you kind of present each

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of them with a different twist
on the script when the actors

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auditioning, or would you try to
keep the same one for all three?

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Well, so when you're getting
people bidding on your jobs, you

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know, they're calling you for
your casting budget, you're

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they're giving those, you're not
even getting a script yet.

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You're getting an idea of, you
know, we're looking for five

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talent 10, talent 2, you know,
depending have an idea of the

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spectrum of the, you know, if
it's a lot of people, if it's

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one certain hero, if it's
whatever it is, you know, and

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it's frustrating sometimes
because you're not really hired

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yet on the job, but people are
kind of picking your brain.

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That's a really popular term.
Yeah, because I get that.

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All the time, by the way, in my
industry too, people call me for

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I saw a medical equipment,
people call me.

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They'll be like, can you tell me
about this, this and this

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machine?
I make sure and they call it and

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they hang up the phone and they
buy it from someone else because

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they have all the information I
just gave them.

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And I'm like, why would you do
that?

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Stop doing that because that was
really a set of pet peeve for me

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as as soon as I got that even
line, Oh, I just wanted to I was

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like, well, you know, I really
charge for that.

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So I started.
But anyway, director recalling

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kind of pick your brain on, you
know, their idea on what they're

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thinking and if you can start
thinking about it and you

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weren't even hired.
So it was kind of like, oh, but

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if it was an award-winning
director and somebody that, you

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know, you had a relationship
with, you certainly wanted to.

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You.
Know the wheels turning and it

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was always great to get that
much heads up also so yeah then

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00:13:50,960 --> 00:13:53,640
you would get you know, the job
would get awarded and you would

227
00:13:53,640 --> 00:13:57,800
get the the so you you initially
get casting specs.

228
00:13:58,360 --> 00:14:03,920
So that means we're looking for,
you know, women 35 to 45.

229
00:14:04,200 --> 00:14:06,320
Yeah.
Say, you know, if it's a car

230
00:14:06,320 --> 00:14:09,760
commercial parents, we need
kids.

231
00:14:09,760 --> 00:14:12,920
We need to cast the OR we know
what the kids, you know, look

232
00:14:12,920 --> 00:14:16,160
like there's going to be a dog.
So we need to be aware of

233
00:14:16,160 --> 00:14:20,680
allergies and fear and whatever.
And so you kind of get that.

234
00:14:20,680 --> 00:14:25,600
And then then what casting does
is where we going to find this.

235
00:14:25,600 --> 00:14:29,720
So we are very resourceful
depending on what those specs

236
00:14:29,720 --> 00:14:38,640
are, you know, Asian baseball
team, if it's a, you know, I'm

237
00:14:38,720 --> 00:14:41,280
mad.
I remember that are harder to

238
00:14:41,280 --> 00:14:48,240
find always, you know, a stunt
AA body that has, you know,

239
00:14:48,680 --> 00:14:53,840
specific height and features
that are, you know, very hard.

240
00:14:53,920 --> 00:14:56,440
I remember trying to find a body
double once for Claudia

241
00:14:56,440 --> 00:15:00,160
Schiffer, who was a supermodel
back in the 80s and she was just

242
00:15:00,160 --> 00:15:04,200
a freak of nature.
How tall and gorgeous with this

243
00:15:04,200 --> 00:15:07,080
tiny waist and these shoulders.
And it was, you know, nobody

244
00:15:07,080 --> 00:15:09,040
looked like her.
That's why she was a supermodel.

245
00:15:09,440 --> 00:15:12,040
Yeah.
Have to find all these people,

246
00:15:12,040 --> 00:15:15,640
you know, somebody that can hang
out of a helicopter or you know,

247
00:15:15,640 --> 00:15:17,760
whatever.
I have a buddy that could do

248
00:15:17,760 --> 00:15:20,480
that, by the way, and I just did
a podcast to the gentleman

249
00:15:20,480 --> 00:15:22,480
that's a stunt double, and he
just told me he got rigged to a

250
00:15:22,480 --> 00:15:25,440
helicopter for the first time.
And I'm like, I don't know how

251
00:15:25,480 --> 00:15:27,080
you do that stuff, man.
It's crazy.

252
00:15:27,680 --> 00:15:32,120
That represents certain people,
you know, there's there's people

253
00:15:32,120 --> 00:15:35,600
that represent more pretty
people, the models, there's

254
00:15:35,600 --> 00:15:39,280
acting, you know, specifically
there's some acting agencies

255
00:15:39,560 --> 00:15:43,080
don't represent children, so, or
voice over actors.

256
00:15:43,080 --> 00:15:46,320
So you as a casting director,
that's what people are, are

257
00:15:46,320 --> 00:15:51,600
hiring you for is where are you
going to find, you know, this

258
00:15:51,600 --> 00:15:57,320
crowd of people at a concert or,
you know, at, at a stadium or or

259
00:15:57,320 --> 00:15:59,400
whatever.
This is really, you know, before

260
00:15:59,480 --> 00:16:03,320
AI and before what's called the
cardboard people, which is a big

261
00:16:03,320 --> 00:16:08,120
thing in LA is you can, you can
pay to have your image put on a

262
00:16:08,120 --> 00:16:11,440
cardboard cut out.
No way.

263
00:16:13,120 --> 00:16:14,320
Have your image.
Yep.

264
00:16:14,360 --> 00:16:16,840
So they're cardboards.
There's just people in stand.

265
00:16:16,840 --> 00:16:19,360
People in the background, Are
you watching a Netflix show or

266
00:16:19,360 --> 00:16:21,240
HBO show?
And there could be people in the

267
00:16:21,240 --> 00:16:23,560
background that are bystanders
that are just literally

268
00:16:23,560 --> 00:16:25,640
cardboard cutouts.
Cardboard cutouts.

269
00:16:25,960 --> 00:16:28,160
Get out.
That is crazy.

270
00:16:29,800 --> 00:16:33,360
It's the cardboard people.
It's a, it's a pre AI AI, you

271
00:16:33,360 --> 00:16:36,000
know, it's what everyone was
afraid of before AI happening.

272
00:16:36,320 --> 00:16:38,320
Yes.
And then, well, then it started,

273
00:16:38,320 --> 00:16:42,760
you know, having agencies just
for background, because if

274
00:16:42,760 --> 00:16:45,600
you're a principal casting
director, they really don't want

275
00:16:45,600 --> 00:16:48,000
you doing their background
because they want you to focus

276
00:16:48,000 --> 00:16:50,440
on the principles.
And that was a big problem for

277
00:16:50,440 --> 00:16:52,680
me because I wanted to do it all
I want.

278
00:16:52,680 --> 00:16:57,960
You know, I'm not, you know, I
have a crew, you know, but they,

279
00:16:58,080 --> 00:17:00,320
they didn't want you to.
And, and I preferred that.

280
00:17:00,320 --> 00:17:04,359
I preferred the background
because that meant also I could

281
00:17:04,359 --> 00:17:08,680
be on set sometimes and I could
see what you know, because a

282
00:17:08,720 --> 00:17:12,760
casting director rarely goes to
a set, you know, we stay in the

283
00:17:12,760 --> 00:17:15,520
studio pretty much auditioning
talent OR reviewing.

284
00:17:15,880 --> 00:17:19,880
So the opportunity for me to go
on set was I, I loved it.

285
00:17:19,880 --> 00:17:21,400
And that's.
Where, how, how, what what?

286
00:17:21,520 --> 00:17:23,680
What would come up that you
would that you would be called

287
00:17:23,680 --> 00:17:24,440
on set?
What would be?

288
00:17:24,440 --> 00:17:27,880
What would the scenario?
Be I was hiring background if I

289
00:17:27,880 --> 00:17:33,000
was a casting coordinator, if I
I see I've done thousands of

290
00:17:33,000 --> 00:17:36,960
music videos, that's when you
really need somebody just

291
00:17:36,960 --> 00:17:41,320
coordinating and you know,
contracts and making sure people

292
00:17:41,320 --> 00:17:44,680
you know their time and and
safety if there's kids or

293
00:17:44,680 --> 00:17:47,840
whatever.
So I've been an intimacy coach.

294
00:17:47,880 --> 00:17:50,000
I've been.
Oh wow, what was that like?

295
00:17:50,120 --> 00:17:53,400
That's probably crazy, right?
Yes, well, now things have

296
00:17:53,400 --> 00:17:57,160
changed where you really need to
have licensing and you know, I I

297
00:17:57,160 --> 00:18:00,480
would need to get some kind of a
special degree, but back then

298
00:18:00,480 --> 00:18:04,440
they're like, no, we really need
you as the buffer between, you

299
00:18:04,440 --> 00:18:08,120
know, if there was a child on
set with an adult and they even

300
00:18:08,120 --> 00:18:10,200
had to put their arm on their
shoulder or.

301
00:18:11,200 --> 00:18:14,200
Wow, really?
That's, That's important.

302
00:18:14,200 --> 00:18:17,560
That's really important.
Now on every set pretty much

303
00:18:17,560 --> 00:18:22,640
there's an intimacy coordinator,
coach or safety person just to

304
00:18:22,640 --> 00:18:26,000
just to be there, doesn't matter
if kind of interaction.

305
00:18:26,840 --> 00:18:30,160
So I enjoyed all of that if I
did baby wrangling.

306
00:18:30,720 --> 00:18:33,600
What's that?
So if there's a diaper

307
00:18:33,600 --> 00:18:36,840
commercial and we need 6 babies
and then we need 6 backup

308
00:18:36,840 --> 00:18:38,800
babies, there's a lot of.
No way.

309
00:18:41,120 --> 00:18:43,320
What do you do for that?
How do you find people?

310
00:18:43,640 --> 00:18:48,440
That's ever because once those
babies are hired and on set, you

311
00:18:48,440 --> 00:18:52,080
want to keep the baby karma just
happy, the juju going,

312
00:18:52,080 --> 00:18:55,440
everybody, because one baby
starts crying, it's all over.

313
00:18:55,560 --> 00:18:58,200
Yeah.
So you want to really just, you

314
00:18:58,200 --> 00:19:05,280
know, keep everybody happy and a
lot of toys and wow of rocking a

315
00:19:05,280 --> 00:19:07,440
lot of playing.
I love all those sets.

316
00:19:07,440 --> 00:19:11,640
I've been on every kind of set
you can imagine from, you know,

317
00:19:11,640 --> 00:19:15,280
somebody just doing hand
modeling where I've I've come in

318
00:19:15,280 --> 00:19:17,840
and done hand modeling when that
actor couldn't for whatever

319
00:19:17,840 --> 00:19:22,240
reason, just been available.
So this is back in the day when,

320
00:19:22,240 --> 00:19:26,400
you know, casting was done on
three quarter deck machines and

321
00:19:26,400 --> 00:19:30,880
you had one and it was like, you
know, this Bible pretty much

322
00:19:31,200 --> 00:19:34,400
that was your whole casting.
And these clients were relying

323
00:19:34,400 --> 00:19:36,440
on you.
And oftentimes they would pay me

324
00:19:36,440 --> 00:19:40,640
to go to London, to go to
Canada, to go through customs

325
00:19:40,760 --> 00:19:43,600
and security so that nothing
happened to this tape.

326
00:19:44,120 --> 00:19:46,680
Because when you go through an
X-ray machine, you're, you're,

327
00:19:46,680 --> 00:19:48,880
it's demagnetized.
Oh yeah.

328
00:19:49,240 --> 00:19:51,600
Easily.
And so many times we were called

329
00:19:51,600 --> 00:19:54,040
with clients saying there's
nothing, there's no audio,

330
00:19:54,040 --> 00:19:56,880
there's nothing.
And I mean tragic because

331
00:19:56,920 --> 00:19:58,000
you've.
So what do you have to do?

332
00:19:58,000 --> 00:20:00,760
So what do you do about that?
Well, you always make a backup

333
00:20:00,840 --> 00:20:02,640
is what I've learned very early
on.

334
00:20:02,960 --> 00:20:07,080
Yeah, backups would be half
inch, which is VHS.

335
00:20:07,080 --> 00:20:09,800
It's shit, you know, crappy
quality.

336
00:20:10,080 --> 00:20:14,400
So and then you get the
feedback, you know, and you've

337
00:20:14,400 --> 00:20:17,600
done all this work in you to
have an unhappy client was just

338
00:20:17,600 --> 00:20:21,520
like, Oh my God, if the audio
wasn't good and those days, you

339
00:20:21,520 --> 00:20:26,160
know, nothing was good.
Really it was, you know, it's

340
00:20:26,160 --> 00:20:28,880
just like an actor now, like I
was saying, that has to struggle

341
00:20:28,880 --> 00:20:31,360
with the tech.
Casting directors really were

342
00:20:31,360 --> 00:20:36,360
more known for directing talent,
not really no backside as well

343
00:20:37,640 --> 00:20:40,120
really as challenging.
And as that text started to

344
00:20:40,120 --> 00:20:45,000
change, if you were not up on
the tech side of being able to

345
00:20:45,160 --> 00:20:48,920
upload and you know all that,
you were really left out.

346
00:20:49,200 --> 00:20:53,880
So that was game changer for
every business, as you know, but

347
00:20:53,880 --> 00:20:57,040
mostly casting because clients
knew they could get things

348
00:20:57,040 --> 00:21:00,400
faster and faster.
And it started to become this

349
00:21:00,400 --> 00:21:04,320
thing like, like, do you want me
to actually find the right

350
00:21:04,320 --> 00:21:05,880
people?
Or do you just want me to send

351
00:21:05,880 --> 00:21:08,160
you bodies like of who's
available?

352
00:21:08,720 --> 00:21:12,200
And not even worse during COVID
because then it was like, all

353
00:21:12,200 --> 00:21:14,000
right, are we, you know, are we
hiring actors?

354
00:21:14,000 --> 00:21:15,640
Are we hiring people that don't
aren't sick?

355
00:21:16,040 --> 00:21:19,840
Yeah, it got to be this constant
testing.

356
00:21:19,840 --> 00:21:20,400
Testing.
No, it's.

357
00:21:20,400 --> 00:21:23,760
Years that went on for years.
Yes, so when you had to test

358
00:21:23,760 --> 00:21:26,640
before wardrobe, you had to
test, you know, before you got

359
00:21:26,640 --> 00:21:29,640
to set, you had to and and that
was a game changer because if

360
00:21:29,640 --> 00:21:33,720
somebody tested positive and
they were about, you know, to be

361
00:21:33,720 --> 00:21:35,800
on set, it was just like what do
we have?

362
00:21:35,920 --> 00:21:40,200
We got to have your so it, it
was a nightmare, honestly, and

363
00:21:40,200 --> 00:21:46,320
it drew me away from casting and
into more of my studio where I

364
00:21:46,320 --> 00:21:50,680
could help people with the tech
side more with auditioning

365
00:21:50,680 --> 00:21:52,680
really well for their different
projects.

366
00:21:52,680 --> 00:21:54,160
They didn't have to be my
projects.

367
00:21:54,520 --> 00:21:59,000
And really, you know, liberating
to just be away from the, the

368
00:21:59,000 --> 00:22:03,520
pressure of the client too, and
just help people with a casting

369
00:22:03,520 --> 00:22:07,240
perspective of, OK, this is
really what it, what this client

370
00:22:07,240 --> 00:22:12,920
wants to see and feel from you.
So help people understand more

371
00:22:12,920 --> 00:22:16,120
about the auditioning process.
And that is what I love.

372
00:22:16,120 --> 00:22:20,880
I don't make half as much as
what I used to, but I'm happier.

373
00:22:21,680 --> 00:22:25,640
I can't see itself watching a
lot of tapes constantly, whether

374
00:22:25,640 --> 00:22:30,520
you know, I, I'm watching from
my phone or tablet or, or my,

375
00:22:30,920 --> 00:22:32,440
you know, desktop, laptop,
whatever.

376
00:22:32,440 --> 00:22:36,080
It's constant screen time.
So that's really hard.

377
00:22:36,480 --> 00:22:40,680
And I said as, as wonderful as
it is to have that flexibility

378
00:22:40,680 --> 00:22:45,680
of, of scheduling and you have a
more diverse talent pool with

379
00:22:45,720 --> 00:22:51,880
not seeing people in person,
it's, it's hard to not be able

380
00:22:51,880 --> 00:22:54,800
to redirect somebody during a
live audition and make that

381
00:22:54,800 --> 00:23:00,040
quick change or you know, the
volumes of submissions now can

382
00:23:00,040 --> 00:23:02,840
just be overwhelming with the
amount of people that are.

383
00:23:04,440 --> 00:23:07,520
I feel like it's almost like a
little like a mini ecosystem of

384
00:23:07,520 --> 00:23:09,960
like what the job market in
general is like, where like it

385
00:23:09,960 --> 00:23:12,360
used to be that you could like
knock on someone's door and say,

386
00:23:12,360 --> 00:23:14,080
hey, I'm looking for an
internship, I'm looking for a

387
00:23:14,080 --> 00:23:15,800
job.
And then and then the world went

388
00:23:15,800 --> 00:23:17,520
to resumes.
And now that the resident world

389
00:23:17,520 --> 00:23:20,920
of resumes is so flooded, one of
the only ways to kind of do it

390
00:23:20,920 --> 00:23:23,160
is to make connections, You
know, And I feel like it's the

391
00:23:23,160 --> 00:23:26,400
same thing with, I feel like
the, you know, actors go through

392
00:23:26,400 --> 00:23:28,280
the same, went through the same
process, just in the

393
00:23:28,280 --> 00:23:30,520
microscopic, you know, Hollywood
of the world.

394
00:23:30,520 --> 00:23:34,320
They're acting of the world.
Difficult to yes, break into it

395
00:23:34,320 --> 00:23:37,360
that way.
So I like to help people in a

396
00:23:37,800 --> 00:23:41,120
Safeway because it can be very
unsafe as well as, you know, on

397
00:23:41,480 --> 00:23:44,960
people in different directions
or promising you, you know, all

398
00:23:44,960 --> 00:23:49,240
kinds of things and especially
kids because they, you know,

399
00:23:49,240 --> 00:23:53,000
they see the Tik tokers just
making money and you know.

400
00:23:53,640 --> 00:23:56,400
What do you think of kid actors
and what do you think of TikTok

401
00:23:56,400 --> 00:24:00,920
and and all this stuff after
being in the issue for so long?

402
00:24:01,200 --> 00:24:05,960
Yeah, it's, it's it's
frustrating for sure, because

403
00:24:05,960 --> 00:24:08,800
you, you will see somebody, you
know, naked overnight.

404
00:24:08,880 --> 00:24:13,040
There's a little Russian girl
that is very popular with her

405
00:24:13,040 --> 00:24:18,480
YouTube videos in our in our
area just because these kids

406
00:24:18,600 --> 00:24:22,600
just keep hitting replay,
replay, replay because of what

407
00:24:22,600 --> 00:24:25,960
they're offering on the YouTube
show that she has, which is,

408
00:24:26,240 --> 00:24:29,760
I've seen it.
It's ridiculously, you know,

409
00:24:29,760 --> 00:24:34,800
basic and I think unintelligent,
but whatever it's colorful.

410
00:24:35,480 --> 00:24:40,680
It's it draws them in with the
sounds and the and effects and

411
00:24:41,240 --> 00:24:43,800
the silliness of what she does
and the character.

412
00:24:43,800 --> 00:24:48,760
So I could see it definitely
will appeal to a toddler that

413
00:24:48,760 --> 00:24:51,000
one that can just keep hitting
replay, replay.

414
00:24:51,000 --> 00:24:55,360
And so, you know, that's how
she's become so successful,

415
00:24:55,640 --> 00:24:59,200
ridiculously successful.
I mean this, you know, it's,

416
00:24:59,200 --> 00:25:03,720
it's, it's crazy what, what the
numbers that I hear and see and.

417
00:25:04,320 --> 00:25:06,120
Staggering.
The numbers are staggering.

418
00:25:06,480 --> 00:25:09,560
Yes, I've asked to be, you know,
can you help us cast on the on

419
00:25:09,560 --> 00:25:13,080
these shows?
And yes, I would, you know,

420
00:25:13,080 --> 00:25:15,240
because as soon as I mention it
to even some of my students,

421
00:25:15,240 --> 00:25:17,280
they're like, Oh my God, yes,
I'd love to do it and they're

422
00:25:17,280 --> 00:25:18,960
willing to do it, of course, for
free.

423
00:25:20,360 --> 00:25:23,640
So I try to facilitate in the
right way, but I, you know,

424
00:25:23,720 --> 00:25:27,200
sometimes I can, I see, well,
you know, wow, she's making

425
00:25:27,200 --> 00:25:28,560
millions and millions of
dollars.

426
00:25:28,560 --> 00:25:30,960
But I mean, you're paying the
people that you want to be on

427
00:25:30,960 --> 00:25:34,200
the show like nothing, $100 for
10 hours.

428
00:25:34,200 --> 00:25:37,320
And, you know, so I try, it's
very difficult, my position

429
00:25:37,320 --> 00:25:41,280
being that in between, I need,
you know, accessible to my

430
00:25:41,280 --> 00:25:45,480
client and, and help them, but I
also want to be accessible to

431
00:25:45,480 --> 00:25:49,080
the talent and help them, you
know, things they don't

432
00:25:49,080 --> 00:25:51,440
understand.
And so there is a fine line

433
00:25:51,440 --> 00:25:56,280
there for, you know, just being
in that position.

434
00:25:58,160 --> 00:26:00,920
I love doing what I'm doing
because I know when someone

435
00:26:00,920 --> 00:26:05,480
comes to me and they have a
talented child and they know

436
00:26:05,480 --> 00:26:09,600
that there's opportunities for
them, I'd love to be able to

437
00:26:09,680 --> 00:26:14,000
guide them in the right
direction and be very realistic.

438
00:26:14,200 --> 00:26:17,720
Everybody, their, their child is
wonderfully talented.

439
00:26:19,120 --> 00:26:23,560
So I, I like to expose them to,
you know, whether it's a manager

440
00:26:23,560 --> 00:26:27,160
that would guide them and look
for things for that particular

441
00:26:27,280 --> 00:26:34,040
talent or, or an agent that will
help get opportunities and, you

442
00:26:34,040 --> 00:26:37,760
know, pass them on to casting.
So I've become a coach in that

443
00:26:37,760 --> 00:26:40,880
way where I'm not an actor.
And, and then beginning, I

444
00:26:40,880 --> 00:26:43,920
really wasn't marketing myself
as a coach because I felt like,

445
00:26:43,920 --> 00:26:45,680
well, I'm not a coach.
I'm not an actor.

446
00:26:45,680 --> 00:26:48,480
I don't really, I've never taken
an acting course.

447
00:26:49,120 --> 00:26:54,320
But then I realized my years in
front of, you know, clients

448
00:26:54,320 --> 00:26:57,840
basically, and working with
talent, watching videos,

449
00:26:57,840 --> 00:27:01,760
watching auditions, being in
that callback room to hear what

450
00:27:02,640 --> 00:27:06,480
saying about talent in these
videos and has given me great

451
00:27:06,480 --> 00:27:11,080
perspective in knowing what is
needed on an audition.

452
00:27:12,520 --> 00:27:15,080
What, what I like to teach when
people come to me and they say,

453
00:27:15,080 --> 00:27:16,680
oh, I want to join your acting
school.

454
00:27:16,680 --> 00:27:19,040
And I'm like, well, it's really
not an acting school.

455
00:27:19,040 --> 00:27:22,400
I, I don't teach acting.
I definitely have actors that

456
00:27:22,400 --> 00:27:26,280
work for me that are coaches
that can teach you, you know,

457
00:27:26,320 --> 00:27:30,760
the foundations of acting and
you know what what some methods

458
00:27:30,760 --> 00:27:34,200
they use.
I teach auditioning and any

459
00:27:34,200 --> 00:27:36,600
class that I have is an
auditioning class.

460
00:27:36,840 --> 00:27:39,920
I will give you a script and we
will break down that script and

461
00:27:39,920 --> 00:27:44,680
we'll talk about your character
and how you can make the most

462
00:27:44,680 --> 00:27:49,280
out of your audition opportunity
being for acting.

463
00:27:49,280 --> 00:27:52,040
I send them elsewhere because
you know, it's like learning a

464
00:27:52,040 --> 00:27:54,840
new instrument.
You have to just pick it up and

465
00:27:54,840 --> 00:28:00,600
start and be dedicated and that
repetition is huge, that you're

466
00:28:01,280 --> 00:28:04,520
much time and effort as you
would anything that you want to

467
00:28:04,520 --> 00:28:09,240
learn really well so.
A breaking realization for me

468
00:28:09,240 --> 00:28:11,920
too, by the way, that anything I
wanted to be good at, I had to

469
00:28:11,920 --> 00:28:13,840
put a lot of time into and it
would have just happened by

470
00:28:13,840 --> 00:28:15,040
itself.
And I was like, well, that

471
00:28:15,040 --> 00:28:17,000
stinks because I would like to
be good at everything, you know?

472
00:28:18,560 --> 00:28:20,360
Yeah, and there's so there's so
much time.

473
00:28:20,360 --> 00:28:25,520
So you have to really, you have
to really be realistic for sure.

474
00:28:27,240 --> 00:28:28,960
Everything takes time.
There's a great book called

475
00:28:28,960 --> 00:28:32,840
10,000 hours that's been
recommended to me for actors.

476
00:28:34,520 --> 00:28:38,640
I think it does really, even if
you happen to hit it big, you

477
00:28:38,640 --> 00:28:42,240
know, there's been so many
stories of act.

478
00:28:42,240 --> 00:28:46,000
You know, I've had a little boy
that was about 8 or 9 years old

479
00:28:46,000 --> 00:28:49,080
that was on just, you know,
practicing auditions with me on

480
00:28:49,080 --> 00:28:52,840
a regular basis and, and the mom
had a great relationship with me

481
00:28:52,840 --> 00:28:57,200
and, you know, on, on knowing
what the goals was, were for her

482
00:28:57,200 --> 00:28:58,960
child.
And, you know, he, he had

483
00:28:58,960 --> 00:29:02,080
talent.
He was very, you know,

484
00:29:02,480 --> 00:29:07,720
thoughtful and could, you know,
if a child can express things

485
00:29:07,720 --> 00:29:13,120
before they've ever even, you
know, experienced them, like,

486
00:29:13,840 --> 00:29:16,120
all right, wow.
That's they're, they're deep.

487
00:29:16,120 --> 00:29:20,720
You know, there's some that,
yeah, they're, they have this,

488
00:29:21,240 --> 00:29:25,080
you know, they want to explore
that more.

489
00:29:27,360 --> 00:29:32,800
So this boy got a wonderful
opportunity to be in a movie

490
00:29:32,800 --> 00:29:39,320
that was in the Academy Awards,
really a very short time.

491
00:29:39,320 --> 00:29:41,520
He's walking the red carpet with
his mom.

492
00:29:42,000 --> 00:29:45,480
And it just seemed, you know,
like mind blowing that, you

493
00:29:45,480 --> 00:29:46,800
know, they went from this to
that.

494
00:29:47,280 --> 00:29:52,600
And the, the problem is, you
know, a lot of people I've found

495
00:29:52,760 --> 00:29:57,160
in in all these decades is as
soon as they hid it in some way,

496
00:29:57,760 --> 00:29:59,560
they drop what they've been
doing.

497
00:30:00,760 --> 00:30:05,600
You know, I am immediately
disconnected from them because I

498
00:30:05,680 --> 00:30:10,760
believe they think that there's
so much more out there then and

499
00:30:11,560 --> 00:30:17,760
go and and you know, I'm not
saying, you know, I'm not trying

500
00:30:17,760 --> 00:30:21,560
to like, you know, boost my ego
that way, but you really should

501
00:30:21,560 --> 00:30:25,040
stay where you've always been in
some capacity roots.

502
00:30:25,680 --> 00:30:27,120
Don't forget your roots.
Don't forget where you came

503
00:30:27,120 --> 00:30:29,240
from.
Touching in and making sure

504
00:30:29,240 --> 00:30:32,080
because those are the people
that helped you get where you

505
00:30:32,080 --> 00:30:35,480
are, even though you know
definitely it's a launching pad,

506
00:30:36,000 --> 00:30:40,680
but unfortunately those other
people don't have the same

507
00:30:40,680 --> 00:30:45,400
relationship with you yet and
you know that there's so many

508
00:30:45,400 --> 00:30:47,560
people out there that are
guiding you in different

509
00:30:47,800 --> 00:30:52,200
directions.
So have something, you know,

510
00:30:52,560 --> 00:30:56,280
imagine you have a you have a
product, right and and you just

511
00:30:56,280 --> 00:30:58,680
came up with something amazing
like this mouse, right?

512
00:30:58,680 --> 00:31:01,720
Nobody had this mouse before
It's and it's amazing you came

513
00:31:01,720 --> 00:31:04,080
up with it.
You're selling it like hot

514
00:31:04,080 --> 00:31:07,120
cakes.
Everybody that you're selling it

515
00:31:07,200 --> 00:31:09,600
to wants to know what what's
next?

516
00:31:11,000 --> 00:31:14,000
Come on, because we're already
on this and and, you know, a lot

517
00:31:14,000 --> 00:31:18,680
of those actors, they don't have
what's next foundation of

518
00:31:19,000 --> 00:31:23,560
representation that's going to
be able to say, oh, you know,

519
00:31:24,560 --> 00:31:27,400
marketing this job.
I, I, this kid just booked this

520
00:31:27,640 --> 00:31:30,000
huge Hollywood movie.
We've got this for them.

521
00:31:30,000 --> 00:31:32,680
So, you know, because they
didn't develop those

522
00:31:32,680 --> 00:31:36,560
relationships.
So if they had come back to

523
00:31:36,560 --> 00:31:41,880
their original source of, you
know, support, they would have

524
00:31:41,880 --> 00:31:45,680
been more successful because,
you know, we're all rooting for

525
00:31:45,680 --> 00:31:47,360
them.
We're all like, yeah, we want to

526
00:31:47,360 --> 00:31:50,640
be a part of this as well.
So to just flee the nest is

527
00:31:50,640 --> 00:31:53,400
always kind of like, wow.
And then you see that there's

528
00:31:53,400 --> 00:31:57,320
nothing for them after.
And the kind of those were, you

529
00:31:57,320 --> 00:31:59,720
know, a lot of talent that way.
They just kind of, you know,

530
00:32:01,160 --> 00:32:03,720
they turn into teenagers.
And then, you know, there's not

531
00:32:03,720 --> 00:32:06,840
a lot of work for teens unless
you've already got that, you

532
00:32:06,840 --> 00:32:10,440
know, great representation, that
base.

533
00:32:11,080 --> 00:32:13,680
Does that typically happen more
with young with young with young

534
00:32:13,680 --> 00:32:18,400
actors as opposed to adults?
Yeah, 6 to 11 years old is

535
00:32:18,400 --> 00:32:22,360
really at peak 9 is absolutely
perfect. 8-9 years old,

536
00:32:22,600 --> 00:32:26,760
especially if you're as on the
small side, if you have, you

537
00:32:26,760 --> 00:32:28,840
know, small features, you're
sure.

538
00:32:28,840 --> 00:32:32,560
If you know, typically it's, I
don't know if you've ever met

539
00:32:32,560 --> 00:32:35,800
anybody famous that's an actor,
but they're, they're all pretty

540
00:32:35,800 --> 00:32:38,720
small.
You know what, I think it's so

541
00:32:38,760 --> 00:32:41,720
funny that you say that because
one of the reasons I, I don't, I

542
00:32:41,720 --> 00:32:44,960
don't think I've ever been able
to identify a celebrity in a

543
00:32:44,960 --> 00:32:48,040
crowd ever because I'm always
used to them being like the

544
00:32:48,040 --> 00:32:51,560
front center of the screen.
And so seeing them like blunt,

545
00:32:51,560 --> 00:32:54,000
just a regular person blended in
with the rest of the world.

546
00:32:54,000 --> 00:32:55,600
I almost don't even know to look
for them, you know, like I

547
00:32:55,600 --> 00:32:57,200
wouldn't even know to like
recognize them.

548
00:32:57,200 --> 00:33:00,360
I feel like.
Really big features, like even

549
00:33:00,920 --> 00:33:03,280
even the rock.
We got to work with the rock so

550
00:33:03,280 --> 00:33:07,880
much here in South Florida.
So she's like here a wonderful

551
00:33:07,880 --> 00:33:11,640
person, doesn't really like, you
know, to be around a lot of

552
00:33:11,640 --> 00:33:13,600
talent.
We had two doors, which was very

553
00:33:13,600 --> 00:33:16,000
helpful when he was working
because, you know, he didn't

554
00:33:16,000 --> 00:33:19,120
have to constantly have people
talking and approaching him.

555
00:33:19,920 --> 00:33:25,160
But overall, everybody thinks
he's this massive guy, but he

556
00:33:25,160 --> 00:33:28,120
has massive features.
He has really giant arms and

557
00:33:28,120 --> 00:33:32,480
he's, you know, he's got a big
head, but he oh, it's hike wise.

558
00:33:32,480 --> 00:33:34,840
I mean, my son was just as tall
as him.

559
00:33:34,840 --> 00:33:35,960
How?
Tall is he?

560
00:33:36,880 --> 00:33:41,240
He was 6 foot 46 foot 5, but
overall when you see you know

561
00:33:41,240 --> 00:33:43,480
his features.
He looks like the Hulk in

562
00:33:43,480 --> 00:33:45,160
movies.
I mean he looks like a human

563
00:33:45,160 --> 00:33:47,880
version of the Hulk.
He's really not.

564
00:33:47,920 --> 00:33:50,920
He's really not that.
He's just, like I said, those

565
00:33:50,920 --> 00:33:53,680
features are big.
I actually bought a truck from

566
00:33:53,680 --> 00:33:57,720
him and I would get stopped all
the time because the tints were

567
00:33:57,720 --> 00:33:59,600
so dark.
They were illegal.

568
00:34:00,280 --> 00:34:02,240
Oh yeah.
So, and this is before

569
00:34:02,240 --> 00:34:06,320
everybody, you know, would drive
SU VS and you know, really it

570
00:34:06,320 --> 00:34:10,320
was right at that time where
instead of even a limo, you

571
00:34:10,320 --> 00:34:14,800
wanted a black truck, you know,
so I was constantly pulled over

572
00:34:14,800 --> 00:34:19,080
and I still had his registration
of Dwayne Johnson.

573
00:34:20,000 --> 00:34:22,360
I would reach.
I didn't even know really who he

574
00:34:22,360 --> 00:34:24,199
was at the time when I bought
the truck.

575
00:34:24,199 --> 00:34:26,639
I I had no idea that they were
telling me The Rock.

576
00:34:26,639 --> 00:34:28,480
I was like, I really don't
follow wrestling.

577
00:34:28,480 --> 00:34:31,560
I don't really know who that is,
but then of course I would see

578
00:34:31,560 --> 00:34:34,000
the TV Guide and you know.
Yeah.

579
00:34:34,600 --> 00:34:38,280
Muscles like, oh, that's I know
him now and then when I got into

580
00:34:38,280 --> 00:34:44,719
casting, I shared a studio after
I moved to North Carolina and

581
00:34:44,719 --> 00:34:47,840
then I moved back here.
I shared a studio with a

582
00:34:47,840 --> 00:34:52,360
recording studio and it was
great because I really got to

583
00:34:52,360 --> 00:34:55,239
understand the world of voice
over, which I love and I'll talk

584
00:34:55,239 --> 00:34:59,840
to you more about.
But they're steady clients

585
00:35:00,360 --> 00:35:04,880
because they also did a lot of
ADR work, which is like dubbing.

586
00:35:05,520 --> 00:35:09,440
So that's like when you insert a
line that's missing or not.

587
00:35:09,640 --> 00:35:13,600
So he was there for for hours,
for days, for everything.

588
00:35:14,760 --> 00:35:17,240
You know, it's so funny.
What got them the job, though?

589
00:35:17,240 --> 00:35:20,480
Their little studio in
Hollywood, really, you would

590
00:35:20,480 --> 00:35:22,400
never even know the studio was
there because it's on a

591
00:35:22,400 --> 00:35:25,080
residential St.
And he would pull up in a

592
00:35:25,080 --> 00:35:28,240
regular truck like nobody really
knew, like, you know, that he

593
00:35:28,240 --> 00:35:31,560
was there.
But the reason we got that job

594
00:35:31,560 --> 00:35:33,400
at the studio is because of the
microwave.

595
00:35:34,600 --> 00:35:38,360
He would warm up his food.
He had these protein meals that

596
00:35:38,360 --> 00:35:42,480
was like baby food almost that
he would eat training like every

597
00:35:42,480 --> 00:35:45,200
three hours.
And he had an assistant that

598
00:35:45,200 --> 00:35:47,880
would go and warm it up.
And the microwave had to be a

599
00:35:47,880 --> 00:35:52,600
certain wattage, so when he was
going around looking at studios.

600
00:35:52,680 --> 00:35:54,280
No way that's what he was
looking.

601
00:35:55,760 --> 00:35:59,320
For came in and pretty much
looked at the studio.

602
00:35:59,320 --> 00:36:01,200
Yeah, this is great, but can I
see your microwave?

603
00:36:01,280 --> 00:36:04,240
And looked at our microwave and
opened it up and took a picture

604
00:36:04,240 --> 00:36:06,200
of the water.
Everyone had that stick.

605
00:36:06,200 --> 00:36:08,800
Do you find that a lot?
Do you find that kind of sticks?

606
00:36:09,320 --> 00:36:12,600
That's what I was.
I said that's what got us the

607
00:36:12,600 --> 00:36:14,440
job though, which was amazing.
What would?

608
00:36:14,440 --> 00:36:18,880
What was your I'm?
Sorry, do do do do a lot of have

609
00:36:18,880 --> 00:36:21,520
you noticed that a lot of people
have that kind of stick or, you

610
00:36:21,520 --> 00:36:23,680
know, the bigger name people
like have these.

611
00:36:23,680 --> 00:36:26,080
I don't want to call them absurd
because obviously there's a

612
00:36:26,080 --> 00:36:29,040
reason for them, but like what
seems silly to like a casting

613
00:36:29,040 --> 00:36:34,560
director or someone like?
We had one girl that was very

614
00:36:34,560 --> 00:36:37,560
popular and I'm sorry even to
say girl because I think she

615
00:36:37,560 --> 00:36:42,400
was, she's the first transgender
child that made it somewhat

616
00:36:42,400 --> 00:36:45,240
known.
And I'm her name is escaping me

617
00:36:45,240 --> 00:36:47,720
now.
But she wrote a book and then

618
00:36:47,720 --> 00:36:51,840
she had ATV show documenting.
I don't know if you know about

619
00:36:51,840 --> 00:36:55,240
it, but it was it was about 8
years ago and she was really

620
00:36:55,520 --> 00:37:00,440
fessed for being the first teen
really to, you know, come out

621
00:37:00,440 --> 00:37:06,840
and and be a trans.
She would go into the session

622
00:37:06,840 --> 00:37:10,120
because she was recording her
voice as well.

623
00:37:11,360 --> 00:37:16,000
A book.
This girl, boy, I'm sorry.

624
00:37:16,000 --> 00:37:20,680
I, I, they, I suppose is a term
and I'm very, I don't mean to

625
00:37:20,680 --> 00:37:24,560
be, you know, offending any.
Yeah.

626
00:37:25,160 --> 00:37:28,640
Generation so please forgive me
I don't mean anybody harm, but

627
00:37:29,520 --> 00:37:34,320
this person who loved Donuts
would eat non-stop Donuts

628
00:37:34,440 --> 00:37:39,960
throughout the whole session.
We were blown away like this

629
00:37:40,040 --> 00:37:42,560
because we always ask, you know
what would the artists like

630
00:37:43,200 --> 00:37:46,560
because we want to be prepared.
You know the rock love that Vos

631
00:37:46,560 --> 00:37:50,880
water in the glass bottles,
which at one time finds like I

632
00:37:50,880 --> 00:37:53,800
was so excited when I found like
a case of them somewhere at some

633
00:37:53,800 --> 00:38:00,960
little dinky grocery store once
this yes Donuts was non-stop for

634
00:38:00,960 --> 00:38:06,240
this one artist.
What the voice of Jay Peterman

635
00:38:06,240 --> 00:38:12,320
from Seinfeld's Mr. What was his
name in in Seinfeld's for boss?

636
00:38:13,360 --> 00:38:15,160
Oh, oh, oh, oh, I know you're
talking about.

637
00:38:15,160 --> 00:38:18,880
He was great Lane's boss, right?
He had a very short, abrupt

638
00:38:18,880 --> 00:38:20,040
voice.
I know you're talking about.

639
00:38:20,880 --> 00:38:23,040
So wonderful.
I can't, I have to look up the

640
00:38:23,040 --> 00:38:28,200
actor, but he's so amazing.
He played Mr. Peterman though on

641
00:38:28,200 --> 00:38:32,600
Seinfeld, but he is actually the
voice of so many Jay.

642
00:38:32,640 --> 00:38:35,320
His real name is Jay Peter
George Hurley.

643
00:38:35,440 --> 00:38:36,640
John Hurley.
John Hurley.

644
00:38:37,120 --> 00:38:42,760
So he was Mr. Peterman and
Seinfeld, but he has done

645
00:38:43,120 --> 00:38:46,560
amazing things in in the voice
world alone.

646
00:38:48,280 --> 00:38:50,720
I mean, he's on, you know,
SpongeBob and.

647
00:38:52,480 --> 00:38:54,720
What's his name with Pixar?
John.

648
00:38:55,920 --> 00:38:58,240
He was.
He was Norm's buddy from Cheers.

649
00:39:00,520 --> 00:39:03,880
So yeah, this studio really got.
Movie, I think, right?

650
00:39:04,560 --> 00:39:06,680
Say that again.
I think it wasn't John

651
00:39:08,120 --> 00:39:10,200
something.
Yes.

652
00:39:10,520 --> 00:39:13,400
Is in every Pixar movie.
I think has a voice over

653
00:39:13,400 --> 00:39:15,680
appearance in every Pixar movie.
It's so much fun.

654
00:39:16,200 --> 00:39:19,480
That was John O'hurley if you
really look up his IMDb.

655
00:39:19,480 --> 00:39:22,480
Yeah, I'll look him up.
The amount of voices, I mean

656
00:39:22,520 --> 00:39:26,760
Phineas and Ferb and you know he
world.

657
00:39:27,080 --> 00:39:29,760
Like what's over what's what's
what's voice?

658
00:39:29,760 --> 00:39:33,040
Because it's so funny because
you have like superstars, you

659
00:39:33,040 --> 00:39:35,600
know that like want to do these
fun animated.

660
00:39:35,600 --> 00:39:38,560
I mean even Tom Hanks originally
with Toy Story, but.

661
00:39:39,120 --> 00:39:42,320
It was fun because Voiceover is
so much fun.

662
00:39:42,320 --> 00:39:45,720
You don't have to worry about
what you look like physically.

663
00:39:45,920 --> 00:39:49,600
You're in a you know, you can
have your hair, however flip

664
00:39:49,600 --> 00:39:52,200
flops.
You're you're watching a screen,

665
00:39:52,200 --> 00:39:55,440
you're reading.
You don't have to memorize and

666
00:39:55,560 --> 00:39:57,880
you can get so creative with
your voice.

667
00:39:57,880 --> 00:40:02,920
You can have so much fun and
really develop characters that

668
00:40:02,920 --> 00:40:06,280
you just need to could be
consistent with.

669
00:40:06,280 --> 00:40:10,240
That is the real issue that
people have is I can create a

670
00:40:10,240 --> 00:40:13,040
voice like this, but how long
can I keep talking like that?

671
00:40:13,480 --> 00:40:16,200
How long?
Remember that that's the voice

672
00:40:16,200 --> 00:40:19,440
that I want to, you know, have
to name that voice and go back

673
00:40:19,440 --> 00:40:21,400
to it.
And it can't be more of the, you

674
00:40:21,400 --> 00:40:23,800
know, the boy voice of oh,
everybody sucks.

675
00:40:23,800 --> 00:40:27,720
And you know, so you have to
really identify different, you

676
00:40:27,720 --> 00:40:33,520
know, just characters and and be
consistent with them and not

677
00:40:33,520 --> 00:40:36,320
just a few words.
You have to do everything that

678
00:40:36,320 --> 00:40:39,360
you say has to be that way.
And you have, it's just like a

679
00:40:39,360 --> 00:40:41,760
character development for being
on camera.

680
00:40:43,520 --> 00:40:54,040
You have to really, you have to
know the good, the bad, the

681
00:40:54,040 --> 00:40:55,840
ugly.
You know who their family is,

682
00:40:55,840 --> 00:40:57,920
what they like, what they don't
like, what you know, what

683
00:40:58,000 --> 00:41:01,480
religion are they like you.
It's very important to put that

684
00:41:01,480 --> 00:41:05,600
kind of time in.
And then you know, that's what

685
00:41:05,600 --> 00:41:10,000
you get is you get this, you
know, the end results, which is

686
00:41:10,000 --> 00:41:13,640
whatever.
Do talent typically look at from

687
00:41:13,640 --> 00:41:15,720
your experience?
Look at voice over work.

688
00:41:15,720 --> 00:41:18,200
Almost like a break from acting
like a.

689
00:41:21,240 --> 00:41:24,560
Break from acting.
Yeah, like I would imagine if I

690
00:41:24,560 --> 00:41:28,960
did Castaway and Big and, you
know, all these movies and then

691
00:41:28,960 --> 00:41:31,760
I and then I went into into the
studio and I recorded for Woody

692
00:41:31,760 --> 00:41:34,480
to be, you know, in Toy Story.
I imagine that I would almost.

693
00:41:35,040 --> 00:41:38,240
Like I just said, it's even
harder to stay in that

694
00:41:38,240 --> 00:41:42,560
consistent voice.
And you're, first of all, you're

695
00:41:42,560 --> 00:41:46,200
getting direction, you know,
only through headphones.

696
00:41:46,200 --> 00:41:49,840
You're not really seeing any,
which is a different skill to

697
00:41:49,840 --> 00:41:54,800
learn how to interpret that, you
know, the voices in your head

698
00:41:54,800 --> 00:41:58,320
are telling you what to do.
You have to give so many

699
00:41:58,320 --> 00:42:00,040
different takes.
You have to act even more.

700
00:42:00,040 --> 00:42:01,880
Here's a great example for you.
OK.

701
00:42:03,160 --> 00:42:05,360
It's the fundamentals even of
just acting.

702
00:42:06,320 --> 00:42:08,560
The line I'm going to give you
is so simple.

703
00:42:08,720 --> 00:42:12,240
It's called or it is.
That was fast.

704
00:42:12,440 --> 00:42:16,280
That's all I want you to say.
And it's called an ABC read.

705
00:42:16,400 --> 00:42:19,280
So you're going to give me 3
different versions of saying

706
00:42:19,320 --> 00:42:22,080
that was fast.
OK, no.

707
00:42:24,200 --> 00:42:30,360
That was fast.
That was fast.

708
00:42:30,360 --> 00:42:36,160
That was fast.
OK, so that was great that you

709
00:42:36,160 --> 00:42:40,960
did that, but mostly weren't you
doing it based on your tone?

710
00:42:41,040 --> 00:42:44,520
I'm thinking like, oh, I have to
say it a different way so that.

711
00:42:45,000 --> 00:42:48,520
Scenarios that I'll be saying
that was fast in, you know, and

712
00:42:48,520 --> 00:42:50,920
like, yeah.
First one.

713
00:42:51,960 --> 00:42:54,880
So that was fast.
Was a little bit surprised.

714
00:42:54,920 --> 00:42:58,560
Like imagine, like, imagine.
I almost imagine if like my wife

715
00:42:58,560 --> 00:43:00,360
went out to the supermarket, I
was expecting her to take an

716
00:43:00,360 --> 00:43:02,000
hour and she comes back after
half an hour.

717
00:43:04,400 --> 00:43:07,680
Whoa, that was fast.
OK, that's great.

718
00:43:07,760 --> 00:43:10,200
And the second one.
Then there's one to process

719
00:43:10,200 --> 00:43:13,200
where if I ask my students to do
an assignment, right, an essay,

720
00:43:13,200 --> 00:43:16,000
and then they come back to me
after 20 minutes, I'm like, that

721
00:43:16,200 --> 00:43:19,280
was fast.
Like I'm a little skeptical.

722
00:43:19,280 --> 00:43:20,800
I don't always believe what
they're saying.

723
00:43:21,440 --> 00:43:26,200
And there's the just like, that
was my day zip.

724
00:43:26,200 --> 00:43:29,000
I it's hard to think of 1/3 case
I guess.

725
00:43:29,320 --> 00:43:32,840
That taxi, yeah, reacting off
something.

726
00:43:32,840 --> 00:43:35,880
So you're ahead of the game even
by thinking of scenarios because

727
00:43:35,880 --> 00:43:38,280
most people don't.
Most people just think it's the

728
00:43:38,280 --> 00:43:41,040
sound I need to say it
differently so it sounds

729
00:43:41,040 --> 00:43:45,320
different, but it it's not their
reactions to scenarios.

730
00:43:45,560 --> 00:43:49,400
You're exactly right.
Tapping into thinking, you know,

731
00:43:49,400 --> 00:43:54,440
even our session, our time
together, like everything so

732
00:43:54,680 --> 00:43:58,480
that I can give you a different
line that I'm not comfortable

733
00:43:59,360 --> 00:44:00,840
and and you can do the same
thing.

734
00:44:02,880 --> 00:44:06,840
Not so comfortable.
I'm not comfortable with that.

735
00:44:07,960 --> 00:44:09,000
Right.
Wait, so you're adding?

736
00:44:09,040 --> 00:44:11,120
I'm not so comfortable.
You're adding the word, so and

737
00:44:11,120 --> 00:44:11,880
you're adding.
Yes.

738
00:44:12,240 --> 00:44:14,240
How much does that matter?
Can I ask about that?

739
00:44:14,960 --> 00:44:19,560
Crucial that you stick to
crucial mind yes, that, and

740
00:44:19,560 --> 00:44:21,760
that's the hardest thing for
people is they want to add

741
00:44:21,760 --> 00:44:24,960
things all the time.
So you can add things like non

742
00:44:24,960 --> 00:44:29,800
verbals which are like you know
or or you know.

743
00:44:29,800 --> 00:44:35,200
You can make sounds to help that
reaction but you can't change

744
00:44:35,200 --> 00:44:37,360
the words.
One of my favorite, one of my

745
00:44:37,360 --> 00:44:40,560
favorite parts of acting and one
of my favorite parts of just

746
00:44:40,560 --> 00:44:43,280
like what when I when I watch a
really well done, well made

747
00:44:43,280 --> 00:44:47,680
movie is often what's not said
in between the lines or in

748
00:44:47,680 --> 00:44:51,400
between the words and how a
character can use the whole a

749
00:44:51,400 --> 00:44:56,200
person actually use the whole
body to say something that is

750
00:44:56,200 --> 00:44:58,960
not in the script.
And I watch that and I'm like,

751
00:44:59,680 --> 00:45:01,680
this is this is where the magic
comes in.

752
00:45:01,680 --> 00:45:05,200
This is like.
Is acting that is acting take

753
00:45:05,200 --> 00:45:08,800
the lines away and what are what
is the scenario?

754
00:45:09,040 --> 00:45:12,520
Sum it up.
Face your body you're exactly

755
00:45:12,520 --> 00:45:16,360
body language is is huge.
So that's my biggest thing.

756
00:45:16,360 --> 00:45:19,840
And what I do in auditions is,
you know, I give somebody a

757
00:45:19,840 --> 00:45:24,040
script and I let them do it how
they've been practicing probably

758
00:45:24,040 --> 00:45:27,600
a million times before they got
to the studio and see what they

759
00:45:27,600 --> 00:45:30,440
came up with.
What do they want to do?

760
00:45:30,720 --> 00:45:32,800
Because it's kind of like, you
got to get it out anyway.

761
00:45:33,040 --> 00:45:35,880
Otherwise they'd be like, well,
I thought of doing it this way,

762
00:45:36,520 --> 00:45:42,400
but it's even harder if you have
the first line because if I gave

763
00:45:42,400 --> 00:45:44,640
you.
So I have a script here in front

764
00:45:44,640 --> 00:45:46,480
of me, let's see if there's
anything in here that I could

765
00:45:46,480 --> 00:45:53,960
use for you.
OK, so it says the first line is

766
00:45:54,000 --> 00:45:57,120
you're lying.
You're lying.

767
00:45:59,240 --> 00:46:04,440
So if I have you coming into an
audition on the mark and you're

768
00:46:04,440 --> 00:46:07,240
lit and you're miked and you're
ready to go and there's someone

769
00:46:07,240 --> 00:46:11,520
behind the camera and we say OK,
efra, ready and action.

770
00:46:11,800 --> 00:46:18,000
And you say you're lying, right?
So that is the thing though,

771
00:46:18,120 --> 00:46:20,800
remember the word that I'm
saying is action.

772
00:46:21,440 --> 00:46:23,600
So it doesn't mean start
talking.

773
00:46:25,560 --> 00:46:26,840
Oh.
You're lying.

774
00:46:26,880 --> 00:46:28,800
Why are you saying it?
What's going on?

775
00:46:28,840 --> 00:46:30,640
What is the scene?
Right.

776
00:46:31,120 --> 00:46:34,000
So that is exactly when you want
to use your body.

777
00:46:34,360 --> 00:46:38,360
So how often, how often is I'm,
I know I've heard with a lot of

778
00:46:38,360 --> 00:46:40,800
actors, you know, based on
interviews or whatever, reading

779
00:46:40,800 --> 00:46:44,720
about it, that, that there's
usually a collaboration between

780
00:46:44,720 --> 00:46:47,560
like creating the setting and
like the context for when you

781
00:46:47,560 --> 00:46:50,240
are shooting that like there's
something, there's a history for

782
00:46:50,240 --> 00:46:53,280
the actor to fall back on to
kind of snap themselves into

783
00:46:53,280 --> 00:46:54,400
that zone.
Do you?

784
00:46:54,480 --> 00:46:57,960
Do you create that too?
So not in the audition process,

785
00:46:57,960 --> 00:47:00,800
no.
So that is being in an audition

786
00:47:00,800 --> 00:47:03,480
and being on set is night and
day really.

787
00:47:03,480 --> 00:47:06,000
You think like sometimes you're
not even doing what you did in

788
00:47:06,000 --> 00:47:08,880
that audition.
You know, everything can change.

789
00:47:08,880 --> 00:47:13,240
So that's what's so important
about getting real set

790
00:47:13,240 --> 00:47:17,040
experience also, and that's
something we offer at my studio.

791
00:47:17,600 --> 00:47:21,360
We create content for people so
they can actually be on a set

792
00:47:21,360 --> 00:47:24,760
before they're on a set because
those are things that people

793
00:47:24,760 --> 00:47:26,480
don't teach you.
You just have to kind of figure

794
00:47:26,480 --> 00:47:28,400
out.
Just like me with casting.

795
00:47:28,400 --> 00:47:32,320
I had no idea when I started
casting, you know, how to really

796
00:47:32,320 --> 00:47:35,840
work with people until I had to
really work with people.

797
00:47:35,840 --> 00:47:40,400
I was kind of thrown into that
job and I was doing everything I

798
00:47:40,400 --> 00:47:44,680
was told to do from my boss.
But then, you know, it takes you

799
00:47:44,680 --> 00:47:48,640
a while until you learn your own
style and see what really works.

800
00:47:49,200 --> 00:47:53,600
So, and every set is different,
every audition's different.

801
00:47:53,600 --> 00:47:56,600
So you have to be flexible for
sure.

802
00:47:56,600 --> 00:48:02,080
You have to really know how do
you take direction, which is,

803
00:48:02,600 --> 00:48:05,200
you know, a lot of people don't
have common sense.

804
00:48:06,560 --> 00:48:08,360
Listening skills is a huge issue
today.

805
00:48:08,360 --> 00:48:09,760
I noticed that with my high
school students.

806
00:48:10,280 --> 00:48:14,760
Active listening, yes, active
listening is going to make you

807
00:48:15,040 --> 00:48:19,880
make those faces naturally and
react because you're listening,

808
00:48:19,880 --> 00:48:22,320
you're really hearing.
So I always say don't just say

809
00:48:22,320 --> 00:48:26,640
your line, let it hit.
Let somebody their line

810
00:48:27,000 --> 00:48:30,400
important what the other actors
saying is more important than

811
00:48:30,400 --> 00:48:35,200
your line, because that's going
to give you, you know, just the

812
00:48:35,320 --> 00:48:39,200
an idea of how to say your line.
They're yelling at you.

813
00:48:39,200 --> 00:48:41,440
If they're so you're seeing
partner, even though they're off

814
00:48:41,440 --> 00:48:44,520
camera is is crucial.
It is a dance.

815
00:48:44,920 --> 00:48:46,800
That's what I always it's a
dance.

816
00:48:46,800 --> 00:48:49,280
It's like take my hands.
We're on it together.

817
00:48:49,680 --> 00:48:53,400
You know, eye contact, eye
lines, knowing what you're

818
00:48:53,400 --> 00:48:56,480
really seeing in a room when
you're seeing, you have to see

819
00:48:56,480 --> 00:48:59,360
it.
You have to if I tell somebody

820
00:49:00,120 --> 00:49:04,160
cruise line commercials are so,
you know, constant in in South

821
00:49:04,160 --> 00:49:09,560
Florida, though, I could, yeah,
you could just look behind me

822
00:49:09,560 --> 00:49:12,720
and I could say find somebody on
that cruise as you're leaving

823
00:49:12,720 --> 00:49:15,680
port and wave to them.
So go ahead and do that.

824
00:49:16,280 --> 00:49:17,400
Find somebody.
Nope.

825
00:49:17,760 --> 00:49:21,680
By me behind me.
Find somebody behind.

826
00:49:21,680 --> 00:49:23,320
Yeah.
And you see them and you wave to

827
00:49:23,320 --> 00:49:27,680
them.
So most people do the wave right

828
00:49:27,680 --> 00:49:29,160
away.
And then what if the camera

829
00:49:29,160 --> 00:49:31,240
doesn't stop?
What else do you do?

830
00:49:31,240 --> 00:49:38,200
You've already given it away.
Lead up, find somebody your time

831
00:49:38,200 --> 00:49:40,360
doing that.
Because that's the exploration.

832
00:49:40,360 --> 00:49:42,560
That's the part that we want,
you know.

833
00:49:43,160 --> 00:49:46,200
Beautiful.
Then, oh, they end up finding

834
00:49:46,560 --> 00:49:52,600
somebody down there at the end
because otherwise you're just

835
00:49:52,600 --> 00:49:54,200
doing this.
And then you're like, oh crap,

836
00:49:54,200 --> 00:49:56,800
they didn't say cut.
Oh, I've already done like how

837
00:49:56,800 --> 00:49:59,400
many times, you know?
You have a.

838
00:49:59,480 --> 00:50:00,400
Yeah, you have to.
You can't.

839
00:50:00,400 --> 00:50:03,200
You can't empty out your entire
tool to create it one time.

840
00:50:03,920 --> 00:50:07,080
And listen to find somebody and
then wait.

841
00:50:07,640 --> 00:50:10,400
So we do a lot of those kind of
things in my studio.

842
00:50:10,920 --> 00:50:15,640
I do a class that's called Self
tape Domination because so many

843
00:50:15,640 --> 00:50:20,160
people need to understand what
is needed in these self tapes

844
00:50:20,680 --> 00:50:24,840
when it comes to somebody else
watching them and IA class

845
00:50:24,840 --> 00:50:27,760
because then the class can also
be the client.

846
00:50:28,880 --> 00:50:32,240
How did that make you feel?
If you're the first of all, what

847
00:50:32,240 --> 00:50:34,040
are we looking for?
You know, what do we want to

848
00:50:34,040 --> 00:50:37,040
feel from this?
Let's make sure that that's what

849
00:50:37,040 --> 00:50:40,000
you're giving.
When you're on camera, you're

850
00:50:40,000 --> 00:50:42,680
not so just worried about the
dialogue, the dialogue, the

851
00:50:42,680 --> 00:50:45,320
dialogue.
So many people have issues now

852
00:50:45,320 --> 00:50:48,760
with memorization.
I believe it's the phone erasing

853
00:50:48,760 --> 00:50:50,680
our brains.
I'm honestly.

854
00:50:51,640 --> 00:50:54,320
I don't think, I think that's
certainly a big impact.

855
00:50:54,640 --> 00:50:58,840
More of kids for sure.
Kids in my studio and do three

856
00:50:58,840 --> 00:51:01,560
scenes, pages and pages and
pages.

857
00:51:02,320 --> 00:51:05,080
I can't tell you how that has
changed.

858
00:51:06,560 --> 00:51:09,520
Either by the way, I don't
think, I don't think it's that

859
00:51:09,520 --> 00:51:11,800
we can't.
I think that we've, I get the

860
00:51:11,800 --> 00:51:15,040
skill that we have to take a
muscle that we have to exercise

861
00:51:15,040 --> 00:51:16,960
and if we don't exercise it then
it falls away.

862
00:51:16,960 --> 00:51:18,840
So.
It starts with the kids though,

863
00:51:18,840 --> 00:51:22,520
and unfortunately they are at a
huge loss with that.

864
00:51:24,200 --> 00:51:27,400
It's very sad that that's and
they cannot retain.

865
00:51:27,400 --> 00:51:29,560
I can tell a child we're doing
voice over.

866
00:51:29,560 --> 00:51:32,000
So it's a line read.
That means it's a young child

867
00:51:32,000 --> 00:51:33,680
that maybe doesn't even know how
to read yet.

868
00:51:34,080 --> 00:51:37,320
So I'm giving them a line that
says help, you know, help me

869
00:51:37,320 --> 00:51:41,480
bring it back.
And you know, they'll help help

870
00:51:41,480 --> 00:51:45,200
so she can bring it back.
Like no, help me, help me bring

871
00:51:45,200 --> 00:51:48,720
it back.
And they'll just like short out

872
00:51:48,720 --> 00:51:51,120
on me.
And it's like help me bring it

873
00:51:51,120 --> 00:51:52,840
back.
So, you know, then we have to

874
00:51:52,840 --> 00:51:58,000
sing songs also and we have to
make songs aligned with certain

875
00:51:58,000 --> 00:52:00,120
music that we have to insert the
song.

876
00:52:00,120 --> 00:52:05,960
So it's very tiresome because of
that memorization skill that is

877
00:52:05,960 --> 00:52:09,840
just shot now.
So monitors that people can

878
00:52:09,840 --> 00:52:14,400
actually read from that.
Even as an actor, I will put the

879
00:52:14,400 --> 00:52:18,120
monitor here and that becomes
your screen partner and we're

880
00:52:18,120 --> 00:52:20,360
basically rolling the lines for
you.

881
00:52:20,840 --> 00:52:23,160
Cool.
Yes and no.

882
00:52:23,160 --> 00:52:26,000
I mean it's I mean.
With what you have, I, I, I

883
00:52:26,160 --> 00:52:28,200
guess right?
Meaning it's a you had.

884
00:52:28,280 --> 00:52:30,240
You came across a problem, you
had to come up with a with a

885
00:52:30,240 --> 00:52:33,600
creative solution.
Yes, so people are a little bit

886
00:52:33,600 --> 00:52:35,400
better of saying I don't want
the monitor.

887
00:52:35,400 --> 00:52:39,680
I really want to just, you know,
but they usually have to do a

888
00:52:39,680 --> 00:52:43,040
lot more takes because they just
you know, they get frustrated

889
00:52:43,040 --> 00:52:45,200
too.
Like I had it, I had it, you

890
00:52:45,200 --> 00:52:48,600
know.
So yesterday was a really fun

891
00:52:48,800 --> 00:52:54,480
audition with a celebrity actor
that came in that, you know, the

892
00:52:54,480 --> 00:52:59,880
first line was I will kill you
mother fucker first line.

893
00:53:00,880 --> 00:53:05,000
So it was just so fun to, you
know, work with this actor

894
00:53:05,000 --> 00:53:07,360
because I knew obviously they
had that line down.

895
00:53:07,760 --> 00:53:10,840
But when it came to just the,
you know, the other things

896
00:53:10,840 --> 00:53:15,560
instead of, you know, instead of
saying like, listen, if if you

897
00:53:15,560 --> 00:53:18,720
want to the line was if you want
to build in Manhattan And they

898
00:53:18,720 --> 00:53:22,080
kept saying something else, you
know, if you want to buy

899
00:53:22,080 --> 00:53:25,280
property or if you want it like
they couldn't remember that line

900
00:53:25,280 --> 00:53:28,680
build for whatever reason.
And I tried to convince them,

901
00:53:30,160 --> 00:53:32,440
please don't get hung up on that
one word.

902
00:53:32,440 --> 00:53:34,640
You know you're saying the same
thing.

903
00:53:34,840 --> 00:53:35,240
It's.
Really.

904
00:53:35,880 --> 00:53:40,640
How you're doing it So, you
know, actors get very attached

905
00:53:40,680 --> 00:53:44,240
to the lines and making sure
some people think that just

906
00:53:44,240 --> 00:53:48,320
because they're wearing
something that is, you know,

907
00:53:48,320 --> 00:53:51,080
something and that actor would
wear that, that's going to help

908
00:53:51,080 --> 00:53:54,040
them get the part.
I had an actress that came in

909
00:53:54,040 --> 00:53:58,800
last week that it was a part
that definitely was more in the

910
00:53:58,800 --> 00:54:04,400
70s eighties than current day.
And she was and, you know, Joe

911
00:54:04,400 --> 00:54:08,400
hung up on that.
She didn't have a real pencil in

912
00:54:08,400 --> 00:54:12,120
her ear.
It was like it's, you know, it's

913
00:54:12,120 --> 00:54:17,000
not, it's not there's.
Such a little security that I

914
00:54:17,000 --> 00:54:19,560
feel like, you know, you have to
be able to like I think people

915
00:54:19,560 --> 00:54:22,320
grasp for anything that could
make them feel more potentially

916
00:54:22,320 --> 00:54:24,120
secure.
No, this is part of the role

917
00:54:24,120 --> 00:54:25,440
that I'm.
And it's hard.

918
00:54:26,200 --> 00:54:27,960
I really can't use props and
things like that.

919
00:54:27,960 --> 00:54:32,680
So I am a good, I believe in
props as long as I can't see

920
00:54:32,680 --> 00:54:36,520
them.
So if they're, if you're sitting

921
00:54:36,520 --> 00:54:39,000
and and you're supposed to be
added to, I like the sitting in

922
00:54:39,000 --> 00:54:40,920
the table.
I think that's very important

923
00:54:41,360 --> 00:54:44,840
where other casting directors
will say, just stand, you know,

924
00:54:44,840 --> 00:54:47,720
it's better for your energy.
But that actor then is like,

925
00:54:47,720 --> 00:54:49,160
whoa, I'm supposed to be
sitting.

926
00:54:49,160 --> 00:54:51,520
And they're so, you know, locked
into that.

927
00:54:51,520 --> 00:54:55,520
So just do what I think you're
supposed to be doing.

928
00:54:55,560 --> 00:55:00,440
It's just when you're using, you
know, the prop is a crutch.

929
00:55:01,640 --> 00:55:06,000
I, I was so fortunate enough to
work on this series, Jane the

930
00:55:06,000 --> 00:55:10,720
Virgin, when it first came out.
And in auditions, we were

931
00:55:10,720 --> 00:55:13,400
casting for the mother.
And the mother was a real bitch.

932
00:55:13,720 --> 00:55:17,760
And in one scene, she's putting
on lipstick as she's talking to

933
00:55:17,800 --> 00:55:21,360
her daughter about how horrible
like her husband is, but she's

934
00:55:21,360 --> 00:55:27,880
putting on lipstick.
I every actress had lipstick and

935
00:55:27,880 --> 00:55:30,720
it didn't matter about the
lipstick.

936
00:55:31,520 --> 00:55:35,040
No, you could just use your
finger, but be that you know,

937
00:55:35,040 --> 00:55:39,720
but they were so locked into it
was just crazy to me that I was

938
00:55:39,720 --> 00:55:42,480
like really just you know, it
doesn't matter.

939
00:55:42,480 --> 00:55:44,880
But they all, as soon as they
arrived, they all brought that

940
00:55:44,880 --> 00:55:47,360
lipstick and.
Yeah, definitely.

941
00:55:47,360 --> 00:55:48,920
It's, I think it's the thing
that they cling to.

942
00:55:48,920 --> 00:55:52,040
It's the it's the grounding
force that that allows them to

943
00:55:52,400 --> 00:55:54,880
some kind of security.
Can I ask you one last question

944
00:55:54,880 --> 00:55:56,440
before I let you go?
I'm so sorry.

945
00:55:58,360 --> 00:55:59,680
Absolutely.
I'm really having a blast, by

946
00:55:59,680 --> 00:56:01,800
the way.
I hope we do this again because

947
00:56:01,800 --> 00:56:04,560
it's so to me, this is like I'm
like a kid in a candy store

948
00:56:04,560 --> 00:56:08,560
hearing all this stuff.
To see you sometime and just I

949
00:56:08,560 --> 00:56:09,840
mean I.
Would love to.

950
00:56:10,480 --> 00:56:14,680
Before you ask me, anybody can
be in TV commercials, film,

951
00:56:14,680 --> 00:56:18,320
voiceover you like we talked
about, you need to just train,

952
00:56:18,320 --> 00:56:21,880
you need to start somewhere.
No one is old or too young.

953
00:56:22,120 --> 00:56:25,800
We, I mean, we cast from babies
to senior citizens.

954
00:56:25,800 --> 00:56:28,720
You see what's on TV, you see
what's on movies.

955
00:56:28,720 --> 00:56:33,440
All of those ages are needed, so
you just need to know how to do

956
00:56:33,440 --> 00:56:35,320
it.
And that's really what I love

957
00:56:35,320 --> 00:56:40,200
sharing with people started This
is where you I am your

958
00:56:40,200 --> 00:56:42,240
foundation.
I love being a guy.

959
00:56:42,960 --> 00:56:45,960
I like to just help people
because I've seen people

960
00:56:45,960 --> 00:56:48,480
overnight.
I mean, I I met a girl once I

961
00:56:48,480 --> 00:56:51,240
was in a Starbucks line and she
was next to me and I was casting

962
00:56:51,240 --> 00:56:55,480
for I think it was an insurance
commercial and I just knew

963
00:56:55,480 --> 00:56:58,280
looking at this girl, this is
what this client has sent me in

964
00:56:58,280 --> 00:57:00,920
their specs.
This girl, I have to talk to

965
00:57:00,920 --> 00:57:04,360
her.
Oh, it can be creepy, like, hi,

966
00:57:05,200 --> 00:57:07,240
you know.
But fortunately there's more

967
00:57:07,320 --> 00:57:09,240
women casting directors, I
believe.

968
00:57:09,520 --> 00:57:11,440
Nice enough that if you
approached me, I'd be like, Oh

969
00:57:11,440 --> 00:57:13,760
well, you know, thanks.
You know, I'd like to hear about

970
00:57:13,760 --> 00:57:16,040
that.
I have a, you know, card on me,

971
00:57:16,040 --> 00:57:17,720
so I'm not just like take my
number.

972
00:57:19,040 --> 00:57:22,080
So and I like people.
If somebody approached me with

973
00:57:22,080 --> 00:57:24,280
that card, I would definitely do
my research.

974
00:57:24,280 --> 00:57:28,960
I would make sure that they're
reputable, look at reviews, see

975
00:57:28,960 --> 00:57:33,120
what they've done, see that, you
know, it's a real thing, not

976
00:57:33,120 --> 00:57:35,720
just somebody wanting to, you
know, no one should charge you

977
00:57:35,720 --> 00:57:40,400
money at all for, you know,
being an agent or representing

978
00:57:40,400 --> 00:57:41,640
you.
They're going to make their

979
00:57:41,640 --> 00:57:45,000
money off of you.
But when it comes to training,

980
00:57:45,200 --> 00:57:48,520
you really shouldn't spend a lot
upfront because you don't know

981
00:57:48,520 --> 00:57:50,760
if it's just going to be
something like a tennis.

982
00:57:51,920 --> 00:57:55,640
You know, not everything is for
everyone, but at least try.

983
00:57:56,920 --> 00:57:59,800
Just because you have a great
voice does not mean that you're

984
00:57:59,800 --> 00:58:01,880
going to be a great voice over
actor.

985
00:58:02,320 --> 00:58:07,000
It's important to learn from the
very basics.

986
00:58:07,560 --> 00:58:10,680
You make me want to come in.
You're really enticing me.

987
00:58:10,960 --> 00:58:15,080
I really want to, yeah.
For everyone, if you watch TV,

988
00:58:15,120 --> 00:58:20,000
you see that we could never have
a guy with a beard, facial hair

989
00:58:20,000 --> 00:58:23,480
on, on, especially a commercial
ever.

990
00:58:24,520 --> 00:58:28,360
Especially with food, never.
Now it goes.

991
00:58:28,360 --> 00:58:33,840
So I encourage people, if this
is their dream, go for it.

992
00:58:34,560 --> 00:58:37,960
Definitely there's a place for
everyone and there's plenty of

993
00:58:37,960 --> 00:58:42,440
backgrounds agencies now if you
just want to be on set and see

994
00:58:42,440 --> 00:58:44,560
what that's like, that's a great
way to start.

995
00:58:46,000 --> 00:58:49,680
Happy to recommend.
I like to meet somebody and give

996
00:58:49,680 --> 00:58:55,520
them a certain criteria for me.
You know, I like to do at least

997
00:58:55,520 --> 00:58:59,200
three sessions that I can see
that they are on time for every

998
00:58:59,200 --> 00:59:04,560
session, that they are prepared
and that really make an effort

999
00:59:04,600 --> 00:59:08,960
to, you know, put in a little
bit of homework for just three

1000
00:59:08,960 --> 00:59:12,120
sessions because that shows me
that they're professional,

1001
00:59:12,120 --> 00:59:15,720
they're on time, they're
dedicated because late even for

1002
00:59:15,720 --> 00:59:18,440
a class, that's what I remember.
Yeah.

1003
00:59:18,680 --> 00:59:23,240
And, and my job is to get you on
a set and I'm not doing it.

1004
00:59:23,520 --> 00:59:29,200
If somebody's late for my class,
it's an incident my brain on,

1005
00:59:29,680 --> 00:59:31,680
Nope, they're going to be late.
I'm going to be the one that

1006
00:59:31,680 --> 00:59:33,240
gets that phone call.
Where are they?

1007
00:59:33,600 --> 00:59:36,920
Yeah, yeah, definitely.
A lot of set training and we'll

1008
00:59:36,920 --> 00:59:39,120
out do things like that just for
that purpose.

1009
00:59:39,600 --> 00:59:41,400
Do you think set etiquette?
Yeah.

1010
00:59:42,320 --> 00:59:44,480
Percent.
And that's our first classes.

1011
00:59:44,480 --> 00:59:47,120
If you take a voiceover class,
the first class is voiceover

1012
00:59:47,120 --> 00:59:49,320
etiquette.
First, the same thing on set.

1013
00:59:49,320 --> 00:59:50,720
That's so great.
It's so great.

1014
00:59:50,720 --> 00:59:53,400
It's so cool because I don't
think anyone thinks about these

1015
00:59:53,400 --> 00:59:55,120
kind of stuff.
But it's also important,

1016
00:59:55,120 --> 00:59:58,560
especially when you know, when
you think of making a commercial

1017
00:59:58,560 --> 01:00:02,200
and making a show or a film or
anything like these are like

1018
01:00:02,480 --> 01:00:06,880
enormous operations and projects
and like it really like.

1019
01:00:07,440 --> 01:00:10,480
Like I know for myself, even
like I sell ultrasound machine

1020
01:00:10,640 --> 01:00:14,400
and from point A, from leaving
my warehouse to point B to my

1021
01:00:14,400 --> 01:00:17,680
customer, there's 10 things that
can go wrong along the way.

1022
01:00:17,720 --> 01:00:20,680
Every single time that holds
things up and the customer and

1023
01:00:20,680 --> 01:00:22,560
the customer does not care about
any of them.

1024
01:00:22,560 --> 01:00:25,760
So I need to make sure that
everyone is flawless along the

1025
01:00:25,760 --> 01:00:27,360
way.
If freight company comes two

1026
01:00:27,360 --> 01:00:29,720
days late, sorry pal, I can't
work with you anymore.

1027
01:00:29,720 --> 01:00:34,360
You know, like it just yeah.
I could be a total come off as a

1028
01:00:34,360 --> 01:00:38,240
total bitch to parent.
I walk in my door, I say I say

1029
01:00:38,240 --> 01:00:40,480
the same thing.
If you're late to my class, then

1030
01:00:40,480 --> 01:00:43,520
there's no way I'm recommending
you on a set until you show me

1031
01:00:43,520 --> 01:00:46,960
that you're not going to be late
and or if you bring a sick child

1032
01:00:46,960 --> 01:00:49,520
in something like that, like
right away.

1033
01:00:49,520 --> 01:00:52,880
I am making this is what is
going to happen to you.

1034
01:00:52,920 --> 01:00:56,120
If you arrive on a set, they're
going to send you.

1035
01:00:56,120 --> 01:01:02,000
So I'm a total realist that way
that when people start texting

1036
01:01:02,000 --> 01:01:05,040
me for class, oh, I'm in
traffic, there's traffic.

1037
01:01:05,080 --> 01:01:08,200
Are you kidding me?
That's got to be the most

1038
01:01:08,200 --> 01:01:10,880
classic thing you've ever you've
heard throughout your career,

1039
01:01:10,880 --> 01:01:12,520
right?
Is I'm, I'm, I'm going to be

1040
01:01:12,520 --> 01:01:13,440
late.
I'm in traffic.

1041
01:01:13,920 --> 01:01:17,560
Traffic really on a Friday at
5:00 in Miami?

1042
01:01:17,840 --> 01:01:20,840
Really.
Inning.

1043
01:01:21,400 --> 01:01:25,600
But I say don't even text.
Nobody wants to hear it.

1044
01:01:26,200 --> 01:01:30,360
Get there as much time as you
need to earlier and wait in your

1045
01:01:30,360 --> 01:01:33,240
car.
Yeah, start texting because

1046
01:01:33,240 --> 01:01:35,720
nobody cares.
Yeah, so.

1047
01:01:36,680 --> 01:01:40,280
That's really And people start
telling me, you know, if I send

1048
01:01:40,280 --> 01:01:42,920
out even info about something
that's happening and they give

1049
01:01:42,920 --> 01:01:44,720
me all the reasons why they
can't do it.

1050
01:01:47,040 --> 01:01:49,160
Just.
Finally, decline.

1051
01:01:49,160 --> 01:01:50,200
That's all.
Can't do it.

1052
01:01:50,240 --> 01:01:52,400
That's it.
You don't have to tell me why.

1053
01:01:53,080 --> 01:01:56,200
I I don't want to really know.
Just yes or no.

1054
01:01:56,240 --> 01:01:59,280
I mean, things I got to do,
Yeah.

1055
01:02:00,120 --> 01:02:01,120
What was your question?
Sorry.

1056
01:02:01,160 --> 01:02:03,560
I.
My question was, and we can make

1057
01:02:03,560 --> 01:02:05,360
this shorter, we can even carry
this over into the next

1058
01:02:05,360 --> 01:02:07,280
conversation for the next time
if you have to run.

1059
01:02:07,280 --> 01:02:11,040
But I want to talk to ask you
about the notion of being

1060
01:02:11,040 --> 01:02:15,800
typecast as opposed to like a
diverse career, you know, and

1061
01:02:15,920 --> 01:02:18,400
you know what, You know, so
like, I think off the top of my

1062
01:02:18,400 --> 01:02:20,960
head, Timothy Shamalay,
whatever, however you pronounce

1063
01:02:20,960 --> 01:02:25,600
his first name, like he just, I
mean between Bob Dylan and Willy

1064
01:02:25,600 --> 01:02:29,120
Wonka and Dune.
And like he's one of these guys

1065
01:02:29,120 --> 01:02:31,560
that it seems like can do
anything.

1066
01:02:31,560 --> 01:02:37,080
And then you have, that's an
actor, but you have actors that

1067
01:02:37,080 --> 01:02:41,160
spend 20-30 years in a career
pretty much doing the same role

1068
01:02:41,160 --> 01:02:44,040
for, you know this, you know,
for film after film.

1069
01:02:44,480 --> 01:02:47,520
That's also.
That's what.

1070
01:02:47,880 --> 01:02:51,960
That's representation also.
They're they're thinking that's

1071
01:02:51,960 --> 01:02:55,480
all they have.
You know, we do something in my

1072
01:02:55,480 --> 01:02:58,120
studio, people that want to get
into commercials.

1073
01:02:58,120 --> 01:03:01,800
It's called a demo slate shot
and it's basically the actor

1074
01:03:01,800 --> 01:03:04,720
introducing themselves because
every audition starts with a

1075
01:03:04,720 --> 01:03:07,160
slate.
So you would introduce yourself.

1076
01:03:07,160 --> 01:03:09,200
Hi, I'm Kim Houston.
I'm 5 foot 8.

1077
01:03:09,200 --> 01:03:10,880
I'm in Miami, something like
that.

1078
01:03:11,200 --> 01:03:13,720
You do profiles, you show your
hands, you show all the basics.

1079
01:03:13,720 --> 01:03:17,000
So we record somebody doing that
head to toe as well.

1080
01:03:18,080 --> 01:03:21,920
Then we do three different
scenarios with them that are

1081
01:03:22,240 --> 01:03:25,000
totally different from the look
that they're presenting in that

1082
01:03:25,000 --> 01:03:25,560
slate.
Cool.

1083
01:03:26,440 --> 01:03:28,280
Cool.
By the way, we see them as a

1084
01:03:28,280 --> 01:03:31,280
nurse with their hair back.
We see them as, you know, a

1085
01:03:31,280 --> 01:03:33,400
mechanic.
We see them because wardrobes

1086
01:03:33,400 --> 01:03:36,720
are important because and I
noticed doing these, you know,

1087
01:03:36,720 --> 01:03:39,680
and then I send them to agents
on the actors behalf.

1088
01:03:40,000 --> 01:03:41,680
The agent.
Oh, I didn't know that they

1089
01:03:43,280 --> 01:03:46,520
because, you know, the agent
doesn't have as much imagination

1090
01:03:46,520 --> 01:03:50,240
as you think if they're just
seeing the same headshot all the

1091
01:03:50,240 --> 01:03:54,440
time.
Actors do is they communicate

1092
01:03:54,800 --> 01:03:57,720
without always giving.
Every time you communicate with

1093
01:03:57,720 --> 01:04:01,120
someone that's representing you
should be an opportunity to show

1094
01:04:01,120 --> 01:04:03,840
them something new, even if it's
just a screenshot.

1095
01:04:04,280 --> 01:04:06,560
You know, this is what I look
like with brown hair.

1096
01:04:06,560 --> 01:04:09,400
This is what I look like with,
you know, I can be versatile.

1097
01:04:09,400 --> 01:04:12,480
I can I can ride a bike.
Here's a picture of me riding a

1098
01:04:12,480 --> 01:04:15,120
bike.
Like, you know, you really need

1099
01:04:15,120 --> 01:04:21,040
to constantly be working at
marketing yourself in, in a, in

1100
01:04:21,040 --> 01:04:24,560
a variety that's going to get
people to remember because it's

1101
01:04:24,560 --> 01:04:27,720
all about visual.
It's not really about, you know,

1102
01:04:27,720 --> 01:04:31,160
the 10 I because I can remember
people just from their

1103
01:04:31,160 --> 01:04:32,480
headshots.
And if that's all they're

1104
01:04:32,480 --> 01:04:37,280
showing me, that's all I
remember and is huge these days.

1105
01:04:37,280 --> 01:04:41,560
And short, short, sweet, little
quick moments will make people

1106
01:04:41,800 --> 01:04:46,320
really remember you.
And so that's what we like to do

1107
01:04:46,320 --> 01:04:50,080
in the studio, is get creative
and help people just get seen.

1108
01:04:50,560 --> 01:04:54,600
So you you so you do try to
avoid having one kind of what

1109
01:04:54,600 --> 01:04:57,160
kind of slate or one trick pony,
I guess you could call it like

1110
01:04:57,160 --> 01:04:59,800
that.
Sometimes, you know, I watch so

1111
01:04:59,800 --> 01:05:03,400
many videos that I and I often
end up hearing the auditions

1112
01:05:03,400 --> 01:05:06,080
more than I'm actually watching
them because I end up doing

1113
01:05:06,080 --> 01:05:09,640
different things.
You know, if I get up to get a

1114
01:05:09,640 --> 01:05:13,720
cup of coffee and an audition is
playing, I find what draws me

1115
01:05:13,720 --> 01:05:18,840
back in is the voice.
You sure you know that seem No,

1116
01:05:18,840 --> 01:05:20,760
no, no, no, no, like it'd be
kind.

1117
01:05:21,240 --> 01:05:26,760
It's hi, my name is S and you
know, instead of I'm you know

1118
01:05:26,760 --> 01:05:28,440
what I mean.
It's like a different kind of

1119
01:05:28,440 --> 01:05:30,440
confident.
There's something in the voice

1120
01:05:31,680 --> 01:05:34,040
me want to watch more.
So I imagine that's what it's

1121
01:05:34,040 --> 01:05:36,480
like for other casting people as
well.

1122
01:05:36,480 --> 01:05:41,480
But I try to to get people
really to work on their voice to

1123
01:05:41,480 --> 01:05:46,240
lead with their voice to to get
their voice to to show emotion

1124
01:05:46,240 --> 01:05:51,320
before they even get to their
face as it's an instrument that

1125
01:05:51,320 --> 01:05:56,200
can really go a long way and get
you, you know, not just trapped

1126
01:05:56,200 --> 01:05:59,040
into that same.
I mean there's certain people I

1127
01:05:59,040 --> 01:06:03,160
just know from their voice.
I could just I know who it is.

1128
01:06:03,360 --> 01:06:05,480
Yeah, definitely.
Yeah, I.

1129
01:06:05,480 --> 01:06:07,680
Can tell with a customer when I
answer the phone whether they're

1130
01:06:07,680 --> 01:06:11,280
going to be a difficult customer
or not just by my the first

1131
01:06:11,280 --> 01:06:13,120
minute of conversation I have
with them.

1132
01:06:13,360 --> 01:06:16,760
And like, you know, it's amazing
how much you can tell from a

1133
01:06:16,760 --> 01:06:18,040
voice.
It's really, really cool.

1134
01:06:18,360 --> 01:06:21,920
It's a gateway for sure, but we
do have great classes just for

1135
01:06:21,920 --> 01:06:26,440
people that want to try just see
what this is like and get on mic

1136
01:06:26,440 --> 01:06:28,840
once.
The problem is once they do it,

1137
01:06:29,000 --> 01:06:32,600
they they're hooks really
because it's like you and I

1138
01:06:33,040 --> 01:06:37,440
started saying it's fun, fun.
It gets you.

1139
01:06:37,640 --> 01:06:39,200
It's like that ride that you
take.

1140
01:06:39,200 --> 01:06:43,000
That was so fast that the first
thing I want to do it again.

1141
01:06:43,280 --> 01:06:46,480
Yeah, can't wait to do that.
That was fun.

1142
01:06:46,840 --> 01:06:50,720
So I am all a big encourager,
even if people don't want to get

1143
01:06:50,720 --> 01:06:52,920
on, you know, in the business
and go on auditions.

1144
01:06:53,440 --> 01:06:57,960
Just coming to the classes.
And it's wonderful for kids

1145
01:06:57,960 --> 01:07:02,200
because we really work on that
confidence, that eye contact,

1146
01:07:02,440 --> 01:07:06,720
getting them to just be social.
So important.

1147
01:07:07,240 --> 01:07:11,120
And reading that, I push voice
over more than on camera for

1148
01:07:11,120 --> 01:07:15,080
kids because it strengthens
their their reading.

1149
01:07:15,080 --> 01:07:18,360
They're articulate.
They're they're clear when they

1150
01:07:18,360 --> 01:07:20,280
talk.
And, you know, typical skills

1151
01:07:20,280 --> 01:07:23,440
that are going by the wayside at
this point in in in the world.

1152
01:07:23,920 --> 01:07:24,880
Very sad.
Yep.

1153
01:07:25,000 --> 01:07:29,160
I mean, we, I mean, really, I,
I, I noticed even, you know, I,

1154
01:07:29,160 --> 01:07:31,720
I'm the oldest of six, I'm 29,
right?

1155
01:07:31,720 --> 01:07:35,080
So, yeah, it's a big family.
But I noticed, you know, with,

1156
01:07:35,520 --> 01:07:37,160
you know, I talked to my
siblings, friends.

1157
01:07:37,880 --> 01:07:40,440
Eye contact is not simple, you
know.

1158
01:07:40,440 --> 01:07:43,680
Their ability to express
themselves is not something that

1159
01:07:43,680 --> 01:07:45,480
you take for granted.
Their ability to hold the

1160
01:07:45,480 --> 01:07:49,000
conversation, to make small talk
or or or speak clearly is not

1161
01:07:49,000 --> 01:07:53,200
something you take for granted.
It's it's very hard for kids.

1162
01:07:53,200 --> 01:07:56,080
Yeah.
So I have a a 22 year old and a

1163
01:07:56,080 --> 01:07:59,320
23 year old and I can honestly
tell you the best thing I ever

1164
01:07:59,320 --> 01:08:02,280
gave both of them was
personality.

1165
01:08:02,520 --> 01:08:05,840
I mean, these kids, I didn't
push them into TV or film or

1166
01:08:05,840 --> 01:08:10,040
anything because I didn't think
that was something I really

1167
01:08:10,040 --> 01:08:11,680
wanted them to care about, you
know?

1168
01:08:12,240 --> 01:08:14,080
So they're great with their
voice.

1169
01:08:14,080 --> 01:08:19,319
My son isn't phenomenal voice
actor, but my daughter is a

1170
01:08:19,319 --> 01:08:23,279
flight attendant and to this day
she's only 23 and only been

1171
01:08:23,279 --> 01:08:26,840
working a year.
It's called to be the purser

1172
01:08:26,840 --> 01:08:30,040
which is the one that controls
first class and you know.

1173
01:08:30,600 --> 01:08:32,600
Cool because of her
communication.

1174
01:08:32,880 --> 01:08:37,000
Because she gives eye contact
and she absolutely loves that

1175
01:08:37,000 --> 01:08:41,200
directness with one person at a
time and making everybody feel

1176
01:08:41,200 --> 01:08:44,960
comfortable.
And people her age, her peers,

1177
01:08:44,960 --> 01:08:46,760
they don't want that position.
They don't.

1178
01:08:47,640 --> 01:08:51,279
They feel uncomfortable.
And she's like, Oh my God, this

1179
01:08:51,279 --> 01:08:56,200
is like, I love doing this.
Yeah, it it works in your

1180
01:08:56,200 --> 01:09:00,080
benefit if you really have those
basic skills and and I love

1181
01:09:01,160 --> 01:09:04,920
reinforcing them, especially
with kids needed as well.

1182
01:09:04,920 --> 01:09:09,880
So you know it's needed for
sure, or maybe it's not.

1183
01:09:09,880 --> 01:09:12,760
I don't know if maybe you know
things are changing so much that

1184
01:09:13,120 --> 01:09:15,240
it's not as needed, but in the
world you.

1185
01:09:15,240 --> 01:09:17,800
Know I think it is by the way,
I, I even though things are

1186
01:09:17,800 --> 01:09:20,040
changing so much, the reason I
think it's needed is because if

1187
01:09:20,040 --> 01:09:25,000
you take a look at overall like
mental health or emotional state

1188
01:09:25,000 --> 01:09:29,600
or well-being or loneliness,
we're not we're not doing better

1189
01:09:29,600 --> 01:09:31,279
since we've gotten worse at
that.

1190
01:09:31,279 --> 01:09:33,680
Like I think that there's
something so deeply ingrained in

1191
01:09:33,680 --> 01:09:36,439
humans that like we need that
eye contact and we need that

1192
01:09:37,040 --> 01:09:41,760
presence and that communication
that you know that even though

1193
01:09:41,760 --> 01:09:44,279
it's not comfortable and like
it's you know, especially the

1194
01:09:44,279 --> 01:09:46,279
longer you push it off and the
less you practice it, the more

1195
01:09:46,279 --> 01:09:49,279
uncomfortable it is.
But I think that and the fact

1196
01:09:49,279 --> 01:09:52,560
that people are less happy or
less emotionally, you know,

1197
01:09:52,560 --> 01:09:57,160
satisfied or emotionally well
than they were 1520 years ago,

1198
01:09:57,680 --> 01:10:00,640
you know, speaks world as to,
you know, whether or not it's,

1199
01:10:00,680 --> 01:10:01,760
you know, whether or not we need
it.

1200
01:10:02,960 --> 01:10:06,160
So many things are different
now, you know, the whole like, I

1201
01:10:06,400 --> 01:10:09,040
mean, I can go on and on about
this just as a parent, but the

1202
01:10:09,040 --> 01:10:13,960
whole, you know, so socializing,
play dates and things where

1203
01:10:14,640 --> 01:10:18,320
didn't have any of that.
I, you know, if I had anxiety as

1204
01:10:18,320 --> 01:10:20,480
a kid, it was worked out in a
sport.

1205
01:10:21,240 --> 01:10:22,640
Do you?
Do you ever read the book The

1206
01:10:22,720 --> 01:10:25,080
Anxious Generation?
What is it called?

1207
01:10:25,640 --> 01:10:28,560
The anxious generation.
No, no, but I will.

1208
01:10:29,120 --> 01:10:31,880
You it's.
I've recommended it before.

1209
01:10:31,880 --> 01:10:34,800
It's by a gentleman named
Jonathan Haidt HAIDT.

1210
01:10:36,160 --> 01:10:39,240
Yeah, and I already know about
it though just.

1211
01:10:39,520 --> 01:10:43,520
Yeah, it's and it's one of the
most important. 1.

1212
01:10:43,560 --> 01:10:46,560
Of the most important books I've
ever read, I think it's amazing.

1213
01:10:47,000 --> 01:10:50,680
Thank you so much for your time.
I'm really just I.

1214
01:10:50,800 --> 01:10:52,920
Really, really appreciate it.
This is so much fun getting to

1215
01:10:52,920 --> 01:10:55,000
speak with you a little bit.
I hope we can do this again.

1216
01:10:55,320 --> 01:10:57,720
And I think there's going to be
a ton of fun.

1217
01:10:57,720 --> 01:10:59,280
I really, really appreciate it.
It's going to be awesome.

1218
01:10:59,280 --> 01:11:00,480
I'm going to send you the link
when we're done.

1219
01:11:00,480 --> 01:11:03,520
OK, Thank you so much for coming
on.

1220
01:11:03,520 --> 01:11:05,000
I really appreciate it.
We'll talk soon.

1221
01:11:05,480 --> 01:11:06,440
Take care.
Bye.