July 17, 2025 • 47 mins
In this episode of Agent Advice, Celebrity Master Acting Teacher and former talent manager Amy Lyndonteams up with Talent Agent Ofelia Habelt from Johnson Talent Agency to give you the inside scoop from an agent’s perspective.
They dive into everything actors need to know, including:
🎭Do you really need an agent?
📅When will an agent actually sign you?
📞Why you might not get a quick callback if you're not makingmoney yet
📸The dos and don’ts of sending headshots to your agent
… and tons more insider tips that every actor should hear.
🎧Don’t miss this powerful, no-nonsense conversation designed to help you navigate the industry like a pro.
✨Want to rock Amy’s “I Am Enough” tee? Grab yours at iamenoughcollection.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Hey, guys. Everybody.
Welcome back to actors. You are enough.
I'm enough. I.
Love that one. I love those colors.
Yeah, I really like the colors. It's very retro.
It's got. Yeah, guys, this is episode 11,
(00:20):
which is really incredible to me, don't you think, Ophelia?
Yes, it is incredible. It seems like it's going by so
fast. Yeah.
You just love what we're doing. Yeah, it's really.
Good 'cause I don't even. It doesn't It's like have we
done that many? I don't know, I just.
Feel we've been doing this for 11 weeks straight.
(00:41):
How did this happen? I don't know, but it's awesome.
Yeah, so. And we still don't have things
to talk about, guys like we still have things to talk about.
A lot of them. We have a list, guys.
We have a list. A list, But before we get into
what we're going to talk about today, guys, it's so important
that by supporting our show thatyou share the show.
(01:06):
It's really important that you share the show.
Oh, it's good there. I'm trying to make it do that.
Hey, I don't have the go. Like this?
Share the show. Share the show.
I can't do it. Stare the show.
Stare the show. Come on, Come on, Zoom.
(01:27):
Anyway, So you guys, you know, obviously if you comment I'm I'm
going to write you back so and if you think of anything that
you'd like us to talk about, I think that's good too.
Or any kind of guest that you want us to have on?
Yeah, questions if you have, if you talk about something and
you're like, well, I would like them to talk more about that or
(01:50):
what about this like feel free to ask questions.
You can put it in the comments or you can direct message and we
will get around to answering that one way or another.
One way or another, going to find him.
I'm going. To.
Get to get to get. OK.
And I'm about that. Are we going to keep that in?
(02:11):
Yes, I'm keeping. Good needs to be sung.
Yes, today we're going to talk to Ophelia because Ophelia is
going to be the subject matter, because I kind of was subject
matter in Episode 10. So Ophelia is going to be the
subject matter in Episode 11. So we're going to get to know
(02:32):
who Ophelia is and we're going to talk about agencies like
agents. So let's start with how does an
agent become an agent? That is a great question, Amy.
I will tell you. I mean, there's different ways
to do it, but I'll, I'll talk about the way I got into it.
(02:53):
And then there's the way that probably more people end up
getting into it. The way I got into it was my son
was acting and Johnson Town Agency found him and so they
asked to represent him. He started, you know, doing jobs
with them. It's about five years in.
(03:16):
He was working a lot. So I was interacting with his
agent a ton, was on set frequently doing going to
audition. This is when it was in personal
audition. So we were living in Northern
California, driving to Southern California and then we there was
also some in San Francisco he was doing.
So we're doing a lot of auditions as well.
So, you know, doing all the things, learning all the
(03:39):
language of the industry. It it, it does have its own
language and, and getting my connections.
And so I'm, I'm a very, I'm likefirst born very administrative.
I had a, you know, was doing during this time, I was a stay
at home mom doing also entrepreneurial work to help pay
(04:01):
the bills in sales, doing sales from home.
And then I did, you know, once they got as they got older, did
stuff part time outside them. But that was kind of like part
of my background. And so about five years and like
it was like right after COVID, it was like the beginning, kind
of like the end of 2022. So it was like still kind of it
(04:24):
was in the COVID time and it waslike the second round of Omicron
or whatever the stupid names are.
And but they Johnson talent was still expanding.
And you know, I was, I'd alreadyknew that.
I like, you know, loved them, trusted them, saw how hard they
(04:44):
work for us, saw how much integrity they had.
And then I saw them expanding and, and but then I was hearing
all these other agents shut the agency shutting down.
I'm like, Oh my gosh, this is they're doing something really
smart, whatever it is. And and then they asked me his
agent, who was he's, she's also the, the head agent at the
company. She said, hey, we're spinning
(05:05):
and we, we think moms make the best agents at mom and jurors.
And so we want to know, we're really impressed with how you've
handled your kids. And so we want to know if he'll
jump on and, and go to the training and be an agent.
And it was the right timing for me and, and my own life.
And so I jumped in. I talked to my family about it.
(05:25):
They're like, you should do it. I'm like, OK.
And so jumped in and it was a pretty smooth transition.
You know, you don't need like a a doctorate, you know well.
You already knew how to do it because you were on the other
side of it, so it's not like youwent from like a sales job to a
completely different industry. Exactly.
And that would have, that would have been way more intense.
(05:47):
Yeah. I mean, you were already in the
industry. Yeah, very well versed in it.
So that was three years ago. Yeah.
Are you sorry that you did that?Oh my gosh, it's the, it's the
best thing I ever did. It, it honestly is like all
these different things I've donein my life, being a mom, being a
mom to kids in the industry, youknow, managing my kids, doing
(06:11):
sales, entrepreneurial stuff. And also you're doing some other
stuff in my life that was very people oriented.
My husband was a pastor for a time and then even after he
stopped doing it vocationally, he still did it like as a, did
pastoral work as like a layperson.
And so we were around people allthe time, you know, really enjoy
(06:31):
being around people and so gaining people skills.
So it's like all these differentrandom things that like
sometimes. Yeah.
That, that you needed for that. Yeah, yeah.
You go through life and you're just and you go through you do
something you're like that seemsso random.
I wonder why I did that, you know, and then.
It all leads to this, yeah. It really does.
(06:52):
And so if you're in like a weirdseason, you're like, I don't
even know what is happening. Like just hold on, just wait
because you don't know what's ahead.
And for me, this kind of I and Inever, I never thought about
being agent I, I never, I didn'tseek, I seek it out.
It came to me and and it was just like I was like, Oh my
gosh, now it all makes sense. Everything I've done all came
(07:14):
together. Did you?
Did you? Take on the clients that you
already had when you forgot there.
So typically, like what happens is that one of the partners, so
the, the, some of the agents, they are some they, they will
offload some of their talent, right?
And some of the ones that are less complicated.
(07:34):
And then that one of the partners, knowing that they're
going to bring someone on, they'll start signing people and
prepping them for, you know, for, to go to the new agent.
And so those she'll sign people,she'll get them ready.
OK, so she was bringing, she wason boarding people to give to
you. Yeah.
So people that are. Your territory is Los Angeles,
(07:57):
Texas and the Southeast. So to South Texas being part of
the Southeast, so the South Central region, so it's not
Southeast, that's more like Atlanta, although we are now in
Atlanta commercially, the Southwest, the South Central
region, so that's Texas, Louisiana, Oklahoma, part of New
Mexico and some parts of Arizona.
(08:19):
There's like crossover between the Southwest region and the
South Central. Region and then you're also in
Texas. And all of Texas.
Yeah, all of Texas. All of Texas.
It's pretty big. And and then of course, you're
in Los Angeles and you're a fullservice agency.
So you're doing commercials, theatrical, you're doing voice
(08:40):
over print and sports and dance.We don't really do sports or
dance. We don't do those and.
We do modeling. We do not, not specifically.
So it's more like, it's more like just print.
So we get some print, we get some voice over and we get and
then all theatrical and all commercial.
(09:00):
Right, so you and call yourself it's just you service those
areas you're not like a voice over division agency or yeah.
So your concentration is theatrical and commercials, and
once in a while there's singing,dancing and hosting in a
commercial. Exactly.
Yep. Yeah, totally.
(09:22):
So when you have interviews withpeople, first of all, how do you
how do you find people? That's a great question too.
So that's. A great question.
I know you're. You're an.
Interviewer in the hoses with the mostess.
So there you know, there's so many different ways to find
people. I mean I have.
Stopped. How do you find people?
(09:43):
Yeah, well, what I have, I've done it in all the ways, like
I've stopped people on the street.
I've gone and ordered food at a restaurant.
I'm like, I'm getting, I'm getting actor vibes.
Like, are you an actor? Yes, I am.
I mean, it's not hard in LA to find an actor restaurant is
waiting your tables and, you know, give them my card and, you
(10:05):
know, just do that at Aroma. Remember Aroma?
We were just at Aroma, two people from that that meeting.
You'd sign the fire guy. The fire guy and then a woman
that I she was there, but I think we like better really
briefly. But she is killer.
She is killer and. No.
(10:27):
Way it was awesome so that's oneof the ways I've done it I've
that's crazy it's crazy and thenI also have people that that you
know they submit to the agency directly right so they'll e-mail
in and. Obviously you'll look at
something that has a referral first, you know. 100% I might
(10:47):
like give a quick glance at someone who just randomly and I
could tell like within 5 seconds, like them or not.
But if someone like when you've sent people over to me and
you're like, no, they're really good, you should like you should
really. Look at Yeah I.
Mean, I like what I'd go throughall the things and pretty much,
you know, when someone does thatand I know them and I know they
know what they're talking about,they I usually end up signing
(11:09):
them. I have to be honest, like
because they've, they've, it's like I already know, like
there's something. Yeah, they've already been
through the mill. Yeah, Yeah.
You know, I would say, I would say more than 90% of the emails
when I do a mailing for somebody, yeah, 90% get opened.
Yeah, yeah, I mean, it makes sense 90.
(11:29):
Percent because they know me. Yeah, exactly.
But I'm. Teaching.
Exactly. They have the ribbon.
They. Love my packages, you know?
Yeah, the packages look gorgeous.
Oh. My gosh, actress, if you don't
have a good package, you you should get with Amy.
You should get with Amy because that's one of the things she
does. She puts together.
I am not seeing packages as convincing as the one she does
(11:51):
so. Yeah, they're just nice and
clean. Yeah, exactly.
Way down to the slate shot. Yeah, totally.
And it has the information that I most I'm interested in just
all there. I don't have to weed through
anything. Yeah.
It it's just, yeah. People don't understand that.
Is that your resume? It, it tells a story, OK, it's
(12:12):
got to go like where you came from, where you are now and
where you're going to. But a lot of people, they use
their resume and they just like throw a bunch of stuff in a
drawer. Oh yeah, they just.
Nobody can read it like you can't understand it, you know?
No. And and like, it gets in the way
and it's kind of like what they're like, what are they do
doing theater or, or, or like film and TV, like, I don't know
(12:33):
which, Yeah. What's what's the career?
Yeah. What's, what's the movement
there? Yeah, for sure.
I mean, you know, and I, I had even, I know this isn't about
me, but I have to just say that I, when I first started teaching
the Linden Technique, I would get these kids from this one
agency. And did I tell you the story
(12:54):
already? I think so.
OK, well I didn't tell you guys the story so I have to tell it
anyway. Even if I feel you've already
heard it, I'm saying it anyway. Memories I've gotten over.
Who knows, you could have told me three times and I'd be like,
what? That's.
Good. That's good.
Yeah, there's this agency that was sending me a bunch of kids
(13:16):
and I was coaching them and I was noticing that they're resume
is a little horrible and you know, and I so I started fixing
their resumes and I started tweaking things and she called
me up. She says, what are you doing
with my people's resumes? I said, well you have like
featured on there. You have like short in a
parenthesis. I mean like you have stuff like
(13:38):
or. Extra work like.
Stuff on there that that is bringing like if they have one
credit that brings it up, the rest brings it back down.
So it's. Like a test, he.
Says I don't want you touching the resumes anymore.
OK, So I was good for two weeks,OK.
And and then I started touching them again.
She finds out. She sends a letter to all of the
(14:00):
parents and said, if you study with Amy Linden, I'm going to
draw. We're all upset.
They were like, Oh my God, but she's helping us.
I mean, they got more auditions when they fixed their resume so.
OK, that's just control. Yes, so I sent one of my
students was a lawyer so I sent a cease and desist because she
was ruining my reputation. It's like you don't do yes.
(14:25):
Anyway, cut to two months later,she's out of business and I get
all her clients. No.
So you know what they say? They say God is good.
They say God is so. Good all the time.
You don't. You don't pull that.
Like I'm doing good in the world.
(14:46):
I'm helping people. You're tying my hands, wanting
to blackball me like the children's hour.
Yes, you feel like like I'm likebad scum or something.
Oh my. God, I what a horrible tone and
all. Yeah, it's like I.
Became I became her competition and then she went out of
(15:10):
business. So that's when that's when Gold
Lemon Talent started, was at that time, 1994 I think it was,
and she went out of business andall the people that had fixed
their resume, they came on board.
I had a really big kids department in my management
company when I first started. Oh my gosh, that's so.
(15:31):
I didn't know that. I did not know that either.
That's so awesome. And I bet it was.
I bet it was really successful. Yeah, the kids were doing well.
Yeah. That's really bad.
But anyway, we had, we had relationships with agents and
you know, and a lot of, a lot oftimes we moved agencies if they
(15:54):
weren't paid attention to. But I, I think The thing is, is
that try not to say stay with anagency that doesn't pay
attention to you or your package.
So it's one. Of the, it's one of the benefits
of a boutique agency is that we get to pay attention to people
you know, and if they, if they, someone contacts me, they know
(16:15):
that they're going to get a response within, if they e-mail
within 48 hours, if they text and it better be urgent, if
they're texting, I'll respond within the hour, usually less.
Yeah, so now that's a great agent, you know what I mean?
Now you're making new money. You'll respond within the hour.
Yeah, well, that you know what I.
(16:35):
Will be like oh you're making memoney OK I'm texting you back
if. You're making me money.
I'll probably like also like gettogether in person with you on
the right hand. Let's just be honest.
Yeah, I just don't understand that.
You know, you guys if you're notmaking somebody money, you're
not going to be the first personthey call back.
It just. Yeah, and, and the, and the
(16:56):
reality is like, you know, this is funny.
Sometimes there can be this funny attitude, which I
understand there are legitimately agencies and agents
out there, particularly the bigger ones that really, really
don't end up paying attention toyou if you're not like
immediately making them a lot ofmoney.
It's it's very foolish to jump from a agent that you're, you
(17:17):
know, getting work from and getting attention.
You get one small breakout role and you think you're an A Lister
and you try to jump to a big agency and, and granted, it'll
sometimes the bigger agents willcome and whisper, tell people
things they want to hear that aren't guaranteed, but.
They Oh yeah, yeah, we got packaging.
Yeah, we got packaging. That company could package you
(17:42):
with cars. Exactly.
Why you need to come over to? Mine yeah, if you're in your in
your yes, if you're in low and someone's whispering and you
just every single person we've seen do that to the to this
date. And maybe it's it'll change one
day, but for the last 12 years, every single time that we've
they've done nothing. We see them five years later on
(18:04):
Instagram working at like, Taco Bell, you know?
That's horrible. I don't know, quit the industry.
So if you're getting, you know, one of the honestly in a
boutique agency, I will give attention to everyone.
Now if you are if you are not like getting in the door, we try
(18:25):
to talk about, I give solutions.80% of the time it's headshot
related. And so at that point Talon has
to decide if they want to cooperate and get new headshots
or not. And if they don't, they sit
around, they're not going to getthe same attention.
And so I'm not going to be meeting with them in person on a
regular basis, You know what I mean?
Do you, do you pick people's pictures?
Because I, you know, I say to people, they get upset the agent
(18:48):
has it back to them. And I'm like, well, if you
imagine, let's say they have 400people and like let's say 50 of
them took a headshot session. And let's say there are 1000
pictures you're showing. I'm like, what it no.
Take a little time. That's a lot, I think maybe.
And and also don't send your agent pictures that you think
(19:09):
looks fugly, OK, because inevitably they might take it.
Or here's a foggly picture. Don't send it.
Don't send it. Don't send it I.
Go through, I go through the whole gallery because I am very
picky. I'm very picky and I if I'm
going to be doing all this work every day, like sending you day
(19:32):
in and day out, most, most of that time not getting paid, then
I want to, I want to pick the bed shots and, and, and also
when a lot of times if you have like the talent, try to pick
their own. They can't be objective.
Like they're looking at, oh, what do I think?
I look good? What do I think looks good?
But it's like, we're not necessarily looking for like
what you might send, put on social media, you know, or send
(19:54):
to your. Yeah, I'll look at a picture
sometime. I'll be like, yeah, great for
Instagram, but it's not a good headshot.
That's really. Great for Instagram.
Yes. And there are some pictures that
are great for IMDb, you know. That's what we can do.
You guys got to be careful aboutIMDb.
That's a publicity site. Listen to me when I say it's a
(20:15):
publicity site. I'm so glad.
You're. Talking to IMDb, yeah, I mean,
it's so important and IMDb is soimportant.
You know, my students, his wife has ATV show being produced by
HBO. And when they have, when they
look at the tapes, they have theperson's IMDb up next to them
(20:38):
watching tape. And I thought that was very
interesting. I'm talking about the network.
That's really, and that is really interesting.
I thought it was like they wouldhave their actors access profile
up but no, they have their IMDb.Now it's so tricky because
because people casting are on their everyday, you can't get
away with putting fake credits on your resume because first of
(21:00):
all, as an agent, usually, sometimes it slips through.
But so we're, you know, we're looking if you send in a resume.
I mean, I had this happen. I went to showcase and this guy,
I wasn't, I wasn't totally sure,but he kept reaching out to me
and I'm like, well, I'll look again because I, I really do
have a good relationship with a woman who ran the showcase and
(21:21):
and he sent me his resume. I looked on IMDb and there it
was like nothing on his resume, like not nothing was on IMDb.
And I know sometimes talent don't have control of what
projects will put, you know, putthem up there, but there was
nothing. And so I emailed back.
I'm like, OK, hey, I'm a little confused.
You know, there's I don't see this on there.
And he's like, oh, and he had some some reason that it was
(21:44):
clear, like it was not a reason.I don't remember what what he
said, but it was something like I.
Some people people say, yeah, you know, there's another guy
with my name and they gave the credit to him.
Right, like not for. No, probably not.
And also not for everyone. Yeah, no.
(22:07):
And so like, you're busted. You're busted.
Like don't e-mail me again like every.
Lot of times you can go get a demo reel done and they'll list
it as a credit and so you can just call it a pilot or
something or tell people you're shopping it around or something.
But but if you're going to put legit credits like you know.
(22:32):
Say you're a coaster. Helping dead or you know, I mean
like what is wrong or why? Yeah.
He's like, no, what is? Wrong with you.
You don't think they're good people are going to look this
up. No, they had, I mean, that's.
That's the true. Way to get left in, OK And yeah,
but certainly there's a lot of independent projects.
I mean, you could be doing a webseries, you know.
(22:55):
Absolutely, absolutely. It's tricky because when I
assign people, sometimes they forget.
Like it takes them a while to remember or to remind them take
a few months to connect me on the IMDb or connect their agent
or manager. And so we're not always showing
up. So sometimes people will look at
an agent to decide if they want to sign with them or not.
(23:16):
But it's you have to remember that it's not everything is
completely 100% accurate becausethere are things that you know
the talent aren't always remembering to connect.
I can go in and do it, but you have to.
I once told an agent that I feltthat 'cause she was wrapping me
in another city, I'm not going to name it.
(23:39):
And I said I can't be on the roster anymore.
And she's like, why? I said because more than 3/4 of
your clients don't have a photo.Yes.
OK, on IMDb. Now look, I understand it's
costly to be on IMDb. Don't get me wrong.
It's one more thing that you guys have to pay for.
(23:59):
But it's. But it doesn't look good.
It's part of it's part of your store promotion.
You know what I mean? A little.
Bit it's the bull board. It's the bull board.
Yeah, it's kind of not optional if you, if you're on my roster,
you are a series actor and it's kind of not optional not to have
that. I mean, it sucks.
Yeah, I think everybody needs topay.
(24:20):
For be on there, you have to be.You have to be on IMDb Pro.
That's the only people. People always ask, they always
say can I find you on IMDBI meanthey're not always wanting to
get your actors access link right or your Instagram link.
Right in absolute ministry to. Yeah.
So you guys gotta take that awaymost.
(24:41):
People like, yeah, I'm serious about this too.
It's like, yeah, yeah, you gotta.
Don't write in the dark like the, the space on the on the
bottom where it says additional credits.
No, there's no additional credits.
Whatever your credits are the ones that IMDb put on there.
Don't add additional credits because sometimes you guys,
(25:03):
you'll write additional credits and it's the same credits that
IMDb put on there. So, and I don't know where to
look. So you have to be a minimalist
when it comes to your package. Like the thing you have to ask
is what do you want me to look at, right, right.
And so where do you want my eye to go?
(25:24):
And so that's why I talk about it's amazed that a lot of people
or writing like a million production companies on the
right hand side of their featurefilms or their short film that
we don't know who they are. So why would you write their?
Because I don't know where to go.
I don't know the left side, I don't know the project, I don't
know the right side. I don't know the production
company. But I'll tell you what I do
(25:45):
know. I know billing.
So get your billing straight now.
This isn't going to be a talk about that.
If you guys want to learn all about resumes and stuff like
that, you can go get a free weekon my The Actors toolbox.net.
Worth it guys. There get a free week on that
(26:05):
site and I've got lectures on how to put together your
business package so. I don't have time to do that
with all of my talent. I don't have the time for that.
That's what managers should be doing.
But I will tell you right now, alot of managers are not doing
that. No, I know.
I I want, I get their clients. Trust me, I know.
Yes, exactly so and. You know what I always say?
(26:27):
I would say what the hell is your manager doing?
That is, that is the appropriatefollow up question.
That's what I ask all the time. Well, I mean, let's talk about
this because there are managers that are agents in sheep
clothing, OK? They didn't want to go get the
bond. They didn't want to pay the
license, which how much? It was $10,000 like 20 years
(26:50):
ago. What is it now?
Do you remember? To be licensed as an agency?
Yeah. I don't know.
I'm not. I don't really know.
I know, I know it's expensive. I know.
It's really. Expensive.
Yeah, it's really expensive. And then to get bonded.
Yeah, yeah, that's a whole nother thing.
Absolutely. I think, I think there's some
great managers that have their agency license and they also are
(27:12):
bonded and those are good to go with if you can't get the great
agent because it can negotiate your.
If you, if you, if you only are working with an is only working
with an agent, you and you're, you're in LA or New York or, and
there's others, there's other cities as well.
(27:33):
You have to look. You should look it up.
If they are telling you like they don't think you should be
with an agent. I don't think you should be with
an agent yet. No, I don't think you should be
with an agent yet. Just be a little wary because
unless you have an attorney likeit is illegal to negotiate
contracts. It's illegal for a manager to
negotiate contracts. Well, yeah, I mean, the truth of
it is, let's say you get a really, really big job through
(27:58):
the manager. They can't negotiate it.
So you would need an agent eventually, but you can get an
entertainment attorney to negotiate that particular.
Yeah. And you have to.
If you don't have an attorney, you need to be careful about
that. If you have an attorney, that's
fine. You can work with a manager,
work with the attorney. The attorney can, if the
attorney's involved, then it's fine.
(28:20):
But you just you kind of have tojust have to be kind of careful
about that. Yeah, I mean, but there are a
lot of kids, you know, on the other side, 'cause I'm talking
from being a former manager, youknow?
Yeah. We're a lot of kids that we
represented that didn't need an agent because it's easy to get a
kid in an audition. Sure.
(28:40):
Totally. Exactly is, yeah.
They didn't actually need an agent because they called them
from our company. Yeah, if you're a kid, like
100%. But like sometimes I, I meet
these like older, you know, they, it's like in their
managers like, and they've, they've reached out to me to
sign and they're excited and then they're like, OK, I think
(29:02):
this would be a good family manager.
The manager's like, no. Then they come back like, Oh, my
manager said, I don't really, I,I, I don't really, we're not
looking to expand our team rightnow.
And I can just, I can sense that.
And I'll ask them about like, OK, do, I mean, how do you, how
do they negotiate contracts? And do you have a lawyer
involved? And, and some of them have said
yes, but some of them are, are like not, you know, no, I don't
(29:25):
have a lawyer. And I'm like.
OK, there's a lot of different philosophies about it.
To me, I think you need to be like a race car, you know, have
a lot of stickers on you and youknow, you know, and, and there
are a lot of agents like that that have territories, you know,
but they're on that don't I mean, if you're like one of
those people that you're dual citizen in Europe used to be
(29:49):
pushing that big time, how much is being shot in Europe right
now as opposed to Canada, OK, where things are there all the
time. So, you know, having a dual
citizenship and getting an agentor a manager out in Canada, in
Europe, that's understandable. So what do you look for like
(30:16):
besides a referral blah, blah, blah.
But what what is the deciding factor for you because you like
you signed one of my students that has nothing but her package
was pristine obviously and. She's and she can and she can
play younger. She's like she can, even though
she's, I forget how old she is, but she's like in her early.
(30:39):
Yeah, but she could play like 16.
Play 16 and so if you if you know if someone can play like
she's. Ethnic and she's.
Ethnic. She's ethnic and some.
Like, yeah. She has these great skills.
She can play younger, she's ethnic, she has great skills.
It's fine if she doesn't have a ton on her.
She doesn't have any significantcredits.
She's still, but she also has experience because even though
(31:02):
she's like these big credits, she has done stuff and you put
her, you put, you help her put her package together and like
she's been in this all these things and so.
Several languages. She also does a lot of dialects.
So guys, you know, don't act like, oh, an agent's not going
to be interested in me. If you have special skills,
yeah. Yeah, and you never know, like,
(31:26):
you know, right, I'm, I'm right now, like most of the people I'm
looking at like they need to have like pretty decent credits.
However, like if they're older, if they're not like you know,
preteens, teens, young adults. However, even if you're older,
if I have a gap in my roster, even if you don't have major
credits, if I can, I cannot findsomeone who is sag, like
(31:50):
legitimately sag, who's like, you know, a 50 to 6 year old
African American or I mean, or Asian or something like that.
Yeah, I will. Seriously.
You're gonna sign them? Yeah, yeah.
I will probably sign you if you can, if you're a good actor, if
you're getting good training, ifyou're committed to doing, if
(32:11):
you're like intelligent, you know, if you're not like a diva,
I will probably sign you, you know?
So because because you had an opening in your roster, I love
when people are like, hey, when's the right time to send to
an agent? Like, you know, like, I don't
know if I should do it now because it's pilot season.
(32:32):
I'm like pilot season, rabbit season.
It's like, yeah, no pilot seasonanymore.
There's no like season. And the truth of the matter is,
if they have a space in their roster, they're going to sign
you. Exactly So what?
What about the timing? Of it.
Even if it's slow, we, you know,and let, I mean, it's so weird.
(32:57):
The industry has been so bizarre.
So, you know, during the strikeswe were still signing people to
a certain extent, not as rapidly, but we were still
signing. So because we were preparing for
when the strike ended, like, Hey, this is actually a good
time to focus in on doing these other things.
Now, having said that, like it never really picked up until a
few weeks ago, it started picking up a little bit more,
(33:20):
but it kind of hadn't been picked up.
So it was like, so then we wouldlike start pausing on signing.
We're like, OK, wait, let's holdon a minute.
This is not shifting. And then we'd hear something and
like, OK, we can, you know, so there's no, there is no rhyme or
reason to like when there is a good time to like.
That's right. Now you guys stop asking those
(33:40):
questions. Stop it.
Stop it stupid. So see, The thing is, is that
it's all timing anyway. Yeah.
Say somebody from Ophelius roster that was your type, got
pregnant with me, was having a baby and would need.
The. Business, I'm sure it happened a
(34:01):
lot, right? And so now she's got a space.
So for you to say, oh, I shouldn't send it out right now
because, you know, everybody's auditioning and it's bad timing.
Well, it's good timing for you at that moment for her.
Yeah, I just had someone get into an AFI program and they're
like, I'm going to be the next two years.
I'm, you know, I'm not I'm not going to be able to do I'm going
(34:23):
to be really limited. So I I need some of that type
now you know what like I needed I have an opening, you know so.
Right. It's just it's worth beating it
now. Will you go on talent link?
We have done that. I did that more when I was
trying to build my roster and now that I have it built up, I
(34:44):
am not on there as much because there's just there's just a lot
of random, you know, people that.
Random. This kind of random.
Swipe right. Swipe right, It's an actor.
Swipe right, swipe left. So many people applying that I
don't, I don't really need to dothat, you know, I get.
It I get it. But it's specific type.
(35:06):
Yeah, exactly. Like if I totally like, if I'm
like, I really, it's been too long.
I really need, I really need this, some like this on my
roster. I might.
You're there, you know. Yeah, yeah.
Yeah, I think you could find that, or you could ask me to.
Exactly and. She had a film and she sent me
(35:27):
an e-mail and said do you have this?
Many I need young Asian men. OK.
I'll look for that. And then to me that are yeah,
you. Know if I have any?
But not. When it shows up, I'll let you
know and. I need older black men like over
50. OK.
That look older? That look over 50.
Okay, so you guys if you're listening and you're those two
(35:50):
specs submit to Ophelia. But you should you might you
might consider meeting with meeting up with Amy for the free
week first to make sure that when you submit.
No, I don't meet up with them for the free week.
They go on the website. It's a website.
Oh. OK, I thought you said I have a
no. There's a free week on the
website that they can go on the website and do all these on
(36:14):
there. Yes, do that even the business,
yeah, so. They go on there and they do all
the business assignments. Oh.
My God. And then and I'm lecturing on
all of it. So it's it's like, it's like a
library. You guys, there's no excuse.
Yeah, no excuse, especially whenit's you get a free week and
then it's only $19.95 a month toOh my.
(36:37):
Gosh, hello. Yeah, yeah.
But it's become so competitive. You need all the help you can
get with things as having sloweddown.
Now you have oh gosh, just talking to a a casting director
for a who's doing a a conference, the Southwest
Conference coming up in Arizona.But she was telling me some of
(36:59):
the casting director for and I'mI'm actually going to be on a
panel there, you guys. So if you are in the southwest
or LA is not that far, you guys.That's great.
You some amazing, amazing lineuptomorrow.
Look for information about that on Instagram, the Southwest
Conference. And Bella Hibs is the one who
runs it. And so she was telling me
(37:23):
though, that she has some some friends are casting directors
and then also friends are actorsthat are like they, they're not
a listers, but they're like reckon some of them are
recognizable. And they're like, they're like
calling her up like, Hey, you know, what do you have coming up
right now? So because work has been so
slow, it's way more competitive.So now you have people that in
(37:44):
the past you may not have been, you know, they may not have been
submitting to all the same stuffyou're submitting to, but now
they are. And so there are people that
have tons and tons of credits that have, you know, some like
recognizable element to them. Yeah, they're competing with
that. So, so I always see it on like
on TV. I'll be like, they took that
(38:05):
part. I mean, like it was like you,
you thought that they were the red herring.
You know what I mean? Yeah.
Sometimes you introduce somebodywith somewhat of a name, you
know, In ATV show, I'm like, oh,they did it right.
And if you say it immediately, they're the killer.
Yes. But they didn't say it again.
I know like Oh my God, yeah, look like a Co star.
(38:31):
Yeah, I know. I'm telling you.
So you need all the help. You need all the edge you can
get. So something like, you know, if
you get, if you're gonna get a free week or 20 bucks a month,
then 20, you know, it's like youshould do it because you need
the edge right now. You need it.
Yeah, and then, you know, and then once you become like part
(38:52):
of my master class program, you could join the club and then the
Actors Toolbox is free. It's in the club.
So that's great. Yeah, the club's great, but I'm
not telling you guys about it 'cause you're not part of the
master. That's right, You don't.
Get I feel so 7th. Grade right now, I know.
Sorry you don't get to know. So guys, is there anything else
(39:19):
that you want to talk about or about being an agent?
Well, it happened when people become an agent, like, so like
that's how I became an agent. And there are stories out there
that it's like, oh, wow, that's unexpected.
But but most of the time, if you're someone who's watching
baking, how do I become an agent?
And particularly if you're younger, like you usually start
(39:39):
out like in the mailrooms at start applying to, you know, for
like. Yeah, you can get like a rooms
at William Morris or CAAI mean talk about getting training
fast. Yeah, exactly.
Yeah. That's really good.
Usually start, you have to climbthe ropes, you know, and right
(39:59):
now it's tricky because there's not, there's some, there's some
hiring for sure, but there's not, it's not as much as usual.
There's people, a lot of agencies laying people off.
There's more people hiring for commercials.
And by the way, commercials are really happening in LA right
now, guys. Yeah.
Yeah, I read this article that that in New York, like all the
(40:19):
commercials dried up and it's all in LA.
Interesting. Very.
Interesting. I was like, oh good.
Yeah, I, I noticed that they picked, they picked up quite a
bit like like it was like a month or so ago, which so is a
good sign. That is a good sign because that
means that there there's stuff to be playing the commercials
(40:41):
for. That means there's projects.
You don't do commercials if there's not projects that you
can be shown in. So that's a good sign.
You know that there, you know, And then now, sure enough, we're
seeing stuff theatrically come in more than they were the last.
Well, I mean, you know, they need 911 and now they did a
couple of 911 spin offs. There's always like really calls
(41:03):
at 911 for people just starting,you know?
Totally, totally. You know, just work on your
screaming guys. You know you're running out of a
building. Blood.
I've had two auditions this weekthat called for blood curdling
screams. Yeah, see what I mean?
Am I crazy? No.
No, you should learn this. You should learn learning this
(41:25):
and you're this is self trainingduring the week.
Yeah, it's really important to get you scream down and, and,
and also running out of the building screaming.
Yeah, my, my baby. My baby.
Something like. My baby.
Oh, tell Leslie or or. My dog, my dog or and very
(41:48):
rarely do they scream my husbandevery once in a while feel like
whoops forgot about my husband. Right, he'll get himself out.
Yeah, yeah, yeah, yeah. Just get the dog and the baby.
Yeah, And that maternal instinctkicks in.
It's just like you're crying. Learning how to cry is actually
(42:12):
a really the clip that you just posted today of yourself in in
that movie, you had to like cry,go from crying to angry.
And you're talking to like a lawlooks like a law enforcement
officer. So it's like those kinds of you
like there's, you know, emotional moms.
And so like, learn how to cry, learn how to cry on command.
(42:32):
If you do not know how to do that, you should be practicing
and learning how to do that. Even if you do not have work
right now that requires that because you're.
Just no. It's really important to
practice that. It's really important.
And you guys, I did it in a previous episode.
I told you the CVS Rite Aid exercise.
So go look at it. Remember, you start in the car
(42:53):
and then you go buy something and then you come out.
Oh, yeah. Yeah, yeah, yeah.
Yeah, it's the crying exercise. So you guys follow us on
Instagram. If you go to Instagram right
now, you could see me crying. That's right.
Yeah, it's actually I. Just posted it today.
It's a throwback Thursday, you know.
What was happening in the scene and I got teary eyed like it was
(43:15):
really good. It was really good, but you
should watch that so you know what that looks like.
Going from emotion to emotion, different emotions and having it
be seamless, like that's where you want to get to.
Yeah, yeah. See Ophelia.
Ophelia looks for the Champions.The Champs.
I watch a lot of auditions and so I can see very quickly when
(43:38):
someone's developed certain skills in their acting journey.
Yeah, you could go, oh, that wasgood.
That was a good transition. Oh, yeah, yeah, that was good.
Absolutely. You weren't bored.
And if you were not bored and they took you somewhere, you
know? Yeah, exactly.
Oh, boutique agents do. Watch yourself tapes guys.
Oh yeah, we don't. Know they always but boutique
(44:00):
agents will watch yourself tapesI don't.
Let it go through without checking it out.
Yeah. So is there any advice you can
give anybody today before we sign off Ophelia?
Yeah. I mean, I would say, you know,
as far as like an agent that youreally have to remember no
(44:23):
matter who your agent is, is that if you're not making money,
they're not making money. So unless they have, unless
they're like kind of a bigger agency, I mean, it can happen
with smaller ones, but that theylegitimately might not be paying
attention to you. They're probably, if you don't
feel like you're getting in the door or you're, you know,
(44:46):
they're probably not not paying attention to you there.
There's probably an either an issue with your head shots or
there's an issue with like that kind of all boils back down to
head shots. You know, it's not if there
there could be a time in the industry where like your
ethnicity or look is not trending, there could be a lot
(45:07):
going on. You might need to change your
hair, you know. Yeah, you might not.
What's trending, you know? Yeah, or you could you could be
trending in that, in that type, but like you don't look like
update like your your style is like out of date, you know,
like, yeah, you know, as an adult, like your look doesn't
change a time like the same as like when you're kids, but
(45:27):
styles and trends change a lot. So yes, you might still need to
get new headshots every couple of years.
Like, you know, with a kid, it'sit's even more frequent.
But some people are like, well, I just got these.
I don't look that different. Yeah.
But your style looks like the 1982, you know, and like you're,
you know, in your 50s now. But that's not in style anymore.
(45:49):
That's not, you know, so you just have to think about those
things and just remember that your Asian, you know, they're
they're not usually. Again, can't speak for everyone,
but they might be paying attention but you're not getting
in the door for other reasons. Or the alternatively you're
getting auditions, but if you are not booking, that is not
your agent's job. The ones once you get the
(46:11):
audition, the agent has done their job and you need to be
figuring out how to book. And if you're not?
Yeah, figure out how to book. Figure out we just talked about
this in our last podcast. Why aren't you booking?
Stop trying and or yeah, it's it's actually but when this
airs, it will already been out. So the last podcast, yeah, pop
(46:32):
stop, just start booking. Stop just trying.
Is that what we need? Stop just trying.
Start booking acting jobs. Yeah.
That's what it is. Acting jobs booking is a
different skill than acting so. A separate geese.
That's what you got to remember,yeah.
Don't forget. Yeah, All right.
So follow up failure at JTA under score OFELIA and that's
(47:04):
Ophelia's Instagram. Thank you, Amy.
She. I had to learn it.
Because. She kept forgetting and I just
had to learn it and I'm just. Playing Amy and Heart and she's
managing me so exactly I need it.
All right, love. We love you guys and you are
(47:26):
enough.
Hey, guys. Everybody.
Welcome back to actors. You are enough.
I'm enough. I.
Love that one. I love those colors.
Yeah, I really like the colors. It's very retro.
It's got. Yeah, guys, this is episode 11,
(00:20):
which is really incredible to me, don't you think, Ophelia?
Yes, it is incredible. It seems like it's going by so
fast. Yeah.
You just love what we're doing. Yeah, it's really.
Good 'cause I don't even. It doesn't It's like have we
done that many? I don't know, I just.
Feel we've been doing this for 11 weeks straight.
(00:41):
How did this happen? I don't know, but it's awesome.
Yeah, so. And we still don't have things
to talk about, guys like we still have things to talk about.
A lot of them. We have a list, guys.
We have a list. A list, But before we get into
what we're going to talk about today, guys, it's so important
that by supporting our show thatyou share the show.
(01:06):
It's really important that you share the show.
Oh, it's good there. I'm trying to make it do that.
Hey, I don't have the go. Like this?
Share the show. Share the show.
I can't do it. Stare the show.
Stare the show. Come on, Come on, Zoom.
(01:27):
Anyway, So you guys, you know, obviously if you comment I'm I'm
going to write you back so and if you think of anything that
you'd like us to talk about, I think that's good too.
Or any kind of guest that you want us to have on?
Yeah, questions if you have, if you talk about something and
you're like, well, I would like them to talk more about that or
(01:50):
what about this like feel free to ask questions.
You can put it in the comments or you can direct message and we
will get around to answering that one way or another.
One way or another, going to find him.
I'm going. To.
Get to get to get. OK.
And I'm about that. Are we going to keep that in?
(02:11):
Yes, I'm keeping. Good needs to be sung.
Yes, today we're going to talk to Ophelia because Ophelia is
going to be the subject matter, because I kind of was subject
matter in Episode 10. So Ophelia is going to be the
subject matter in Episode 11. So we're going to get to know
(02:32):
who Ophelia is and we're going to talk about agencies like
agents. So let's start with how does an
agent become an agent? That is a great question, Amy.
I will tell you. I mean, there's different ways
to do it, but I'll, I'll talk about the way I got into it.
(02:53):
And then there's the way that probably more people end up
getting into it. The way I got into it was my son
was acting and Johnson Town Agency found him and so they
asked to represent him. He started, you know, doing jobs
with them. It's about five years in.
(03:16):
He was working a lot. So I was interacting with his
agent a ton, was on set frequently doing going to
audition. This is when it was in personal
audition. So we were living in Northern
California, driving to Southern California and then we there was
also some in San Francisco he was doing.
So we're doing a lot of auditions as well.
So, you know, doing all the things, learning all the
(03:39):
language of the industry. It it, it does have its own
language and, and getting my connections.
And so I'm, I'm a very, I'm likefirst born very administrative.
I had a, you know, was doing during this time, I was a stay
at home mom doing also entrepreneurial work to help pay
(04:01):
the bills in sales, doing sales from home.
And then I did, you know, once they got as they got older, did
stuff part time outside them. But that was kind of like part
of my background. And so about five years and like
it was like right after COVID, it was like the beginning, kind
of like the end of 2022. So it was like still kind of it
(04:24):
was in the COVID time and it waslike the second round of Omicron
or whatever the stupid names are.
And but they Johnson talent was still expanding.
And you know, I was, I'd alreadyknew that.
I like, you know, loved them, trusted them, saw how hard they
(04:44):
work for us, saw how much integrity they had.
And then I saw them expanding and, and but then I was hearing
all these other agents shut the agency shutting down.
I'm like, Oh my gosh, this is they're doing something really
smart, whatever it is. And and then they asked me his
agent, who was he's, she's also the, the head agent at the
company. She said, hey, we're spinning
(05:05):
and we, we think moms make the best agents at mom and jurors.
And so we want to know, we're really impressed with how you've
handled your kids. And so we want to know if he'll
jump on and, and go to the training and be an agent.
And it was the right timing for me and, and my own life.
And so I jumped in. I talked to my family about it.
(05:25):
They're like, you should do it. I'm like, OK.
And so jumped in and it was a pretty smooth transition.
You know, you don't need like a a doctorate, you know well.
You already knew how to do it because you were on the other
side of it, so it's not like youwent from like a sales job to a
completely different industry. Exactly.
And that would have, that would have been way more intense.
(05:47):
Yeah. I mean, you were already in the
industry. Yeah, very well versed in it.
So that was three years ago. Yeah.
Are you sorry that you did that?Oh my gosh, it's the, it's the
best thing I ever did. It, it honestly is like all
these different things I've donein my life, being a mom, being a
mom to kids in the industry, youknow, managing my kids, doing
(06:11):
sales, entrepreneurial stuff. And also you're doing some other
stuff in my life that was very people oriented.
My husband was a pastor for a time and then even after he
stopped doing it vocationally, he still did it like as a, did
pastoral work as like a layperson.
And so we were around people allthe time, you know, really enjoy
(06:31):
being around people and so gaining people skills.
So it's like all these differentrandom things that like
sometimes. Yeah.
That, that you needed for that. Yeah, yeah.
You go through life and you're just and you go through you do
something you're like that seemsso random.
I wonder why I did that, you know, and then.
It all leads to this, yeah. It really does.
(06:52):
And so if you're in like a weirdseason, you're like, I don't
even know what is happening. Like just hold on, just wait
because you don't know what's ahead.
And for me, this kind of I and Inever, I never thought about
being agent I, I never, I didn'tseek, I seek it out.
It came to me and and it was just like I was like, Oh my
gosh, now it all makes sense. Everything I've done all came
(07:14):
together. Did you?
Did you? Take on the clients that you
already had when you forgot there.
So typically, like what happens is that one of the partners, so
the, the, some of the agents, they are some they, they will
offload some of their talent, right?
And some of the ones that are less complicated.
(07:34):
And then that one of the partners, knowing that they're
going to bring someone on, they'll start signing people and
prepping them for, you know, for, to go to the new agent.
And so those she'll sign people,she'll get them ready.
OK, so she was bringing, she wason boarding people to give to
you. Yeah.
So people that are. Your territory is Los Angeles,
(07:57):
Texas and the Southeast. So to South Texas being part of
the Southeast, so the South Central region, so it's not
Southeast, that's more like Atlanta, although we are now in
Atlanta commercially, the Southwest, the South Central
region, so that's Texas, Louisiana, Oklahoma, part of New
Mexico and some parts of Arizona.
(08:19):
There's like crossover between the Southwest region and the
South Central. Region and then you're also in
Texas. And all of Texas.
Yeah, all of Texas. All of Texas.
It's pretty big. And and then of course, you're
in Los Angeles and you're a fullservice agency.
So you're doing commercials, theatrical, you're doing voice
(08:40):
over print and sports and dance.We don't really do sports or
dance. We don't do those and.
We do modeling. We do not, not specifically.
So it's more like, it's more like just print.
So we get some print, we get some voice over and we get and
then all theatrical and all commercial.
(09:00):
Right, so you and call yourself it's just you service those
areas you're not like a voice over division agency or yeah.
So your concentration is theatrical and commercials, and
once in a while there's singing,dancing and hosting in a
commercial. Exactly.
Yep. Yeah, totally.
(09:22):
So when you have interviews withpeople, first of all, how do you
how do you find people? That's a great question too.
So that's. A great question.
I know you're. You're an.
Interviewer in the hoses with the mostess.
So there you know, there's so many different ways to find
people. I mean I have.
Stopped. How do you find people?
(09:43):
Yeah, well, what I have, I've done it in all the ways, like
I've stopped people on the street.
I've gone and ordered food at a restaurant.
I'm like, I'm getting, I'm getting actor vibes.
Like, are you an actor? Yes, I am.
I mean, it's not hard in LA to find an actor restaurant is
waiting your tables and, you know, give them my card and, you
(10:05):
know, just do that at Aroma. Remember Aroma?
We were just at Aroma, two people from that that meeting.
You'd sign the fire guy. The fire guy and then a woman
that I she was there, but I think we like better really
briefly. But she is killer.
She is killer and. No.
(10:27):
Way it was awesome so that's oneof the ways I've done it I've
that's crazy it's crazy and thenI also have people that that you
know they submit to the agency directly right so they'll e-mail
in and. Obviously you'll look at
something that has a referral first, you know. 100% I might
(10:47):
like give a quick glance at someone who just randomly and I
could tell like within 5 seconds, like them or not.
But if someone like when you've sent people over to me and
you're like, no, they're really good, you should like you should
really. Look at Yeah I.
Mean, I like what I'd go throughall the things and pretty much,
you know, when someone does thatand I know them and I know they
know what they're talking about,they I usually end up signing
(11:09):
them. I have to be honest, like
because they've, they've, it's like I already know, like
there's something. Yeah, they've already been
through the mill. Yeah, Yeah.
You know, I would say, I would say more than 90% of the emails
when I do a mailing for somebody, yeah, 90% get opened.
Yeah, yeah, I mean, it makes sense 90.
(11:29):
Percent because they know me. Yeah, exactly.
But I'm. Teaching.
Exactly. They have the ribbon.
They. Love my packages, you know?
Yeah, the packages look gorgeous.
Oh. My gosh, actress, if you don't
have a good package, you you should get with Amy.
You should get with Amy because that's one of the things she
does. She puts together.
I am not seeing packages as convincing as the one she does
(11:51):
so. Yeah, they're just nice and
clean. Yeah, exactly.
Way down to the slate shot. Yeah, totally.
And it has the information that I most I'm interested in just
all there. I don't have to weed through
anything. Yeah.
It it's just, yeah. People don't understand that.
Is that your resume? It, it tells a story, OK, it's
(12:12):
got to go like where you came from, where you are now and
where you're going to. But a lot of people, they use
their resume and they just like throw a bunch of stuff in a
drawer. Oh yeah, they just.
Nobody can read it like you can't understand it, you know?
No. And and like, it gets in the way
and it's kind of like what they're like, what are they do
doing theater or, or, or like film and TV, like, I don't know
(12:33):
which, Yeah. What's what's the career?
Yeah. What's, what's the movement
there? Yeah, for sure.
I mean, you know, and I, I had even, I know this isn't about
me, but I have to just say that I, when I first started teaching
the Linden Technique, I would get these kids from this one
agency. And did I tell you the story
(12:54):
already? I think so.
OK, well I didn't tell you guys the story so I have to tell it
anyway. Even if I feel you've already
heard it, I'm saying it anyway. Memories I've gotten over.
Who knows, you could have told me three times and I'd be like,
what? That's.
Good. That's good.
Yeah, there's this agency that was sending me a bunch of kids
(13:16):
and I was coaching them and I was noticing that they're resume
is a little horrible and you know, and I so I started fixing
their resumes and I started tweaking things and she called
me up. She says, what are you doing
with my people's resumes? I said, well you have like
featured on there. You have like short in a
parenthesis. I mean like you have stuff like
(13:38):
or. Extra work like.
Stuff on there that that is bringing like if they have one
credit that brings it up, the rest brings it back down.
So it's. Like a test, he.
Says I don't want you touching the resumes anymore.
OK, So I was good for two weeks,OK.
And and then I started touching them again.
She finds out. She sends a letter to all of the
(14:00):
parents and said, if you study with Amy Linden, I'm going to
draw. We're all upset.
They were like, Oh my God, but she's helping us.
I mean, they got more auditions when they fixed their resume so.
OK, that's just control. Yes, so I sent one of my
students was a lawyer so I sent a cease and desist because she
was ruining my reputation. It's like you don't do yes.
(14:25):
Anyway, cut to two months later,she's out of business and I get
all her clients. No.
So you know what they say? They say God is good.
They say God is so. Good all the time.
You don't. You don't pull that.
Like I'm doing good in the world.
(14:46):
I'm helping people. You're tying my hands, wanting
to blackball me like the children's hour.
Yes, you feel like like I'm likebad scum or something.
Oh my. God, I what a horrible tone and
all. Yeah, it's like I.
Became I became her competition and then she went out of
(15:10):
business. So that's when that's when Gold
Lemon Talent started, was at that time, 1994 I think it was,
and she went out of business andall the people that had fixed
their resume, they came on board.
I had a really big kids department in my management
company when I first started. Oh my gosh, that's so.
(15:31):
I didn't know that. I did not know that either.
That's so awesome. And I bet it was.
I bet it was really successful. Yeah, the kids were doing well.
Yeah. That's really bad.
But anyway, we had, we had relationships with agents and
you know, and a lot of, a lot oftimes we moved agencies if they
(15:54):
weren't paid attention to. But I, I think The thing is, is
that try not to say stay with anagency that doesn't pay
attention to you or your package.
So it's one. Of the, it's one of the benefits
of a boutique agency is that we get to pay attention to people
you know, and if they, if they, someone contacts me, they know
(16:15):
that they're going to get a response within, if they e-mail
within 48 hours, if they text and it better be urgent, if
they're texting, I'll respond within the hour, usually less.
Yeah, so now that's a great agent, you know what I mean?
Now you're making new money. You'll respond within the hour.
Yeah, well, that you know what I.
(16:35):
Will be like oh you're making memoney OK I'm texting you back
if. You're making me money.
I'll probably like also like gettogether in person with you on
the right hand. Let's just be honest.
Yeah, I just don't understand that.
You know, you guys if you're notmaking somebody money, you're
not going to be the first personthey call back.
It just. Yeah, and, and the, and the
(16:56):
reality is like, you know, this is funny.
Sometimes there can be this funny attitude, which I
understand there are legitimately agencies and agents
out there, particularly the bigger ones that really, really
don't end up paying attention toyou if you're not like
immediately making them a lot ofmoney.
It's it's very foolish to jump from a agent that you're, you
(17:17):
know, getting work from and getting attention.
You get one small breakout role and you think you're an A Lister
and you try to jump to a big agency and, and granted, it'll
sometimes the bigger agents willcome and whisper, tell people
things they want to hear that aren't guaranteed, but.
They Oh yeah, yeah, we got packaging.
Yeah, we got packaging. That company could package you
(17:42):
with cars. Exactly.
Why you need to come over to? Mine yeah, if you're in your in
your yes, if you're in low and someone's whispering and you
just every single person we've seen do that to the to this
date. And maybe it's it'll change one
day, but for the last 12 years, every single time that we've
they've done nothing. We see them five years later on
(18:04):
Instagram working at like, Taco Bell, you know?
That's horrible. I don't know, quit the industry.
So if you're getting, you know, one of the honestly in a
boutique agency, I will give attention to everyone.
Now if you are if you are not like getting in the door, we try
(18:25):
to talk about, I give solutions.80% of the time it's headshot
related. And so at that point Talon has
to decide if they want to cooperate and get new headshots
or not. And if they don't, they sit
around, they're not going to getthe same attention.
And so I'm not going to be meeting with them in person on a
regular basis, You know what I mean?
Do you, do you pick people's pictures?
Because I, you know, I say to people, they get upset the agent
(18:48):
has it back to them. And I'm like, well, if you
imagine, let's say they have 400people and like let's say 50 of
them took a headshot session. And let's say there are 1000
pictures you're showing. I'm like, what it no.
Take a little time. That's a lot, I think maybe.
And and also don't send your agent pictures that you think
(19:09):
looks fugly, OK, because inevitably they might take it.
Or here's a foggly picture. Don't send it.
Don't send it. Don't send it I.
Go through, I go through the whole gallery because I am very
picky. I'm very picky and I if I'm
going to be doing all this work every day, like sending you day
(19:32):
in and day out, most, most of that time not getting paid, then
I want to, I want to pick the bed shots and, and, and also
when a lot of times if you have like the talent, try to pick
their own. They can't be objective.
Like they're looking at, oh, what do I think?
I look good? What do I think looks good?
But it's like, we're not necessarily looking for like
what you might send, put on social media, you know, or send
(19:54):
to your. Yeah, I'll look at a picture
sometime. I'll be like, yeah, great for
Instagram, but it's not a good headshot.
That's really. Great for Instagram.
Yes. And there are some pictures that
are great for IMDb, you know. That's what we can do.
You guys got to be careful aboutIMDb.
That's a publicity site. Listen to me when I say it's a
(20:15):
publicity site. I'm so glad.
You're. Talking to IMDb, yeah, I mean,
it's so important and IMDb is soimportant.
You know, my students, his wife has ATV show being produced by
HBO. And when they have, when they
look at the tapes, they have theperson's IMDb up next to them
(20:38):
watching tape. And I thought that was very
interesting. I'm talking about the network.
That's really, and that is really interesting.
I thought it was like they wouldhave their actors access profile
up but no, they have their IMDb.Now it's so tricky because
because people casting are on their everyday, you can't get
away with putting fake credits on your resume because first of
(21:00):
all, as an agent, usually, sometimes it slips through.
But so we're, you know, we're looking if you send in a resume.
I mean, I had this happen. I went to showcase and this guy,
I wasn't, I wasn't totally sure,but he kept reaching out to me
and I'm like, well, I'll look again because I, I really do
have a good relationship with a woman who ran the showcase and
(21:21):
and he sent me his resume. I looked on IMDb and there it
was like nothing on his resume, like not nothing was on IMDb.
And I know sometimes talent don't have control of what
projects will put, you know, putthem up there, but there was
nothing. And so I emailed back.
I'm like, OK, hey, I'm a little confused.
You know, there's I don't see this on there.
And he's like, oh, and he had some some reason that it was
(21:44):
clear, like it was not a reason.I don't remember what what he
said, but it was something like I.
Some people people say, yeah, you know, there's another guy
with my name and they gave the credit to him.
Right, like not for. No, probably not.
And also not for everyone. Yeah, no.
(22:07):
And so like, you're busted. You're busted.
Like don't e-mail me again like every.
Lot of times you can go get a demo reel done and they'll list
it as a credit and so you can just call it a pilot or
something or tell people you're shopping it around or something.
But but if you're going to put legit credits like you know.
(22:32):
Say you're a coaster. Helping dead or you know, I mean
like what is wrong or why? Yeah.
He's like, no, what is? Wrong with you.
You don't think they're good people are going to look this
up. No, they had, I mean, that's.
That's the true. Way to get left in, OK And yeah,
but certainly there's a lot of independent projects.
I mean, you could be doing a webseries, you know.
(22:55):
Absolutely, absolutely. It's tricky because when I
assign people, sometimes they forget.
Like it takes them a while to remember or to remind them take
a few months to connect me on the IMDb or connect their agent
or manager. And so we're not always showing
up. So sometimes people will look at
an agent to decide if they want to sign with them or not.
(23:16):
But it's you have to remember that it's not everything is
completely 100% accurate becausethere are things that you know
the talent aren't always remembering to connect.
I can go in and do it, but you have to.
I once told an agent that I feltthat 'cause she was wrapping me
in another city, I'm not going to name it.
(23:39):
And I said I can't be on the roster anymore.
And she's like, why? I said because more than 3/4 of
your clients don't have a photo.Yes.
OK, on IMDb. Now look, I understand it's
costly to be on IMDb. Don't get me wrong.
It's one more thing that you guys have to pay for.
(23:59):
But it's. But it doesn't look good.
It's part of it's part of your store promotion.
You know what I mean? A little.
Bit it's the bull board. It's the bull board.
Yeah, it's kind of not optional if you, if you're on my roster,
you are a series actor and it's kind of not optional not to have
that. I mean, it sucks.
Yeah, I think everybody needs topay.
(24:20):
For be on there, you have to be.You have to be on IMDb Pro.
That's the only people. People always ask, they always
say can I find you on IMDBI meanthey're not always wanting to
get your actors access link right or your Instagram link.
Right in absolute ministry to. Yeah.
So you guys gotta take that awaymost.
(24:41):
People like, yeah, I'm serious about this too.
It's like, yeah, yeah, you gotta.
Don't write in the dark like the, the space on the on the
bottom where it says additional credits.
No, there's no additional credits.
Whatever your credits are the ones that IMDb put on there.
Don't add additional credits because sometimes you guys,
(25:03):
you'll write additional credits and it's the same credits that
IMDb put on there. So, and I don't know where to
look. So you have to be a minimalist
when it comes to your package. Like the thing you have to ask
is what do you want me to look at, right, right.
And so where do you want my eye to go?
(25:24):
And so that's why I talk about it's amazed that a lot of people
or writing like a million production companies on the
right hand side of their featurefilms or their short film that
we don't know who they are. So why would you write their?
Because I don't know where to go.
I don't know the left side, I don't know the project, I don't
know the right side. I don't know the production
company. But I'll tell you what I do
(25:45):
know. I know billing.
So get your billing straight now.
This isn't going to be a talk about that.
If you guys want to learn all about resumes and stuff like
that, you can go get a free weekon my The Actors toolbox.net.
Worth it guys. There get a free week on that
(26:05):
site and I've got lectures on how to put together your
business package so. I don't have time to do that
with all of my talent. I don't have the time for that.
That's what managers should be doing.
But I will tell you right now, alot of managers are not doing
that. No, I know.
I I want, I get their clients. Trust me, I know.
Yes, exactly so and. You know what I always say?
(26:27):
I would say what the hell is your manager doing?
That is, that is the appropriatefollow up question.
That's what I ask all the time. Well, I mean, let's talk about
this because there are managers that are agents in sheep
clothing, OK? They didn't want to go get the
bond. They didn't want to pay the
license, which how much? It was $10,000 like 20 years
(26:50):
ago. What is it now?
Do you remember? To be licensed as an agency?
Yeah. I don't know.
I'm not. I don't really know.
I know, I know it's expensive. I know.
It's really. Expensive.
Yeah, it's really expensive. And then to get bonded.
Yeah, yeah, that's a whole nother thing.
Absolutely. I think, I think there's some
great managers that have their agency license and they also are
(27:12):
bonded and those are good to go with if you can't get the great
agent because it can negotiate your.
If you, if you, if you only are working with an is only working
with an agent, you and you're, you're in LA or New York or, and
there's others, there's other cities as well.
(27:33):
You have to look. You should look it up.
If they are telling you like they don't think you should be
with an agent. I don't think you should be with
an agent yet. No, I don't think you should be
with an agent yet. Just be a little wary because
unless you have an attorney likeit is illegal to negotiate
contracts. It's illegal for a manager to
negotiate contracts. Well, yeah, I mean, the truth of
it is, let's say you get a really, really big job through
(27:58):
the manager. They can't negotiate it.
So you would need an agent eventually, but you can get an
entertainment attorney to negotiate that particular.
Yeah. And you have to.
If you don't have an attorney, you need to be careful about
that. If you have an attorney, that's
fine. You can work with a manager,
work with the attorney. The attorney can, if the
attorney's involved, then it's fine.
(28:20):
But you just you kind of have tojust have to be kind of careful
about that. Yeah, I mean, but there are a
lot of kids, you know, on the other side, 'cause I'm talking
from being a former manager, youknow?
Yeah. We're a lot of kids that we
represented that didn't need an agent because it's easy to get a
kid in an audition. Sure.
(28:40):
Totally. Exactly is, yeah.
They didn't actually need an agent because they called them
from our company. Yeah, if you're a kid, like
100%. But like sometimes I, I meet
these like older, you know, they, it's like in their
managers like, and they've, they've reached out to me to
sign and they're excited and then they're like, OK, I think
(29:02):
this would be a good family manager.
The manager's like, no. Then they come back like, Oh, my
manager said, I don't really, I,I, I don't really, we're not
looking to expand our team rightnow.
And I can just, I can sense that.
And I'll ask them about like, OK, do, I mean, how do you, how
do they negotiate contracts? And do you have a lawyer
involved? And, and some of them have said
yes, but some of them are, are like not, you know, no, I don't
(29:25):
have a lawyer. And I'm like.
OK, there's a lot of different philosophies about it.
To me, I think you need to be like a race car, you know, have
a lot of stickers on you and youknow, you know, and, and there
are a lot of agents like that that have territories, you know,
but they're on that don't I mean, if you're like one of
those people that you're dual citizen in Europe used to be
(29:49):
pushing that big time, how much is being shot in Europe right
now as opposed to Canada, OK, where things are there all the
time. So, you know, having a dual
citizenship and getting an agentor a manager out in Canada, in
Europe, that's understandable. So what do you look for like
(30:16):
besides a referral blah, blah, blah.
But what what is the deciding factor for you because you like
you signed one of my students that has nothing but her package
was pristine obviously and. She's and she can and she can
play younger. She's like she can, even though
she's, I forget how old she is, but she's like in her early.
(30:39):
Yeah, but she could play like 16.
Play 16 and so if you if you know if someone can play like
she's. Ethnic and she's.
Ethnic. She's ethnic and some.
Like, yeah. She has these great skills.
She can play younger, she's ethnic, she has great skills.
It's fine if she doesn't have a ton on her.
She doesn't have any significantcredits.
She's still, but she also has experience because even though
(31:02):
she's like these big credits, she has done stuff and you put
her, you put, you help her put her package together and like
she's been in this all these things and so.
Several languages. She also does a lot of dialects.
So guys, you know, don't act like, oh, an agent's not going
to be interested in me. If you have special skills,
yeah. Yeah, and you never know, like,
(31:26):
you know, right, I'm, I'm right now, like most of the people I'm
looking at like they need to have like pretty decent credits.
However, like if they're older, if they're not like you know,
preteens, teens, young adults. However, even if you're older,
if I have a gap in my roster, even if you don't have major
credits, if I can, I cannot findsomeone who is sag, like
(31:50):
legitimately sag, who's like, you know, a 50 to 6 year old
African American or I mean, or Asian or something like that.
Yeah, I will. Seriously.
You're gonna sign them? Yeah, yeah.
I will probably sign you if you can, if you're a good actor, if
you're getting good training, ifyou're committed to doing, if
(32:11):
you're like intelligent, you know, if you're not like a diva,
I will probably sign you, you know?
So because because you had an opening in your roster, I love
when people are like, hey, when's the right time to send to
an agent? Like, you know, like, I don't
know if I should do it now because it's pilot season.
(32:32):
I'm like pilot season, rabbit season.
It's like, yeah, no pilot seasonanymore.
There's no like season. And the truth of the matter is,
if they have a space in their roster, they're going to sign
you. Exactly So what?
What about the timing? Of it.
Even if it's slow, we, you know,and let, I mean, it's so weird.
(32:57):
The industry has been so bizarre.
So, you know, during the strikeswe were still signing people to
a certain extent, not as rapidly, but we were still
signing. So because we were preparing for
when the strike ended, like, Hey, this is actually a good
time to focus in on doing these other things.
Now, having said that, like it never really picked up until a
few weeks ago, it started picking up a little bit more,
(33:20):
but it kind of hadn't been picked up.
So it was like, so then we wouldlike start pausing on signing.
We're like, OK, wait, let's holdon a minute.
This is not shifting. And then we'd hear something and
like, OK, we can, you know, so there's no, there is no rhyme or
reason to like when there is a good time to like.
That's right. Now you guys stop asking those
(33:40):
questions. Stop it.
Stop it stupid. So see, The thing is, is that
it's all timing anyway. Yeah.
Say somebody from Ophelius roster that was your type, got
pregnant with me, was having a baby and would need.
The. Business, I'm sure it happened a
(34:01):
lot, right? And so now she's got a space.
So for you to say, oh, I shouldn't send it out right now
because, you know, everybody's auditioning and it's bad timing.
Well, it's good timing for you at that moment for her.
Yeah, I just had someone get into an AFI program and they're
like, I'm going to be the next two years.
I'm, you know, I'm not I'm not going to be able to do I'm going
(34:23):
to be really limited. So I I need some of that type
now you know what like I needed I have an opening, you know so.
Right. It's just it's worth beating it
now. Will you go on talent link?
We have done that. I did that more when I was
trying to build my roster and now that I have it built up, I
(34:44):
am not on there as much because there's just there's just a lot
of random, you know, people that.
Random. This kind of random.
Swipe right. Swipe right, It's an actor.
Swipe right, swipe left. So many people applying that I
don't, I don't really need to dothat, you know, I get.
It I get it. But it's specific type.
(35:06):
Yeah, exactly. Like if I totally like, if I'm
like, I really, it's been too long.
I really need, I really need this, some like this on my
roster. I might.
You're there, you know. Yeah, yeah.
Yeah, I think you could find that, or you could ask me to.
Exactly and. She had a film and she sent me
(35:27):
an e-mail and said do you have this?
Many I need young Asian men. OK.
I'll look for that. And then to me that are yeah,
you. Know if I have any?
But not. When it shows up, I'll let you
know and. I need older black men like over
50. OK.
That look older? That look over 50.
Okay, so you guys if you're listening and you're those two
(35:50):
specs submit to Ophelia. But you should you might you
might consider meeting with meeting up with Amy for the free
week first to make sure that when you submit.
No, I don't meet up with them for the free week.
They go on the website. It's a website.
Oh. OK, I thought you said I have a
no. There's a free week on the
website that they can go on the website and do all these on
(36:14):
there. Yes, do that even the business,
yeah, so. They go on there and they do all
the business assignments. Oh.
My God. And then and I'm lecturing on
all of it. So it's it's like, it's like a
library. You guys, there's no excuse.
Yeah, no excuse, especially whenit's you get a free week and
then it's only $19.95 a month toOh my.
(36:37):
Gosh, hello. Yeah, yeah.
But it's become so competitive. You need all the help you can
get with things as having sloweddown.
Now you have oh gosh, just talking to a a casting director
for a who's doing a a conference, the Southwest
Conference coming up in Arizona.But she was telling me some of
(36:59):
the casting director for and I'mI'm actually going to be on a
panel there, you guys. So if you are in the southwest
or LA is not that far, you guys.That's great.
You some amazing, amazing lineuptomorrow.
Look for information about that on Instagram, the Southwest
Conference. And Bella Hibs is the one who
runs it. And so she was telling me
(37:23):
though, that she has some some friends are casting directors
and then also friends are actorsthat are like they, they're not
a listers, but they're like reckon some of them are
recognizable. And they're like, they're like
calling her up like, Hey, you know, what do you have coming up
right now? So because work has been so
slow, it's way more competitive.So now you have people that in
(37:44):
the past you may not have been, you know, they may not have been
submitting to all the same stuffyou're submitting to, but now
they are. And so there are people that
have tons and tons of credits that have, you know, some like
recognizable element to them. Yeah, they're competing with
that. So, so I always see it on like
on TV. I'll be like, they took that
(38:05):
part. I mean, like it was like you,
you thought that they were the red herring.
You know what I mean? Yeah.
Sometimes you introduce somebodywith somewhat of a name, you
know, In ATV show, I'm like, oh,they did it right.
And if you say it immediately, they're the killer.
Yes. But they didn't say it again.
I know like Oh my God, yeah, look like a Co star.
(38:31):
Yeah, I know. I'm telling you.
So you need all the help. You need all the edge you can
get. So something like, you know, if
you get, if you're gonna get a free week or 20 bucks a month,
then 20, you know, it's like youshould do it because you need
the edge right now. You need it.
Yeah, and then, you know, and then once you become like part
(38:52):
of my master class program, you could join the club and then the
Actors Toolbox is free. It's in the club.
So that's great. Yeah, the club's great, but I'm
not telling you guys about it 'cause you're not part of the
master. That's right, You don't.
Get I feel so 7th. Grade right now, I know.
Sorry you don't get to know. So guys, is there anything else
(39:19):
that you want to talk about or about being an agent?
Well, it happened when people become an agent, like, so like
that's how I became an agent. And there are stories out there
that it's like, oh, wow, that's unexpected.
But but most of the time, if you're someone who's watching
baking, how do I become an agent?
And particularly if you're younger, like you usually start
(39:39):
out like in the mailrooms at start applying to, you know, for
like. Yeah, you can get like a rooms
at William Morris or CAAI mean talk about getting training
fast. Yeah, exactly.
Yeah. That's really good.
Usually start, you have to climbthe ropes, you know, and right
(39:59):
now it's tricky because there's not, there's some, there's some
hiring for sure, but there's not, it's not as much as usual.
There's people, a lot of agencies laying people off.
There's more people hiring for commercials.
And by the way, commercials are really happening in LA right
now, guys. Yeah.
Yeah, I read this article that that in New York, like all the
(40:19):
commercials dried up and it's all in LA.
Interesting. Very.
Interesting. I was like, oh good.
Yeah, I, I noticed that they picked, they picked up quite a
bit like like it was like a month or so ago, which so is a
good sign. That is a good sign because that
means that there there's stuff to be playing the commercials
(40:41):
for. That means there's projects.
You don't do commercials if there's not projects that you
can be shown in. So that's a good sign.
You know that there, you know, And then now, sure enough, we're
seeing stuff theatrically come in more than they were the last.
Well, I mean, you know, they need 911 and now they did a
couple of 911 spin offs. There's always like really calls
(41:03):
at 911 for people just starting,you know?
Totally, totally. You know, just work on your
screaming guys. You know you're running out of a
building. Blood.
I've had two auditions this weekthat called for blood curdling
screams. Yeah, see what I mean?
Am I crazy? No.
No, you should learn this. You should learn learning this
(41:25):
and you're this is self trainingduring the week.
Yeah, it's really important to get you scream down and, and,
and also running out of the building screaming.
Yeah, my, my baby. My baby.
Something like. My baby.
Oh, tell Leslie or or. My dog, my dog or and very
(41:48):
rarely do they scream my husbandevery once in a while feel like
whoops forgot about my husband. Right, he'll get himself out.
Yeah, yeah, yeah, yeah. Just get the dog and the baby.
Yeah, And that maternal instinctkicks in.
It's just like you're crying. Learning how to cry is actually
(42:12):
a really the clip that you just posted today of yourself in in
that movie, you had to like cry,go from crying to angry.
And you're talking to like a lawlooks like a law enforcement
officer. So it's like those kinds of you
like there's, you know, emotional moms.
And so like, learn how to cry, learn how to cry on command.
(42:32):
If you do not know how to do that, you should be practicing
and learning how to do that. Even if you do not have work
right now that requires that because you're.
Just no. It's really important to
practice that. It's really important.
And you guys, I did it in a previous episode.
I told you the CVS Rite Aid exercise.
So go look at it. Remember, you start in the car
(42:53):
and then you go buy something and then you come out.
Oh, yeah. Yeah, yeah, yeah.
Yeah, it's the crying exercise. So you guys follow us on
Instagram. If you go to Instagram right
now, you could see me crying. That's right.
Yeah, it's actually I. Just posted it today.
It's a throwback Thursday, you know.
What was happening in the scene and I got teary eyed like it was
(43:15):
really good. It was really good, but you
should watch that so you know what that looks like.
Going from emotion to emotion, different emotions and having it
be seamless, like that's where you want to get to.
Yeah, yeah. See Ophelia.
Ophelia looks for the Champions.The Champs.
I watch a lot of auditions and so I can see very quickly when
(43:38):
someone's developed certain skills in their acting journey.
Yeah, you could go, oh, that wasgood.
That was a good transition. Oh, yeah, yeah, that was good.
Absolutely. You weren't bored.
And if you were not bored and they took you somewhere, you
know? Yeah, exactly.
Oh, boutique agents do. Watch yourself tapes guys.
Oh yeah, we don't. Know they always but boutique
(44:00):
agents will watch yourself tapesI don't.
Let it go through without checking it out.
Yeah. So is there any advice you can
give anybody today before we sign off Ophelia?
Yeah. I mean, I would say, you know,
as far as like an agent that youreally have to remember no
(44:23):
matter who your agent is, is that if you're not making money,
they're not making money. So unless they have, unless
they're like kind of a bigger agency, I mean, it can happen
with smaller ones, but that theylegitimately might not be paying
attention to you. They're probably, if you don't
feel like you're getting in the door or you're, you know,
(44:46):
they're probably not not paying attention to you there.
There's probably an either an issue with your head shots or
there's an issue with like that kind of all boils back down to
head shots. You know, it's not if there
there could be a time in the industry where like your
ethnicity or look is not trending, there could be a lot
(45:07):
going on. You might need to change your
hair, you know. Yeah, you might not.
What's trending, you know? Yeah, or you could you could be
trending in that, in that type, but like you don't look like
update like your your style is like out of date, you know,
like, yeah, you know, as an adult, like your look doesn't
change a time like the same as like when you're kids, but
(45:27):
styles and trends change a lot. So yes, you might still need to
get new headshots every couple of years.
Like, you know, with a kid, it'sit's even more frequent.
But some people are like, well, I just got these.
I don't look that different. Yeah.
But your style looks like the 1982, you know, and like you're,
you know, in your 50s now. But that's not in style anymore.
(45:49):
That's not, you know, so you just have to think about those
things and just remember that your Asian, you know, they're
they're not usually. Again, can't speak for everyone,
but they might be paying attention but you're not getting
in the door for other reasons. Or the alternatively you're
getting auditions, but if you are not booking, that is not
your agent's job. The ones once you get the
(46:11):
audition, the agent has done their job and you need to be
figuring out how to book. And if you're not?
Yeah, figure out how to book. Figure out we just talked about
this in our last podcast. Why aren't you booking?
Stop trying and or yeah, it's it's actually but when this
airs, it will already been out. So the last podcast, yeah, pop
(46:32):
stop, just start booking. Stop just trying.
Is that what we need? Stop just trying.
Start booking acting jobs. Yeah.
That's what it is. Acting jobs booking is a
different skill than acting so. A separate geese.
That's what you got to remember,yeah.
Don't forget. Yeah, All right.
So follow up failure at JTA under score OFELIA and that's
(47:04):
Ophelia's Instagram. Thank you, Amy.
She. I had to learn it.
Because. She kept forgetting and I just
had to learn it and I'm just. Playing Amy and Heart and she's
managing me so exactly I need it.
All right, love. We love you guys and you are
(47:26):
enough.
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