July 21, 2022 • 37 mins
In the season one finale, Amy Lyndon talks with Andy Rooney - superstar talent manager at Midwest Talent Management, about why he signs an actor, how to manage your manager, advice on headshots, slateshots, and his major actor pet peeves.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:12):
This is Amy Linden. I started this podcast for you
because I am here to help Empower you because you are
enough. I am here to help you get to the
next level in your career. And most of the times, it has
everything to do with what you think about yourself.
I am a booking coach celebrity booking coach 54, plus Network,
(00:35):
series regulars, and Emmy winnerand image in Winter.
And thousands of people working around the globe, all because of
this technique that I created, Ireally want to help you.
So I do believe that if you keeplistening, you might pick up
some gem that I am dropping downand it will change the course of
(00:56):
your entire career. Do I have with me today?
Andy Rooney, the most amazing manager ever.
Yeah. You know, what's up?
Yeah. And he's over at Midwest, talent
(01:18):
management. And we're going to shoot the
shit about management because I was a manager for nine years,
nine, long years, but I learned so much about it.
And I'm going to talk to Andy About Management about All kinds
of things. So Andy, tell us, where are you
from from Chicago? Originally grew up in Chicago,
(01:43):
back in a long time ago, and then it was good times back then
much better than now. What?
Anyways, Chicago school, when did you come to La?
Well then I moved to DC and thenfrom DC I moved to Pittsburgh
and then in Pittsburgh Urgh. I decided it was way too cold
(02:06):
and I can't I can't do this anymore.
I'm going to go to college in Florida and then I was in
Florida that was great. Super awesome change.
Compared to the weather up thereand then I transferred I went to
Savannah College of Art for a photography.
Well, you know you're really some artists.
So you started out painting but now you're doing this digital
(02:30):
like you're a man of all trades.So talk to me about your artwork
your Work is amazing. So originally I wanted to
college for illustration painting and all that sort of
stuff. I've been painting since I was
like, 12 mainly oil paints and all of that.
But then, you know, everything started changing to digital and
(02:51):
retouching and I was doing the photography.
So I decided, oh, I'm going to take my painting and start it in
digital, and then spit it out and then continue it on.
On traditional, you know, with oil paints and stuff to kind of
cut, cut the chase. Like just I can put so much more
together and then make this crazy thing oil on top of the
(03:14):
digital once spit out. Well I put it.
Yeah it's get it out into like canvas and then and then
continue it on, you know, I wanted to kind of incorporate
the Two Worlds together, kind of, what's your website, your
art website. Well, there's I have exact
digital and then also have imagined how to the number to
(03:39):
see seee.com. So imagine how to si.com another
the digital fine artist. Yeah, that I need to talk.
Rafi, is on exact? I mean exactly Jewels, like, my
main thing, I have all my stuff everywhere on exact digital.
So I've been doing that since, you know, the And he's been
(04:02):
shooting and why management? Yeah, I did all that I was doing
the digital is doing the photography and it was changing
and transforming. I was doing the printing that
the whole deal and it was just Ijust kept meeting all these
talent and all these actors and all these managers that, you
know, and agents that I was literally print for and retouch
(04:23):
for and meet all the time, I knew tons of them.
So I decided maybe I can become the That head, you know, the guy
that everyone the go to which I already kind of was, I was, you
know, for headshots, I wanted more info.
Like, I don't know. In my mind, I was thinking if I
(04:45):
could just become an asset for these agents and managers and,
and cut the, you know, and save them the time, knowing all this
stuff and being an asset to him,I don't know.
It just in my mind, I was like, all right, I'm already kind of
in. Said I'm already dropping off
headshots and retouching and printing and she basically,
you're saying you had all this information that you were giving
(05:08):
to them. And so now it was trying to give
it to yourself. I wanted to become an asset and
become like learn more, you know, right.
But how did you make the shift? So I started doing interning at
with Midwest town because I was working with them constantly
dropping stuff. I knew him so well and I knew
(05:30):
all these others but I decided you know, Management's going to
be better, it's more Hands-On. It's more involved with the
town. I get to know more more details,
there just like more stuff in mymind that I had.
Do that had to do with what I was already doing with photos?
Well, it's you know, it's interesting that you said a
Hands-On, which is we work with your hands.
(05:53):
You talk about the depth of the picture.
You talked about the depth of the actor, the details getting
to know the details of the actor.
So it's all it's all injured interlaced with each other.
So how did that element change? What is it that you You like
(06:13):
about working with actors. So it was a quite a different
thing to do, but I always am trying to add more to the plate
says the way I am and I and likethe depth, I just want to do
more, you know, and you can never do enough.
There's always something else that you can add that in that
goes full circle with what you're doing, completely agree.
(06:36):
I'm like a poster child for that.
Exactly. Always.
Like look at this podcast, you know, I'm adding something it's
sort of like years ago I read this book called Acres of
diamonds and it said, the main just of the book is that all of
your riches are in your backyard.
(06:58):
They're all around you. Yeah, you just need to take
advantage of them so so that's where you basically what you're
saying and then you came a full-fledged manager when I
started doing management back in2005 and I was interning for
(07:19):
myself. I can't take like, do this, do
that for too long. You know, like I'll absorb what
I can and get the gist of it andlearn how to do it.
And And I want to run with it. You're not a soldier.
Your captain. Yeah.
It's like trial and Aaron. I just can't take being told
what to do and there's a way to tell people what to do or ask
(07:42):
them what to do that. Don't get me wrong but he's
amazing. She's like I learned so much you
know, but it's very hard. I mean I know it's very hard for
me. I don't like working for
someone. Yeah.
I start many businesses because that's it's an entrepreneurial
spirit. Idiot.
That's what that is. Yeah, exactly.
(08:02):
And I was already working for myself with my Photography in my
digital, and all that sort of stuff to stop and actually do a
job and work with somebody when I hadn't been for a long time,
it was very tough. It's a lot of.
Okay. So, how long were you in?
Turn in before you broke off. So I in turn probably like five
to six months. Oh, that's great.
(08:24):
That's the end. I was like, all right, I had
enough. I'm gonna do this and I'm going
to manage my own people. Like have a handful of my own
people and still kind of learn an internal little bit when you
had your own people. What if because I know what I
look for when I was managing butthis interview is about you.
When you meet somebody use me asan example okay?
(08:46):
So why don't you want to manage me?
Well really it's for me I'm a big personality guy you know and
and like nice and personality and go-getter and like so many
things, play a big part. For me as a manager and I always
want to help everybody but I have to like, put that to the
side and really put it to the side and not try to help
(09:09):
everybody. And if I could, I would and I
would be screwed, I wouldn't have time for anything but I
really latch onto certain people.
You know, it's a personality thing.
I need to see the talent. Obviously, I need to see the go
getting. I need to see that big picture,
like end of the tunnel a little bit like, okay, I know, This
(09:31):
person's going to be able to do something.
Obviously I look for like different types who's going to
fit the roster this sort of thing right.
But I don't over analyze that part too much.
I see color let's just put it that way.
I see color you know that's me I'm a color guy right so I don't
(09:51):
care like tones and color as my thing you know.
So I don't care really what you look like.
I'm more so like What's your personality?
What's your inner self? How are you going to do this?
Are you nice? Are you go getter, you problem?
No problem. Like, am I going to be able to
work with this person? I could really care less.
Like, I mean, obviously different types and character
(10:14):
and all that. I want to see that too, to make
sure it fits with my roster. So, don't get me wrong here.
I can't take everybody on. Just begin bypass.
What you look like on me becauseI'm kind.
ARF your color boy. Got personality.
Got the go getting your like fun.
You know? Because I'm big on.
I have to have fun if I'm going to work with somebody.
I'm sorry. I can't be miserable and
(10:35):
depressed and tired, and, and I've done got to get to know
them, you know what I mean? Like, yeah, people that you'll
sign that you never really get to know because they don't
really open themselves up which is I think a big problem that
actors get intimidated by their own manager and I think the best
thing that you could do is take manager out to lunch.
(10:58):
Find out what you manager likes.It's like any relationship,
really? I know you like coffee.
So I sent a couple. You know what I mean?
Okay. Yeah.
Or you know I know you like. Yeah it's good to befriend your
manager because your manager best friend in your industry,
(11:20):
he's your back office. He or she is your back office.
Your business. And so the main be lenient of
manager is your back office to your business.
That's a great quote. Thank you.
I that's great because you can really see that because that it
really is the back office because you're the front office,
(11:42):
right? And if you don't provide the
office with the tools, like computers and chairs and desks,
and all this stuff and and look books, and whatever you need to,
to show. Show what you can do.
If you can't present that and have it as tools and put it into
your business, your back office has nothing.
(12:05):
Right? So now your back office is like,
I signed on this great manager for my business.
And now I'm going to go to lunch, and I'm going to go
sleep, and I'm going to go do mystuff and let my manager take
care of it. However, there's no tools,
there's no doubt, there's no computers, there's no nothing,
and there's no communication. Chin, I'm big, big pet peeve on
(12:27):
communication. And if I'm forgotten, when you
go on vacation, or you forget about telling me about
something, or you're all about telling that agents and the
other people, all this stuff. But you forget about the manager
that doesn't sit well with me atall.
I think that it's really important to know that your
manager is like you're married to them almost, you know, I
(12:48):
think the best friend come and go really and your manager
should be your Estie. I mean they that's what they
should be because they personally manage your career.
And so I know I do managers thathave dumped climbs because they
went to Vegas and they thought oh I'm going to Vegas so many a
couple of days and then they getan audition and they're in
(13:10):
Vegas, you know, they never toldthey never booked out because
they're like, oh it's just a couple of days and then they
lied. And said something else and then
and then they found out and theydump them.
So you know, I mean why I like how can you have that kind of
relationship with your back office?
Yeah exactly. They did you just leave your
(13:31):
door like your store open with the open sign and then you leave
and you're not anywhere to be found and you just like whatever
and I come back to a store that's not like G sacked and
like that's great. I actually talk to somebody the
other day about they were complaining About The Ragin and
I said, well, what I know of your packages is that you don't
(13:52):
have your demo reel for a complete, you just shot a
pictures and your resume. I just fixed because it looked
like crap and you're blaming your agent for not getting you
anything like, that's insane. That's insane.
Now if the agent at all the tools and maybe they're sending
(14:14):
you out on the wrong age category or maybe, you know how
that Conversation but but do nothave the back office filled with
supplies. That's insane.
Since we're on this topic I'll go off on it a little bit
because because a lot of people will instantly blame the Reps
(14:34):
and they won't look at like their stuff you know so it could
be like the photos. I'm big on photos for obvious
reasons, right? But if I can like super over
tear up your photos and a Our be, if it's not good or if
something's wrong, because a lotof people will shoot headshots
with different outfits and the same backgrounds and the same
(14:58):
expressions. And it's like, what, all right?
You got a cop outfit on with thesame expression and every single
shot that's doing nothing for me.
Photos is like a calling card for actors.
Right. So that's what's going to
capture you and get you in the door.
Specially now being, you know, No self tape goal or nobody can
(15:19):
tell what you really look like. I mean through zoom and you got
all these problems with zoom andit doesn't possible you know,
whatever the case but they're going to see your personality in
these head shots. They're going to see who you are
and what you can do in front of a still camera rather than a
video camera. So they're going to want to see
this personality come out Expressions is huge.
(15:41):
They want to see the depth to these shots.
They want to see good color and good skin tone and good
everything, right? They want to see you.
They don't want to see it. Overdone, they don't want to see
it a completely different person.
Then they also want to see like smile, no smile, but they want
to see the in between they want to see the personality.
So if you can do headshots and capture you and the headshot but
(16:03):
also capture characters and reada roll then you are not only
doing yourself a service when being submitted but also you're
doing your team, right? Well after photos all the time.
And I say, you know, when you take a photo session, it's very
important not to take, it's important to act it and make
(16:26):
sure that you're clear on exactly the show that you're
going for and like, remember ourphotos such, I knew exactly what
I was shooting. So yeah.
It was what they wore on the show, what their hair was like
with their makeup was like, justeverything about what you're
casting is like who's got your job, you know?
(16:46):
And and then, You know, I talk about the comprehensive package
that you demo reel. Needs to match her.
Your photos needs met resume needs to match what you play?
You, you know. Yeah.
And so, what do you think about these slate shots to me?
I don't know. It's like a quick snippet of.
Hey, this is me, blah, blah blah.
(17:08):
Like literally quick honestly, Ithink slight shot suck.
You know why I think? Because the look at the Slate
shot and then decide whether or not, they're going to go to the
clip. And I know you're a barrier for
the actor, my own opinion is, I feel like it would be better to
have like a quick snippet of thefront of somebody's real but
(17:31):
even still I'd want like, a 60-second or like one minute or
like something that's like literally a snippet and it's
like it leaves them hanging and now they have to go.
See the real. Yeah.
Because they're like, ooh, wow. But hi.
This is me in front of the background.
I just Got on 47 seconds. What I used to do if people used
(17:52):
to say like let's say you're playing, I don't know.
Let's say you're playing somebody that's a drug addict so
unless they the picture look like a drug addict.
So I would do in 7 Seconds. What I would say is Yeah, you
got any. I made me Linda and I used to
say like to create a character within those seven seconds,
(18:17):
rather than hi Amy Linden. It's so stupid.
Yeah, no. I like the character real quick.
Say something, you know, or if your nurse will be with you in a
second, get your son is doing well.
I just know, I'm Amy Linden you know just That's all we did one
(18:38):
on. Yeah, yeah.
But but but yeah, that that's fun and it has something going
for it and shows personality is just gonna have a photo session.
Yeah. No it right here.
Little seven second script. If you have to do slight shots,
if you buddy says, oh, it bringsyou to the top bla bla bla.
(18:59):
So if you have to do slate shots, do it when you're
shooting and come up with like alittle teeny.
Catch, ya, just do it on your cell phone and have them do it,
you know, like real quick, so you have it and then improv,
like whoever's shooting. You should be able to improv.
You should be able to connect with that person and have fun
time and improv and carry the shoot.
(19:21):
Not just smile no smile and click the shot because the
person in front of the camera, has no clue what's going on.
You know? And if they're just standing
there smiling. No small.
So, I'll Posey, that does nothing.
You should have like an improv session the whole time.
Great time. And then shoots going to be
amazing and then get the Slate shots.
(19:42):
A little quick Snippets like youjust said which is excellent.
That's like, brilliant, not hi. This is me, you know, and it's
like, okay, whatever a little story.
So, talk to me a little bit about your headpiece.
Give me a couple of things that bother you that your clients do
that really incense you Really the communication part, you
(20:06):
know, like back communication hard to get.
Hold of doesn't communicate, youknow like like the communication
part if it's bad and it's just bad and it never gets better.
That drives me nuts. I don't want to work with anyone
at that point II. Just can't stand it.
Another thing is that last-minute sending stuff in
constantly at the, I got 10 minutes, can we get an
(20:27):
extension? This stuff's unacceptable to me
if I know about it, the day thatyou get, Audition and and you
need an extra day or like you know, you're going to need it at
the end of the day or something,then we can ask for it.
But I personally hate to ask a casting director 10 minutes
before the things do because you, you know, somebody screwed
(20:49):
up and they don't have enough time or they overslept or
whatever the case is, that day and they need an extension.
The worst is when they need an extension all the time.
So that to me is just like, all right, I'm done with this.
You like, I start. Everybody at 100% trust.
I don't know you for Jack. I'm starting at 100% trust and
then I go down from there and you got to work your ass off, to
(21:12):
come back up. How casting does it?
Do I talk to people about that, but that was a hundred and then
they start chipping away at you,you know?
Yeah. So late confirms.
I got to go track people down. I got to do triple efforts to
get things confirmed, when I've already sent it through.
Now, I'm texting. Now, I'm sending emails.
(21:32):
Where are you at? And you're out at lunch or
something, don't care to click confirm and don't, you know,
like this is just excess work that I don't need to do because
I've got, it's not there becauseyou're going to think twice the
next time I used to met them andyou know what, busy people get
things done, I mean, look at running.
(21:54):
How many companies aren't I one of the people that gets it in,
not get out in an hour to yeah, but But but it's because I'm
like it's a competition. Yeah I can get in earlier before
everybody else. Then I'll set the bar and you
know they might have seen like 50 people, maybe they're tired
(22:17):
of looking at tapes. They're taken from the bottom of
the bucket first because that's who landed in the bucket, right?
So the person that lands in the bucket at the top, it don't
matter because that little hole at the bottom is what spitting
out the ones that are going to look at the 5000.
Words that are at the top that didn't get through the little
hole at the bottom, they're screwed because they're not
going to look at their going to cap it with the Cork and they're
(22:39):
going to look at the 20 to 100 that came through at the in the
beginning, the people that can knock this.
Here's another thing too since we're on the subject, I have
people that knock these things out yourself included.
They can knock them out and theycan do it professionally.
Just as if they went to the audition in person, they're not
as somebody gets a self tape. Unfortunately people have three
(23:01):
to three Three days. Two days might even have a week
or two weeks to do this one. Self tape.
That's only a few lines, sometimes it might be a little
bit more extensive, but the bottom line is now you have all
this time to do this. So now people are doing it and I
don't like it, do it again, I don't know, I'm gonna put it to
the side. It's like a painting.
I painted a picture and I'll putit aside.
(23:23):
Now, I'm going to come back, I'mgoing to change this.
They have all this time and theytake it and they take advantage
of all that time. But in reality, if Knock it out
and you knock it out professionally and get it out.
The same day, came in casting, in my mind is going to look at
this and I've seen it because they're the ones that are
booking. They're going to get the chance
(23:44):
first. They're going to look at these
tapes first because they're coming in.
And then the second that they find the person that comes in
first they're going to kill thatthing or they'll just let
everyone else you know, drop their stuff in there because
they want to be considerate. But they've already chosen the
person they already have the People in their mind who they
want because those are the people that did it.
(24:05):
The first day, just like an audition.
If you want to an in-person audition, you don't have a week,
you don't keep coming back everyday doing it again and again,
you don't, you got redirection once or twice while you're in
the room and that's it. Boom, now onto the next version.
So, if you can't do this, the day of your audition yourself
(24:28):
tape, that's your your day of, that's when you got it.
And Say the next day unless it'sdue the next day, then you need
to knock it out that first day that you got it.
Say you got two to three days. Okay?
Boom. You got an audition that you go
in the next day? Treat it just like that.
You got an audition you go in the next day.
(24:49):
It's not due for three days, butit doesn't matter.
It's just like an audition. You need to knock it out sooner
than later because at the bottomof the bucket is the people that
are getting chosen first becauseit a little hole at the bottom
pocket little audition. Pop's through the hole and they
get 100 and 200, they're not going to look at five thousand
tapes. They're gonna plug that hole and
(25:09):
that's it. Unless somebody special comes
through or gets pitched, or theyknow that person and they see it
pop up. Then, I'm going to say, okay,
let's put this person out to theside and check that too, but
that's very few. There's very special ones,
right? And and that's that, I mean
that's how you got to treat it and those are the people that
are booking, those are the people that are not getting
(25:30):
things out. And all the other people,
Sitting there going, I need an extension.
I screwed up, I forgot to label my tape, even though you've told
me 500 times. So now I look I'm like and then
if I have to ask somebody, why didn't you have label this?
And I get attitudes here, I am the bad guy again, it's not
fair. Thank you for all of that.
(25:51):
Yeah, it's all right. I know you can probably talk for
20 minutes about it but I know, I know, but I feel your
frustration, I totally get that,but I have to throw in there.
Because I can't stand this crap as one this last-minute panic
and then somebody has a text me,their tape or send it to me,
(26:12):
though. I can't get it.
Uploaded. Can you send it for me?
I got five minutes doesn't matter.
Where the hell I am. I could be at the dentist at the
store. I could be asleep.
Who knows? And boom.
Now, it's my problem. Not theirs, because they can't
get. They can't figure it out.
All right. Now I'm done.
You named all the reasons. All the one of the many reasons.
Yeah, like five million reasons why I'm not doing management
(26:36):
anymore, but I don't know your name.
Most of them, it takes the patience of a saint, you know.
But I mean you're really great at what you doing, Andy honestly
you know, thanks. So we're almost ready to wrap
up. I know there's like a million
things to talk about but what doyou see in your life?
I mean, just saying general not having to do with anything I
(26:58):
would talk about but where do you see your life?
Let's say, in five years from now, And five years where my
life is, I mean, I just always gone for like everything I can.
I would like to try to get as many series regulars as I can or
like really stable ongoing Talent.
You know, I like to I've already, you know, I'm already
(27:19):
doing what I can and building everything that I can build
personally, I would like to justbe very stable and well-off and
comfortable and be able to travel and do what I want.
And have, you know, I have a Have assistance and people that
helped us so on able to do what I need to do and have a life
somewhat, which is nice. But you know, it'd be nice.
(27:41):
You know, to be really comfortable and not stress so
much and actually have a nice solid booking constantly group
of talent under me. Well, I think obviously it is
there's a whole process to letting go of different people.
It's, you know, To find the cream of the crop.
(28:04):
You have to let go of people andit's very hard.
I always found it very hard as amanager, let go of people
because I, often times wanted itmore for them than they want.
And, and that was one of my biggest struggles when I was
doing it. And, and I think when everybody
could get to a place where you could feel the cream of the crop
(28:26):
with in your stable of people, Ithink that's when it happens.
Yeah, I mean I have some really good, you've got some great.
I have some amazing people. I have people that have had
since I started managing actually that you know and it's
like awesome you know that's gratitude there you know like to
(28:49):
have that those people that longand and and that's just keep on
grinding, you know. And it's you know, you're doing
something right and then other people, you know, if it's not
working out and it And this nothing is happening, you know,
it's better. I let them go even though it
hurts and it sucks but I just ifit's not doing anything, why
(29:13):
stay you know like yeah, I thinkI think one of my biggest
mistakes was that I stayed placeis too long.
I'm working out I think it's okay to part ways and because
it's just the energy is not, right?
And I'm always friends with everybody, I'm like I would in a
good World. I would like to if something's
(29:34):
not working and nothing's happening and everything, I
would still like to, you know, obviously, if I could part ways
with this person, they could go find a new home and start
flourishing and doing stuff, great.
Then it just wasn't meant to be with me.
But at least I'm still friends. I still knew that person, I
still connected with them. It's no nothing personal when I
(29:55):
let go of somebody, however, a lot of people take it that way
or they're, you know, they're upset that I did it.
It's Again, nothing personal butI just can't hold on to
everybody because maybe there's somebody else out there that I
need, that I should have and then there's somebody else there
that they should have. You know, even though now we're
friends, we met we're cool, you know, I'm always there I can
(30:18):
answer questions, I'm always there no matter what if you're
down and out and depressed even if I'm not your manager doesn't
mean you can't reach out and sayHey or ask a question or Thing,
I would still do that for anybody that I know and be there
for them. Even if they're going through
struggles of a stand-up guy though.
(30:41):
I mean yours. Yeah, it's part of being a
stand-up guy and it goes for anything, you know, somebody's
down and out and depressed and all that sort of stuff, and they
need somebody. And they know I'm not talking
guy and I'm always around. I would definitely be that
person for them. No matter if I'm managing them
or not manage, doesn't mean Jack.
That's just a business. But I've already met you and I
(31:01):
already know. You and I we had good times, we
just weren't connecting and working out and then sometimes I
reconnect with people over a couple of years after letting
them go and start working with and they just kill it.
They start it just wasn't good timing.
So Burning Bridges and letting people go.
There's a fine line on that, youknow like you got a really if
(31:22):
you're going to burn a bridge with a rep or or somebody in the
industry, if you don't burn thatbridge you might want to rethink
how you're going to burn it so you don't need to burn.
You might just want to dissolve it in a nice peaceful way,
right? Because you don't know if in
five years unite you might need that person again or you might
(31:44):
reconnect with that person again.
Go into casting and yeah and they have no idea.
I mean II know there's been situations where I when I was in
my 20s that I just did stupid things and I burned something
and it turned out that that castDirector on that thing that I
burned ended up on something else which was a massive Network
(32:09):
roll. And they were, they were part of
the network and I'm like, oh no,it was only what it was only
within two weeks to it, so it came around, pretty fast.
Yeah. Fortunately people are pretty
cool after a while they forget about it but it was doing.
(32:29):
I love you so much. Thank you so much.
For doing this. Do you have any parting words of
wisdom for anybody? Just, I wish people would
remember their reps and a different sense than they're not
doing anything for me. I wish they would think about
what they do. That's not paid on a daily basis
(32:53):
and really rethink like that, they're not doing anything for
me part because they're not being paid until you get booked
on. Then and that's not really their
choice. They're doing a lot of work.
Regardless, what you see, and don't see, right?
So you might want to like reallystep back and look at your full
(33:15):
package or what you have and what you're providing your back
office and you might want to really think like, am I doing
enough on my end for my reps know, before I part ways and
blame everything on them, you know, because it's great.
Yeah, might not be them. Yeah, most likely could be
(33:38):
something. I mean, it could be them and
they just completely lost interest.
And that's where you gotta figure it out, right?
And if you have a manager and agents and your solid with your
manager who's supposed to be your best friend and your
business, right? Then you can like look at it and
analyze it. There's like an itch and nisshin
(34:01):
the business they Have therapy like therapist.
Like you know, how they have couples therapy.
They counselor counselors were Asians and actors, you know, to
see how they get along and they have like sessions together.
That would be really funny as like the marriage counts.
Yeah. Like a marriage counselor and go
(34:22):
like four year, the rest. I got them everything and you've
ever the wrapkin say they keep taking from me, you know,
either. Can you tell people how they
could find you on social media? I'm on Instagram under exact
digital photos. I use that mainly for
everything, you know, I just post everything on there, and
(34:45):
it's my main one. And then I'm on Facebook.
I think, under the Andy Rooney, exact digital, something like,
you'll find me. Yeah, it's hard to not miss it
and then I do have an Andy Rooney, Midwest Talent,
Instagram. Don't even think about
submitting to him unless you have it completely together.
(35:09):
Do not submit once you submit you can't resubmit.
So yeah. Wait like six months to not do
not send to him and I also I mean if I don't reply I have a
folder that it just put people into and when I get around to
looking for new people to fit into where I need them to fit
(35:30):
then I go and I look in my folder and I And I revisit those
things, or if somebody resubmitsin 4 to 6 months, then I it pops
back up in my hair or you get our girl.
I mean, yeah, referrals and thatsort of thing, but I save
everything into a folder. I don't answer them all.
I get hundreds of them a week. I apologize to anybody that
(35:53):
submits to me over and over again.
Thank you very much. I do have your your submission.
If it's somebody I can fit into my roster because at this Point.
I'm really trying to fine-tune my roster and make it a special
roster. Let's just put it that way.
Then, you know, it is what it is.
I have it in my folder. If you end up being that special
(36:15):
person that I think could fit and you're still available, when
I hit you up, then awesome, you know, I look for different
things, you know, it could be anything.
I'm looking for and I look, you know, so there you go.
Thank you. Thank you.
I love you so much. Thank you.
All right. Love you too.
See you I am so excited. Season 1 episode 13, first
(36:45):
season of actors you are enough so good.
Make sure you go over and followme on Instagram and send me a
message. I can give you a promo code to
the udemy course and you can geta free week on the actors.
Start net and keep in touch. Because I am starting a private
(37:08):
exclusive Club just for actors called actor dot Club.
Only actors from all over the world, I'm going to be teaching
for classes on there. There's gonna be chat rooms and
the entire actors. Toolbox will be on there.
I will be having guess it's going to be amazing.
(37:28):
Private membership club if you need to get in touch with me,
you can email me at the Lyndon technique at gmail.com.
I'll see you guys soon.
This is Amy Linden. I started this podcast for you
because I am here to help Empower you because you are
enough. I am here to help you get to the
next level in your career. And most of the times, it has
everything to do with what you think about yourself.
I am a booking coach celebrity booking coach 54, plus Network,
(00:35):
series regulars, and Emmy winnerand image in Winter.
And thousands of people working around the globe, all because of
this technique that I created, Ireally want to help you.
So I do believe that if you keeplistening, you might pick up
some gem that I am dropping downand it will change the course of
(00:56):
your entire career. Do I have with me today?
Andy Rooney, the most amazing manager ever.
Yeah. You know, what's up?
Yeah. And he's over at Midwest, talent
(01:18):
management. And we're going to shoot the
shit about management because I was a manager for nine years,
nine, long years, but I learned so much about it.
And I'm going to talk to Andy About Management about All kinds
of things. So Andy, tell us, where are you
from from Chicago? Originally grew up in Chicago,
(01:43):
back in a long time ago, and then it was good times back then
much better than now. What?
Anyways, Chicago school, when did you come to La?
Well then I moved to DC and thenfrom DC I moved to Pittsburgh
and then in Pittsburgh Urgh. I decided it was way too cold
(02:06):
and I can't I can't do this anymore.
I'm going to go to college in Florida and then I was in
Florida that was great. Super awesome change.
Compared to the weather up thereand then I transferred I went to
Savannah College of Art for a photography.
Well, you know you're really some artists.
So you started out painting but now you're doing this digital
(02:30):
like you're a man of all trades.So talk to me about your artwork
your Work is amazing. So originally I wanted to
college for illustration painting and all that sort of
stuff. I've been painting since I was
like, 12 mainly oil paints and all of that.
But then, you know, everything started changing to digital and
(02:51):
retouching and I was doing the photography.
So I decided, oh, I'm going to take my painting and start it in
digital, and then spit it out and then continue it on.
On traditional, you know, with oil paints and stuff to kind of
cut, cut the chase. Like just I can put so much more
together and then make this crazy thing oil on top of the
(03:14):
digital once spit out. Well I put it.
Yeah it's get it out into like canvas and then and then
continue it on, you know, I wanted to kind of incorporate
the Two Worlds together, kind of, what's your website, your
art website. Well, there's I have exact
digital and then also have imagined how to the number to
(03:39):
see seee.com. So imagine how to si.com another
the digital fine artist. Yeah, that I need to talk.
Rafi, is on exact? I mean exactly Jewels, like, my
main thing, I have all my stuff everywhere on exact digital.
So I've been doing that since, you know, the And he's been
(04:02):
shooting and why management? Yeah, I did all that I was doing
the digital is doing the photography and it was changing
and transforming. I was doing the printing that
the whole deal and it was just Ijust kept meeting all these
talent and all these actors and all these managers that, you
know, and agents that I was literally print for and retouch
(04:23):
for and meet all the time, I knew tons of them.
So I decided maybe I can become the That head, you know, the guy
that everyone the go to which I already kind of was, I was, you
know, for headshots, I wanted more info.
Like, I don't know. In my mind, I was thinking if I
(04:45):
could just become an asset for these agents and managers and,
and cut the, you know, and save them the time, knowing all this
stuff and being an asset to him,I don't know.
It just in my mind, I was like, all right, I'm already kind of
in. Said I'm already dropping off
headshots and retouching and printing and she basically,
you're saying you had all this information that you were giving
(05:08):
to them. And so now it was trying to give
it to yourself. I wanted to become an asset and
become like learn more, you know, right.
But how did you make the shift? So I started doing interning at
with Midwest town because I was working with them constantly
dropping stuff. I knew him so well and I knew
(05:30):
all these others but I decided you know, Management's going to
be better, it's more Hands-On. It's more involved with the
town. I get to know more more details,
there just like more stuff in mymind that I had.
Do that had to do with what I was already doing with photos?
Well, it's you know, it's interesting that you said a
Hands-On, which is we work with your hands.
(05:53):
You talk about the depth of the picture.
You talked about the depth of the actor, the details getting
to know the details of the actor.
So it's all it's all injured interlaced with each other.
So how did that element change? What is it that you You like
(06:13):
about working with actors. So it was a quite a different
thing to do, but I always am trying to add more to the plate
says the way I am and I and likethe depth, I just want to do
more, you know, and you can never do enough.
There's always something else that you can add that in that
goes full circle with what you're doing, completely agree.
(06:36):
I'm like a poster child for that.
Exactly. Always.
Like look at this podcast, you know, I'm adding something it's
sort of like years ago I read this book called Acres of
diamonds and it said, the main just of the book is that all of
your riches are in your backyard.
(06:58):
They're all around you. Yeah, you just need to take
advantage of them so so that's where you basically what you're
saying and then you came a full-fledged manager when I
started doing management back in2005 and I was interning for
(07:19):
myself. I can't take like, do this, do
that for too long. You know, like I'll absorb what
I can and get the gist of it andlearn how to do it.
And And I want to run with it. You're not a soldier.
Your captain. Yeah.
It's like trial and Aaron. I just can't take being told
what to do and there's a way to tell people what to do or ask
(07:42):
them what to do that. Don't get me wrong but he's
amazing. She's like I learned so much you
know, but it's very hard. I mean I know it's very hard for
me. I don't like working for
someone. Yeah.
I start many businesses because that's it's an entrepreneurial
spirit. Idiot.
That's what that is. Yeah, exactly.
(08:02):
And I was already working for myself with my Photography in my
digital, and all that sort of stuff to stop and actually do a
job and work with somebody when I hadn't been for a long time,
it was very tough. It's a lot of.
Okay. So, how long were you in?
Turn in before you broke off. So I in turn probably like five
to six months. Oh, that's great.
(08:24):
That's the end. I was like, all right, I had
enough. I'm gonna do this and I'm going
to manage my own people. Like have a handful of my own
people and still kind of learn an internal little bit when you
had your own people. What if because I know what I
look for when I was managing butthis interview is about you.
When you meet somebody use me asan example okay?
(08:46):
So why don't you want to manage me?
Well really it's for me I'm a big personality guy you know and
and like nice and personality and go-getter and like so many
things, play a big part. For me as a manager and I always
want to help everybody but I have to like, put that to the
side and really put it to the side and not try to help
(09:09):
everybody. And if I could, I would and I
would be screwed, I wouldn't have time for anything but I
really latch onto certain people.
You know, it's a personality thing.
I need to see the talent. Obviously, I need to see the go
getting. I need to see that big picture,
like end of the tunnel a little bit like, okay, I know, This
(09:31):
person's going to be able to do something.
Obviously I look for like different types who's going to
fit the roster this sort of thing right.
But I don't over analyze that part too much.
I see color let's just put it that way.
I see color you know that's me I'm a color guy right so I don't
(09:51):
care like tones and color as my thing you know.
So I don't care really what you look like.
I'm more so like What's your personality?
What's your inner self? How are you going to do this?
Are you nice? Are you go getter, you problem?
No problem. Like, am I going to be able to
work with this person? I could really care less.
Like, I mean, obviously different types and character
(10:14):
and all that. I want to see that too, to make
sure it fits with my roster. So, don't get me wrong here.
I can't take everybody on. Just begin bypass.
What you look like on me becauseI'm kind.
ARF your color boy. Got personality.
Got the go getting your like fun.
You know? Because I'm big on.
I have to have fun if I'm going to work with somebody.
I'm sorry. I can't be miserable and
(10:35):
depressed and tired, and, and I've done got to get to know
them, you know what I mean? Like, yeah, people that you'll
sign that you never really get to know because they don't
really open themselves up which is I think a big problem that
actors get intimidated by their own manager and I think the best
thing that you could do is take manager out to lunch.
(10:58):
Find out what you manager likes.It's like any relationship,
really? I know you like coffee.
So I sent a couple. You know what I mean?
Okay. Yeah.
Or you know I know you like. Yeah it's good to befriend your
manager because your manager best friend in your industry,
(11:20):
he's your back office. He or she is your back office.
Your business. And so the main be lenient of
manager is your back office to your business.
That's a great quote. Thank you.
I that's great because you can really see that because that it
really is the back office because you're the front office,
(11:42):
right? And if you don't provide the
office with the tools, like computers and chairs and desks,
and all this stuff and and look books, and whatever you need to,
to show. Show what you can do.
If you can't present that and have it as tools and put it into
your business, your back office has nothing.
(12:05):
Right? So now your back office is like,
I signed on this great manager for my business.
And now I'm going to go to lunch, and I'm going to go
sleep, and I'm going to go do mystuff and let my manager take
care of it. However, there's no tools,
there's no doubt, there's no computers, there's no nothing,
and there's no communication. Chin, I'm big, big pet peeve on
(12:27):
communication. And if I'm forgotten, when you
go on vacation, or you forget about telling me about
something, or you're all about telling that agents and the
other people, all this stuff. But you forget about the manager
that doesn't sit well with me atall.
I think that it's really important to know that your
manager is like you're married to them almost, you know, I
(12:48):
think the best friend come and go really and your manager
should be your Estie. I mean they that's what they
should be because they personally manage your career.
And so I know I do managers thathave dumped climbs because they
went to Vegas and they thought oh I'm going to Vegas so many a
couple of days and then they getan audition and they're in
(13:10):
Vegas, you know, they never toldthey never booked out because
they're like, oh it's just a couple of days and then they
lied. And said something else and then
and then they found out and theydump them.
So you know, I mean why I like how can you have that kind of
relationship with your back office?
Yeah exactly. They did you just leave your
(13:31):
door like your store open with the open sign and then you leave
and you're not anywhere to be found and you just like whatever
and I come back to a store that's not like G sacked and
like that's great. I actually talk to somebody the
other day about they were complaining About The Ragin and
I said, well, what I know of your packages is that you don't
(13:52):
have your demo reel for a complete, you just shot a
pictures and your resume. I just fixed because it looked
like crap and you're blaming your agent for not getting you
anything like, that's insane. That's insane.
Now if the agent at all the tools and maybe they're sending
(14:14):
you out on the wrong age category or maybe, you know how
that Conversation but but do nothave the back office filled with
supplies. That's insane.
Since we're on this topic I'll go off on it a little bit
because because a lot of people will instantly blame the Reps
(14:34):
and they won't look at like their stuff you know so it could
be like the photos. I'm big on photos for obvious
reasons, right? But if I can like super over
tear up your photos and a Our be, if it's not good or if
something's wrong, because a lotof people will shoot headshots
with different outfits and the same backgrounds and the same
(14:58):
expressions. And it's like, what, all right?
You got a cop outfit on with thesame expression and every single
shot that's doing nothing for me.
Photos is like a calling card for actors.
Right. So that's what's going to
capture you and get you in the door.
Specially now being, you know, No self tape goal or nobody can
(15:19):
tell what you really look like. I mean through zoom and you got
all these problems with zoom andit doesn't possible you know,
whatever the case but they're going to see your personality in
these head shots. They're going to see who you are
and what you can do in front of a still camera rather than a
video camera. So they're going to want to see
this personality come out Expressions is huge.
(15:41):
They want to see the depth to these shots.
They want to see good color and good skin tone and good
everything, right? They want to see you.
They don't want to see it. Overdone, they don't want to see
it a completely different person.
Then they also want to see like smile, no smile, but they want
to see the in between they want to see the personality.
So if you can do headshots and capture you and the headshot but
(16:03):
also capture characters and reada roll then you are not only
doing yourself a service when being submitted but also you're
doing your team, right? Well after photos all the time.
And I say, you know, when you take a photo session, it's very
important not to take, it's important to act it and make
(16:26):
sure that you're clear on exactly the show that you're
going for and like, remember ourphotos such, I knew exactly what
I was shooting. So yeah.
It was what they wore on the show, what their hair was like
with their makeup was like, justeverything about what you're
casting is like who's got your job, you know?
(16:46):
And and then, You know, I talk about the comprehensive package
that you demo reel. Needs to match her.
Your photos needs met resume needs to match what you play?
You, you know. Yeah.
And so, what do you think about these slate shots to me?
I don't know. It's like a quick snippet of.
Hey, this is me, blah, blah blah.
(17:08):
Like literally quick honestly, Ithink slight shot suck.
You know why I think? Because the look at the Slate
shot and then decide whether or not, they're going to go to the
clip. And I know you're a barrier for
the actor, my own opinion is, I feel like it would be better to
have like a quick snippet of thefront of somebody's real but
(17:31):
even still I'd want like, a 60-second or like one minute or
like something that's like literally a snippet and it's
like it leaves them hanging and now they have to go.
See the real. Yeah.
Because they're like, ooh, wow. But hi.
This is me in front of the background.
I just Got on 47 seconds. What I used to do if people used
(17:52):
to say like let's say you're playing, I don't know.
Let's say you're playing somebody that's a drug addict so
unless they the picture look like a drug addict.
So I would do in 7 Seconds. What I would say is Yeah, you
got any. I made me Linda and I used to
say like to create a character within those seven seconds,
(18:17):
rather than hi Amy Linden. It's so stupid.
Yeah, no. I like the character real quick.
Say something, you know, or if your nurse will be with you in a
second, get your son is doing well.
I just know, I'm Amy Linden you know just That's all we did one
(18:38):
on. Yeah, yeah.
But but but yeah, that that's fun and it has something going
for it and shows personality is just gonna have a photo session.
Yeah. No it right here.
Little seven second script. If you have to do slight shots,
if you buddy says, oh, it bringsyou to the top bla bla bla.
(18:59):
So if you have to do slate shots, do it when you're
shooting and come up with like alittle teeny.
Catch, ya, just do it on your cell phone and have them do it,
you know, like real quick, so you have it and then improv,
like whoever's shooting. You should be able to improv.
You should be able to connect with that person and have fun
time and improv and carry the shoot.
(19:21):
Not just smile no smile and click the shot because the
person in front of the camera, has no clue what's going on.
You know? And if they're just standing
there smiling. No small.
So, I'll Posey, that does nothing.
You should have like an improv session the whole time.
Great time. And then shoots going to be
amazing and then get the Slate shots.
(19:42):
A little quick Snippets like youjust said which is excellent.
That's like, brilliant, not hi. This is me, you know, and it's
like, okay, whatever a little story.
So, talk to me a little bit about your headpiece.
Give me a couple of things that bother you that your clients do
that really incense you Really the communication part, you
(20:06):
know, like back communication hard to get.
Hold of doesn't communicate, youknow like like the communication
part if it's bad and it's just bad and it never gets better.
That drives me nuts. I don't want to work with anyone
at that point II. Just can't stand it.
Another thing is that last-minute sending stuff in
constantly at the, I got 10 minutes, can we get an
(20:27):
extension? This stuff's unacceptable to me
if I know about it, the day thatyou get, Audition and and you
need an extra day or like you know, you're going to need it at
the end of the day or something,then we can ask for it.
But I personally hate to ask a casting director 10 minutes
before the things do because you, you know, somebody screwed
(20:49):
up and they don't have enough time or they overslept or
whatever the case is, that day and they need an extension.
The worst is when they need an extension all the time.
So that to me is just like, all right, I'm done with this.
You like, I start. Everybody at 100% trust.
I don't know you for Jack. I'm starting at 100% trust and
then I go down from there and you got to work your ass off, to
(21:12):
come back up. How casting does it?
Do I talk to people about that, but that was a hundred and then
they start chipping away at you,you know?
Yeah. So late confirms.
I got to go track people down. I got to do triple efforts to
get things confirmed, when I've already sent it through.
Now, I'm texting. Now, I'm sending emails.
(21:32):
Where are you at? And you're out at lunch or
something, don't care to click confirm and don't, you know,
like this is just excess work that I don't need to do because
I've got, it's not there becauseyou're going to think twice the
next time I used to met them andyou know what, busy people get
things done, I mean, look at running.
(21:54):
How many companies aren't I one of the people that gets it in,
not get out in an hour to yeah, but But but it's because I'm
like it's a competition. Yeah I can get in earlier before
everybody else. Then I'll set the bar and you
know they might have seen like 50 people, maybe they're tired
(22:17):
of looking at tapes. They're taken from the bottom of
the bucket first because that's who landed in the bucket, right?
So the person that lands in the bucket at the top, it don't
matter because that little hole at the bottom is what spitting
out the ones that are going to look at the 5000.
Words that are at the top that didn't get through the little
hole at the bottom, they're screwed because they're not
going to look at their going to cap it with the Cork and they're
(22:39):
going to look at the 20 to 100 that came through at the in the
beginning, the people that can knock this.
Here's another thing too since we're on the subject, I have
people that knock these things out yourself included.
They can knock them out and theycan do it professionally.
Just as if they went to the audition in person, they're not
as somebody gets a self tape. Unfortunately people have three
(23:01):
to three Three days. Two days might even have a week
or two weeks to do this one. Self tape.
That's only a few lines, sometimes it might be a little
bit more extensive, but the bottom line is now you have all
this time to do this. So now people are doing it and I
don't like it, do it again, I don't know, I'm gonna put it to
the side. It's like a painting.
I painted a picture and I'll putit aside.
(23:23):
Now, I'm going to come back, I'mgoing to change this.
They have all this time and theytake it and they take advantage
of all that time. But in reality, if Knock it out
and you knock it out professionally and get it out.
The same day, came in casting, in my mind is going to look at
this and I've seen it because they're the ones that are
booking. They're going to get the chance
(23:44):
first. They're going to look at these
tapes first because they're coming in.
And then the second that they find the person that comes in
first they're going to kill thatthing or they'll just let
everyone else you know, drop their stuff in there because
they want to be considerate. But they've already chosen the
person they already have the People in their mind who they
want because those are the people that did it.
(24:05):
The first day, just like an audition.
If you want to an in-person audition, you don't have a week,
you don't keep coming back everyday doing it again and again,
you don't, you got redirection once or twice while you're in
the room and that's it. Boom, now onto the next version.
So, if you can't do this, the day of your audition yourself
(24:28):
tape, that's your your day of, that's when you got it.
And Say the next day unless it'sdue the next day, then you need
to knock it out that first day that you got it.
Say you got two to three days. Okay?
Boom. You got an audition that you go
in the next day? Treat it just like that.
You got an audition you go in the next day.
(24:49):
It's not due for three days, butit doesn't matter.
It's just like an audition. You need to knock it out sooner
than later because at the bottomof the bucket is the people that
are getting chosen first becauseit a little hole at the bottom
pocket little audition. Pop's through the hole and they
get 100 and 200, they're not going to look at five thousand
tapes. They're gonna plug that hole and
(25:09):
that's it. Unless somebody special comes
through or gets pitched, or theyknow that person and they see it
pop up. Then, I'm going to say, okay,
let's put this person out to theside and check that too, but
that's very few. There's very special ones,
right? And and that's that, I mean
that's how you got to treat it and those are the people that
are booking, those are the people that are not getting
(25:30):
things out. And all the other people,
Sitting there going, I need an extension.
I screwed up, I forgot to label my tape, even though you've told
me 500 times. So now I look I'm like and then
if I have to ask somebody, why didn't you have label this?
And I get attitudes here, I am the bad guy again, it's not
fair. Thank you for all of that.
(25:51):
Yeah, it's all right. I know you can probably talk for
20 minutes about it but I know, I know, but I feel your
frustration, I totally get that,but I have to throw in there.
Because I can't stand this crap as one this last-minute panic
and then somebody has a text me,their tape or send it to me,
(26:12):
though. I can't get it.
Uploaded. Can you send it for me?
I got five minutes doesn't matter.
Where the hell I am. I could be at the dentist at the
store. I could be asleep.
Who knows? And boom.
Now, it's my problem. Not theirs, because they can't
get. They can't figure it out.
All right. Now I'm done.
You named all the reasons. All the one of the many reasons.
Yeah, like five million reasons why I'm not doing management
(26:36):
anymore, but I don't know your name.
Most of them, it takes the patience of a saint, you know.
But I mean you're really great at what you doing, Andy honestly
you know, thanks. So we're almost ready to wrap
up. I know there's like a million
things to talk about but what doyou see in your life?
I mean, just saying general not having to do with anything I
(26:58):
would talk about but where do you see your life?
Let's say, in five years from now, And five years where my
life is, I mean, I just always gone for like everything I can.
I would like to try to get as many series regulars as I can or
like really stable ongoing Talent.
You know, I like to I've already, you know, I'm already
(27:19):
doing what I can and building everything that I can build
personally, I would like to justbe very stable and well-off and
comfortable and be able to travel and do what I want.
And have, you know, I have a Have assistance and people that
helped us so on able to do what I need to do and have a life
somewhat, which is nice. But you know, it'd be nice.
(27:41):
You know, to be really comfortable and not stress so
much and actually have a nice solid booking constantly group
of talent under me. Well, I think obviously it is
there's a whole process to letting go of different people.
It's, you know, To find the cream of the crop.
(28:04):
You have to let go of people andit's very hard.
I always found it very hard as amanager, let go of people
because I, often times wanted itmore for them than they want.
And, and that was one of my biggest struggles when I was
doing it. And, and I think when everybody
could get to a place where you could feel the cream of the crop
(28:26):
with in your stable of people, Ithink that's when it happens.
Yeah, I mean I have some really good, you've got some great.
I have some amazing people. I have people that have had
since I started managing actually that you know and it's
like awesome you know that's gratitude there you know like to
(28:49):
have that those people that longand and and that's just keep on
grinding, you know. And it's you know, you're doing
something right and then other people, you know, if it's not
working out and it And this nothing is happening, you know,
it's better. I let them go even though it
hurts and it sucks but I just ifit's not doing anything, why
(29:13):
stay you know like yeah, I thinkI think one of my biggest
mistakes was that I stayed placeis too long.
I'm working out I think it's okay to part ways and because
it's just the energy is not, right?
And I'm always friends with everybody, I'm like I would in a
good World. I would like to if something's
(29:34):
not working and nothing's happening and everything, I
would still like to, you know, obviously, if I could part ways
with this person, they could go find a new home and start
flourishing and doing stuff, great.
Then it just wasn't meant to be with me.
But at least I'm still friends. I still knew that person, I
still connected with them. It's no nothing personal when I
(29:55):
let go of somebody, however, a lot of people take it that way
or they're, you know, they're upset that I did it.
It's Again, nothing personal butI just can't hold on to
everybody because maybe there's somebody else out there that I
need, that I should have and then there's somebody else there
that they should have. You know, even though now we're
friends, we met we're cool, you know, I'm always there I can
(30:18):
answer questions, I'm always there no matter what if you're
down and out and depressed even if I'm not your manager doesn't
mean you can't reach out and sayHey or ask a question or Thing,
I would still do that for anybody that I know and be there
for them. Even if they're going through
struggles of a stand-up guy though.
(30:41):
I mean yours. Yeah, it's part of being a
stand-up guy and it goes for anything, you know, somebody's
down and out and depressed and all that sort of stuff, and they
need somebody. And they know I'm not talking
guy and I'm always around. I would definitely be that
person for them. No matter if I'm managing them
or not manage, doesn't mean Jack.
That's just a business. But I've already met you and I
(31:01):
already know. You and I we had good times, we
just weren't connecting and working out and then sometimes I
reconnect with people over a couple of years after letting
them go and start working with and they just kill it.
They start it just wasn't good timing.
So Burning Bridges and letting people go.
There's a fine line on that, youknow like you got a really if
(31:22):
you're going to burn a bridge with a rep or or somebody in the
industry, if you don't burn thatbridge you might want to rethink
how you're going to burn it so you don't need to burn.
You might just want to dissolve it in a nice peaceful way,
right? Because you don't know if in
five years unite you might need that person again or you might
(31:44):
reconnect with that person again.
Go into casting and yeah and they have no idea.
I mean II know there's been situations where I when I was in
my 20s that I just did stupid things and I burned something
and it turned out that that castDirector on that thing that I
burned ended up on something else which was a massive Network
(32:09):
roll. And they were, they were part of
the network and I'm like, oh no,it was only what it was only
within two weeks to it, so it came around, pretty fast.
Yeah. Fortunately people are pretty
cool after a while they forget about it but it was doing.
(32:29):
I love you so much. Thank you so much.
For doing this. Do you have any parting words of
wisdom for anybody? Just, I wish people would
remember their reps and a different sense than they're not
doing anything for me. I wish they would think about
what they do. That's not paid on a daily basis
(32:53):
and really rethink like that, they're not doing anything for
me part because they're not being paid until you get booked
on. Then and that's not really their
choice. They're doing a lot of work.
Regardless, what you see, and don't see, right?
So you might want to like reallystep back and look at your full
(33:15):
package or what you have and what you're providing your back
office and you might want to really think like, am I doing
enough on my end for my reps know, before I part ways and
blame everything on them, you know, because it's great.
Yeah, might not be them. Yeah, most likely could be
(33:38):
something. I mean, it could be them and
they just completely lost interest.
And that's where you gotta figure it out, right?
And if you have a manager and agents and your solid with your
manager who's supposed to be your best friend and your
business, right? Then you can like look at it and
analyze it. There's like an itch and nisshin
(34:01):
the business they Have therapy like therapist.
Like you know, how they have couples therapy.
They counselor counselors were Asians and actors, you know, to
see how they get along and they have like sessions together.
That would be really funny as like the marriage counts.
Yeah. Like a marriage counselor and go
(34:22):
like four year, the rest. I got them everything and you've
ever the wrapkin say they keep taking from me, you know,
either. Can you tell people how they
could find you on social media? I'm on Instagram under exact
digital photos. I use that mainly for
everything, you know, I just post everything on there, and
(34:45):
it's my main one. And then I'm on Facebook.
I think, under the Andy Rooney, exact digital, something like,
you'll find me. Yeah, it's hard to not miss it
and then I do have an Andy Rooney, Midwest Talent,
Instagram. Don't even think about
submitting to him unless you have it completely together.
(35:09):
Do not submit once you submit you can't resubmit.
So yeah. Wait like six months to not do
not send to him and I also I mean if I don't reply I have a
folder that it just put people into and when I get around to
looking for new people to fit into where I need them to fit
(35:30):
then I go and I look in my folder and I And I revisit those
things, or if somebody resubmitsin 4 to 6 months, then I it pops
back up in my hair or you get our girl.
I mean, yeah, referrals and thatsort of thing, but I save
everything into a folder. I don't answer them all.
I get hundreds of them a week. I apologize to anybody that
(35:53):
submits to me over and over again.
Thank you very much. I do have your your submission.
If it's somebody I can fit into my roster because at this Point.
I'm really trying to fine-tune my roster and make it a special
roster. Let's just put it that way.
Then, you know, it is what it is.
I have it in my folder. If you end up being that special
(36:15):
person that I think could fit and you're still available, when
I hit you up, then awesome, you know, I look for different
things, you know, it could be anything.
I'm looking for and I look, you know, so there you go.
Thank you. Thank you.
I love you so much. Thank you.
All right. Love you too.
See you I am so excited. Season 1 episode 13, first
(36:45):
season of actors you are enough so good.
Make sure you go over and followme on Instagram and send me a
message. I can give you a promo code to
the udemy course and you can geta free week on the actors.
Start net and keep in touch. Because I am starting a private
(37:08):
exclusive Club just for actors called actor dot Club.
Only actors from all over the world, I'm going to be teaching
for classes on there. There's gonna be chat rooms and
the entire actors. Toolbox will be on there.
I will be having guess it's going to be amazing.
(37:28):
Private membership club if you need to get in touch with me,
you can email me at the Lyndon technique at gmail.com.
I'll see you guys soon.
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