Tips On Booking a Co-Star

In the sixth episode, Amy Lyndon gives tips on how to book co-star Roles and what to look for to book that BIG guest star and/or series regular.

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Episode Transcript

(00:11):
Hey guys, 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 winner.
An image in Winter and thousandsof people working around the
Loeb all because of this technique that I created, I
really want to help you. So I do believe that if you keep
listening, you might pick up some gem that I am dropping down
and it will change the course ofyour entire career.

(01:04):
Matter whether or not you have ashitload of credits.
And I really need to put that that think to rest, right now
it's all positioning in terms ofyour package, your marketing,
and your package, and it's also being prepared.
Obviously, when you the opportunity and to beat your
competition, people have startedsomewhere and there are like, I

(01:25):
had a guy that hit only theater credits and he had his package
so put together and he was so onpoint on his booking skills.
That ebook, some Town three episode Arc.
This is like he shot it in November and December.
Guest star top of the show gueststar.
Three episodes. Guest star front billing.

(01:46):
So this bullshit about, oh, you need to start at the bottom and
work your way up. That's not true.
But the truth of the matter is, you have to have your shit
together. Part of having your shit
together is finding me today, and I'm very happy, you found
me. And I, you know, I know it
sounds like, oh Amy, she's cuckoo.
Conceited. I'm just confident I'm confident

(02:07):
that the show works. I'm confident in the people that
that I work with. I'm confident that if you do the
work properly, that you will beat everybody.
And I know it sounds like brutalbeat everybody, but come on.
Not going to give a series regular, which is millions and
millions and millions and millions of dollars.

(02:29):
To somebody that they're not going to have confidence in.
And why would they do that? So that's why I talked a lot
about power and owning your power and knowing what you're
doing and walking in with such extreme extreme confidence
because you have to, you have tohelp the decision-makers by

(02:49):
putting them at ease. And you also understand that on
said and specially in commercials the actor is always
the last person considered untilyou're a major star.
The break is so, do so. It's such a big break.
It's like the bottom part is like, who are you?

(03:09):
Yeah, go over there and you knowand your name is taped to the
thing and you know what I mean? You're like whatever until you
become a star and they're like, can I get you some bones?
I mean I will give you Sushi before 11 a.m.
I mean it's ridiculous. The difference between this and
this and I've seen both of it because I have clients that I've

(03:32):
done both that's why I I'm like,well, why is why is this TV show
completely different than what Iauditioned for this because they
have confidence in you that if they throw you a lion, be able
to handle it. If confidence that if they
change the complete character, you're going to be able to
handle it. That's why I'm like, well, how

(03:52):
does anybody really work in television?
If, if I've prepared, so greatlyfor this really big role, and I
get there and all of a sudden has changed.
Like, I started out one, some I was supposed to be a biker and
just really racy looking. So I showed up with tattoos and

(04:13):
do some Thumper All of my hair and and I had to think I put it
a thing, A Renault string, and then when I got to set to
wardrobe, they're like, oh no, he you and your husband have Ona
a wedding service and it's in a tiki hut.
I'm like what like, how did thathappen?
You know. So now I'm wearing a Hawaiian

(04:35):
shirt. They took this out, you know, I
didn't have. It was fake anyway and they
said, I could keep one of the tattoos because those were fake
tip. But anyway, the point Pointed
the point that I'm trying to make to you is, is that you have
to be in the Box to work outsidethe box.
And what does that mean exactly be in the box of Truth?
Be in the box of what it is? That that is their show.

(04:57):
I have this one girl that went on and on, Angel like 12 times
and I'm like, Jesus Christ, you know, if, if that were me and I
got in my car, 12 times to see that casting director, I think I
would have been obsessed and watched every single episode.
I think I would have been on IMDb Pro and seen how the how

(05:18):
the clothing designers were putting their people.
And I think I would have looked for a role that is similar to
the roles that I go for it. How they usually cast it, you
see how specific that is guys? How much detailed work are you
actually doing? And it's within the details
that's going to put you way, way, way, but above and it's

(05:40):
going to get some of you out of co-star guest star into booking
a series regular. And it's going to push most of
you and to booking a co-star andthen making that happen for
yourself. But the biggest thing is, is
understanding that in order to be on television, you have to
look like you're on television. So those of us who keep
Dramarama school, and I'm one ofthem.

(06:04):
I couldn't book shit. When I got out here, it's like,
what the hell? I like what the hell.
Okay, you guys, raise your hand and know what I have all this
training wise in this happening.Why isn't this happening?
I mean, I don't know if any of you did a research on me, but, I
mean, I freaking trained everywhere.

(06:27):
I trained with Stella Adler. She was like, right there.
I studied at Sanford. Meisner school.
He was upstairs. I was too young.
I was in the basement with the gym machine but I was there.
You know, I studied with Ray Liotta's.
Coaches. Who cares?
The London academy of performingarts Shakespeare who cares?

(06:50):
Nobody really cares. If you can't book spit, if you
suck in the room, how did they look at my resume and going?
Why did she suck? She went to that London Academy.
We're not gonna do that. either you guys show up as this person,
And it's going to happen or it'snot going to happen.

(07:12):
And most of the time it has to do with whether or not you have
power to take it. What is that power?
You know, that's why that's why my people do so.
Well, booking co-stars for the first time or hitting the sack
hard for the first time everything for the first time.
Why? Because it's power, all about
power. Okay, let's talk about dodgeball

(07:35):
for session. Who were who was picked first,
the strong ones and the It's what were the artists doing
there? Like don't pick me.
You're gonna hit my just woman, they'll draw a painting or you
know, go be with my theater people, you know?
I mean, we were like everyone couple of us were like picked.

(07:55):
I was one of those pictures. I was, I was just obnoxiously
competitive, but most artists. All right, that's why we became
actors. Is so people will notice us and
love us. so, if you don't know the art of competition and power
of being the leader, Why would they give you a series regular?

(08:19):
Because that's what that is. Yeah, the series leads like Mark
Harmon, I mean those guys move up to become a series lead,
there are the captain of the show and so where are you in the
packing order? Are you in a place?
And in in your work where you can you can deliver with
strength and confidence. I rather you be strong and wrong

(08:43):
than we can. Hesitant people do not want weak
people. Let me think about any person
that you would ever want to go on a date with or Mary or be
with or hang out with. Do you want them to be like a
pussy? No, you want them to stand up
and go damn it. I fucking want you.

(09:05):
Right? We don't want weak people.
So why are we acting week when we approach our acting career?
Or are we acting wait? When we approach our auditions?
Moment that you get an audition is the moment that you guys have
to be like, okay, I'm jumping inand I'm going to fucking kill
this. I'm going to kill it and kill it

(09:26):
because I'm going to break it down and I'm going to tell the
best story out there. That's who's getting a job guys,
your storytellers. That's why you are you
storytellers. It was ever going to tell the
best stories going to get the job.
And what does the story until well?
There's a beginning, middle and end and there's a motions.

(09:48):
There's a motions in a story. Hey guys, thank you so much for
listening. I so appreciate it.
So if you really believe your enough that you will click that
button and you will go to the store and get involved, I could

(10:09):
lead a horse to water but I can't make them drink.
I have promo codes available if you DM me and follow me on
Instagram. Take care and I will see you
soon share with a friend.