March 11, 2025 • 42 mins
How We Role with... crafting a standout resume and acting materials! Actor Reboot's Phil Sloves (Law & Order: SVU) shares tangible tips on tailoring your resume for success across the diverse landscapes of theater, TV, film, commercials, and voiceover work.
Phil Sloves is a multi-hyphenate performer who you may have seen playing Ronald Givens Jr. on Law & Order: SVU or perhaps in SpongeBob SquarePants, the Broadway musical. Phil has kindly dedicated his life to helping performers with his company Actor Reboot, an all inclusive, safe space that helps you prepare for auditions, fine tune your branding, and allows you to find your true self through it all. Actor Reboot does everything from hosting classes to creating new resumes that stand out.
This is - How We Role. Get cast today at castingnetworks.com.
Follow Host, Actor and Producer Robert Peterpaul (Amazon's Sitting in Bars with Cake, The Art of Kindness podcast) on Instagram @robpeterpaul and learn more at robertpeterpaul.com.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Robert Peterpaul (00:00):
Actor friends, today we have on the pod one of
us.
Actor Phil Sloves is here totalk about crafting resumes and
beyond.
So whether you need a resume asan actor or you feel like yours
could use a little fresheningup, spritz, spritz, there are
some golden nuggets of wisdom inhere for you.
Please welcome my friend Phil.
(00:21):
Thank you.
Phil Sloves (00:23):
Robert, I'm so stoked to be here.
Please welcome my friend Phil.
Thank you.
Robert Peterpaul (00:24):
Robert, I'm so stoked to be here Now.
I know you're from Jersey,you've been an actor for a long
time, but I guess, to start out,when do you feel like you first
started to realize you wantedto give back to actors and
actually help your fellow actorsbook the job?
Phil Sloves (00:38):
Yeah, I have always sort of noticed that people
come to me for advice, whetherit's business related or not.
As I started excelling in myacting career, I noticed a lot
more questions coming to me interms of hey, how is your resume
formatted?
Hey, how does your website look?
Hey, how did you walk into thataudition room without throwing
(01:01):
up all these questions?
And that's just been sort of myintro into it all.
Robert Peterpaul (01:09):
Yeah, it's hard not to throw up.
You know we need little doggiebags sometimes, but I feel like
the best person to help otheractors is an actor.
Well, if you could please justgive everyone a little rundown
of Actor Reboot, can you take usthrough why you started that
and what you're doing over there?
Phil Sloves (01:24):
Yeah, I started at the reboot, um, actually about a
month before the pandemic hit afriend of mine and, uh, the
original intention was a littledifferent than what we've turned
into.
Actually, it was originallyjust supposed to be small
packages for cheap headshots andaudition coaching and resumes,
to give you like a whole newaudition packet.
And then, coming out of thepandemic, you know, needs were a
(01:46):
little bit different.
People were rusty, peopleneeded, you know, to get in a
room and sort of brush off thecobwebs, and I've seen more and
more that people just more thananything want to exercise their
audition brains and make surethey're reentering the world
with the right tools and theright confidence and the right
(02:07):
mindset, because a lot of thatwas skewed during the pandemic.
So, sort of my goal with thereboot of Actor Reboot, to make
sure that I was able to assistas many artists as possible,
just to regain the crazynormalcy that is, uh, being a
(02:28):
performer.
Robert Peterpaul (02:29):
The crazy normalcy.
I'm going to put that in at-shirt or something or a
calendar.
I feel like you also exercisepeople's demons.
You know the mindset thing isso important because I don't
know about you, but I feel likethey didn't ever teach that
really in acting class andthat's one of the hardest things
to grapple with.
Phil Sloves (02:44):
Yeah, I um.
I grew up in Jersey, so uhwe're very uh represent.
Robert Peterpaul (02:50):
Uh, we're a very, we're fist pumping y'all.
You can't see, but I'm doing it.
Phil Sloves (02:54):
We're a very blunt people in New Jersey, um, and I
have somehow figured out a wayto be both extremely brutally
honest but also kind and andearnest in my delivery of that,
so that it's not no one'sfeeling judgment from me.
It's more so me just trulytelling them what they need to
(03:14):
hear in a way that's not goingto hurt or break them.
And I don't know how I foundthis.
It's sort of just through myyears I've figured it out and,
yeah, I think that's like mybiggest strength when it comes
to all this.
Robert Peterpaul (03:27):
Yeah Well, because you're knowledgeable,
but you're also a good dude,You're a good person, and I
think that's such a oh you know,I could go on and on.
Let me pull out my complimentlist for Phil.
I feel like it's important tocome from that place.
One thing for you in particularthat we're really excited to
talk about today is resumes.
We're going to go through allthings resumes which might be
tough in the audio space, butwe're going to try and tackle it
(03:48):
, even though it's a visualmedium.
First of all, phil, I'm surethis is an obvious question, but
just for context, what do youthink the point of a resume is?
Phil Sloves (03:58):
Well, I think the point of a resume, the entire
point of a resume, is tohighlight your accomplishments,
your strengths and yourachievements, while giving
casting a sense of who you are,not only as a performer, but as
a person.
Robert Peterpaul (04:11):
That's also a hard line to ride, you know,
when I feel like it is a resumethat's structured.
But I want to break down withyou little ways.
We can all hopefully infuse ourpersonality into this and not
by maybe like puttingexclamation points after every
credit, even though that's how Ifeel on the inside.
We're going to find other, moreprofessional ways.
So the first thing I thought ofwhen I was thinking of
(04:31):
questions to pick your brainabout is you know, I was always
taught you should have one mainresume with as many credits you
can cram in there as possible,but also highlighting sort of
the train that's pulling in thestation for you.
So if you've been bookingmostly theater, obviously that's
going to be the bulk of yourcredits.
But then at the same time youwant some separate resumes for
TV, film, theater, commercials,voiceover.
(04:52):
Does that sound about right?
What's usually yourrecommendation?
Phil Sloves (04:55):
Yeah, I mean, it sounds right in.
In a sense, you know, like Ithink catering your resume to
specific work, it can bebeneficial.
No-transcript, it really justdepends on the situation.
(05:37):
You know, everyone has such aunique experience that it's hard
to like confirm that.
Yes, you, you should puttheater on top 100% if you're
going in for theater, justbecause of that example, you
know.
Robert Peterpaul (05:48):
Yeah, Do you also feel like?
I guess for me?
I'll throw a personal examplein here, just because it's hard
to not work with a resume, butwhen I was younger I booked
Seussical on Broadway.
Yes, you did.
So most resumes, I feel like,are in chronological order, but
for me I'm like that's a prettycool thing.
I don't want to just keepbottom.
Do you think that's an exampleof maybe you can move that up to
the top, or would you put aseparate sort of Broadway
(06:11):
section?
Phil Sloves (06:12):
Yeah, so, like personally for my resume, I was
in SpongeBob on Broadway and Ihave Broadway first and foremost
, and then I have my offBroadway credits, and then I
have all my regional theatercredits.
So for you, in your case,absolutely I'd say Seussical up
top.
That will look okay, Especiallybecause you know Broadway
performers.
Some people go 15, 16 yearsbefore they book their next
(06:34):
Broadway gig.
Not to say that I'm not workingin other regions of the
industry, but you know you stillare a Broadway performer, so
definitely highlight that.
Robert Peterpaul (06:44):
Okay, cool, now I'm going to do my SpongeBob
left.
I won't do that.
I'll save you from that.
Worked on it for a long time.
So, bill, what are your toptips for actors creating a
resume for the very first time?
Because when you Google it,there's a lot of examples.
They don't always land Some ofthem, I'm sure AI at this point,
but you're an expert atcrafting really wonderful ones
(07:05):
that are clean, professional andalso have that little zazz in
there.
So give us some tips, just tostart out.
Phil Sloves (07:11):
Thank, you, yeah, I .
My biggest tip is to format theheck out of it.
Make sure all your lines areeven, everything is crispy, so
that no one's distracted.
Because even, like you know,you've been in a show and you're
sitting in the background of anensemble scene and the director
says, if anyone moves slightly,the audience is looking right
to you.
Yeah, same thing with yourresume.
(07:33):
If you have like one thingthat's, like you know, 0.2
indented further than everythingelse, the eye's going to go
right there.
So if everything's clean andcrispy, you don't have to worry
about anything being distracting.
You'll have your entire resume,as you want it, formatted right
in front of you so that the eyeis just going to go right from
top to bottom.
Robert Peterpaul (07:53):
And I think it's important you do that in a
software you will continue tobuy.
Because I no longer haveMicrosoft Word, I don't pay for
that.
Yes, I do pay for that.
Yes, Okay, Would you say that'sthe software you recommend
using for this Personally?
Phil Sloves (08:07):
yes, for me, I know Google Docs is also a great
resource that a lot of peopleuse.
I will say that a lot of peoplewho send me resumes to fix are
in Google Docs and almost alwaysthey are oddly formatted when I
get them.
So, personally, microsoft worksfor me, but I'm not going to
poo-poo Google Docs, you know.
Robert Peterpaul (08:28):
I like that, and you can always go to fail if
you need to use Microsoft andyou don't have it Hit us with
your second.
Hit us with your second shot,okay.
Phil Sloves (08:37):
The second shot.
Robert Peterpaul (08:38):
Yeah, I was trying to do a little parody on
hit me with your best shot.
Didn't work out, didn't landfolks Not warmed up?
But take us through your secondtip please.
Phil Sloves (08:47):
Yeah, another tip I would say is showcase yourself,
because this is, you know, yourresume.
So you should have thatrepresent who you are as a
performer.
And then in your special skillssection, you know, have tidbits
of who you are as a person, youknow.
Throw in a party trick that youdo.
(09:08):
Throw in a fun fact, like ifyou are a chocolate donut
connoisseur, you know,aficionado, you can put that as
the last little thing.
Your special skills gives yousomething to chat about with
casting, you know, because yes,they want to see what you've
done and it's important to seewho you've worked with and all
that, but also they want to makesure that you're someone fun to
work with.
Robert Peterpaul (09:30):
You know you're so right and they don't
all have to be.
You know cartwheels andbackflips.
I mean, sometimes a specialskill is that you're an artist,
you can draw, and that mightwork for a role.
I mean, I've seen plays wherepeople actually are drawing on
stage.
So you never know, just throwkind of everything at the wall
and see what sticks, but keep itto one sentence probably right.
Phil Sloves (09:47):
Absolutely yes, okay, number three.
Three I say you should alwayshave your contact information on
your resume.
You should have your phonenumber, you should have email
address and if you haverepresentation then you'll have
their contact information onthere but also your social media
, which is a huge thing nowadays.
(10:09):
Like, if you're not on socialmedia, more power to you.
That's fine, but a lot ofcasting is looking towards
social media, especially for,you know, big casting moments.
They will sometimes picksomeone with a larger following
just because they know thatthey'll have a wider reach of
audience, which you know is justthe way it is.
Robert Peterpaul (10:29):
And I'm sure that's something you help your
clients with too.
Right Sort of treating yoursocial media as your digital
business card, in a way.
Phil Sloves (10:38):
Million percent.
Yeah, yeah, yeah.
It's everything's.
It's everything that we have.
It's at the, it's at our tip ofour fingers.
Everyone has access to it andit's so easy to showcase
everything.
You can put a reel on there.
You can pin it to the top ofyour profile.
So anyone who visits your yourpage, first thing they see they
click on is your.
Is your singing reel, or youracting reel, dance reel, or your
stand-up comedy, or a picturethat you drew?
Robert Peterpaul (11:00):
you know you could curate how people see you
yeah, and we'll break this downprobably in a future episode,
friends.
But I would say you even wantto have one post that sort of
just is an intro post about youwith you know, maybe a headshot,
a favorite credit in sort of acarousel.
We can break that down at alater time.
But looking at credits andresumes, are there certain
(11:21):
sections that you alwaysrecommend people divide these
into?
There's TV film, there'stheater, depending on people's
credits.
But what would you say overall,are the main points to hit?
Phil Sloves (11:32):
Yeah, definitely hit like if you have a Broadway
credit.
Broadway off-Broadway regionaltheater, tv film commercial
Training, I think, is a huge onepeople miss out on sometimes.
Yeah.
You should highlight who youwork with, because you never
know who's behind the table,who's like best friends with
someone that's on your resume.
I have had many opportunitiesgiven to me because of people on
(11:56):
my resume getting called bysomeone I just auditioned for
saying, hey, you worked withPhil, how is he?
Oh he's great, hire him.
Or maybe the opposite happened,I don't know.
Robert Peterpaul (12:05):
I don't know if that ever happened, but no
people do talk you know, I knowan artistic director of a
theater who just posted onFacebook and he was saying he
literally shared a screenshot ofan email blocking out the
people's names, saying how isthis person to?
Phil Sloves (12:21):
work with and he said, just so you know this,
this happens all the time.
Yeah, it's true.
Um, so that's why I thinktraining is a huge thing to have
on there, and special skills isimportant as well, because
that's where, that's where youshine.
Yeah.
That that's your section.
Like sure, if you have adriver's license, you can put it
there.
I don't think it's 100%necessary to tell everyone you
have a driver's license.
Robert Peterpaul (12:38):
I know I still have a passport on there and
some casting director waslaughing with me, so it actually
helped.
In the audition we werelaughing together.
I was like someone told me toput it on there.
I don't know why.
Phil Sloves (12:48):
Yeah, it's like a standard on everyone's thing
that you can drive and you cantravel, which listen.
If you want to put it there,put it there, that's fine.
But I think really shine there.
Put your party tricks down, putdown fun facts about you and
also things that you areuniquely very good at.
Robert Peterpaul (13:05):
Yeah, fun facts.
That's a really great tip,Without getting too crazy.
If you feel like your specialskills section is sort of
lackluster, you don't know whatto put in there, a fun fact is
actually a great option.
Yeah.
Yeah, Something like you know,Meryl Streep is my grandma.
I don't know, but truly yeah.
Phil Sloves (13:21):
Something you nerd out about.
Robert Peterpaul (13:23):
Yeah, I think that's amazing.
Any mistakes, so commonmistakes you see actors make,
that you have to fix.
What would you say?
Those are in general.
Phil Sloves (13:33):
Um, the biggest mistake that I've seen, as I've
said already, is formattingissues.
Yeah, a lot of people arehaving trouble keeping the lines
straight and making sure thateverything is concise.
Um, another big mistakemisspelling people's names and
theaters and roles and shows.
Yeah, it just shows a lack ofawareness and, you know, a lack
(13:56):
of importance to you if it's notspelled correctly.
Time where I had achoreographer's name misspelled
resume and I was auditioning forthis choreographer as they were
looking at my resume and wewere lined up dancing in the
room like getting ready for thesecond round, and he looks up at
me and he goes phil.
You don't know how to spell myname.
I was like what?
(14:17):
Yeah, on your resume it's wrong.
I was like, oh my God.
Robert Peterpaul (14:20):
I'm so sorry, did I not get the part then?
Phil Sloves (14:25):
I booked, but he was giving me some real-time
lessons there.
Robert Peterpaul (14:30):
Yeah, it's probably not a good feeling
those mistakes, but on yourresume something you're
consistently putting out thereand printing make sure you have
multiple people check it out.
If you're not going through aservice, definitely hand it to a
friend and have somebody elsespell check it, because we all
need editors.
Phil Sloves (14:43):
Yeah, and I mean I'm sure there's some people who
see it and they're like oh, ithappens all the time, no worries
, but I'm sure there will bepeople who get offended, you
know your name is an importantthing name and your identity.
Robert Peterpaul (14:55):
I feel like one way to kind of personalize a
resume is to maybe play aroundwith the font of your name
specifically, or the color ofyour name.
I know I have fun with that ina nerdy, weird way.
Would you agree with that andwould you maybe suggest other
ways you feel likeformatting-wise people can kind
of play around within theconfines of a resume?
Phil Sloves (15:14):
Oh, a million percent.
Yes, I mean, when I havesomeone ask me to redo their
resume, I send them a sort ofchecklist of questions I want to
have answered and also things Iwant sent to me, and two of the
big ones are are you, do youhave any font preferences and do
you have any color preferences?
Um, and if they don't, and theyhave like a vibe preference, I
(15:35):
also have a section to ask mewhat's your vibe?
Uh, and they have like a vibepreference.
I also have a section ask mewhat's your vibe?
And I have downloaded so manyfonts off the internet so it's
not just gonna be like astandard font.
You know, if you give me a vibethat you want, I can really find
something that matches exactlyhow you want to present yourself
.
Yeah, and make it happen withthe color scheme that you like.
(15:56):
And we can add headshots toresumes now, so we can have, you
know, a serious photo on thefront and a smiling photo on the
resume.
You know it's really.
You can utilize this a lotdeeper than just information.
Robert Peterpaul (16:12):
Yeah, and you're reminding me too.
If you're stumped for a colorand maybe you don't have a
favorite color which I don'tknow, maybe you're not a human
then why do you not have afavorite color?
Maybe ask yourself that you canalso pull a color from your
headshot.
I one time, like, pulled thecolor of my shirt and made that
the color of my font, and itlooked really nice as a resume
because it was very cohesive.
Phil Sloves (16:31):
Absolutely.
I've done that for many people.
Yeah, you just do the colorpuller and you get exactly the
same match and it's so nice andclean.
Robert Peterpaul (16:39):
Yeah, but would you also suggest sort of
steer in the direction of moretraditional, because I do see
people with resumes now that aremade on maybe Canva or other
websites where it's like adifferent color, there's all
these blocks and shapes.
Do you think people can go toofar with that?
Phil Sloves (16:54):
Personally, I think there's a happy medium, because
we're not giving out a comicbook, we're giving out a resume,
and there are some that almostlook like powerpoint
presentation, more so than aresume.
There's a fine line to walkbetween too much and not enough,
and I think truly like simpleborders, colors and headshot, a
(17:19):
unique font are enough to reallystand out.
Robert Peterpaul (17:23):
Yeah, I think that's great advice, and you've
already hit on so many of thethings I was curious about and
wanted to ask you about.
You know, in looking at thefuture, you've been doing this
for a while what trends have youseen?
Have you seen things changeover time in regards to resumes?
We sort of were just touchingon some of those.
Phil Sloves (17:38):
Yeah, a trend that was actually really popular when
I was getting out of college in2014 was QR codes on resumes.
Oh yeah, a lot of people usedto create a QR code that went
directly to their website juston the bottom corner of their
resume.
Directly to their website uh,just on the bottom corner of
(18:01):
their resume, and at the time Ithink qr codes were not as
popular of a thing.
But now, post pandemic,honestly I'm considering even
putting a qr code on my resume.
Yeah, because people are soused to it now.
It was sort of a new technology10 years ago and now it's's
very commonplace, so I don'tthink it's a bad idea to throw a
small QR code on one of yourcorners so that it goes straight
(18:24):
to your link tree or yourInstagram or your website in
general, just to have everythingright on the resume.
Robert Peterpaul (18:34):
Yeah, that's a great idea.
I also think you could link itto your casting networks profile
, where you probably have allyour credits stored because
resumes you know you can't failyour commercial credits, but
they can scan that.
You could say in the room hey,it's to see all the rest of my
credits.
That's a great point.
I think I need to add that tomy resume now.
Thank you for that.
Phil Sloves (18:53):
There's free generators online to generate a
QR code.
You can just type in like freeQR code generator.
I think you can do it on Canva.
Robert Peterpaul (19:01):
even you can create a QR code, you could do
different shapes.
You could do a heart, you coulddo a dinosaur.
I mean, maybe don't, maybe justdo a simple circle or a square.
Phil Sloves (19:08):
If you really feel a dinosaur QR code, I'm not
going to stop you.
Robert Peterpaul (19:12):
Okay, I like that.
I'm going to do my T-Rex handsfor the rest of this interview
now.
Oh good, too bad, you can't seethem.
So, overall, when people arelooking at their resume or
starting to create it orrevising it, what would you
suggest they kind of go throughin their mind?
You know, what do you thinkmakes a strong resume?
Phil Sloves (19:29):
Is there a certain filter people can when they look
at their own just to kind oflike check the boxes.
When you're going through yourresume, really make sure that
you are just hitting all theboxes, so, like when you're up
at the top section, make surethere is no loss of information
up there your name, your unionstatus, your contact information
(19:51):
, some stats.
You know some people want toadd hair color, eye color,
height.
Yeah, I don't know if all ofthat necessary because of the
photo, but you do, you?
Uh?
So all all your stats in thetop section and then right
underneath that we start ourcredits, in importance order,
not chronological, uh, and thenI'd say your training, after
(20:14):
that your special skills at thevery bottom and maybe maybe your
QR code and a headshot down tothe bottom or in the top,
whichever floats your boat.
But just make sure thateverything is truly in its place
.
There's nothing missing,there's nothing.
Oh, maybe that should be uphere, maybe that should be down
there, just so they don't haveto think.
(20:34):
They just have to read.
Robert Peterpaul (20:36):
Yeah, you don't want people thinking too
much and in that vein too,you've kind of touched on it.
But would you say less is moreoverall, you know, let the white
space bleed through.
Don't feel like you have to putextra words and things to look
like a more desirable performer,because casting is looking at a
lot of resumes and the whitespace actually is a blessing on
the eyes.
Phil Sloves (20:55):
Yes, yes, yes, absolutely.
And if you are listening andyou don't have that many credits
right now and you're worriedthat you're not gonna fill the
entire page, formatting is sucha beautiful thing and we can
make any resume look full, sodon't feel like you have to add
fluff or like extra words,because we can make a concise
(21:17):
resume that fits in an eight by10 space.
Look nice and professional.
Robert Peterpaul (21:21):
I love that.
That's an inspiring note toleave it on.
And something else I think youwant to keep simple and to make
look very professional.
Which we touched the QR codesis the website and, while we
have you here, you do all sortsof coaching and rebooting over
there.
You know you started before thepandemic.
I think you might've rebootedthe entire world when you
started this.
What would you say is youradvice for creating a website as
(21:46):
an actor, you know?
First of all, do you think it'sstill necessary with social
media and all these other tools?
Phil Sloves (21:52):
I think it's very necessary to have a website.
That is sort of controversialat the moment, but I think it's
very.
I think it's very necessary tohave a website.
It doesn't have to be, you know, the most fantastic website in
the world with these animationsand these beautiful like
scrolling screens, but have aportfolio for yourself.
(22:13):
You're an artist.
Artists needs portfolios, youknow.
So as long as you haveheadshots, resumes, performance
clips, audio clips, uh, reviews,contact information, that's
really all you need on yourwebsite it could be a one-page
scroll down.
It doesn't have to be a millionclicks, you know, but just have
(22:35):
that because, again, creativestalk.
Hey, I just worked with robertand, uh, he's so amazing for the
show you're doing.
Oh, robert, I don't know him.
Yeah, here's his website, justcheck him out.
Look at this video.
Robert Peterpaul (22:46):
He's unhinged watch and I could do that on my
website.
I could say actor, writer,unhinged human.
I think a lot of people makewebsites that are great and what
makes them stand out is whenthey do personalize it, like we
were talking about with theresume.
Yeah, even just your headshot,really big for the first page
with in a nice font saying hi, Imean you could do really fun
(23:08):
things with websites.
Yeah, on my website.
Phil Sloves (23:11):
I have.
The first thing is it says likePhil Sloves and has two quotes
Phil Sloves is a master musicalcomedy, Phil Sloves is.
Has two quotes Phil Sloves is amaster musical comedy.
Phil Sloves is the show star.
And then a third quote that Iwrote Phil Sloves is the most
talented person ever.
From Vivian Sloves, Phil'sgrandmother.
Robert Peterpaul (23:27):
So that's funny.
Phil Sloves (23:28):
It throws in my comedy, it throws in my humor.
On top of people actuallygiving me like nice accolades
while they're being welcomed tomy site.
They're like, okay, we get thevibe already.
I love that little about me formy resume and headshot.
Robert Peterpaul (23:45):
It says look at the things I did or reviews.
I have the title sayingstrangers compliment me.
I like that they do.
Phil Sloves (23:49):
So it's very much like tongue in cheek.
Ha ha, this guy's funny yeah.
And also here's a professionalwebsite.
Robert Peterpaul (23:57):
And that's going to help the people that
are going to jive with you andwant to work with you connect
with you even further and beforeyou even have your audition,
Totally yeah.
It's really smart, Would yousay.
In addition to a resume, awebsite, obviously headshots
what other tools do you thinkare necessary for an actor's
toolkit?
I think business cards havekind of died down, but is there
(24:19):
anything else that comes to mind?
Phil Sloves (24:20):
Yeah, actually there's something that is called
dot.
It's like a one business cardthat you just tap on someone's
phone and it pulls up yourentire, like link tree
information.
Oh so you can program this onebusiness card to just have all
of your contact.
So if you're in a networkingsituation and you know and back
(24:43):
in 1990, you'd be handing themyour business card you just tap
their smartphone with it andthey have all your information
as a contact and they have allof your website and your
Instagram and all of thataccessible to them right there.
Robert Peterpaul (24:54):
Oh, that's smart, Because how many times
are you sort of like picking inyour pockets for a business card
that you've never even madewhen people ask you?
Phil Sloves (25:07):
Oh, how do I get your information?
I think that's amazing.
Um, so I think that's like afun little tool that uh I I
actually uh ordered one recently, so I'm excited to get it.
Robert Peterpaul (25:13):
Okay, dot everyone check that out and I'll
try and drop all the links tothese in the show notes if I can
find them.
Phil Sloves (25:18):
Yeah, I'll send you this.
I'll send you this.
Oh, I appreciate that, yeah.
Robert Peterpaul (25:21):
Your company, actor Reboot, focuses on so much
, so I'm sure your brain is justlike a slot machine right now,
rolling with information.
While we have you, phil, as anexpert performer audition coach,
I thought it'd be fun to do areally quick little audition
flash round.
All right, boop, boop, boopwhile you're here.
So I'm going to just shout outsome random kind of buzz phrases
and you just say whatever comesto your mind.
(25:43):
Okay, in a concise format.
So it'll just be a quick-movingsituation.
Okay, does that make sense?
Sure, here we go.
Top audition prep tip.
Prepared what to wear to anaudition what makes you feel
comfortable?
I like that Walking into anaudition room.
(26:07):
Be yourself.
It's so hard Slating forself-tapes.
Be yourself.
Phil Sloves (26:22):
General audition tip for actors.
God, I want to say be yourself.
Robert Peterpaul (26:23):
Again it's in my head be yourself, be yourself
.
Have you seen that movie?
No, okay, with ryan reynolds.
It's really good.
Just friends, everybody watchit.
Okay, say a general self-tapetip for actors don't take more
than five takes that's a greatone, because I have about 49
takes from the last one I did onmy phone and you can really
spiral.
You got to cut yourself off andthen you usually end up using
(26:44):
the first take.
Phil Sloves (26:44):
Anyway, you've got it, but you've got it by the
third take, yeah, give yourselffive if you really need it, but
don't spend all day on a tape.
They're not paying you to dothat.
Robert Peterpaul (26:51):
I love that Networking vibe vibe.
Phil Sloves (26:56):
okay, I'm vibing with that and then finally, just
for fun, I I'm very curious,your worst audition mishap oh,
wow which will probably be astory, and that's okay yeah,
it's coming to my head is uh, incollege we were auditioning for
whenever the mulpian shiremusical, okay, and there's a
(27:17):
song called what am I doing andthere's a very long sustained
high note and I'm in front ofthe head of my musical theater
program, the music director and,uh, all my class, and I'm
singing with crack and I juststart laughing at myself and I
(27:40):
sit down crisscross applesauceon the floor and wait for the
music to end and as I finished,my head of the theater program
goes.
How was that?
So, I think that that that'swhat came to my mind.
Robert Peterpaul (27:57):
I'm sure he remembered you, though, and I
did hear a casting directorrecently say I've never not
booked someone because theycracked in an audition or they
weren't.
Oh yeah, you know, we get that.
It's maybe 10 am and you'vebeen lined up since 6 am.
So yeah, I've been there, and Ithink, if that's your worst one
, you handled it with grace.
You sat on the there, and Ithink, if that's your worst one,
(28:19):
you handled it with grace.
You sat on the floor, and whatelse can you do?
Well, from worst to best, I dowant to touch on really quick,
because everyone out there ifyou don't know it already, I
think we mentioned it Bill wasin SpongeBob on Broadway, and I
think that's iconic, and I wouldlove to know if you could share
a story from that auditionprocess.
What do you think booked youthe role?
But you played several roles inSpongeBob.
Phil Sloves (28:40):
Honestly, I had just gotten my equity card a
week before coming back to thecity and I saw an ECC for
SpongeBob and I was like I cango to this.
So I sang my short audition cutof Lost in the Wilderness you
know, just so that Telsey wouldknow who I am.
And not even an hour later Igot a call from my agent saying
(29:04):
that they want to see me toswing and understudy, and here's
22 pages of material.
They're already in callbacksright now, but they thought
you'd be good to be in the mix.
Robert Peterpaul (29:13):
So can you learn all of this for Friday and
this was Wednesday, so I waslike yeah, sure, oh, wow, and
wait, pausing there, just thefact that you went, you showed
up to the open call and you sanga song that showcased you, not
a song that you thought wouldfit Patrick and SpongeBob or a
lot of people, I think, makethat.
I don't know if it's a mistake,because sometimes it works, but
(29:34):
they kind of drive themselvescrazy thinking what do I have in
my book?
Or I can learn a new songbecause it's more like the
traditional version of thischaracter.
I think you can't go wrong justshowing who you are.
Phil Sloves (29:44):
Yeah, especially when you're in an initial call,
like an ECC or an EPA, for ashow that's, you know, currently
running that might have arequired call, I'd say, sing
what you want and you can singit in the vein of whomever you'd
like.
So, like I myself am veryPatrick star-esque, so I don't
think it was far-fetched forthem to just see me being myself
(30:06):
and see me in the Patrick world.
You know, if I wanted to leanMr Krabs with it, I could have
put on a little grit and alittle age to it.
You know, it's just, it's all amatter of perception.
Robert Peterpaul (30:17):
That's so true .
I know a friend that sings thesame song in every audition but
does exactly that, just puts alittle stank on it, or you know
a lot of that with lost in thewilderness, to be honest.
That's smart, because we don'tneed all.
We don't need a giant auditionbook.
I mean, it's fun to have a bigbinder.
But yeah it's also nice to keepit tight so so you had to learn
all this stuff in a very shortamount of time yeah, and I did
(30:39):
it.
Phil Sloves (30:40):
And it was about 12 of us at my first like callback
and I heard everyone going.
I was like, oh my god, they'reso good.
It's like, it's amazing.
Yeah.
And then the next day we had adance callback and there was
only three of us there and outof the three of us, I was the
only one who was a dancer.
So in my brain I was like, ifthey want this person to be a
dancer, I did it, and if theywant someone who's going to be
(31:03):
like an amazing Mr Krabs, it'snot me.
Robert Peterpaul (31:08):
I'm sure you were.
I was a great.
Phil Sloves (31:10):
Mr Krabs, but the guy who sang before me sounded
just like Mr Krabs from the show, whereas I sound like his maybe
nephew.
Okay, but yeah.
And then the next day we hadour final callbacks and I got a
standing ovation after myPatrick audition and amazing.
(31:32):
Yeah, so that was sort of myjourney with my audition process
.
Robert Peterpaul (31:35):
I mean that never happens in auditions.
Phil Sloves (31:38):
Yeah, it was a very strange, exciting, crazy time.
Robert Peterpaul (31:41):
Usually it's silence, and then you only hear
back if you're going to book it,and sometimes that's not for
months, depending on the project.
So I mean that's incrediblethat you got, even if you didn't
book the role, just that yougot a standing ovation.
Phil Sloves (31:52):
Yeah.
Robert Peterpaul (31:54):
Well, you were so amazing in that show and I
know that was a journey and Ihope everybody goes and checks
out Phil's journey.
But before we end our timetogether, this thing where
before we roll out, we're endingsort of on an inspiring note
for listeners and I got toworkshop this, but so far I'm
calling it a got and a give andI don't know we're going to
(32:14):
figure that out.
The first thing is the bestpiece of advice you got from
someone in this industry.
Phil Sloves (32:22):
One of the best pieces of advice I've gotten is
to do three things a day thatmove you forward.
Is sending three emails tothree different casting
directors?
Or if that's learning a songand, you know, taking a dance
class, or if it's truly justsitting down and relaxing?
(32:43):
If that's what you need to dothat day, that is the thing that
you need to do for yourself tomove forward.
So really find just three smallthings a day that benefit you.
Robert Peterpaul (32:56):
I love that.
Do you write them down?
Do you log them?
Or are you just kind of?
Phil Sloves (32:59):
If I were, a better person, I would.
Robert Peterpaul (33:03):
I got about 20 journals right behind the
camera that I've maybe written,you know, one page on an each.
Phil Sloves (33:08):
So it's hard to commit.
Yeah, no, I mentally clock whenI've done my third thing for
the day and I'm like all right,because sometimes we get in our
heads of like, oh my God,there's so much stuff to do, I
have to do all this, I have todo all that.
And then, like I'm on my fifththing, I'm like yo, yo, yo,
you've already done three.
You can, you can relax, allright.
Robert Peterpaul (33:26):
Yeah, that's really wonderful advice.
It's about moderation.
Same with the self tape tip yougave about maybe capping it off
at five, Exactly.
Really fun about our industryis that sometimes I mean there's
a lot of stress, but sometimesthe thing you can check off is
actually a really fun, relaxingthing.
I mean, watching a new TV showthat everybody's talking about
is actually an actor's homework,but it's also just fun.
Phil Sloves (33:47):
You could find a monologue in that.
Robert Peterpaul (33:49):
Yeah, going to see a new show.
I mean, even just theinspiration is part of the gig.
So don't feel like you're notworking if you're watching
Netflix, because actually it'shelpful Absolutely.
Even something just to talkabout with casting before you
walk in, or if people say whatare you watching lately?
And Even something just to talkabout with casting before you
walk in, or if people say whatare you watching lately, and
also I don't know, I'm alwaysinspired by watching people's
(34:10):
performances 100%.
Yeah, me too.
Yeah, and TV film.
I'm like, oh, I've seen a lotof mouth acting lately.
Maybe I should be moving mymouth more and not my eyebrows.
But that's my own personaljourney.
Phil Sloves (34:19):
You have such great eyebrows.
Robert Peterpaul (34:21):
Well, thank you, Phil.
Phil Sloves (34:27):
No, thank you, phil .
Robert Peterpaul (34:28):
No one can see them.
Thank the Lord, no one can seemine because they're so light,
they're great, like twocaterpillars that moved in on
top of my forehead.
Yeah, they're nice.
I got headshots.
My mom, I was in high schooland my mom convinced me that the
trend was to get my eyebrowswaxed and that every actor did
it, and so she kind of bulliedme into doing it.
Sorry, mom and I went and theythreaded them and then I showed
up for my headshots and thesephotographers had gotten candid
(34:49):
photos of me to know how tolight the room in advance, and
they were really professional,amazing people.
I walked in there and theirfaces when I say their jaws
dropped.
They were shocked and I willnever let those headshots see
the light of day again.
Actually, yeah, they're onFacebook and all that kind of
stuff, but the light of dayagain.
Actually, yeah, they're onFacebook and all that kind of
stuff, but my eyebrows were likelittle pencils, it was nuts,
(35:09):
because I wasn't, oh, I wasn'tstaying true to myself, and
that's the whole point here.
And before we roll out.
Second of all, I want to knowwhat the best piece of advice
you give to people lookingconsistently to work in this
industry is.
Phil Sloves (35:24):
Uh, honestly, my biggest piece of advice is to
let things go.
I have a rule with myself thatI grieve for 24 hours.
If I, if I found out that Ididn't book a job, if I felt bad
about an audition, if somethingbothered me at all or bothers
me at all, I allow myself 24hours to feel what I need to
(35:46):
feel, and then after that it'snot serving me anymore.
So, four hour mark you have tofind a way to release it.
Robert Peterpaul (35:54):
That's so smart and important and
necessary, and I do feel likeyou can schedule something that
matters more to you after that24 hour period or after an
audition, if you can meet withfriends for dinner, something
that will just ground you andmake you sort of not only forget
about the experience and stopthinking about it, but also
remind you that it's moreimportant just to be with the
(36:15):
people that love you.
Phil Sloves (36:17):
Absolutely, and it's not easy by any means.
I say it as if it might be easy, but it is not an easy thing.
Robert Peterpaul (36:22):
It's really hard.
I know people that just rip thesides up and recycle them,
hopefully after the audition.
Just the act of doing thatactually helps people versus for
me.
I put them in my binder and Ithink, oh well, I might book it.
I'll book it one day.
I don't want to have to printit out again, but it helps you?
Yeah, try it.
Yeah Well, it's been so greatto talk to you, friend.
Thank you for all these goldennuggets of information.
(36:44):
Please tell everyone where theycan check you and actor reboot
out.
Phil Sloves (36:48):
Yeah, I mean you can follow me personally on
Instagram and Tik TOK at PhilSloves.
Robert Peterpaul (36:52):
It's a good time.
Phil Sloves (36:54):
And on Instagram and Tik TOK.
At actor reboot host monthlyaudition classes where we work
on your go-to materials, assignnew rep and work on callbacks
for roles that I think you aregoing to be called in for at
some point, so we prep you forthose.
And I also do private coachingsand I teach tap classes.
We do a whole bunch of stuffwith that.
We have a lot of fun, so pleasecheck us out.
Robert Peterpaul (37:17):
I will say if you reach out to Phil with
something you need, he will finda way to make it happen for you
.
So there's a lot of thingsunder actor reboot and there's
something for everybody.
I'll also say it's a very fairwebsite.
He's an actor.
He knows how crazy it is to bein this industry and how
expensive it can get, so that Iwant to shout out too.
So please check out Phil.
(37:38):
Thank you again.
Thank you, man.
Enjoy the rest of your day.
Phil Sloves (37:42):
You too.
Yeah, sloves, and this is howwe roll.
Actor friends, today we have on the pod one of
us.
Actor Phil Sloves is here totalk about crafting resumes and
beyond.
So whether you need a resume asan actor or you feel like yours
could use a little fresheningup, spritz, spritz, there are
some golden nuggets of wisdom inhere for you.
Please welcome my friend Phil.
(00:21):
Thank you.
Phil Sloves (00:23):
Robert, I'm so stoked to be here.
Please welcome my friend Phil.
Thank you.
Robert Peterpaul (00:24):
Robert, I'm so stoked to be here Now.
I know you're from Jersey,you've been an actor for a long
time, but I guess, to start out,when do you feel like you first
started to realize you wantedto give back to actors and
actually help your fellow actorsbook the job?
Phil Sloves (00:38):
Yeah, I have always sort of noticed that people
come to me for advice, whetherit's business related or not.
As I started excelling in myacting career, I noticed a lot
more questions coming to me interms of hey, how is your resume
formatted?
Hey, how does your website look?
Hey, how did you walk into thataudition room without throwing
(01:01):
up all these questions?
And that's just been sort of myintro into it all.
Robert Peterpaul (01:09):
Yeah, it's hard not to throw up.
You know we need little doggiebags sometimes, but I feel like
the best person to help otheractors is an actor.
Well, if you could please justgive everyone a little rundown
of Actor Reboot, can you take usthrough why you started that
and what you're doing over there?
Phil Sloves (01:24):
Yeah, I started at the reboot, um, actually about a
month before the pandemic hit afriend of mine and, uh, the
original intention was a littledifferent than what we've turned
into.
Actually, it was originallyjust supposed to be small
packages for cheap headshots andaudition coaching and resumes,
to give you like a whole newaudition packet.
And then, coming out of thepandemic, you know, needs were a
(01:46):
little bit different.
People were rusty, peopleneeded, you know, to get in a
room and sort of brush off thecobwebs, and I've seen more and
more that people just more thananything want to exercise their
audition brains and make surethey're reentering the world
with the right tools and theright confidence and the right
(02:07):
mindset, because a lot of thatwas skewed during the pandemic.
So, sort of my goal with thereboot of Actor Reboot, to make
sure that I was able to assistas many artists as possible,
just to regain the crazynormalcy that is, uh, being a
(02:28):
performer.
Robert Peterpaul (02:29):
The crazy normalcy.
I'm going to put that in at-shirt or something or a
calendar.
I feel like you also exercisepeople's demons.
You know the mindset thing isso important because I don't
know about you, but I feel likethey didn't ever teach that
really in acting class andthat's one of the hardest things
to grapple with.
Phil Sloves (02:44):
Yeah, I um.
I grew up in Jersey, so uhwe're very uh represent.
Robert Peterpaul (02:50):
Uh, we're a very, we're fist pumping y'all.
You can't see, but I'm doing it.
Phil Sloves (02:54):
We're a very blunt people in New Jersey, um, and I
have somehow figured out a wayto be both extremely brutally
honest but also kind and andearnest in my delivery of that,
so that it's not no one'sfeeling judgment from me.
It's more so me just trulytelling them what they need to
(03:14):
hear in a way that's not goingto hurt or break them.
And I don't know how I foundthis.
It's sort of just through myyears I've figured it out and,
yeah, I think that's like mybiggest strength when it comes
to all this.
Robert Peterpaul (03:27):
Yeah Well, because you're knowledgeable,
but you're also a good dude,You're a good person, and I
think that's such a oh you know,I could go on and on.
Let me pull out my complimentlist for Phil.
I feel like it's important tocome from that place.
One thing for you in particularthat we're really excited to
talk about today is resumes.
We're going to go through allthings resumes which might be
tough in the audio space, butwe're going to try and tackle it
(03:48):
, even though it's a visualmedium.
First of all, phil, I'm surethis is an obvious question, but
just for context, what do youthink the point of a resume is?
Phil Sloves (03:58):
Well, I think the point of a resume, the entire
point of a resume, is tohighlight your accomplishments,
your strengths and yourachievements, while giving
casting a sense of who you are,not only as a performer, but as
a person.
Robert Peterpaul (04:11):
That's also a hard line to ride, you know,
when I feel like it is a resumethat's structured.
But I want to break down withyou little ways.
We can all hopefully infuse ourpersonality into this and not
by maybe like puttingexclamation points after every
credit, even though that's how Ifeel on the inside.
We're going to find other, moreprofessional ways.
So the first thing I thought ofwhen I was thinking of
(04:31):
questions to pick your brainabout is you know, I was always
taught you should have one mainresume with as many credits you
can cram in there as possible,but also highlighting sort of
the train that's pulling in thestation for you.
So if you've been bookingmostly theater, obviously that's
going to be the bulk of yourcredits.
But then at the same time youwant some separate resumes for
TV, film, theater, commercials,voiceover.
(04:52):
Does that sound about right?
What's usually yourrecommendation?
Phil Sloves (04:55):
Yeah, I mean, it sounds right in.
In a sense, you know, like Ithink catering your resume to
specific work, it can bebeneficial.
No-transcript, it really justdepends on the situation.
(05:37):
You know, everyone has such aunique experience that it's hard
to like confirm that.
Yes, you, you should puttheater on top 100% if you're
going in for theater, justbecause of that example, you
know.
Robert Peterpaul (05:48):
Yeah, Do you also feel like?
I guess for me?
I'll throw a personal examplein here, just because it's hard
to not work with a resume, butwhen I was younger I booked
Seussical on Broadway.
Yes, you did.
So most resumes, I feel like,are in chronological order, but
for me I'm like that's a prettycool thing.
I don't want to just keepbottom.
Do you think that's an exampleof maybe you can move that up to
the top, or would you put aseparate sort of Broadway
(06:11):
section?
Phil Sloves (06:12):
Yeah, so, like personally for my resume, I was
in SpongeBob on Broadway and Ihave Broadway first and foremost
, and then I have my offBroadway credits, and then I
have all my regional theatercredits.
So for you, in your case,absolutely I'd say Seussical up
top.
That will look okay, Especiallybecause you know Broadway
performers.
Some people go 15, 16 yearsbefore they book their next
(06:34):
Broadway gig.
Not to say that I'm not workingin other regions of the
industry, but you know you stillare a Broadway performer, so
definitely highlight that.
Robert Peterpaul (06:44):
Okay, cool, now I'm going to do my SpongeBob
left.
I won't do that.
I'll save you from that.
Worked on it for a long time.
So, bill, what are your toptips for actors creating a
resume for the very first time?
Because when you Google it,there's a lot of examples.
They don't always land Some ofthem, I'm sure AI at this point,
but you're an expert atcrafting really wonderful ones
(07:05):
that are clean, professional andalso have that little zazz in
there.
So give us some tips, just tostart out.
Phil Sloves (07:11):
Thank, you, yeah, I .
My biggest tip is to format theheck out of it.
Make sure all your lines areeven, everything is crispy, so
that no one's distracted.
Because even, like you know,you've been in a show and you're
sitting in the background of anensemble scene and the director
says, if anyone moves slightly,the audience is looking right
to you.
Yeah, same thing with yourresume.
(07:33):
If you have like one thingthat's, like you know, 0.2
indented further than everythingelse, the eye's going to go
right there.
So if everything's clean andcrispy, you don't have to worry
about anything being distracting.
You'll have your entire resume,as you want it, formatted right
in front of you so that the eyeis just going to go right from
top to bottom.
Robert Peterpaul (07:53):
And I think it's important you do that in a
software you will continue tobuy.
Because I no longer haveMicrosoft Word, I don't pay for
that.
Yes, I do pay for that.
Yes, Okay, Would you say that'sthe software you recommend
using for this Personally?
Phil Sloves (08:07):
yes, for me, I know Google Docs is also a great
resource that a lot of peopleuse.
I will say that a lot of peoplewho send me resumes to fix are
in Google Docs and almost alwaysthey are oddly formatted when I
get them.
So, personally, microsoft worksfor me, but I'm not going to
poo-poo Google Docs, you know.
Robert Peterpaul (08:28):
I like that, and you can always go to fail if
you need to use Microsoft andyou don't have it Hit us with
your second.
Hit us with your second shot,okay.
Phil Sloves (08:37):
The second shot.
Robert Peterpaul (08:38):
Yeah, I was trying to do a little parody on
hit me with your best shot.
Didn't work out, didn't landfolks Not warmed up?
But take us through your secondtip please.
Phil Sloves (08:47):
Yeah, another tip I would say is showcase yourself,
because this is, you know, yourresume.
So you should have thatrepresent who you are as a
performer.
And then in your special skillssection, you know, have tidbits
of who you are as a person, youknow.
Throw in a party trick that youdo.
(09:08):
Throw in a fun fact, like ifyou are a chocolate donut
connoisseur, you know,aficionado, you can put that as
the last little thing.
Your special skills gives yousomething to chat about with
casting, you know, because yes,they want to see what you've
done and it's important to seewho you've worked with and all
that, but also they want to makesure that you're someone fun to
work with.
Robert Peterpaul (09:30):
You know you're so right and they don't
all have to be.
You know cartwheels andbackflips.
I mean, sometimes a specialskill is that you're an artist,
you can draw, and that mightwork for a role.
I mean, I've seen plays wherepeople actually are drawing on
stage.
So you never know, just throwkind of everything at the wall
and see what sticks, but keep itto one sentence probably right.
Phil Sloves (09:47):
Absolutely yes, okay, number three.
Three I say you should alwayshave your contact information on
your resume.
You should have your phonenumber, you should have email
address and if you haverepresentation then you'll have
their contact information onthere but also your social media
, which is a huge thing nowadays.
(10:09):
Like, if you're not on socialmedia, more power to you.
That's fine, but a lot ofcasting is looking towards
social media, especially for,you know, big casting moments.
They will sometimes picksomeone with a larger following
just because they know thatthey'll have a wider reach of
audience, which you know is justthe way it is.
Robert Peterpaul (10:29):
And I'm sure that's something you help your
clients with too.
Right Sort of treating yoursocial media as your digital
business card, in a way.
Phil Sloves (10:38):
Million percent.
Yeah, yeah, yeah.
It's everything's.
It's everything that we have.
It's at the, it's at our tip ofour fingers.
Everyone has access to it andit's so easy to showcase
everything.
You can put a reel on there.
You can pin it to the top ofyour profile.
So anyone who visits your yourpage, first thing they see they
click on is your.
Is your singing reel, or youracting reel, dance reel, or your
stand-up comedy, or a picturethat you drew?
Robert Peterpaul (11:00):
you know you could curate how people see you
yeah, and we'll break this downprobably in a future episode,
friends.
But I would say you even wantto have one post that sort of
just is an intro post about youwith you know, maybe a headshot,
a favorite credit in sort of acarousel.
We can break that down at alater time.
But looking at credits andresumes, are there certain
(11:21):
sections that you alwaysrecommend people divide these
into?
There's TV film, there'stheater, depending on people's
credits.
But what would you say overall,are the main points to hit?
Phil Sloves (11:32):
Yeah, definitely hit like if you have a Broadway
credit.
Broadway off-Broadway regionaltheater, tv film commercial
Training, I think, is a huge onepeople miss out on sometimes.
Yeah.
You should highlight who youwork with, because you never
know who's behind the table,who's like best friends with
someone that's on your resume.
I have had many opportunitiesgiven to me because of people on
(11:56):
my resume getting called bysomeone I just auditioned for
saying, hey, you worked withPhil, how is he?
Oh he's great, hire him.
Or maybe the opposite happened,I don't know.
Robert Peterpaul (12:05):
I don't know if that ever happened, but no
people do talk you know, I knowan artistic director of a
theater who just posted onFacebook and he was saying he
literally shared a screenshot ofan email blocking out the
people's names, saying how isthis person to?
Phil Sloves (12:21):
work with and he said, just so you know this,
this happens all the time.
Yeah, it's true.
Um, so that's why I thinktraining is a huge thing to have
on there, and special skills isimportant as well, because
that's where, that's where youshine.
Yeah.
That that's your section.
Like sure, if you have adriver's license, you can put it
there.
I don't think it's 100%necessary to tell everyone you
have a driver's license.
Robert Peterpaul (12:38):
I know I still have a passport on there and
some casting director waslaughing with me, so it actually
helped.
In the audition we werelaughing together.
I was like someone told me toput it on there.
I don't know why.
Phil Sloves (12:48):
Yeah, it's like a standard on everyone's thing
that you can drive and you cantravel, which listen.
If you want to put it there,put it there, that's fine.
But I think really shine there.
Put your party tricks down, putdown fun facts about you and
also things that you areuniquely very good at.
Robert Peterpaul (13:05):
Yeah, fun facts.
That's a really great tip,Without getting too crazy.
If you feel like your specialskills section is sort of
lackluster, you don't know whatto put in there, a fun fact is
actually a great option.
Yeah.
Yeah, Something like you know,Meryl Streep is my grandma.
I don't know, but truly yeah.
Phil Sloves (13:21):
Something you nerd out about.
Robert Peterpaul (13:23):
Yeah, I think that's amazing.
Any mistakes, so commonmistakes you see actors make,
that you have to fix.
What would you say?
Those are in general.
Phil Sloves (13:33):
Um, the biggest mistake that I've seen, as I've
said already, is formattingissues.
Yeah, a lot of people arehaving trouble keeping the lines
straight and making sure thateverything is concise.
Um, another big mistakemisspelling people's names and
theaters and roles and shows.
Yeah, it just shows a lack ofawareness and, you know, a lack
(13:56):
of importance to you if it's notspelled correctly.
Time where I had achoreographer's name misspelled
resume and I was auditioning forthis choreographer as they were
looking at my resume and wewere lined up dancing in the
room like getting ready for thesecond round, and he looks up at
me and he goes phil.
You don't know how to spell myname.
I was like what?
(14:17):
Yeah, on your resume it's wrong.
I was like, oh my God.
Robert Peterpaul (14:20):
I'm so sorry, did I not get the part then?
Phil Sloves (14:25):
I booked, but he was giving me some real-time
lessons there.
Robert Peterpaul (14:30):
Yeah, it's probably not a good feeling
those mistakes, but on yourresume something you're
consistently putting out thereand printing make sure you have
multiple people check it out.
If you're not going through aservice, definitely hand it to a
friend and have somebody elsespell check it, because we all
need editors.
Phil Sloves (14:43):
Yeah, and I mean I'm sure there's some people who
see it and they're like oh, ithappens all the time, no worries
, but I'm sure there will bepeople who get offended, you
know your name is an importantthing name and your identity.
Robert Peterpaul (14:55):
I feel like one way to kind of personalize a
resume is to maybe play aroundwith the font of your name
specifically, or the color ofyour name.
I know I have fun with that ina nerdy, weird way.
Would you agree with that andwould you maybe suggest other
ways you feel likeformatting-wise people can kind
of play around within theconfines of a resume?
Phil Sloves (15:14):
Oh, a million percent.
Yes, I mean, when I havesomeone ask me to redo their
resume, I send them a sort ofchecklist of questions I want to
have answered and also things Iwant sent to me, and two of the
big ones are are you, do youhave any font preferences and do
you have any color preferences?
Um, and if they don't, and theyhave like a vibe preference, I
(15:35):
also have a section to ask mewhat's your vibe?
Uh, and they have like a vibepreference.
I also have a section ask mewhat's your vibe?
And I have downloaded so manyfonts off the internet so it's
not just gonna be like astandard font.
You know, if you give me a vibethat you want, I can really find
something that matches exactlyhow you want to present yourself
.
Yeah, and make it happen withthe color scheme that you like.
(15:56):
And we can add headshots toresumes now, so we can have, you
know, a serious photo on thefront and a smiling photo on the
resume.
You know it's really.
You can utilize this a lotdeeper than just information.
Robert Peterpaul (16:12):
Yeah, and you're reminding me too.
If you're stumped for a colorand maybe you don't have a
favorite color which I don'tknow, maybe you're not a human
then why do you not have afavorite color?
Maybe ask yourself that you canalso pull a color from your
headshot.
I one time, like, pulled thecolor of my shirt and made that
the color of my font, and itlooked really nice as a resume
because it was very cohesive.
Phil Sloves (16:31):
Absolutely.
I've done that for many people.
Yeah, you just do the colorpuller and you get exactly the
same match and it's so nice andclean.
Robert Peterpaul (16:39):
Yeah, but would you also suggest sort of
steer in the direction of moretraditional, because I do see
people with resumes now that aremade on maybe Canva or other
websites where it's like adifferent color, there's all
these blocks and shapes.
Do you think people can go toofar with that?
Phil Sloves (16:54):
Personally, I think there's a happy medium, because
we're not giving out a comicbook, we're giving out a resume,
and there are some that almostlook like powerpoint
presentation, more so than aresume.
There's a fine line to walkbetween too much and not enough,
and I think truly like simpleborders, colors and headshot, a
(17:19):
unique font are enough to reallystand out.
Robert Peterpaul (17:23):
Yeah, I think that's great advice, and you've
already hit on so many of thethings I was curious about and
wanted to ask you about.
You know, in looking at thefuture, you've been doing this
for a while what trends have youseen?
Have you seen things changeover time in regards to resumes?
We sort of were just touchingon some of those.
Phil Sloves (17:38):
Yeah, a trend that was actually really popular when
I was getting out of college in2014 was QR codes on resumes.
Oh yeah, a lot of people usedto create a QR code that went
directly to their website juston the bottom corner of their
resume.
Directly to their website uh,just on the bottom corner of
(18:01):
their resume, and at the time Ithink qr codes were not as
popular of a thing.
But now, post pandemic,honestly I'm considering even
putting a qr code on my resume.
Yeah, because people are soused to it now.
It was sort of a new technology10 years ago and now it's's
very commonplace, so I don'tthink it's a bad idea to throw a
small QR code on one of yourcorners so that it goes straight
(18:24):
to your link tree or yourInstagram or your website in
general, just to have everythingright on the resume.
Robert Peterpaul (18:34):
Yeah, that's a great idea.
I also think you could link itto your casting networks profile
, where you probably have allyour credits stored because
resumes you know you can't failyour commercial credits, but
they can scan that.
You could say in the room hey,it's to see all the rest of my
credits.
That's a great point.
I think I need to add that tomy resume now.
Thank you for that.
Phil Sloves (18:53):
There's free generators online to generate a
QR code.
You can just type in like freeQR code generator.
I think you can do it on Canva.
Robert Peterpaul (19:01):
even you can create a QR code, you could do
different shapes.
You could do a heart, you coulddo a dinosaur.
I mean, maybe don't, maybe justdo a simple circle or a square.
Phil Sloves (19:08):
If you really feel a dinosaur QR code, I'm not
going to stop you.
Robert Peterpaul (19:12):
Okay, I like that.
I'm going to do my T-Rex handsfor the rest of this interview
now.
Oh good, too bad, you can't seethem.
So, overall, when people arelooking at their resume or
starting to create it orrevising it, what would you
suggest they kind of go throughin their mind?
You know, what do you thinkmakes a strong resume?
Phil Sloves (19:29):
Is there a certain filter people can when they look
at their own just to kind oflike check the boxes.
When you're going through yourresume, really make sure that
you are just hitting all theboxes, so, like when you're up
at the top section, make surethere is no loss of information
up there your name, your unionstatus, your contact information
(19:51):
, some stats.
You know some people want toadd hair color, eye color,
height.
Yeah, I don't know if all ofthat necessary because of the
photo, but you do, you?
Uh?
So all all your stats in thetop section and then right
underneath that we start ourcredits, in importance order,
not chronological, uh, and thenI'd say your training, after
(20:14):
that your special skills at thevery bottom and maybe maybe your
QR code and a headshot down tothe bottom or in the top,
whichever floats your boat.
But just make sure thateverything is truly in its place
.
There's nothing missing,there's nothing.
Oh, maybe that should be uphere, maybe that should be down
there, just so they don't haveto think.
(20:34):
They just have to read.
Robert Peterpaul (20:36):
Yeah, you don't want people thinking too
much and in that vein too,you've kind of touched on it.
But would you say less is moreoverall, you know, let the white
space bleed through.
Don't feel like you have to putextra words and things to look
like a more desirable performer,because casting is looking at a
lot of resumes and the whitespace actually is a blessing on
the eyes.
Phil Sloves (20:55):
Yes, yes, yes, absolutely.
And if you are listening andyou don't have that many credits
right now and you're worriedthat you're not gonna fill the
entire page, formatting is sucha beautiful thing and we can
make any resume look full, sodon't feel like you have to add
fluff or like extra words,because we can make a concise
(21:17):
resume that fits in an eight by10 space.
Look nice and professional.
Robert Peterpaul (21:21):
I love that.
That's an inspiring note toleave it on.
And something else I think youwant to keep simple and to make
look very professional.
Which we touched the QR codesis the website and, while we
have you here, you do all sortsof coaching and rebooting over
there.
You know you started before thepandemic.
I think you might've rebootedthe entire world when you
started this.
What would you say is youradvice for creating a website as
(21:46):
an actor, you know?
First of all, do you think it'sstill necessary with social
media and all these other tools?
Phil Sloves (21:52):
I think it's very necessary to have a website.
That is sort of controversialat the moment, but I think it's
very.
I think it's very necessary tohave a website.
It doesn't have to be, you know, the most fantastic website in
the world with these animationsand these beautiful like
scrolling screens, but have aportfolio for yourself.
(22:13):
You're an artist.
Artists needs portfolios, youknow.
So as long as you haveheadshots, resumes, performance
clips, audio clips, uh, reviews,contact information, that's
really all you need on yourwebsite it could be a one-page
scroll down.
It doesn't have to be a millionclicks, you know, but just have
(22:35):
that because, again, creativestalk.
Hey, I just worked with robertand, uh, he's so amazing for the
show you're doing.
Oh, robert, I don't know him.
Yeah, here's his website, justcheck him out.
Look at this video.
Robert Peterpaul (22:46):
He's unhinged watch and I could do that on my
website.
I could say actor, writer,unhinged human.
I think a lot of people makewebsites that are great and what
makes them stand out is whenthey do personalize it, like we
were talking about with theresume.
Yeah, even just your headshot,really big for the first page
with in a nice font saying hi, Imean you could do really fun
(23:08):
things with websites.
Yeah, on my website.
Phil Sloves (23:11):
I have.
The first thing is it says likePhil Sloves and has two quotes
Phil Sloves is a master musicalcomedy, Phil Sloves is.
Has two quotes Phil Sloves is amaster musical comedy.
Phil Sloves is the show star.
And then a third quote that Iwrote Phil Sloves is the most
talented person ever.
From Vivian Sloves, Phil'sgrandmother.
Robert Peterpaul (23:27):
So that's funny.
Phil Sloves (23:28):
It throws in my comedy, it throws in my humor.
On top of people actuallygiving me like nice accolades
while they're being welcomed tomy site.
They're like, okay, we get thevibe already.
I love that little about me formy resume and headshot.
Robert Peterpaul (23:45):
It says look at the things I did or reviews.
I have the title sayingstrangers compliment me.
I like that they do.
Phil Sloves (23:49):
So it's very much like tongue in cheek.
Ha ha, this guy's funny yeah.
And also here's a professionalwebsite.
Robert Peterpaul (23:57):
And that's going to help the people that
are going to jive with you andwant to work with you connect
with you even further and beforeyou even have your audition,
Totally yeah.
It's really smart, Would yousay.
In addition to a resume, awebsite, obviously headshots
what other tools do you thinkare necessary for an actor's
toolkit?
I think business cards havekind of died down, but is there
(24:19):
anything else that comes to mind?
Phil Sloves (24:20):
Yeah, actually there's something that is called
dot.
It's like a one business cardthat you just tap on someone's
phone and it pulls up yourentire, like link tree
information.
Oh so you can program this onebusiness card to just have all
of your contact.
So if you're in a networkingsituation and you know and back
(24:43):
in 1990, you'd be handing themyour business card you just tap
their smartphone with it andthey have all your information
as a contact and they have allof your website and your
Instagram and all of thataccessible to them right there.
Robert Peterpaul (24:54):
Oh, that's smart, Because how many times
are you sort of like picking inyour pockets for a business card
that you've never even madewhen people ask you?
Phil Sloves (25:07):
Oh, how do I get your information?
I think that's amazing.
Um, so I think that's like afun little tool that uh I I
actually uh ordered one recently, so I'm excited to get it.
Robert Peterpaul (25:13):
Okay, dot everyone check that out and I'll
try and drop all the links tothese in the show notes if I can
find them.
Phil Sloves (25:18):
Yeah, I'll send you this.
I'll send you this.
Oh, I appreciate that, yeah.
Robert Peterpaul (25:21):
Your company, actor Reboot, focuses on so much
, so I'm sure your brain is justlike a slot machine right now,
rolling with information.
While we have you, phil, as anexpert performer audition coach,
I thought it'd be fun to do areally quick little audition
flash round.
All right, boop, boop, boopwhile you're here.
So I'm going to just shout outsome random kind of buzz phrases
and you just say whatever comesto your mind.
(25:43):
Okay, in a concise format.
So it'll just be a quick-movingsituation.
Okay, does that make sense?
Sure, here we go.
Top audition prep tip.
Prepared what to wear to anaudition what makes you feel
comfortable?
I like that Walking into anaudition room.
(26:07):
Be yourself.
It's so hard Slating forself-tapes.
Be yourself.
Phil Sloves (26:22):
General audition tip for actors.
God, I want to say be yourself.
Robert Peterpaul (26:23):
Again it's in my head be yourself, be yourself
.
Have you seen that movie?
No, okay, with ryan reynolds.
It's really good.
Just friends, everybody watchit.
Okay, say a general self-tapetip for actors don't take more
than five takes that's a greatone, because I have about 49
takes from the last one I did onmy phone and you can really
spiral.
You got to cut yourself off andthen you usually end up using
(26:44):
the first take.
Phil Sloves (26:44):
Anyway, you've got it, but you've got it by the
third take, yeah, give yourselffive if you really need it, but
don't spend all day on a tape.
They're not paying you to dothat.
Robert Peterpaul (26:51):
I love that Networking vibe vibe.
Phil Sloves (26:56):
okay, I'm vibing with that and then finally, just
for fun, I I'm very curious,your worst audition mishap oh,
wow which will probably be astory, and that's okay yeah,
it's coming to my head is uh, incollege we were auditioning for
whenever the mulpian shiremusical, okay, and there's a
(27:17):
song called what am I doing andthere's a very long sustained
high note and I'm in front ofthe head of my musical theater
program, the music director and,uh, all my class, and I'm
singing with crack and I juststart laughing at myself and I
(27:40):
sit down crisscross applesauceon the floor and wait for the
music to end and as I finished,my head of the theater program
goes.
How was that?
So, I think that that that'swhat came to my mind.
Robert Peterpaul (27:57):
I'm sure he remembered you, though, and I
did hear a casting directorrecently say I've never not
booked someone because theycracked in an audition or they
weren't.
Oh yeah, you know, we get that.
It's maybe 10 am and you'vebeen lined up since 6 am.
So yeah, I've been there, and Ithink, if that's your worst one
, you handled it with grace.
You sat on the there, and Ithink, if that's your worst one,
(28:19):
you handled it with grace.
You sat on the floor, and whatelse can you do?
Well, from worst to best, I dowant to touch on really quick,
because everyone out there ifyou don't know it already, I
think we mentioned it Bill wasin SpongeBob on Broadway, and I
think that's iconic, and I wouldlove to know if you could share
a story from that auditionprocess.
What do you think booked youthe role?
But you played several roles inSpongeBob.
Phil Sloves (28:40):
Honestly, I had just gotten my equity card a
week before coming back to thecity and I saw an ECC for
SpongeBob and I was like I cango to this.
So I sang my short audition cutof Lost in the Wilderness you
know, just so that Telsey wouldknow who I am.
And not even an hour later Igot a call from my agent saying
(29:04):
that they want to see me toswing and understudy, and here's
22 pages of material.
They're already in callbacksright now, but they thought
you'd be good to be in the mix.
Robert Peterpaul (29:13):
So can you learn all of this for Friday and
this was Wednesday, so I waslike yeah, sure, oh, wow, and
wait, pausing there, just thefact that you went, you showed
up to the open call and you sanga song that showcased you, not
a song that you thought wouldfit Patrick and SpongeBob or a
lot of people, I think, makethat.
I don't know if it's a mistake,because sometimes it works, but
(29:34):
they kind of drive themselvescrazy thinking what do I have in
my book?
Or I can learn a new songbecause it's more like the
traditional version of thischaracter.
I think you can't go wrong justshowing who you are.
Phil Sloves (29:44):
Yeah, especially when you're in an initial call,
like an ECC or an EPA, for ashow that's, you know, currently
running that might have arequired call, I'd say, sing
what you want and you can singit in the vein of whomever you'd
like.
So, like I myself am veryPatrick star-esque, so I don't
think it was far-fetched forthem to just see me being myself
(30:06):
and see me in the Patrick world.
You know, if I wanted to leanMr Krabs with it, I could have
put on a little grit and alittle age to it.
You know, it's just, it's all amatter of perception.
Robert Peterpaul (30:17):
That's so true .
I know a friend that sings thesame song in every audition but
does exactly that, just puts alittle stank on it, or you know
a lot of that with lost in thewilderness, to be honest.
That's smart, because we don'tneed all.
We don't need a giant auditionbook.
I mean, it's fun to have a bigbinder.
But yeah it's also nice to keepit tight so so you had to learn
all this stuff in a very shortamount of time yeah, and I did
(30:39):
it.
Phil Sloves (30:40):
And it was about 12 of us at my first like callback
and I heard everyone going.
I was like, oh my god, they'reso good.
It's like, it's amazing.
Yeah.
And then the next day we had adance callback and there was
only three of us there and outof the three of us, I was the
only one who was a dancer.
So in my brain I was like, ifthey want this person to be a
dancer, I did it, and if theywant someone who's going to be
(31:03):
like an amazing Mr Krabs, it'snot me.
Robert Peterpaul (31:08):
I'm sure you were.
I was a great.
Phil Sloves (31:10):
Mr Krabs, but the guy who sang before me sounded
just like Mr Krabs from the show, whereas I sound like his maybe
nephew.
Okay, but yeah.
And then the next day we hadour final callbacks and I got a
standing ovation after myPatrick audition and amazing.
(31:32):
Yeah, so that was sort of myjourney with my audition process
.
Robert Peterpaul (31:35):
I mean that never happens in auditions.
Phil Sloves (31:38):
Yeah, it was a very strange, exciting, crazy time.
Robert Peterpaul (31:41):
Usually it's silence, and then you only hear
back if you're going to book it,and sometimes that's not for
months, depending on the project.
So I mean that's incrediblethat you got, even if you didn't
book the role, just that yougot a standing ovation.
Phil Sloves (31:52):
Yeah.
Robert Peterpaul (31:54):
Well, you were so amazing in that show and I
know that was a journey and Ihope everybody goes and checks
out Phil's journey.
But before we end our timetogether, this thing where
before we roll out, we're endingsort of on an inspiring note
for listeners and I got toworkshop this, but so far I'm
calling it a got and a give andI don't know we're going to
(32:14):
figure that out.
The first thing is the bestpiece of advice you got from
someone in this industry.
Phil Sloves (32:22):
One of the best pieces of advice I've gotten is
to do three things a day thatmove you forward.
Is sending three emails tothree different casting
directors?
Or if that's learning a songand, you know, taking a dance
class, or if it's truly justsitting down and relaxing?
(32:43):
If that's what you need to dothat day, that is the thing that
you need to do for yourself tomove forward.
So really find just three smallthings a day that benefit you.
Robert Peterpaul (32:56):
I love that.
Do you write them down?
Do you log them?
Or are you just kind of?
Phil Sloves (32:59):
If I were, a better person, I would.
Robert Peterpaul (33:03):
I got about 20 journals right behind the
camera that I've maybe written,you know, one page on an each.
Phil Sloves (33:08):
So it's hard to commit.
Yeah, no, I mentally clock whenI've done my third thing for
the day and I'm like all right,because sometimes we get in our
heads of like, oh my God,there's so much stuff to do, I
have to do all this, I have todo all that.
And then, like I'm on my fifththing, I'm like yo, yo, yo,
you've already done three.
You can, you can relax, allright.
Robert Peterpaul (33:26):
Yeah, that's really wonderful advice.
It's about moderation.
Same with the self tape tip yougave about maybe capping it off
at five, Exactly.
Really fun about our industryis that sometimes I mean there's
a lot of stress, but sometimesthe thing you can check off is
actually a really fun, relaxingthing.
I mean, watching a new TV showthat everybody's talking about
is actually an actor's homework,but it's also just fun.
Phil Sloves (33:47):
You could find a monologue in that.
Robert Peterpaul (33:49):
Yeah, going to see a new show.
I mean, even just theinspiration is part of the gig.
So don't feel like you're notworking if you're watching
Netflix, because actually it'shelpful Absolutely.
Even something just to talkabout with casting before you
walk in, or if people say whatare you watching lately?
And Even something just to talkabout with casting before you
walk in, or if people say whatare you watching lately, and
also I don't know, I'm alwaysinspired by watching people's
(34:10):
performances 100%.
Yeah, me too.
Yeah, and TV film.
I'm like, oh, I've seen a lotof mouth acting lately.
Maybe I should be moving mymouth more and not my eyebrows.
But that's my own personaljourney.
Phil Sloves (34:19):
You have such great eyebrows.
Robert Peterpaul (34:21):
Well, thank you, Phil.
Phil Sloves (34:27):
No, thank you, phil .
Robert Peterpaul (34:28):
No one can see them.
Thank the Lord, no one can seemine because they're so light,
they're great, like twocaterpillars that moved in on
top of my forehead.
Yeah, they're nice.
I got headshots.
My mom, I was in high schooland my mom convinced me that the
trend was to get my eyebrowswaxed and that every actor did
it, and so she kind of bulliedme into doing it.
Sorry, mom and I went and theythreaded them and then I showed
up for my headshots and thesephotographers had gotten candid
(34:49):
photos of me to know how tolight the room in advance, and
they were really professional,amazing people.
I walked in there and theirfaces when I say their jaws
dropped.
They were shocked and I willnever let those headshots see
the light of day again.
Actually, yeah, they're onFacebook and all that kind of
stuff, but the light of dayagain.
Actually, yeah, they're onFacebook and all that kind of
stuff, but my eyebrows were likelittle pencils, it was nuts,
(35:09):
because I wasn't, oh, I wasn'tstaying true to myself, and
that's the whole point here.
And before we roll out.
Second of all, I want to knowwhat the best piece of advice
you give to people lookingconsistently to work in this
industry is.
Phil Sloves (35:24):
Uh, honestly, my biggest piece of advice is to
let things go.
I have a rule with myself thatI grieve for 24 hours.
If I, if I found out that Ididn't book a job, if I felt bad
about an audition, if somethingbothered me at all or bothers
me at all, I allow myself 24hours to feel what I need to
(35:46):
feel, and then after that it'snot serving me anymore.
So, four hour mark you have tofind a way to release it.
Robert Peterpaul (35:54):
That's so smart and important and
necessary, and I do feel likeyou can schedule something that
matters more to you after that24 hour period or after an
audition, if you can meet withfriends for dinner, something
that will just ground you andmake you sort of not only forget
about the experience and stopthinking about it, but also
remind you that it's moreimportant just to be with the
(36:15):
people that love you.
Phil Sloves (36:17):
Absolutely, and it's not easy by any means.
I say it as if it might be easy, but it is not an easy thing.
Robert Peterpaul (36:22):
It's really hard.
I know people that just rip thesides up and recycle them,
hopefully after the audition.
Just the act of doing thatactually helps people versus for
me.
I put them in my binder and Ithink, oh well, I might book it.
I'll book it one day.
I don't want to have to printit out again, but it helps you?
Yeah, try it.
Yeah Well, it's been so greatto talk to you, friend.
Thank you for all these goldennuggets of information.
(36:44):
Please tell everyone where theycan check you and actor reboot
out.
Phil Sloves (36:48):
Yeah, I mean you can follow me personally on
Instagram and Tik TOK at PhilSloves.
Robert Peterpaul (36:52):
It's a good time.
Phil Sloves (36:54):
And on Instagram and Tik TOK.
At actor reboot host monthlyaudition classes where we work
on your go-to materials, assignnew rep and work on callbacks
for roles that I think you aregoing to be called in for at
some point, so we prep you forthose.
And I also do private coachingsand I teach tap classes.
We do a whole bunch of stuffwith that.
We have a lot of fun, so pleasecheck us out.
Robert Peterpaul (37:17):
I will say if you reach out to Phil with
something you need, he will finda way to make it happen for you
.
So there's a lot of thingsunder actor reboot and there's
something for everybody.
I'll also say it's a very fairwebsite.
He's an actor.
He knows how crazy it is to bein this industry and how
expensive it can get, so that Iwant to shout out too.
So please check out Phil.
(37:38):
Thank you again.
Thank you, man.
Enjoy the rest of your day.
Phil Sloves (37:42):
You too.
Yeah, sloves, and this is howwe roll.
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