May 23, 2025 • 41 mins
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What does it truly take to succeed as a child actor in Hollywood today? Veteran talent manager Shanelle Gray pulls back the curtain on an industry often shrouded in mystery and misconception.
Shanelle's journey from child Broadway performer in Les Misérables to founder of both Complete Management Group and Shanelle Gray Studios gives her unparalleled insight into the entertainment world. Having experienced the challenges firsthand—including her mother's transformation into what she calls "an incredible stage mom"—Shanelle brings a refreshingly honest perspective to guiding young talent and their families.
"It's a 10-year plan for adults and a 5-year plan for kids," she reveals, shattering the myth of overnight success that lures many into the business unprepared. Throughout our conversation, Shanelle emphasizes that authentic talent and proper training are non-negotiable in today's competitive landscape where opportunities are significantly scarcer than when she was performing.
The distinction between agents and managers emerges as a crucial insight for industry newcomers. "An agent is done at 6 o'clock," Shanelle explains. "A manager is 24/7." This fundamental difference shapes how actors should build their professional teams and set expectations. Her innovative approach of training mothers of successful child actors to become junior managers themselves creates both sustainability in the industry and ensures guidance from those with real-world experience.
Perhaps most valuable are Shanelle's candid assessments of common pitfalls—from the exaggerated "kid acting" style that casting directors avoid to the resistance some parents have toward establishing social media presences for their children. "Social media is your opportunity and your job to promote yourself," she advises, noting how essential these platforms have become in the modern casting process.
Whether you're a parent considering this path for your child, an aspiring actor seeking to understand the business side of your craft, or simply fascinated by the inner workings of Hollywood, this episode provides the unvarnished truth from someone who's lived it from every angle and isn't afraid to tell it like it is.
https://www.instagram.com/shanellegray/
https://shanellegraystudios.com/
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
S-Y-C-Successful Yawn S-Y-C-A-T-E-N.
Yes, I know I'm gonna besuccessful.
I am so excited for today'sepisode because I have a truly
incredible guest joining me.
(00:20):
You guys, someone who lives andbreathes the world of young
talent and the entertainmentindustry.
I'm talking about the amazingChanel Gray.
Yes, chanel isn't just amanager.
She's a seasoned pro whostarted her own journey in this
business as a kid, from Broadwaystages to running one of the
most successful acting studiosout there, and now she is
(00:42):
managing the top of the top kidsin this business.
Okay, she brings over 20 yearsof experience, a no-nonsense
approach and a deepunderstanding of what it takes
for kids to thrive in voiceacting, acting and beyond in her
company, complete ManagementGroup.
In this episode, we're divinginto some really important
topics for you guys.
We're talking about managingexpectations in the industry,
(01:03):
the importance of consistenttraining and those crucial
insights that can help avoidcommon missteps.
We'll even hear about herunique approach to building a
team of mom managers.
Get ready for some honest,insightful and super helpful
advice from a true expert.
Let's welcome Chanel Gray.
I am so happy to be here withChanel Gray.
You are the bomb girl.
(01:25):
Well thank you, that's what Iheard.
I love it.
We got to have this confidenceman because it goes on to the
clients and they are booking.
Speaker 2 (01:36):
Congratulations by the way.
Thank you, thank you.
Speaker 1 (01:39):
Confidence is key, right, it is.
I can't even keep up with allof your clients and their
bookings and everything, so Iwould love to just dive in since
we have.
You know we're we're gonna havelisteners that are like in the
business.
They know everything about whatwe're doing.
Our language and our terms aresecond nature, but there's also
(02:01):
a lot listening that are justinterested in this.
Thinking about starting, and Ijust you know everyone in
Hollywood is so cool andeverybody knows everything.
I want to have a space whereit's like everybody doesn't know
everything you know and you canjust talk about it.
Speaker 2 (02:17):
I think a lot of people don't know enough.
Speaker 1 (02:19):
Right, it's so true.
It's so true and we're.
You know, you can never be toocool to ask and learn.
So, yeah, I love that you'rehere.
Thank you so much.
I mean, yes, I feel like I waslike a fan of yours before
knowing you, because we had likemutual clients that we would
work with.
In just hearing about yourmanagement style and just your
(02:43):
overall style, like as a personand mentor, which is just that
real deal.
Person, which is how I try to betoo.
You're giving it like it is,like you're not sugarcoating.
That's how I grew up.
Speaker 2 (02:55):
You know that's how I grew up.
You know, back in the day, themanagers and agents when I grew
up, that's how they were.
I feel like today.
You know there's a lot ofsugarcoating going on and I
don't think it's helping peoplevery much.
But you know you either love meor you don't.
Speaker 1 (03:11):
Well, I love you girl .
Speaker 2 (03:14):
Thank you.
I love you too.
Yes, like me, but I think thatyou either like my style or you
don't.
Speaker 1 (03:20):
Which makes you a great representative of other
people.
You're like we're going to getthis done, so can you?
I wanted to ask, just like alittle background on you.
I know you started in thebusiness like as a kid, too
right, and then how that led youto be coming a manager.
Speaker 2 (03:34):
Sure, yeah, yeah, I was well.
First I was very, very young.
You know I was in pageants,blah, blah, blah.
My mom had a, you know, a dreamto have her daughter in
pageants and movies and stufflike that.
So she had put me in pageants.
I remember the very first one Icried and she was, you know.
I went back to that nextpageant and you know I won every
(04:06):
one.
You know told me not to cryagain.
So I won every one and and youknow, after that I I booked a
limbs rob on Broadway and I, youknow remember, my mom, took me
down to the big cattle call.
You know, I didn't have an agentor anything.
I had this manager.
I didn't have an agent oranything.
(04:26):
I had this manager, lindaTownsend.
She was like the biggest hotthing in Virginia and where we
lived and and she said there's acattle call in New York if you
want to go down there and takeher for the audition.
So she took me down there.
You know we waited in line 500people sleeping on the um and uh
, I auditioned for it and, um, Ibooked it.
Wow, and so so my mom and Imoved out of new york in astoria
(04:51):
, queens, and we lived in thislittle apartment and, uh, you
know it was, it had cockroaches,we got scabies.
We were like, I mean it was, itwas.
It was pretty epic, it waspretty surreal, and we were, you
know, living there.
My dad and my brother were inVirginia.
Still, my dad was trying totransfer his job.
You know, we were separatedfrom the family and we, we were
(05:15):
doing it, we were on Broadwayand and we were doing the living
, the dream.
It was different.
Then, you know, I mean, it wasdifferent.
Then I'm 46 years old, it wasdifferent than about to be 47.
So it was looking good girl.
I'm different.
Then, you know, I mean it wasdifferent.
Then I'm 46 years old, it wasdifferent than about to be 47.
So it was looking good girl.
I'm looking fine.
Speaker 1 (05:30):
You know, we making forties.
Look right, that's right.
Speaker 2 (05:34):
Thank you, but yeah, it was back in the day was
different, you know, um, youknow we did eight shows a week.
We share eight shows a week.
It was.
It was crazy, but it was myvery first big job and you know
my mom ended up being the reasonthere was no mothers on set and
we had a chaperone, so nomothers were allowed on set and
(05:54):
there was a chaperone, and thenafter that I booked a pilot and
we moved to LA.
So that was the course of thatand then, you know, had some
issues with the mom.
You know she became like anincredible stage mom, which you
know she was already mentallyill.
So becoming an incredible stagemom was easy for her and you
(06:16):
know, really got her, really gother.
The business really got her,which really showed me how to
deal with parents today, how todeal with parents today.
I think you know my mom'smental illness really showed me,
you know, how badly thisbusiness can get parents and I
think that I've helped a lot ofparents from going that route.
(06:36):
And I like difficult parents tobe honest with you, because I
can help them, you know I canhelp them, you know I can help
them not go that route.
Wow, so so you know, difficultparents don't scare me, you know
nobody scares me, so I have themost difficult in my mom.
Speaker 1 (06:55):
So nobody.
Wow, that is so.
I had no idea like that.
That's really interesting andamazing how you shift that.
I mean, yeah, who's's gonnaunderstand as much as you?
Well, yeah, I was in fostercare.
Speaker 2 (07:08):
So, yeah, so all of that, you know, kind of went to
the wayside.
I stopped acting for a while.
I came back into acting at 18.
And then I booked a soap opera,and then I booked another soap
opera, and then I did arecurring role, and then I met
my ex-husband and we opened anacting studio.
Well, I opened an acting studioat 25 when I met my ex husband.
Uh, we renamed it, called itgray studios.
(07:30):
Gray studios became one of thelargest studios out here.
Yeah, we were, we 20 plus years, very, very successful.
I mean, I, you know it waswonderful.
Yeah, when we divorced, um, wesplit chanel gray studios, david
gray studios probably seemssilly, but it's actually not.
Uh, you know, we have fans,both of us have fans, and so
(07:55):
chanel gray studios is stillamazing, still going.
Um, I teach when I can.
Um, I have some amazingteachers there.
Um, is this a brick and mortarplace, or is this online, or how
can people actually have abrick and mortar in west lake
where we do some musical theaterand we do um.
I love musical theater.
Speaker 1 (08:13):
I was on broadway so musical theater is a big pass
one of the reasons I do musicaltheater for my kids.
Speaker 2 (08:18):
They love her kids.
Speaker 1 (08:20):
Yeah, oh my gosh, her daughters are just absolutely
incredible, like, like, like,shut your mouth and drop your
jaw.
Speaker 2 (08:31):
Amazing, yes, I mean they were born into it.
But, yes, right after as well.
He's a very good actor.
He's a very good acting coachas well.
His studio is wonderful as well.
Um, we, we, you know, split atfirst to probably not so
amicably, but now we're veryamicable.
That's great, and you know.
(08:53):
you know when you have an actingstudio for over 20 plus years
and it's successful.
You know it was a dream.
You know it was a dream.
We had a huge building in NorthHollywood that we sold when we
divorced, but a huge building inNorth Hollywood that we sold
when we divorced.
But we huge building in NorthHollywood where we, you know,
did coaching and voiceover andmusical theater and my kids grew
(09:13):
up there.
And it was so that's the best,and so, and everybody who's
anybody has gone to our studio.
Speaker 1 (09:22):
Yeah.
Speaker 2 (09:24):
I mean everybody, any actor that you name has young
actor has gone to our studio.
I mean everybody, any actorthat you name has young actor
has been to our studio and Ithink that that really helped
also me manage and a lot ofthose actors I manage you know
right, I was just gonna say thatsome of your students, you know
that's how.
I found my original, originalactors.
(09:44):
When I'm splitting from myex-husband I um, I wanted to do
something different.
You know, I knew I had theacting studio which, eventually,
my kids are going to run.
My kids are unbelievablytalented, like you said, so
they're going to run that studioand.
I'm going to manage forever.
And so, um, I said, well, thoseactors are amazing and those
(10:06):
are the ones I would havemanaged, so I grabbed them and
they wanted me to manage them.
I mean, who better than me?
I've been working with theseagents and casting directors all
of my 20 plus years right soit's probably gonna be me right,
yeah so I um, which didn't makeall the managers happy that I
worked yeah, like wait a minute.
Speaker 1 (10:24):
What?
Yeah, you know what, but youknow what?
Speaker 2 (10:26):
Tuff, you know what I'm saying.
Yes, so I have to do what'sright for me, and I had given to
people for many, many years andI was giving and giving and
constantly, giving andconstantly giving.
And you know the one minute Idid for me.
Well, you know I had to do forme.
I minute I did for me, well,you know, I had to do for me.
I felt really bad about it thanI had to do for me.
You know, I know how to become.
(10:47):
I knew how to be a manager fromall different angles as a
mother as an actor and as acoach, and so you know, it was
just such an easy transition forme.
Yeah, that's so excellent.
I'm curious.
Speaker 1 (11:05):
I love it.
And so now with CompleteManagement Group, what are you
guys do?
I mean, you and you've got alot, a lot of kids that I know,
that I've had the pleasure ofworking with as well.
So there's a lot.
I mean there's too many to list, but any kind of current wins
you want to talk about, becauseI know, sure, yeah, we have a
(11:26):
lot of wins.
Speaker 2 (11:27):
I mean, right now we have a girl that's, that's in a
test right now for a big show.
But, um, we have a lot.
We've karen cradder, who's feltin group from star wars.
Um we, caleb dolden just didteacup on peacock.
He's starting a Peacock onPeacock.
We have, oh, kelly Cunninghamwho plays Kombucha in
(11:48):
Nickelodeon's Thundermans.
Yes, thunderman Riku.
You know our little winner whoyou really, really, really,
really helped, our little PamdenBrooks.
Speaker 1 (12:00):
Oh, love him, who just lead in a feature that is
so exciting that I caused it awhole scene in the Cheesecake
Factory.
When his parents told meAmazing, yeah, that was so great
, he's such a star, CamdenBrooks and he came in.
(12:20):
Chanel sent him in here for hisagent.
Speaker 2 (12:24):
Read For Osbrink yes for.
Speaker 1 (12:28):
Osbrink.
So he signed to Osbrink forvoiceover and when these
agencies are interested in you,they'll send a list of scripts
that they have, even if you havea demo and things.
They want to hear how you'regoing to read.
And so he came in here to workwith me for that and they ended
up signing him after that and heis doing a big oh, I can't wait
(12:49):
for that.
We'll come back.
Speaker 2 (12:51):
I mean, you know when you, when you book something
like that, I think people don'tunderstand.
You know you beat out coast tocoast, you beat out coast to
coast people, not coast to coastagency, but people right you
know audition.
When you book a series regular,they audition in atlanta they
audition, yes, they audition incanada.
they audition in la.
You know you're booking withkinley, for instance.
(13:12):
You know, with kombucha theyauditioned in every city.
This girl beat out 5 000 girls,you know.
So it's not easy, right know,when I hear somebody come to the
table and say try acting RightNext, for me it's next Right.
I'm not interested in anybodywho wants to try acting Right.
(13:35):
It's very hard work.
Speaker 1 (13:37):
Very.
Speaker 2 (13:39):
And that's not.
You know, it is hard work.
You have to train.
Also, nobody, that's's anybodythat's not interested in
training.
Right for sure.
Speaker 1 (13:48):
Yeah it's an ongoing?
Yes, it's definitely.
And just, you learn somethingevery time and and all the time
all the time, all the time, andit's actually interesting.
I interesting.
I had a question I wanted toask you kind of like I guess two
parts is like things that youwish that parents understood a
(14:12):
little more about the business,which also kind of leads into
like some mistakes to avoid.
I guess there's a lot when youcould just say advice but.
I'd like to take it the otherway of like more like I wish
they understood this and andkind of not to do this.
Speaker 2 (14:29):
I wish parents understood that just because
you're submitted in pitchdoesn't mean you're getting the
audition.
I also wish the parentsunderstood that your agent wants
you to get the audition.
I also wish that parentsunderstood that it's not because
of always because of yourchild's acting that they didn't
(14:50):
get the job.
That they didn't get the jobRight.
Sometimes the best actordoesn't always get the job.
Speaker 1 (14:56):
Maybe you even look too much like who you're going
to be in the scene with.
I mean, there's so many.
Speaker 2 (15:01):
So there's so many factors involved to booking, to
um getting the audition to umyou know, there's a lot of
actors that don't have theopportunity and, um, you know,
there's just so many factorsinvolved yeah, right, yeah, and
kind of like it's a long game.
Speaker 1 (15:19):
I'm sure there's a lot of like up and wait, it's a
marathon on the sprint, Right,and that's what I say.
Speaker 2 (15:27):
And you know my actors, my clients, they know
that, Because if they don't knowthat, they're not with me,
Right?
No, and I've actually.
You know, when I do a drop forclients because you know every
so often a manager and agentthey have to do a drop.
(15:48):
There's absolutely no way thatthey can keep certain clients
for the long term, because youfind out who clients are over
the course of time.
It's almost not at all aboutwhat they book or all that.
It's about who they are andwhat they understand, Because
I'm about to do one and there'sa few of them on there that it's
(16:10):
not about, but there's one thathe books, but if he asks me one
more time, you know where hisauditions are, where his
auditions are, where hisauditions are, where his
auditions are and he doesn'tread Variety and he gets
auditions.
I might lose my mind, right?
I mean, because there's no,there's, the jobs are very less
(16:34):
Right.
Speaker 1 (16:34):
And I'm also.
Speaker 2 (16:36):
This reminds me how, following a lot of my clients
along the path of growing up,and how there are a lot more, it
seems, for the younger age andthat kind of teen drop-off is
where there is a scarcity inthat age range, you see that too
, once you're 18 and above, or20 and above, it drops, because
(16:59):
if you haven't gotten a show ora lot of credits by the age of
22, 21, your audition ratio isgoing to go down because people
with credits are going to takethe roles.
That's the name of the game.
And if you're starting theindustry at that age, just be
(17:20):
prepared to wait and work thetwo W's, because it's it's.
They're going to take the roles.
Yeah Right, you know, it's it'sa 10 year plan for adults and
it's a five year plan for kids.
Speaker 1 (17:32):
I say that that's great.
That's great to hear too.
Just to put that general thing.
Speaker 2 (17:39):
I say that front, you know not expect this to be
overnight and if it is overnightyou got really lucky.
Speaker 1 (17:46):
Yeah, and that's an interesting thing that I'd like
to do a separate episode or twoon preparing yourself for, like
after the big role, that theremight be some downtime, which
every actor goes through, everyeverybody goes through.
But you know it's harder todeal with this stuff as as a kid
and so the more info you haveand the more kind of you know
(18:09):
Prepared to thicken your skin.
Speaker 2 (18:12):
It's harder for the people that have done a show
that come off of the show andthen expect something else.
Right, and we really try tofocus on the people that have
come off the show To try to getthem something right away or try
to get a project.
I do focus on that, to try toget them something right away or
try to get a project or try to.
You know, I do focus on that, Itry to look for the projects.
(18:34):
I try to try to jump on the gridand see what's coming out there
, but sometimes there's no work.
You know, in this day, today,this day and age, there's so
much less work.
We're all fighting for the work.
Less work, we're all fightingfor the work.
Though it's not like it wasback in my day.
There was so much work, there'sso much work.
(18:54):
Everybody was getting work.
Speaker 1 (18:55):
If you weren't good, you got work yeah, yeah, today,
yeah it is, and it's good, youknow, for them to keep their
creativity up and, like you say,stay in classes and stay around
your peers and you know, andand all of that um.
So so I'm just curious if youhave um some tips, because
(19:18):
you're an amazing coach as well.
I mean, just you know thank youshe's awesome, I like her can.
Can you tell, calm down?
I like you, calm down.
Ok so, but I'm like a littlejust descriptive, like loud and
just screaming the lines out.
Yeah, you know what I mean when, where you're in there in the
(19:54):
trenches, knowing that generallythese casting directors and and
productions are looking forthat real kid energy, you know.
So, just, I don't know if youhave something to just explain
that a little bit to people,because some parents again, that
are just starting and theirkids like reading an audition,
they're probably thinking likegosh, you sound too relaxed.
(20:17):
Or like you know, give it someoomph.
Or whatever we're used toseeing on stage or pageants.
Or you know the kids that areheavy in dance, where they're
being, you know they're lookingat the movement and they're
being graded on that perfectionlevel and how that changes a
little bit for voiceover there'sa lot of completely delusional
parents and I and I reallywonder where, where they're
(20:39):
coming from.
Speaker 2 (20:39):
You know, I I often ask parents would you watch that
on tv?
I?
say yeah, like based on anaudition yeah, and I say you
know, I say watch, you know, Isay watch that again.
You know, would you watch thaton TV?
I make parents and childrenwatch their auditions over and
over and I say, if you wouldn'twatch that on TV, don't send it
(21:00):
to me, right, don't send it tome, you know, because I think
oftentimes parents are like, ohmy God, they're so cute, right,
and they're not thinking ofshe's supposed to be scared of
her dad, right, and this is notan acceptable audition.
And you know, I'll oftentimesgo to a convention and I'll, you
(21:23):
know, for some peers of mine, Idon't, you know, it's not often
to where I want to be exactly,but I do go for peers of mine
that run conventions and I'll goand I'll sign a cute, very cute
kid and I'll say to the parent.
This is a development.
Yeah, because they're.
They are not going to book atthis current level.
Yeah, no yeah, and I will saythat.
(21:44):
And the parents will say, oh,okay, and I say, really, they're
not in a book right now.
They're very surprised that I'msaying that because they're so
cute, right?
And then the parent sees anaudition from a seven-year-old
that I have that has been doingthis since four and training,
and then they see their child'saudition.
(22:05):
For the scared dad.
Speaker 1 (22:09):
Yeah.
Speaker 2 (22:10):
And then they're like oh my God, I'm so sorry.
Thank you for showing me that.
And you know, I think that itjust takes some real, you know,
talking to.
But the key is, if the child isunder 10, I like to just say,
shrug it off, you know.
Shrug the line off, so you know.
Shrug it off, you know.
Shrug the line off, so you know, shrug it off, you know.
(22:30):
Maybe, if they have to say,okay, dad, you know, or shrug it
off because they don'tunderstand anything else, you
know, I don't want to say 10 andunder, I want to say seven and
under, because eight, nine and10, they understand, yeah,
understand, and they should.
But a parent needs tounderstand, the child needs to
be in class.
(22:50):
And I'm a strong believer,Genevieve, that you can't teach
a child to act.
You can enhance upon theirability, right, you can't teach
a child from nothing, yeah, andyou can enhance, like I said,
enhance vulnerability.
And acting class is forpracticing memorization,
(23:14):
learning how to improv, keepingup with the Joneses, making sure
you can outact your peers,understanding the craft and
making sure that you keepyourself on top of the game.
But nobody in acting class andno acting teacher, I don't care
what they say is going to teachyou how to act.
So go to the class that youlike the best, have fun, have
(23:37):
fun.
But I'm not going to.
I'm not making you know Oscarwinners out of some of these
kids.
I am making them better, right,and I am making them stronger,
and I believe I have the bestactors in town, but I'm not
making a kid who's not actinggood at how to act.
But if I meet a kid like that,I'm going to save their mom a
(23:58):
lot of money because I'm goingto tell her listen, listen, this
is not for you, right?
If they still think it's forthem, go for it.
It's not with me, but go for it.
Because I think that a lot ofthese people, I feel really,
really bad when I go to some ofthese conventions and I see some
of these children and some ofthese adults and whatever
getting really taken advantageof.
Speaker 1 (24:19):
Right, yeah, yeah.
And again, that's one of thethings that some of those
conventions they can sell you onthe whole package and it's
pretty sad.
Speaker 2 (24:35):
It's pretty sad.
I mean you see people that canbarely even talk up there in
these conventions and they'relike 35 years old and somebody's
told them they had a shotbecause they took their $5,000.
It's pretty sad.
Speaker 1 (24:44):
Uh-huh, yeah, it's about.
Yeah, being honest withyourself, that's.
That's the thing, like I did inmy very first episode of this,
was, like parents, does it soundlike a kid reading for from a
paper?
Speaker 2 (24:56):
like you have to know , does it it's like sometimes
though, jennifer, you know,sometimes it'll sound like a kid
reading from a paper, but theygot something right, yeah, oh
yeah, and they made those, thosedecisions on their own, or?
Speaker 1 (25:09):
it's interesting, they're riding the roller
coaster.
Their voice doesn't turn on atone that's right, there's
something there and you're like,right, let's take you out of it
.
Speaker 2 (25:16):
You can work with that oh we can work with that,
but sometimes.
Speaker 1 (25:19):
No, I know you know when you can't work with it and
and for me, or if the kiddoesn't want it, if the parent
wants it more than 100.
Speaker 2 (25:26):
I had a meeting the other day and we were on zoom
and the mother was like hereally wants to act, he's like I
hate acting, I don't know, yeah, and he kept saying I hate it,
I don't want to do this at all,this suck.
He literally said this sucks, Ihate this.
No, I don't, no, I don't.
And the mom I said sorry, I'mso sorry and I felt terrible for
(25:46):
this poor kid.
Oh, no, yeah, so yeah, stufflike that, yeah, but those are
the kind of tips I always say,like read the breakdown, those
are your biggest clues.
Speaker 1 (25:57):
Yeah, right, right yeah.
Speaker 2 (25:59):
You have two lines and the breakdown says this
character is you know, deep downhe's a nice guy, and in the
down he's a nice guy and in thescript he's being mean Right
Deep down he's a nice guy.
So how do you play it?
Speaker 1 (26:16):
Yeah, there's a lot of gems in there, right, right.
Speaker 2 (26:19):
The breakdown is what tells you yeah, you know, a lot
of guys are going to go,they're going to play, mean
Right, right, but the guy that'sgoing to play it a little
vulnerable is the guy that'sprobably going to get it Right.
So so there's a lot ofdifferent ways to do it.
Yeah, I think that the peoplethat are really smart and
understand their craft are theones that are going to get it.
Speaker 1 (26:41):
Mm, hmm.
This is so cool.
So how, how can people workwith you?
I don't, I can't even imagineyou have room on your roster for
talent.
Speaker 2 (26:51):
You know I'm currently not signing talent,
but you know I look ateverybody's packages.
Right, I'm one person thatlooks at everybody's packages.
People respond back to me allthe time and say thank you so
much for responding back to meyeah.
I'll say you know what I'm?
I'm, I'm full in your category.
But you back to me, yeah, um,I'll say you know what I'm, I'm
(27:11):
I'm full in your category, butyou know you're a really great
actor, right?
oh my god, thank you so much forlooking at my stuff, right,
everybody's stuff.
You know people can email me atchanel, at complete
managementcom, and um, mgmnt andum, I'll look at the whole
package.
You know, send me the videos,send me the pictures.
If somebody I'm like I gottahave this person, I'll respond.
Yeah, that happened to me.
(27:32):
A boy in Puerto Rico I wouldhave.
I looked at this package, yeah,and I was like whoa, this kid
is amazing.
I signed him with Paradigm andhe's a star.
This could be a star and, andyou know I, you know I work with
the five biggest agents, that'sit.
Speaker 1 (27:52):
But you know, I feel like that's the way I do it, you
know, and that's great too,because you're they trust you
sending, sending your people inand you're not like knowing that
you're not gonna just takeanyone it would.
You know you're not wastinghere to waste anybody's time on
either.
Speaker 2 (28:07):
I'm not, I'm not, but I look at every package, like
I'm not actively signing, I'mnot looking for people, but if
you send me your package andyou're somebody I can't live
without, I'm going to ask you tocome on my roster, right.
But I feel like that.
You know, I feel like somemanagers are actively looking.
I'm not.
I feel like I have the peopleon my roster that.
Speaker 1 (28:29):
I want.
That's great, and do you havejunior managers under you that
are also?
You know that could potentially, if you yourself can't, or does
you mean that as theconglomerate of complete
management?
Speaker 2 (28:42):
Something fun that I do.
This is something that I knowthat other managers don't do.
This is something very fun thatI do.
This is something that I knowthat other managers don't do.
This is something very fun thatI do.
I have, you know, my firstcousin, alina, who is who's been
my best friend since life.
She used to own a voiceoveragency in the East Coast for
over 20 years the same time thatI was doing that so cool.
(29:03):
And she closed her voiceoveragency and came to manage with
me and so we have a lot ofvoiceover connections as well.
We get our people a lot ofvoiceover jobs.
She's one of my main managers.
She's also my partner, but notpartner, but not you know what I
mean, and I own the company,but she's a partner.
And I have another managernamed Christian, and so
(29:26):
Christian, I started juniormanaging mothers of my clients,
so once their child works a lotand their child knows better
than what they're going to need.
Once their child works a lot, Istart junior managing mothers
and they will bring on friendsthat they feel are good
(29:50):
representation and they willmanage those friends so great.
And so I have three mothersemployed now, and so I have
three.
So Tia is our, is now a manager.
Speaker 1 (30:04):
Oh, which is so great .
Yes, we love Tia.
She's actually yeah.
Oh, and which is so great.
Yes, we love tia.
She's actually yeah on thepodcast too.
And uh, her girls are thecollins girls jazara and amira
collins, working all the time,and she's another straight up.
This is how it is type ofperson like us, so that's really
great.
Speaker 2 (30:21):
I believe in employee mothers because, um, their kids
are going to grow up and nobodyunderstands this business like
a good mother of an actor andyou know not that I disrespect
anybody else doing the business-oh yeah, but if you were an
actor, a mother of an actor andall of it, you understand.
Speaker 1 (30:45):
Totally, oh no.
You know, listen, 1,000% myfather manages me and has for
years, and he was a touringmusician around the world and
then it's all.
Just, it works yeah, yeah.
Speaker 2 (30:57):
So what I'm saying is is that nobody understands
better than these women.
I will be employing a ton ofmothers, so for me, the more the
merrier, because they makemoney, I make money, and they
also learn, and then, once theirchild is 18, and they're not
wanting them anymore, thesemothers have a job that they
(31:20):
love.
Amen, girl, and that's right.
Yes, and so it's almost like Idon't want to say the pyramid
scheme, right, but it's not but,but it is because.
But, I want them to be employed, exactly, I want them to have
something that they love to doand, more importantly, I want
them to direct people in theproper way.
Speaker 1 (31:41):
Exactly and, you know , save some people from a lot of
missteps and.
Speaker 2 (31:47):
Because there's a lot of managers out there and I'm
not saying anything about themanagers, but you know, for
instance, you know, my kid saida manager that we haven't talked
to in six months and you know,I know she will be watching this
podcast because she doesn'teven have social media.
So the truth of the matter isis that at one point it was a
great relationship, but thetruth is is that there's a lot
(32:09):
of managers out there that haveno idea about any side of the
industry except for theircollege degree and and that's
not a manager, really is a 24-7.
And some managers are likedon't call me after six, don't
call me on the weekend, don'tcall me on the weekend, Don't
call me whatever.
That's not a manager.
(32:29):
So the truth is is that amanager is a 24 seven and that's
what it really is On the movieswhen you see the manager
talking to their client.
That is the job of a manager.
Speaker 1 (32:43):
So you know I was going to ask you.
I didn't want to draw this outto be too long, but you're too
interesting and I won't keep youfor too much longer.
But you know that's a greatkind of segue into kind of
describing the differencebetween a manager and an agent,
again for people that don't knowAn agent is done at 6 o'clock.
Speaker 2 (33:02):
They are.
You have to let them go becausethey have a million clients.
They can't mess with you allday.
They, you know they have topump out the appointments.
You know, legally, a managerisn't supposed to procure work.
Legally, now we do, but we'renot supposed to procure work.
We're supposed to get you akick-ass agent.
Yeah, which I do.
A lot of managers are out there.
(33:24):
Oh, oh, you know, I got youthis audition, I got you this
audition, so the agents have thesame audition.
What?
Oh, oh, you know, I got youthis audition, I got you this
audition, so do the agents?
The agents have the sameaudition.
What else are you doing?
You know, a lot of managersdon't even get their clients
agents.
Speaker 1 (33:35):
They just sit around.
Speaker 2 (33:37):
So they're supposed to hook you up with the right PR
, hook you up with the rightagent.
Make sure they talk to castingdirectors about you.
You know, yes, we procure workeven though we're not supposed
to.
But you know, make sure they'rethere for you 24-7.
Make sure you know how to dressfor your audition.
I also coach, but I meanthere's so many more things.
A manager is supposed to bethere for you.
Have your agent who has amillion different clients
(33:59):
because they have to.
They have to pump out thoseappointments, pump out those
appointments, negotiate thosedeals, make sure they get the
most money possible.
And all these agents work withthese managers.
You've got these big agents.
They have their managers.
They have their managers thatthey work with.
Okay, that's it.
They don't want to work withanybody else and then that's it.
But then they talk to themanagers, they talk to the
(34:20):
managers, they talk to themanagers.
If your agent has a goodrelationship with your manager,
you're good.
Speaker 1 (34:25):
But if your agent doesn't have a good relationship
with your manager or you don'thave a manager.
Speaker 2 (34:27):
You're probably going to get lost in the shuffle.
That's what a manager is goodfor, but there's a big
difference between a manager andan agent, and there's only
certain agents that talk to theclients, and usually the client
is booking a lot for them totalk to you, right, they're just
(34:47):
too busy, it's not becauseyou're too busy, right, and a
manager is not supposed to havea thousand clients.
They're not.
And if your manager has athousand clients, they're an
agency, that's not a manager.
Mm-hmm, when I grew up, when Iwas auditioning, I was
auditioning with Brittany Murphy.
(35:08):
I actually played twins withher on Murphy Brown, but
Brittany Murphy, reeseWitherspoon we all had the same
manager.
Her name was Marianne Leone.
She worked like this.
That was it.
She was like you know, she had35, 40 clients.
Everybody worked and she dealtwith the agents.
(35:28):
That was it.
You didn't ask, marianne, you,you know, you showed up to your
audition.
You didn't show up late, youdidn't, you know?
Yeah, wear your outfit, see,same with me.
I'm like what do you mean?
You don't know, you're notmemorized.
It says do not have to bememorized in advance of audition
to show me the one that bookedit.
That wasn't memorized.
So your job is an actor tomemorize.
People ask me that all the time.
(35:50):
That's something that drives mecrazy too.
Speaker 1 (35:52):
The job is an actor to be memorized right and just,
and yeah, that's great and Ilove it, I'm sure you, you keep
people on your toes, yourclients and the agents, I'm sure
, and yeah, so there's fiveseries out.
Speaker 2 (36:06):
I booked three and I have one testing right now.
Listen, I'm, I'm yeah.
So you can?
You can say, um, whatever I am,I'm tough, or whatever I am
tough, yeah, you want to book,you have to do your job as an
actor.
Speaker 1 (36:20):
Yes, and you best believe there.
They've been mentored, coachedand managed by you.
They're going to be ready whenthey show up on set.
That's right, yeah, so that'sreally great.
Oh my gosh, this is sowonderful.
I could talk all day.
I know all day.
So good, um, is there anythinglike going on with your studio,
(36:42):
anything we can tell peopleabout?
Um, how can is?
Speaker 2 (36:43):
our summer program make a movie camp summer program
.
Make a movie camp Summerprogram.
Make a movie camp.
Speaker 1 (36:48):
Tell me about that.
Speaker 2 (36:49):
I'm directing.
I'm directing a short filmwhich is in five days.
We do a really great short film.
Imdb credit it's only 550 bucks, oh my goodness, it's awesome.
We do a relocation, we make amovie.
Speaker 1 (37:03):
How many kids can you fit?
Are you doing several?
Speaker 2 (37:11):
What are the we're doing several, what are the
we're doing several?
Speaker 1 (37:13):
so they can just all but um and um.
There's, it's a really greatopportunity.
Speaker 2 (37:15):
And then they have demo reel footage.
Oh my goodness, they have demoreel footage and they have imdb
credit.
So, um, I, I direct all thefilm camps, um, and they are
just super, super fun, super fun.
Wow, what are?
The angels for that footage isreally really good, great.
So yeah, if you, if they go onthe website, watch the, the last
film, it's really really good,and ChanelBrayStudioscom All
(37:35):
right and that's really great.
And check out the classes,they're really good.
Speaker 1 (37:39):
Yeah, so you've got other like voiceover classes,
acting classes over Zoom.
Speaker 2 (37:42):
We're mostly acting mostly acting improv um acting
improv and we're about to letlay in musical theater um.
I send most of my peoplevoiceover for you.
I love that.
Speaker 1 (37:53):
Thank you too, by the way.
We've had just so much fun.
Speaker 2 (37:55):
Oh my gosh and again I know if you're sending them to
me, they're going to be amazingalready the way that our studio
works is everything's includedin one package, so they can't
just take one class, it's justlike it's all included.
So they they just they get allthe classes if they want.
So I love that.
It's super fun.
Speaker 1 (38:12):
Oh my gosh, this is so great.
I I'm just just so excited tochat with you and I love it and
people can follow you.
Is your social private?
Speaker 2 (38:23):
no, yeah, okay.
So my social is private atchanel gray g-r-a-y and I would
love to you know, talk toanybody, I love that um, one
last question as we go what areyour thoughts on social media?
Speaker 1 (38:37):
I mean because people like us.
When somebody messages us andis talking about their kid, if I
can just click on the instagramand it's like there, I'm like
okay, great, like we want tohave the actors access and all
that.
But are you actively looking atInstagram?
A lot Is that?
Speaker 2 (38:52):
Somebody pitching to me.
I'll look at social media.
I spoke to a parent the otherday.
It's like I don't want to gether social media.
I said you need to get hersocial media.
This is the new world.
Yeah, so if you don't havesocial media, I mean it's just
what it is.
Casting directors are lookingat social media looking at
(39:13):
social media yeah, it's a newworld.
Yeah, so suggest whatever youparents can manage it.
Speaker 1 (39:16):
You don't even have to.
The kid doesn't get it.
Speaker 2 (39:18):
That's what I told the client I said get her social
media you.
She doesn't need to ever lookat it right just to you know,
social media is important, yeah,and it's not about the
followers, it's about youputting stuff on social media.
Speaker 1 (39:35):
Yeah, it's your chance to have like a magazine.
It's your channel, that's whatI'm saying.
Speaker 2 (39:39):
Yes, it's your job.
You chose this job as an actor.
It's your opportunity and yourjob to promote yourself.
Yeah, this is to promoteyourself.
Yeah, this is the world whereyou need to promote yourself
what is the difference betweenactors access and instagram?
Speaker 1 (39:56):
yeah, other than your other, than your friends also
being on there, but yeah, butyou know what is the difference
between casting networks?
Speaker 2 (40:01):
how do you know who's behind casting networks?
Speaker 1 (40:03):
that's true.
That's true.
You know right who's sayingthat they're a casting director.
Speaker 2 (40:06):
How do you know anybody can get on breakdown
who's saying that they're acasting director?
How do you know Anybody can geton breakdown services?
They say that they govern it.
Really, so many people areRight.
You know everybody's on itEvery freight, so you know.
Speaker 1 (40:22):
So how do they know Right that's what I'm just
saying Like, yeah, it's time,it's time we got to just shake
it off.
Yes, we got to and if you wantto be in this business.
I mean nobody's forcing you to.
Speaker 2 (40:32):
Oh yeah, but that's part of it.
Don't worry about social mediaif you're on a farm.
Speaker 1 (40:36):
Right.
Speaker 2 (40:37):
Unless you want to show it, you might make money.
Speaker 1 (40:38):
Yeah, how many farming clients do you have?
Do you have huh?
Oh my gosh, this is so amazing.
Thank you so much.
I feel like there's a wealth ofinfo there and just to be so
like open with it, I justappreciate it.
You know, I think anytime it'scool for people to be able to
(40:59):
just listen, that are still kindof any part of your book.
You let me know.
Oh, I love it.
Done deal Next time we'll do itin person, yes, and head out
somewhere after together, whichneeds to happen too.
Speaker 2 (41:14):
Yes, we will.
Speaker 1 (41:16):
Yes, you are amazing.
Speaker 2 (41:17):
Thank you so much, Love you babe, we'll talk soon,
okay, see you soon.
Speaker 1 (41:24):
S-Y-C-S-E-C-E-C-E-C-E , -c-e-c-y-c-a-n.
Yes, I know I'm gonna besuccessful.
S-Y-C-Successful Yawn S-Y-C-A-T-E-N.
Yes, I know I'm gonna besuccessful.
I am so excited for today'sepisode because I have a truly
incredible guest joining me.
(00:20):
You guys, someone who lives andbreathes the world of young
talent and the entertainmentindustry.
I'm talking about the amazingChanel Gray.
Yes, chanel isn't just amanager.
She's a seasoned pro whostarted her own journey in this
business as a kid, from Broadwaystages to running one of the
most successful acting studiosout there, and now she is
(00:42):
managing the top of the top kidsin this business.
Okay, she brings over 20 yearsof experience, a no-nonsense
approach and a deepunderstanding of what it takes
for kids to thrive in voiceacting, acting and beyond in her
company, complete ManagementGroup.
In this episode, we're divinginto some really important
topics for you guys.
We're talking about managingexpectations in the industry,
(01:03):
the importance of consistenttraining and those crucial
insights that can help avoidcommon missteps.
We'll even hear about herunique approach to building a
team of mom managers.
Get ready for some honest,insightful and super helpful
advice from a true expert.
Let's welcome Chanel Gray.
I am so happy to be here withChanel Gray.
You are the bomb girl.
(01:25):
Well thank you, that's what Iheard.
I love it.
We got to have this confidenceman because it goes on to the
clients and they are booking.
Speaker 2 (01:36):
Congratulations by the way.
Thank you, thank you.
Speaker 1 (01:39):
Confidence is key, right, it is.
I can't even keep up with allof your clients and their
bookings and everything, so Iwould love to just dive in since
we have.
You know we're we're gonna havelisteners that are like in the
business.
They know everything about whatwe're doing.
Our language and our terms aresecond nature, but there's also
(02:01):
a lot listening that are justinterested in this.
Thinking about starting, and Ijust you know everyone in
Hollywood is so cool andeverybody knows everything.
I want to have a space whereit's like everybody doesn't know
everything you know and you canjust talk about it.
Speaker 2 (02:17):
I think a lot of people don't know enough.
Speaker 1 (02:19):
Right, it's so true.
It's so true and we're.
You know, you can never be toocool to ask and learn.
So, yeah, I love that you'rehere.
Thank you so much.
I mean, yes, I feel like I waslike a fan of yours before
knowing you, because we had likemutual clients that we would
work with.
In just hearing about yourmanagement style and just your
(02:43):
overall style, like as a personand mentor, which is just that
real deal.
Person, which is how I try to betoo.
You're giving it like it is,like you're not sugarcoating.
That's how I grew up.
Speaker 2 (02:55):
You know that's how I grew up.
You know, back in the day, themanagers and agents when I grew
up, that's how they were.
I feel like today.
You know there's a lot ofsugarcoating going on and I
don't think it's helping peoplevery much.
But you know you either love meor you don't.
Speaker 1 (03:11):
Well, I love you girl .
Speaker 2 (03:14):
Thank you.
I love you too.
Yes, like me, but I think thatyou either like my style or you
don't.
Speaker 1 (03:20):
Which makes you a great representative of other
people.
You're like we're going to getthis done, so can you?
I wanted to ask, just like alittle background on you.
I know you started in thebusiness like as a kid, too
right, and then how that led youto be coming a manager.
Speaker 2 (03:34):
Sure, yeah, yeah, I was well.
First I was very, very young.
You know I was in pageants,blah, blah, blah.
My mom had a, you know, a dreamto have her daughter in
pageants and movies and stufflike that.
So she had put me in pageants.
I remember the very first one Icried and she was, you know.
I went back to that nextpageant and you know I won every
(04:06):
one.
You know told me not to cryagain.
So I won every one and and youknow, after that I I booked a
limbs rob on Broadway and I, youknow remember, my mom, took me
down to the big cattle call.
You know, I didn't have an agentor anything.
I had this manager.
I didn't have an agent oranything.
(04:26):
I had this manager, lindaTownsend.
She was like the biggest hotthing in Virginia and where we
lived and and she said there's acattle call in New York if you
want to go down there and takeher for the audition.
So she took me down there.
You know we waited in line 500people sleeping on the um and uh
, I auditioned for it and, um, Ibooked it.
Wow, and so so my mom and Imoved out of new york in astoria
(04:51):
, queens, and we lived in thislittle apartment and, uh, you
know it was, it had cockroaches,we got scabies.
We were like, I mean it was, itwas.
It was pretty epic, it waspretty surreal, and we were, you
know, living there.
My dad and my brother were inVirginia.
Still, my dad was trying totransfer his job.
You know, we were separatedfrom the family and we, we were
(05:15):
doing it, we were on Broadwayand and we were doing the living
, the dream.
It was different.
Then, you know, I mean, it wasdifferent.
Then I'm 46 years old, it wasdifferent than about to be 47.
So it was looking good girl.
I'm different.
Then, you know, I mean it wasdifferent.
Then I'm 46 years old, it wasdifferent than about to be 47.
So it was looking good girl.
I'm looking fine.
Speaker 1 (05:30):
You know, we making forties.
Look right, that's right.
Speaker 2 (05:34):
Thank you, but yeah, it was back in the day was
different, you know, um, youknow we did eight shows a week.
We share eight shows a week.
It was.
It was crazy, but it was myvery first big job and you know
my mom ended up being the reasonthere was no mothers on set and
we had a chaperone, so nomothers were allowed on set and
(05:54):
there was a chaperone, and thenafter that I booked a pilot and
we moved to LA.
So that was the course of thatand then, you know, had some
issues with the mom.
You know she became like anincredible stage mom, which you
know she was already mentallyill.
So becoming an incredible stagemom was easy for her and you
(06:16):
know, really got her, really gother.
The business really got her,which really showed me how to
deal with parents today, how todeal with parents today.
I think you know my mom'smental illness really showed me,
you know, how badly thisbusiness can get parents and I
think that I've helped a lot ofparents from going that route.
(06:36):
And I like difficult parents tobe honest with you, because I
can help them, you know I canhelp them, you know I can help
them not go that route.
Wow, so so you know, difficultparents don't scare me, you know
nobody scares me, so I have themost difficult in my mom.
Speaker 1 (06:55):
So nobody.
Wow, that is so.
I had no idea like that.
That's really interesting andamazing how you shift that.
I mean, yeah, who's's gonnaunderstand as much as you?
Well, yeah, I was in fostercare.
Speaker 2 (07:08):
So, yeah, so all of that, you know, kind of went to
the wayside.
I stopped acting for a while.
I came back into acting at 18.
And then I booked a soap opera,and then I booked another soap
opera, and then I did arecurring role, and then I met
my ex-husband and we opened anacting studio.
Well, I opened an acting studioat 25 when I met my ex husband.
Uh, we renamed it, called itgray studios.
(07:30):
Gray studios became one of thelargest studios out here.
Yeah, we were, we 20 plus years, very, very successful.
I mean, I, you know it waswonderful.
Yeah, when we divorced, um, wesplit chanel gray studios, david
gray studios probably seemssilly, but it's actually not.
Uh, you know, we have fans,both of us have fans, and so
(07:55):
chanel gray studios is stillamazing, still going.
Um, I teach when I can.
Um, I have some amazingteachers there.
Um, is this a brick and mortarplace, or is this online, or how
can people actually have abrick and mortar in west lake
where we do some musical theaterand we do um.
I love musical theater.
Speaker 1 (08:13):
I was on broadway so musical theater is a big pass
one of the reasons I do musicaltheater for my kids.
Speaker 2 (08:18):
They love her kids.
Speaker 1 (08:20):
Yeah, oh my gosh, her daughters are just absolutely
incredible, like, like, like,shut your mouth and drop your
jaw.
Speaker 2 (08:31):
Amazing, yes, I mean they were born into it.
But, yes, right after as well.
He's a very good actor.
He's a very good acting coachas well.
His studio is wonderful as well.
Um, we, we, you know, split atfirst to probably not so
amicably, but now we're veryamicable.
That's great, and you know.
(08:53):
you know when you have an actingstudio for over 20 plus years
and it's successful.
You know it was a dream.
You know it was a dream.
We had a huge building in NorthHollywood that we sold when we
divorced, but a huge building inNorth Hollywood that we sold
when we divorced.
But we huge building in NorthHollywood where we, you know,
did coaching and voiceover andmusical theater and my kids grew
(09:13):
up there.
And it was so that's the best,and so, and everybody who's
anybody has gone to our studio.
Speaker 1 (09:22):
Yeah.
Speaker 2 (09:24):
I mean everybody, any actor that you name has young
actor has gone to our studio.
I mean everybody, any actorthat you name has young actor
has been to our studio and Ithink that that really helped
also me manage and a lot ofthose actors I manage you know
right, I was just gonna say thatsome of your students, you know
that's how.
I found my original, originalactors.
(09:44):
When I'm splitting from myex-husband I um, I wanted to do
something different.
You know, I knew I had theacting studio which, eventually,
my kids are going to run.
My kids are unbelievablytalented, like you said, so
they're going to run that studioand.
I'm going to manage forever.
And so, um, I said, well, thoseactors are amazing and those
(10:06):
are the ones I would havemanaged, so I grabbed them and
they wanted me to manage them.
I mean, who better than me?
I've been working with theseagents and casting directors all
of my 20 plus years right soit's probably gonna be me right,
yeah so I um, which didn't makeall the managers happy that I
worked yeah, like wait a minute.
Speaker 1 (10:24):
What?
Yeah, you know what, but youknow what?
Speaker 2 (10:26):
Tuff, you know what I'm saying.
Yes, so I have to do what'sright for me, and I had given to
people for many, many years andI was giving and giving and
constantly, giving andconstantly giving.
And you know the one minute Idid for me.
Well, you know I had to do forme.
I minute I did for me, well,you know, I had to do for me.
I felt really bad about it thanI had to do for me.
You know, I know how to become.
(10:47):
I knew how to be a manager fromall different angles as a
mother as an actor and as acoach, and so you know, it was
just such an easy transition forme.
Yeah, that's so excellent.
I'm curious.
Speaker 1 (11:05):
I love it.
And so now with CompleteManagement Group, what are you
guys do?
I mean, you and you've got alot, a lot of kids that I know,
that I've had the pleasure ofworking with as well.
So there's a lot.
I mean there's too many to list, but any kind of current wins
you want to talk about, becauseI know, sure, yeah, we have a
(11:26):
lot of wins.
Speaker 2 (11:27):
I mean, right now we have a girl that's, that's in a
test right now for a big show.
But, um, we have a lot.
We've karen cradder, who's feltin group from star wars.
Um we, caleb dolden just didteacup on peacock.
He's starting a Peacock onPeacock.
We have, oh, kelly Cunninghamwho plays Kombucha in
(11:48):
Nickelodeon's Thundermans.
Yes, thunderman Riku.
You know our little winner whoyou really, really, really,
really helped, our little PamdenBrooks.
Speaker 1 (12:00):
Oh, love him, who just lead in a feature that is
so exciting that I caused it awhole scene in the Cheesecake
Factory.
When his parents told meAmazing, yeah, that was so great
, he's such a star, CamdenBrooks and he came in.
(12:20):
Chanel sent him in here for hisagent.
Speaker 2 (12:24):
Read For Osbrink yes for.
Speaker 1 (12:28):
Osbrink.
So he signed to Osbrink forvoiceover and when these
agencies are interested in you,they'll send a list of scripts
that they have, even if you havea demo and things.
They want to hear how you'regoing to read.
And so he came in here to workwith me for that and they ended
up signing him after that and heis doing a big oh, I can't wait
(12:49):
for that.
We'll come back.
Speaker 2 (12:51):
I mean, you know when you, when you book something
like that, I think people don'tunderstand.
You know you beat out coast tocoast, you beat out coast to
coast people, not coast to coastagency, but people right you
know audition.
When you book a series regular,they audition in atlanta they
audition, yes, they audition incanada.
they audition in la.
You know you're booking withkinley, for instance.
(13:12):
You know, with kombucha theyauditioned in every city.
This girl beat out 5 000 girls,you know.
So it's not easy, right know,when I hear somebody come to the
table and say try acting RightNext, for me it's next Right.
I'm not interested in anybodywho wants to try acting Right.
(13:35):
It's very hard work.
Speaker 1 (13:37):
Very.
Speaker 2 (13:39):
And that's not.
You know, it is hard work.
You have to train.
Also, nobody, that's's anybodythat's not interested in
training.
Right for sure.
Speaker 1 (13:48):
Yeah it's an ongoing?
Yes, it's definitely.
And just, you learn somethingevery time and and all the time
all the time, all the time, andit's actually interesting.
I interesting.
I had a question I wanted toask you kind of like I guess two
parts is like things that youwish that parents understood a
(14:12):
little more about the business,which also kind of leads into
like some mistakes to avoid.
I guess there's a lot when youcould just say advice but.
I'd like to take it the otherway of like more like I wish
they understood this and andkind of not to do this.
Speaker 2 (14:29):
I wish parents understood that just because
you're submitted in pitchdoesn't mean you're getting the
audition.
I also wish the parentsunderstood that your agent wants
you to get the audition.
I also wish that parentsunderstood that it's not because
of always because of yourchild's acting that they didn't
(14:50):
get the job.
That they didn't get the jobRight.
Sometimes the best actordoesn't always get the job.
Speaker 1 (14:56):
Maybe you even look too much like who you're going
to be in the scene with.
I mean, there's so many.
Speaker 2 (15:01):
So there's so many factors involved to booking, to
um getting the audition to umyou know, there's a lot of
actors that don't have theopportunity and, um, you know,
there's just so many factorsinvolved yeah, right, yeah, and
kind of like it's a long game.
Speaker 1 (15:19):
I'm sure there's a lot of like up and wait, it's a
marathon on the sprint, Right,and that's what I say.
Speaker 2 (15:27):
And you know my actors, my clients, they know
that, Because if they don't knowthat, they're not with me,
Right?
No, and I've actually.
You know, when I do a drop forclients because you know every
so often a manager and agentthey have to do a drop.
(15:48):
There's absolutely no way thatthey can keep certain clients
for the long term, because youfind out who clients are over
the course of time.
It's almost not at all aboutwhat they book or all that.
It's about who they are andwhat they understand, Because
I'm about to do one and there'sa few of them on there that it's
(16:10):
not about, but there's one thathe books, but if he asks me one
more time, you know where hisauditions are, where his
auditions are, where hisauditions are, where his
auditions are and he doesn'tread Variety and he gets
auditions.
I might lose my mind, right?
I mean, because there's no,there's, the jobs are very less
(16:34):
Right.
Speaker 1 (16:34):
And I'm also.
Speaker 2 (16:36):
This reminds me how, following a lot of my clients
along the path of growing up,and how there are a lot more, it
seems, for the younger age andthat kind of teen drop-off is
where there is a scarcity inthat age range, you see that too
, once you're 18 and above, or20 and above, it drops, because
(16:59):
if you haven't gotten a show ora lot of credits by the age of
22, 21, your audition ratio isgoing to go down because people
with credits are going to takethe roles.
That's the name of the game.
And if you're starting theindustry at that age, just be
(17:20):
prepared to wait and work thetwo W's, because it's it's.
They're going to take the roles.
Yeah Right, you know, it's it'sa 10 year plan for adults and
it's a five year plan for kids.
Speaker 1 (17:32):
I say that that's great.
That's great to hear too.
Just to put that general thing.
Speaker 2 (17:39):
I say that front, you know not expect this to be
overnight and if it is overnightyou got really lucky.
Speaker 1 (17:46):
Yeah, and that's an interesting thing that I'd like
to do a separate episode or twoon preparing yourself for, like
after the big role, that theremight be some downtime, which
every actor goes through, everyeverybody goes through.
But you know it's harder todeal with this stuff as as a kid
and so the more info you haveand the more kind of you know
(18:09):
Prepared to thicken your skin.
Speaker 2 (18:12):
It's harder for the people that have done a show
that come off of the show andthen expect something else.
Right, and we really try tofocus on the people that have
come off the show To try to getthem something right away or try
to get a project.
I do focus on that, to try toget them something right away or
try to get a project or try to.
You know, I do focus on that, Itry to look for the projects.
(18:34):
I try to try to jump on the gridand see what's coming out there
, but sometimes there's no work.
You know, in this day, today,this day and age, there's so
much less work.
We're all fighting for the work.
Less work, we're all fightingfor the work.
Though it's not like it wasback in my day.
There was so much work, there'sso much work.
(18:54):
Everybody was getting work.
Speaker 1 (18:55):
If you weren't good, you got work yeah, yeah, today,
yeah it is, and it's good, youknow, for them to keep their
creativity up and, like you say,stay in classes and stay around
your peers and you know, andand all of that um.
So so I'm just curious if youhave um some tips, because
(19:18):
you're an amazing coach as well.
I mean, just you know thank youshe's awesome, I like her can.
Can you tell, calm down?
I like you, calm down.
Ok so, but I'm like a littlejust descriptive, like loud and
just screaming the lines out.
Yeah, you know what I mean when, where you're in there in the
(19:54):
trenches, knowing that generallythese casting directors and and
productions are looking forthat real kid energy, you know.
So, just, I don't know if youhave something to just explain
that a little bit to people,because some parents again, that
are just starting and theirkids like reading an audition,
they're probably thinking likegosh, you sound too relaxed.
(20:17):
Or like you know, give it someoomph.
Or whatever we're used toseeing on stage or pageants.
Or you know the kids that areheavy in dance, where they're
being, you know they're lookingat the movement and they're
being graded on that perfectionlevel and how that changes a
little bit for voiceover there'sa lot of completely delusional
parents and I and I reallywonder where, where they're
(20:39):
coming from.
Speaker 2 (20:39):
You know, I I often ask parents would you watch that
on tv?
I?
say yeah, like based on anaudition yeah, and I say you
know, I say watch, you know, Isay watch that again.
You know, would you watch thaton TV?
I make parents and childrenwatch their auditions over and
over and I say, if you wouldn'twatch that on TV, don't send it
(21:00):
to me, right, don't send it tome, you know, because I think
oftentimes parents are like, ohmy God, they're so cute, right,
and they're not thinking ofshe's supposed to be scared of
her dad, right, and this is notan acceptable audition.
And you know, I'll oftentimesgo to a convention and I'll, you
(21:23):
know, for some peers of mine, Idon't, you know, it's not often
to where I want to be exactly,but I do go for peers of mine
that run conventions and I'll goand I'll sign a cute, very cute
kid and I'll say to the parent.
This is a development.
Yeah, because they're.
They are not going to book atthis current level.
Yeah, no yeah, and I will saythat.
(21:44):
And the parents will say, oh,okay, and I say, really, they're
not in a book right now.
They're very surprised that I'msaying that because they're so
cute, right?
And then the parent sees anaudition from a seven-year-old
that I have that has been doingthis since four and training,
and then they see their child'saudition.
(22:05):
For the scared dad.
Speaker 1 (22:09):
Yeah.
Speaker 2 (22:10):
And then they're like oh my God, I'm so sorry.
Thank you for showing me that.
And you know, I think that itjust takes some real, you know,
talking to.
But the key is, if the child isunder 10, I like to just say,
shrug it off, you know.
Shrug the line off, so you know.
Shrug it off, you know.
Shrug the line off, so you know, shrug it off, you know.
(22:30):
Maybe, if they have to say,okay, dad, you know, or shrug it
off because they don'tunderstand anything else, you
know, I don't want to say 10 andunder, I want to say seven and
under, because eight, nine and10, they understand, yeah,
understand, and they should.
But a parent needs tounderstand, the child needs to
be in class.
(22:50):
And I'm a strong believer,Genevieve, that you can't teach
a child to act.
You can enhance upon theirability, right, you can't teach
a child from nothing, yeah, andyou can enhance, like I said,
enhance vulnerability.
And acting class is forpracticing memorization,
(23:14):
learning how to improv, keepingup with the Joneses, making sure
you can outact your peers,understanding the craft and
making sure that you keepyourself on top of the game.
But nobody in acting class andno acting teacher, I don't care
what they say is going to teachyou how to act.
So go to the class that youlike the best, have fun, have
(23:37):
fun.
But I'm not going to.
I'm not making you know Oscarwinners out of some of these
kids.
I am making them better, right,and I am making them stronger,
and I believe I have the bestactors in town, but I'm not
making a kid who's not actinggood at how to act.
But if I meet a kid like that,I'm going to save their mom a
(23:58):
lot of money because I'm goingto tell her listen, listen, this
is not for you, right?
If they still think it's forthem, go for it.
It's not with me, but go for it.
Because I think that a lot ofthese people, I feel really,
really bad when I go to some ofthese conventions and I see some
of these children and some ofthese adults and whatever
getting really taken advantageof.
Speaker 1 (24:19):
Right, yeah, yeah.
And again, that's one of thethings that some of those
conventions they can sell you onthe whole package and it's
pretty sad.
Speaker 2 (24:35):
It's pretty sad.
I mean you see people that canbarely even talk up there in
these conventions and they'relike 35 years old and somebody's
told them they had a shotbecause they took their $5,000.
It's pretty sad.
Speaker 1 (24:44):
Uh-huh, yeah, it's about.
Yeah, being honest withyourself, that's.
That's the thing, like I did inmy very first episode of this,
was, like parents, does it soundlike a kid reading for from a
paper?
Speaker 2 (24:56):
like you have to know , does it it's like sometimes
though, jennifer, you know,sometimes it'll sound like a kid
reading from a paper, but theygot something right, yeah, oh
yeah, and they made those, thosedecisions on their own, or?
Speaker 1 (25:09):
it's interesting, they're riding the roller
coaster.
Their voice doesn't turn on atone that's right, there's
something there and you're like,right, let's take you out of it
.
Speaker 2 (25:16):
You can work with that oh we can work with that,
but sometimes.
Speaker 1 (25:19):
No, I know you know when you can't work with it and
and for me, or if the kiddoesn't want it, if the parent
wants it more than 100.
Speaker 2 (25:26):
I had a meeting the other day and we were on zoom
and the mother was like hereally wants to act, he's like I
hate acting, I don't know, yeah, and he kept saying I hate it,
I don't want to do this at all,this suck.
He literally said this sucks, Ihate this.
No, I don't, no, I don't.
And the mom I said sorry, I'mso sorry and I felt terrible for
(25:46):
this poor kid.
Oh, no, yeah, so yeah, stufflike that, yeah, but those are
the kind of tips I always say,like read the breakdown, those
are your biggest clues.
Speaker 1 (25:57):
Yeah, right, right yeah.
Speaker 2 (25:59):
You have two lines and the breakdown says this
character is you know, deep downhe's a nice guy, and in the
down he's a nice guy and in thescript he's being mean Right
Deep down he's a nice guy.
So how do you play it?
Speaker 1 (26:16):
Yeah, there's a lot of gems in there, right, right.
Speaker 2 (26:19):
The breakdown is what tells you yeah, you know, a lot
of guys are going to go,they're going to play, mean
Right, right, but the guy that'sgoing to play it a little
vulnerable is the guy that'sprobably going to get it Right.
So so there's a lot ofdifferent ways to do it.
Yeah, I think that the peoplethat are really smart and
understand their craft are theones that are going to get it.
Speaker 1 (26:41):
Mm, hmm.
This is so cool.
So how, how can people workwith you?
I don't, I can't even imagineyou have room on your roster for
talent.
Speaker 2 (26:51):
You know I'm currently not signing talent,
but you know I look ateverybody's packages.
Right, I'm one person thatlooks at everybody's packages.
People respond back to me allthe time and say thank you so
much for responding back to meyeah.
I'll say you know what I'm?
I'm, I'm full in your category.
But you back to me, yeah, um,I'll say you know what I'm, I'm
(27:11):
I'm full in your category, butyou know you're a really great
actor, right?
oh my god, thank you so much forlooking at my stuff, right,
everybody's stuff.
You know people can email me atchanel, at complete
managementcom, and um, mgmnt andum, I'll look at the whole
package.
You know, send me the videos,send me the pictures.
If somebody I'm like I gottahave this person, I'll respond.
Yeah, that happened to me.
(27:32):
A boy in Puerto Rico I wouldhave.
I looked at this package, yeah,and I was like whoa, this kid
is amazing.
I signed him with Paradigm andhe's a star.
This could be a star and, andyou know I, you know I work with
the five biggest agents, that'sit.
Speaker 1 (27:52):
But you know, I feel like that's the way I do it, you
know, and that's great too,because you're they trust you
sending, sending your people inand you're not like knowing that
you're not gonna just takeanyone it would.
You know you're not wastinghere to waste anybody's time on
either.
Speaker 2 (28:07):
I'm not, I'm not, but I look at every package, like
I'm not actively signing, I'mnot looking for people, but if
you send me your package andyou're somebody I can't live
without, I'm going to ask you tocome on my roster, right.
But I feel like that.
You know, I feel like somemanagers are actively looking.
I'm not.
I feel like I have the peopleon my roster that.
Speaker 1 (28:29):
I want.
That's great, and do you havejunior managers under you that
are also?
You know that could potentially, if you yourself can't, or does
you mean that as theconglomerate of complete
management?
Speaker 2 (28:42):
Something fun that I do.
This is something that I knowthat other managers don't do.
This is something very fun thatI do.
This is something that I knowthat other managers don't do.
This is something very fun thatI do.
I have, you know, my firstcousin, alina, who is who's been
my best friend since life.
She used to own a voiceoveragency in the East Coast for
over 20 years the same time thatI was doing that so cool.
(29:03):
And she closed her voiceoveragency and came to manage with
me and so we have a lot ofvoiceover connections as well.
We get our people a lot ofvoiceover jobs.
She's one of my main managers.
She's also my partner, but notpartner, but not you know what I
mean, and I own the company,but she's a partner.
And I have another managernamed Christian, and so
(29:26):
Christian, I started juniormanaging mothers of my clients,
so once their child works a lotand their child knows better
than what they're going to need.
Once their child works a lot, Istart junior managing mothers
and they will bring on friendsthat they feel are good
(29:50):
representation and they willmanage those friends so great.
And so I have three mothersemployed now, and so I have
three.
So Tia is our, is now a manager.
Speaker 1 (30:04):
Oh, which is so great .
Yes, we love Tia.
She's actually yeah.
Oh, and which is so great.
Yes, we love tia.
She's actually yeah on thepodcast too.
And uh, her girls are thecollins girls jazara and amira
collins, working all the time,and she's another straight up.
This is how it is type ofperson like us, so that's really
great.
Speaker 2 (30:21):
I believe in employee mothers because, um, their kids
are going to grow up and nobodyunderstands this business like
a good mother of an actor andyou know not that I disrespect
anybody else doing the business-oh yeah, but if you were an
actor, a mother of an actor andall of it, you understand.
Speaker 1 (30:45):
Totally, oh no.
You know, listen, 1,000% myfather manages me and has for
years, and he was a touringmusician around the world and
then it's all.
Just, it works yeah, yeah.
Speaker 2 (30:57):
So what I'm saying is is that nobody understands
better than these women.
I will be employing a ton ofmothers, so for me, the more the
merrier, because they makemoney, I make money, and they
also learn, and then, once theirchild is 18, and they're not
wanting them anymore, thesemothers have a job that they
(31:20):
love.
Amen, girl, and that's right.
Yes, and so it's almost like Idon't want to say the pyramid
scheme, right, but it's not but,but it is because.
But, I want them to be employed, exactly, I want them to have
something that they love to doand, more importantly, I want
them to direct people in theproper way.
Speaker 1 (31:41):
Exactly and, you know , save some people from a lot of
missteps and.
Speaker 2 (31:47):
Because there's a lot of managers out there and I'm
not saying anything about themanagers, but you know, for
instance, you know, my kid saida manager that we haven't talked
to in six months and you know,I know she will be watching this
podcast because she doesn'teven have social media.
So the truth of the matter isis that at one point it was a
great relationship, but thetruth is is that there's a lot
(32:09):
of managers out there that haveno idea about any side of the
industry except for theircollege degree and and that's
not a manager, really is a 24-7.
And some managers are likedon't call me after six, don't
call me on the weekend, don'tcall me on the weekend, Don't
call me whatever.
That's not a manager.
(32:29):
So the truth is is that amanager is a 24 seven and that's
what it really is On the movieswhen you see the manager
talking to their client.
That is the job of a manager.
Speaker 1 (32:43):
So you know I was going to ask you.
I didn't want to draw this outto be too long, but you're too
interesting and I won't keep youfor too much longer.
But you know that's a greatkind of segue into kind of
describing the differencebetween a manager and an agent,
again for people that don't knowAn agent is done at 6 o'clock.
Speaker 2 (33:02):
They are.
You have to let them go becausethey have a million clients.
They can't mess with you allday.
They, you know they have topump out the appointments.
You know, legally, a managerisn't supposed to procure work.
Legally, now we do, but we'renot supposed to procure work.
We're supposed to get you akick-ass agent.
Yeah, which I do.
A lot of managers are out there.
(33:24):
Oh, oh, you know, I got youthis audition, I got you this
audition, so the agents have thesame audition.
What?
Oh, oh, you know, I got youthis audition, I got you this
audition, so do the agents?
The agents have the sameaudition.
What else are you doing?
You know, a lot of managersdon't even get their clients
agents.
Speaker 1 (33:35):
They just sit around.
Speaker 2 (33:37):
So they're supposed to hook you up with the right PR
, hook you up with the rightagent.
Make sure they talk to castingdirectors about you.
You know, yes, we procure workeven though we're not supposed
to.
But you know, make sure they'rethere for you 24-7.
Make sure you know how to dressfor your audition.
I also coach, but I meanthere's so many more things.
A manager is supposed to bethere for you.
Have your agent who has amillion different clients
(33:59):
because they have to.
They have to pump out thoseappointments, pump out those
appointments, negotiate thosedeals, make sure they get the
most money possible.
And all these agents work withthese managers.
You've got these big agents.
They have their managers.
They have their managers thatthey work with.
Okay, that's it.
They don't want to work withanybody else and then that's it.
But then they talk to themanagers, they talk to the
(34:20):
managers, they talk to themanagers.
If your agent has a goodrelationship with your manager,
you're good.
Speaker 1 (34:25):
But if your agent doesn't have a good relationship
with your manager or you don'thave a manager.
Speaker 2 (34:27):
You're probably going to get lost in the shuffle.
That's what a manager is goodfor, but there's a big
difference between a manager andan agent, and there's only
certain agents that talk to theclients, and usually the client
is booking a lot for them totalk to you, right, they're just
(34:47):
too busy, it's not becauseyou're too busy, right, and a
manager is not supposed to havea thousand clients.
They're not.
And if your manager has athousand clients, they're an
agency, that's not a manager.
Mm-hmm, when I grew up, when Iwas auditioning, I was
auditioning with Brittany Murphy.
(35:08):
I actually played twins withher on Murphy Brown, but
Brittany Murphy, reeseWitherspoon we all had the same
manager.
Her name was Marianne Leone.
She worked like this.
That was it.
She was like you know, she had35, 40 clients.
Everybody worked and she dealtwith the agents.
(35:28):
That was it.
You didn't ask, marianne, you,you know, you showed up to your
audition.
You didn't show up late, youdidn't, you know?
Yeah, wear your outfit, see,same with me.
I'm like what do you mean?
You don't know, you're notmemorized.
It says do not have to bememorized in advance of audition
to show me the one that bookedit.
That wasn't memorized.
So your job is an actor tomemorize.
People ask me that all the time.
(35:50):
That's something that drives mecrazy too.
Speaker 1 (35:52):
The job is an actor to be memorized right and just,
and yeah, that's great and Ilove it, I'm sure you, you keep
people on your toes, yourclients and the agents, I'm sure
, and yeah, so there's fiveseries out.
Speaker 2 (36:06):
I booked three and I have one testing right now.
Listen, I'm, I'm yeah.
So you can?
You can say, um, whatever I am,I'm tough, or whatever I am
tough, yeah, you want to book,you have to do your job as an
actor.
Speaker 1 (36:20):
Yes, and you best believe there.
They've been mentored, coachedand managed by you.
They're going to be ready whenthey show up on set.
That's right, yeah, so that'sreally great.
Oh my gosh, this is sowonderful.
I could talk all day.
I know all day.
So good, um, is there anythinglike going on with your studio,
(36:42):
anything we can tell peopleabout?
Um, how can is?
Speaker 2 (36:43):
our summer program make a movie camp summer program
.
Make a movie camp Summerprogram.
Make a movie camp.
Speaker 1 (36:48):
Tell me about that.
Speaker 2 (36:49):
I'm directing.
I'm directing a short filmwhich is in five days.
We do a really great short film.
Imdb credit it's only 550 bucks, oh my goodness, it's awesome.
We do a relocation, we make amovie.
Speaker 1 (37:03):
How many kids can you fit?
Are you doing several?
Speaker 2 (37:11):
What are the we're doing several, what are the
we're doing several?
Speaker 1 (37:13):
so they can just all but um and um.
There's, it's a really greatopportunity.
Speaker 2 (37:15):
And then they have demo reel footage.
Oh my goodness, they have demoreel footage and they have imdb
credit.
So, um, I, I direct all thefilm camps, um, and they are
just super, super fun, super fun.
Wow, what are?
The angels for that footage isreally really good, great.
So yeah, if you, if they go onthe website, watch the, the last
film, it's really really good,and ChanelBrayStudioscom All
(37:35):
right and that's really great.
And check out the classes,they're really good.
Speaker 1 (37:39):
Yeah, so you've got other like voiceover classes,
acting classes over Zoom.
Speaker 2 (37:42):
We're mostly acting mostly acting improv um acting
improv and we're about to letlay in musical theater um.
I send most of my peoplevoiceover for you.
I love that.
Speaker 1 (37:53):
Thank you too, by the way.
We've had just so much fun.
Speaker 2 (37:55):
Oh my gosh and again I know if you're sending them to
me, they're going to be amazingalready the way that our studio
works is everything's includedin one package, so they can't
just take one class, it's justlike it's all included.
So they they just they get allthe classes if they want.
So I love that.
It's super fun.
Speaker 1 (38:12):
Oh my gosh, this is so great.
I I'm just just so excited tochat with you and I love it and
people can follow you.
Is your social private?
Speaker 2 (38:23):
no, yeah, okay.
So my social is private atchanel gray g-r-a-y and I would
love to you know, talk toanybody, I love that um, one
last question as we go what areyour thoughts on social media?
Speaker 1 (38:37):
I mean because people like us.
When somebody messages us andis talking about their kid, if I
can just click on the instagramand it's like there, I'm like
okay, great, like we want tohave the actors access and all
that.
But are you actively looking atInstagram?
A lot Is that?
Speaker 2 (38:52):
Somebody pitching to me.
I'll look at social media.
I spoke to a parent the otherday.
It's like I don't want to gether social media.
I said you need to get hersocial media.
This is the new world.
Yeah, so if you don't havesocial media, I mean it's just
what it is.
Casting directors are lookingat social media looking at
(39:13):
social media yeah, it's a newworld.
Yeah, so suggest whatever youparents can manage it.
Speaker 1 (39:16):
You don't even have to.
The kid doesn't get it.
Speaker 2 (39:18):
That's what I told the client I said get her social
media you.
She doesn't need to ever lookat it right just to you know,
social media is important, yeah,and it's not about the
followers, it's about youputting stuff on social media.
Speaker 1 (39:35):
Yeah, it's your chance to have like a magazine.
It's your channel, that's whatI'm saying.
Speaker 2 (39:39):
Yes, it's your job.
You chose this job as an actor.
It's your opportunity and yourjob to promote yourself.
Yeah, this is to promoteyourself.
Yeah, this is the world whereyou need to promote yourself
what is the difference betweenactors access and instagram?
Speaker 1 (39:56):
yeah, other than your other, than your friends also
being on there, but yeah, butyou know what is the difference
between casting networks?
Speaker 2 (40:01):
how do you know who's behind casting networks?
Speaker 1 (40:03):
that's true.
That's true.
You know right who's sayingthat they're a casting director.
Speaker 2 (40:06):
How do you know anybody can get on breakdown
who's saying that they're acasting director?
How do you know Anybody can geton breakdown services?
They say that they govern it.
Really, so many people areRight.
You know everybody's on itEvery freight, so you know.
Speaker 1 (40:22):
So how do they know Right that's what I'm just
saying Like, yeah, it's time,it's time we got to just shake
it off.
Yes, we got to and if you wantto be in this business.
I mean nobody's forcing you to.
Speaker 2 (40:32):
Oh yeah, but that's part of it.
Don't worry about social mediaif you're on a farm.
Speaker 1 (40:36):
Right.
Speaker 2 (40:37):
Unless you want to show it, you might make money.
Speaker 1 (40:38):
Yeah, how many farming clients do you have?
Do you have huh?
Oh my gosh, this is so amazing.
Thank you so much.
I feel like there's a wealth ofinfo there and just to be so
like open with it, I justappreciate it.
You know, I think anytime it'scool for people to be able to
(40:59):
just listen, that are still kindof any part of your book.
You let me know.
Oh, I love it.
Done deal Next time we'll do itin person, yes, and head out
somewhere after together, whichneeds to happen too.
Speaker 2 (41:14):
Yes, we will.
Speaker 1 (41:16):
Yes, you are amazing.
Speaker 2 (41:17):
Thank you so much, Love you babe, we'll talk soon,
okay, see you soon.
Speaker 1 (41:24):
S-Y-C-S-E-C-E-C-E-C-E , -c-e-c-y-c-a-n.
Yes, I know I'm gonna besuccessful.
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