September 30, 2025 • 41 mins
In this episode, Max talks to Helene Rousse a Casting Director based in Canada with over 35 years of experience in the business. We talk about what the industry looks like in Canada, emerging trends in filmmaking such as verticals, and casting insights for Actors.
· Working in the growing world of Vertical Productions
· Canadian industry update
· Importance of networking in this industry
· Tips on self taping
· How to build a profile with Casting Directors
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
MAX (00:00):
Today I'm talking to Helene Rousse, a Casting Director
based in Montreal with over 35years experience in the
business.
A great opportunity for us toexplore what the industry looks
like in Canada and perhaps evensome advice for actors today.
INTRO (00:15):
Two unemployed actors.
Two unemployed actors.
They're just between projects.
MAX (00:27):
Welcome, Helene.
Thank you for joining me.
Before we get into more detailon your experience as a Casting
Director, can you give us a bitof an update on what the
industry looks like in Canada atthe moment?
HELENE (00:39):
For sure.
First of all, thank you forhaving me.
This is great.
Thank you, Matt.
MAX (00:44):
You're welcome.
HELENE (00:45):
Yes, I'm standing right now in Montreal, Canada, and
it's still very warm.
MAX (00:51):
A bit jealous, but yeah.
HELENE (00:53):
Yes, there's no snow yet.
But u the industry here, uh, Ithink it slowed down this year,
actually.
People are like shocked.
Um, I think Toronto is doingpretty well in general.
Vancouver, well, you know, it'salways close to LA, so they get
all the series and and so on,and the dollar is pretty good,
(01:14):
right?
So it doesn't, doesn't it's nota very long road to drive to,
not to drive, but to take aplane and just go next door.
Uh here in Montreal, yeah, itslowed down a little bit.
Um, but uh we're hopeful we'redoing some um promotion.
I'm part of the BCTQ, which isthe Bureau of Cinema at Quebec,
(01:36):
and we're we're actually havinga meeting uh with the unions and
another casting director to seehow we can bring more uh film
here in uh Montreal, Quebec.
And also I'm part of anotherassociation called the Quebec
English Producer Association tobring more to do promotion and
advocacy and you know, to bringthe two languages together
(01:59):
because here um we have lots ofproduction in English, and 50%
of it is also in French.
50%.
MAX (02:07):
I thought, yeah, I thought most of I thought it'd be more
like 75% English, but uh butyeah, no, that's interesting.
HELENE (02:15):
I guess it depends which year, but um yeah, there's as
as much English as French.
French, there's future films,there's a lot of TV series,
there's still stuff going on onthe networks.
Um, so you know, people can cancan get some work and they can
work almost full-time, uhbasically.
For some of us, right?
MAX (02:36):
Yeah, and I know, right?
For uh yeah, uh it's a dreamfor every actor to be able to
work full-time, um, get canceltheir survival jobs and and and
plow on in the art that theylove.
But uh, I guess the thewriter's strike put the brakes
on a lot, even even as far flungas markets such as Australia,
you know, we felt an impact.
HELENE (02:58):
Um before mainly too, you felt it.
MAX (03:02):
Um well, I I think I think it was that our perspective, I
think we shared with manymarkets where we just thought
once it was over, it would goback to normal.
Um, what we've sort of found isthere are fewer productions
being commissioned, and whenthey are, the budgets are lower,
and they're asking more forwhether it's in front of the
(03:22):
camera or behind the camera.
HELENE (03:24):
What's coming um a lot more is the verticals.
Have you heard about it?
MAX (03:29):
Yeah.
HELENE (03:30):
It's the new end thing right now, and actors should
jump on that.
Like, it's like even like theother, like the the the big the
Disneys, they see this that theythey all want to get on the
wagon because like that's thenew era, and that's how you know
those big companies from Chinaare everywhere, they make money.
We have a few companies here,like I did the casting for a
(03:52):
couple of those verticals, andit pays okay, but some people,
some actors, they actually get acontract with a a production
company where they get used overand over and over.
It's a whole different worldnow, and you can get part of the
uh and the sales, you can bepart of the sales as well and
get a you know a piece of theaction there, which helps
(04:14):
certainly.
MAX (04:14):
I think I think at first the you know it was it was
looked down upon because of thelow budgets, and actors were
like, Oh, do I really want tocommit to something like that?
And but now that it's startingto mature as an option, um, and
you're right, you know, the bigbig studios and production
companies that have beenestablished for some time are
looking into it because at theend of the day, that's where the
(04:34):
eyeballs are.
There's there's less and lesson networks.
HELENE (04:39):
Yeah, the actor can really work on his craft and
work a lot, and the budget aregoing up and up slowly, so you
can you can get to to work likea lot more.
It's it's it's a wholedifferent world we're going into
now.
MAX (04:53):
I think from because I'm I also write and I'm trying to
produce some some televisionshows as well, and and and in in
the current environment, tryingto get your first producer
credit, you know, you're goingto strangers asking for money.
Uh, and and it's hard when youhaven't produced anything,
right?
So, a pathway I've seen israther than just doing a proof
(05:13):
of concept like a short film,it's it's we'll do verticals
because you could not onlydeliver a proof of concept and
show how successful it can be asa television series, but also
you're bringing audience with itas well.
HELENE (05:24):
Um yeah, absolutely.
MAX (05:26):
Really interesting.
I'm uh I was talking to anactor last week who is about to
debut on TikTok a 32 episode, 32by two minute uh vertical
series.
And the uh screen organizationsin Australia have sort of
gotten around to funding that,whereas before it was like web
series and they just classed itunder online, that now is
(05:49):
starting to grow as a share ofum the funding and encompasses a
lot of verticals as well, whichis interesting.
So you but look more work foractors, yeah.
HELENE (05:58):
Yes, and it's very good to practice the craft.
I think they gotta learn like20 to 25 pages, they gotta do it
in one day or something.
MAX (06:05):
They shoot fast.
HELENE (06:06):
You gotta work that muscle.
MAX (06:08):
If you don't turn up prepared, you're you're gonna
have a very very difficult day.
HELENE (06:13):
They do a full, like a full movie in like five days
that they chop it into littleepisodes, and my god, you know,
it's it's it's a good way to getworking.
And and one of the guys, Ithink his name is um Tim Milk
Milk.
Um, he um he has 250 millionfollowers because he's in
(06:36):
verticals.
Can you imagine?
Oh my god, how fast it went.
And he said it just learned hiscraft.
He was a model, became actor,and just tried to learn and
memorize.
And he said sometimes it goescrazy, and it's like 12 hour
days or something.
So he really uh so you neverknow, you know, which door it's
(06:57):
gonna it's gonna work for you.
MAX (06:58):
That's right.
HELENE (06:59):
If you just say no to something, this is like the new
opportunity, and it's shocking.
I have two of my friends, theystarted a whole platform that's
all they do.
MAX (07:08):
Really?
HELENE (07:08):
One is called Read Frame, uh-huh, and uh the one is
kind of all love stories, andyou know, it's always like uh
romance and the millionaireversus this and that.
MAX (07:19):
Ah yes, the dra the drama dramas in two minute two minute
bites.
HELENE (07:24):
That's right.
They want to hook you so youcan pay to know what's gonna be
next, what's gonna happen.
MAX (07:29):
Yeah, people scroll quickly, so you gotta get in
there with the hook.
That's interesting, isn't it?
Talking to casting directorslast year on the podcast, I
don't think it was even a topicto to talk about.
Like it wasn't even a bulletpoint.
Whereas now it's um it'sgrowing so much.
Interesting.
HELENE (07:45):
Yeah.
MAX (07:46):
Well, how how did you get into casting?
Well, you always wanted to workin the industry, or you've
yeah, I think I started like at14.
HELENE (07:56):
Oh wow in the industry.
I started dancing, modeling,and uh at 21 I opened a talent
agency.
At 21.
I knew exactly like I wanted tobe in the industry, so I took
some classes, this and that.
I opened the agency, and umeventually I um I did I had some
(08:17):
uh shareholders, and we openedum I I did an affiliation with a
company in New York calledMcDonnell Richards, it was a
commercial print agency.
And with them we opened inParis, and then we were like
sending the models so we canrepresent more models, and that
started like that.
(08:38):
And um eventually I had also adivision for actors and a
division for voice.
I always had a division forvoice, but in those days, you
know, voice we had tapes, yeah,yeah.
We didn't have MP3s, right?
So it was costing a lot ofmoney for the actors, you know,
make the tapes, and then we hadto get a courier and send it to
(09:01):
the studio, and actors had toadd like a hundred pictures, a
hundred resumes, we had to sendit all in hard copies.
Wow.
I mean, it was so expensivethose days, but anywho.
Um, so basically, um I had oneof my uh assistants that
actually left with half of myactors at the time.
Yeah, and uh she did that withher mom while my mom was at a
(09:25):
hospital pretty much dying.
So um I came back and I had torebuild, and I said, you know
what?
I'm just gonna sell the companyand I'm gonna go into casting
because you know, then it's goodit's gonna give me the
creativity to work with like thecreators, the directors.
(09:47):
And I felt like as an agent, Ididn't have you know the control
or the power to help as much asI could for the talents, the
actors, the models, the voicetalents.
So for me, um being a castingdirector, I can have more power
(10:08):
to help, yeah, to be able toselect and and push and work
directly with the creators.
And I I think that as an agent,I thought it was hard to get my
commissions actually.
So I said, I don't need that.
MAX (10:23):
Yeah, no, exactly.
You you've got less lesscontrol, I guess, and less
influence in the outcome as muchas the creative process.
HELENE (10:29):
No, I actually get paid like on time.
MAX (10:33):
You're not chasing up those phone calls, yeah.
Agents, they do earn theirmoney.
I I think um, well, I think itit the agency was good for you
in that it it it allowed you toget experience in the industry,
so you actually knew which pathyou you wanted to take.
HELENE (10:47):
Exactly, exactly.
I think it was a normal step tobecome a casting director.
I knew every side, every step,you know, when you're in at the
different angles and you sit atall these different chairs, you
know, you're well-rounded withall the, you know, from from
acting to being an agent tobeing casting director.
And we all wear so manydifferent hats, even you two.
(11:08):
You like writing, you this, youproduce, right?
Yeah, so same thing with me.
I'm co-writing a sci-fi withsomebody else, and I'm trying to
to do that as well.
And you know, there's so manydifferent hats, but uh, but
casting, it's been now 25 yearsthis year.
MAX (11:25):
Wow.
HELENE (11:26):
So I'm celebrating.
MAX (11:28):
Well, congratulations.
And I'm and so what what wouldyou say are your favorite
aspects of the job?
What's been keeping you keepingyou going over those 25 years?
HELENE (11:39):
I think when I received the email or an accolade from
the client, like the producer orthe director, saying, Helen,
that was an amazing job.
We are flabbergasted.
And I just got um anotherGoogle rate this week of another
client.
I was so happy.
He went, I didn't even ask him,he went and wrote something on
Google.
MAX (11:58):
Fantastic.
HELENE (11:58):
I'm like, yes, this is kind of my food.
And to make actors happy, likeI have a newsletter I send out
to the people that areregistered in my database, and I
congratulate all the peoplethat got lee roles or this or
that.
You know, I think it'simportant.
So I'm very happy for them, andI'm happy this happens.
If if I can help to elevatesome talent, I mean that that's
(12:22):
great.
MAX (12:22):
Do you do you cast also for television commercials, or is
it all just film and television?
And what about verticals too?
I mean, yeah.
HELENE (12:31):
The company is called Total Casting.
MAX (12:33):
Okay, got it.
HELENE (12:34):
So I I cast the clues in the title feature film uh
seasons.
I do also have an in-houserecording studio, so I cast
voices in all languages.
I've done over a hundred videogames where I book people from
all over the world, really, withtheir voice uh for different
games.
We do also dubbing foranimation, animated TV series
(12:57):
for kids.
That's one of our specialty.
MAX (12:59):
Wow.
HELENE (12:59):
That's it's a lot of fun.
Dubbing is hard to hire fromeverywhere, it's mainly central.
Yeah, but for games and formany other jobs, corporate.
We do a lot of um GPS for cars.
MAX (13:12):
Oh yeah, yeah, yeah.
I think people people, whenthey hear voiceovers, they think
of you know radio commercials.
They don't really, you know,that but there's so many
pathways to to bring voices tolife.
I I know I've been doingvoiceovers for I think like five
or six years now, and from homeas well.
Mainly, I think because I Itook a break from acting for 20
(13:34):
years in the corporate world, soI've come back to the arts.
This is why I'm so happybecause I'm I'm back in the arts
away from the corporate world.
And I um find myself bringingthose dry sort of corporate
scripts to life more thananything.
Um, and trying to make some ofthat copy sound relaxed and
relatable takes a lot of actingtalent, I can assure you.
(13:54):
Some scripts you forget as soonas you turn the microphone off.
But um, but uh yeah, there's somany avenues for uh voice work.
HELENE (14:03):
And isn't that fun?
You can do that in yourpajamas.
MAX (14:05):
Indeed, yes, you can do it from the comfort of going home.
The commute is from the livingroom to the office, it's easy.
HELENE (14:11):
But uh I I think You don't have to learn it by heart
either.
No, read the script.
MAX (14:17):
Well what's interesting, and I think the the Australian
Association of Voice Actors thatI'm a part of, we would the
dialogue at the moment has beena lot around um artificial
intelligence and how thatstarted to impact some areas of
the business.
And and even from uh in frontof the camera on set, like I
remember I did one televisioncommercial, and the director
(14:39):
came up to me and he's like, Oh,you look exactly like the AI
storyboard that I'd created,like you as this character.
I'm like, I didn't know whetherto be offended or think which
part of my work has been scrapedover the internet to construct
the AI version of me, and howlong before the AI version of me
starts to get more work thanthe real me, and all this is
going through in my head as I'mthinking, just smile and nod,
(15:01):
you know.
But I think it's it's it's itthat's something that I've seen
start to come in where even theunion in Australia uh a couple
of years ago said, make sure youput this paragraph in your
contracts to say, here's my workas per usage agreement, but not
to be in your bank of data asas AI owned, exactly.
(15:22):
Yeah.
HELENE (15:22):
Right.
MAX (15:23):
Have you uh is that something you you're seeing in
in your market as as well?
Impacts of AI.
HELENE (15:30):
Yeah, I think it happens more in um in voice and in
video games.
That's the main thing.
We get a lot of casting for forvoice for AI stuff, for all the
languages.
It's not everybody who wants todo it, and it's okay.
It's not for everybody, andit's a very different flow of
speaking, you know.
(15:51):
I mean, I use Chat GPD, I useyou know, whatever, but um, and
you can hear those differentvoices, and sometimes oh, I just
want to change the voice.
I wish I had a great accentlike you coming in.
MAX (16:02):
Um I think I think it's it's I mean, there are
opportunities, and also I thinkas we see the technology get
better and better, it's it'sit's harder and harder sometimes
to choose to to to pick up.
I think because we live andbreathe, you know, in the
industry, it's it's a bit easierfor us to see, just as it might
be to pick a paragraph that'swritten by ChatGPT than an
(16:23):
actual writer.
But uh it's it's certainly hereto stay, and I guess it's how
we live with it in the industry.
HELENE (16:30):
It's here to help.
MAX (16:31):
Yeah.
HELENE (16:32):
You don't take it verband, obviously.
But uh for for for the voice,uh for the AI voice, um, we just
had a demand today, it wasFrench-Canadian.
So I put some people in there,and it pays $150,000.
MAX (16:48):
Good lord.
But for that.
So it I mean, yeah, certainly.
Buy out.
I think so.
That's buy out.
So yeah, so so as a voiceartist, then if you were to go
on a job uh at a project, uhwould you have to declare that
you're the voice of such andsuch AI or or well this one's
(17:10):
not exclusive.
HELENE (17:12):
So it's just a buyout of your voice instead of you know
saying, Okay, we'll buy it for10 years or whatever.
Yeah.
So they pay like an amount,like a first amount, like
50,000, that say you gotta do, Idon't know, so many hours of
recording, and then a buyout of100 grand, which is pretty
interesting.
MAX (17:28):
Yeah, at least they're not all like that.
No, and I think no, and thenthere are some that are just
taking voices and and doing whatthey want, but I think that's
at least that they're up frontand there's remuneration for the
artist.
So in in the in the businessthat is total casting, um, do
how early would productioncompanies come and seek your
(17:48):
input for a project?
Is it right at the beginning inearly development, or is it
just before they startproduction, they want to know
who the rest of the cast lookslike?
HELENE (17:57):
I think way too often at last minute.
I don't know why they just wantto, you know, and then we all
rush, rush, rush, rush, and thenthe actors need to rush for
their self-tapes.
Like it doesn't make sense.
Like, why not like do thismonths before you already
started?
So and sometimes we do thecasting for the stars in
advance, so that's fine for themto be able to go get the funds
(18:21):
with the uh different subsidiesthat are available.
Uh, just like we have here,different ones that it's called
Telefilm Canada, and you know,you have to apply, and then you
still have to have the nameswith your project so you can get
maybe the funds.
MAX (18:36):
Yeah.
HELENE (18:36):
And not already gets chosen, right?
MAX (18:39):
Do you have a preference for casting more for television
or film, or is it just becauseyou're total casting, you're in
all the the areas of theindustry?
HELENE (18:47):
I think commercials are fast and quick.
MAX (18:49):
Yeah.
And and is it and do you findit a great way to find new
talent as well?
Like someone I had a castingdirector tell me once someone
comes in and they just nail theaudition.
Maybe they're not right forthat particular role, and maybe
they don't even get put forwardto the client, but the casting
director remembers them, andthen when a role comes up, they
can like, I know who would beperfect for that, you know.
Does that actually happen?
(19:10):
Or is that just an actor'sdream?
HELENE (19:13):
That's exactly it.
I keep all the auditions and Ithink, oh, this guy was good in
this one.
Even if he didn't get the job,the last one, of course, I'm
gonna call do a callback.
And sometimes I you I use theaudition to center a client,
they pre-select just sometimesby the old editions.
MAX (19:29):
Right.
HELENE (19:29):
So yeah, but of course, when we have a demo video, it's
always useful.
Like I've watched even yourdemo video, and it's very
striking right from thebeginning.
Poof, it gets your attentionimmediately.
So kudos for that.
MAX (19:44):
Thank you.
HELENE (19:46):
I think it's really important for an actor to have
that, yeah, and have it easilyavailable for everyone.
MAX (19:51):
And I think always always try and keep it updated.
And I think you're right, it'sgot a it's got a hook from from
the start, and I thinkparticularly when you're not
known for your work, you've gotto really put all the different
a lot of as much as you can havedifferent genres in there and
show you know your range uh asan actor, I guess.
Yeah, that's reallyinteresting.
HELENE (20:12):
Sometimes it's separate, like if you do like commercials
in corporate, you should haveanother demo video separate from
your film and television andyour scenes, it's very
different, right?
MAX (20:23):
Yeah, I think because at the moment, what's paying the
bills the most when you look atmy voiceover, writing,
producing, acting, it's it's umpresenting to camera work where
again it's the corporate money,it's consistent, and and a day
on set presented to camera paysmore than if I was in a
television series for a 50-worduh over two days.
It's it's it's it's a crazyimbalance, but n nonetheless, um
(20:47):
you know it's you're right,it's a different show reel for
me because of that differentstyle of work, and and uh it's
yeah, I mean ideally like anyactor, I'd love a great
character, but you can't ignorethe fact that you've got to keep
the lights on in the meantime.
HELENE (21:05):
Yeah, exactly, exactly.
And and it keeps your muscleworking anyway, right?
MAX (21:10):
That's right.
In between those fun scenes,yeah, exactly, exactly in the in
between the fun projects.
I think no, you're absolutelyright because sometimes the
material isn't stuff that you'dnormally gel with in life or in
that in a as an actor, andyou've got to really work your
acting muscles to deliver itsort of relaxed and relatable
while you're doing whatever itis you're doing.
(21:31):
And and I think it's great, itdoes keep your work fit, and
that's one reason why Icertainly keep it up.
The other the other way I'vefound to help me stay work fit
is is doing short films, like umparticularly some student
films.
There's there's plenty ofstudent schools in Sydney, even,
but there's a there's a fewthat I've learnt to avoid and
(21:51):
that sort of accept anyone, andthen there is a few where you
know they have to have aportfolio um to be accepted, uh,
where you know they meet acertain standard.
And it's a great way for you tofeel a bit freer as an actor
because there's a bit lesspressure, um, and you can
indulge and push limits a littlemore and and really immerse
(22:12):
yourself in the sometimes.
I found some of them are moreprofessional than some
professional crews, you know.
It's it's it's an amazingexperience, but again, it's
experience, it keeps you workfit in another way.
HELENE (22:23):
Always, always.
Same thing.
I I thought, you know, it wouldit slowed down a little bit
this year, just a bit, and Ithought, what else can I do?
Right.
So I think I I came up with theidea to do uh a live Zoom every
two every two weeks.
(22:44):
Not exactly a podcast like you,but um so that's what I did.
It's called Showbiz Connect,and I do that every two weeks,
and I have different guests andI do draws and I give all kinds
of things to help the actor.
It's all for the for the actorsand the talents out there.
(23:05):
And sometimes when you givelike that, you know, uh you you
get so much back in a way,right?
Yeah, and uh it's to organizeall that, you know.
It it it it took about likethree, four months to be able to
put all that together.
And at the meantime, what I dois I promote a new class that I
(23:26):
put together for for beginners.
Um and because people alwaysask, well, how do I start?
Right?
MAX (23:33):
It's always and it's and it's daunting when you don't you
don't know you you you knowwhen your only experience is
watching the content, you know,you don't it's it's hard to try
and learn as quickly as possiblewhat you know what the
processes are.
HELENE (23:46):
Um exactly and there's I put that together, it's like uh
it's called a formula one, it'slike a race to this.
Oh, good.
MAX (23:54):
I like it catchy, I love it.
HELENE (23:57):
Yeah, find the right formula with modules.
People are learning online foryou know three months to six
months, whatever they want.
It's like a platform, and um,and then twice a week they have
a live coaching, they practicetheir craft, their edition,
their self-tapes, theirmonologues, their scenes in
front of coaches.
They have feedback and theylearn all the way, every single
(24:21):
tool of the trade, you know,headshots, resumes, blah, blah,
blah, all the tricks of thetrade.
Because I've been doing thisfor more than 40 years.
MAX (24:29):
Yeah.
For me, coming back after 20years in corporate, I I because
I was acting as a teenager for awhile, they're not taking it
very seriously, and certainlynot a lot of life experiences,
many teenagers who relate, butbut then um coming back, really
not knowing the industry at alland and how it had changed, but
have just having that experiencemany, many years ago.
(24:50):
Uh, I think for me it was justdive right in and go to lots of
industry events to to learn.
You hear producers talk, QAs,find out what's happening, who
are the good agents, the badagents, all that sort of stuff,
and do the short films andimmerse yourself in workshops.
I think that flooding my mysenses with immersing myself.
(25:11):
Everything, yeah, it really wasa a quick education.
Yeah, it was it was aninteresting way to to come back
when you've got some lifeexperience and you're coming
back trying to learn theindustry again.
Yes, even that could fit feltdaunting at times.
So I absolutely it it reallyunderlines how people do need
(25:32):
and look for guidance becausethey don't know who to trust and
which path to take.
So, yeah, Formula One, okay.
I like that.
You like that?
I do, I think it's great, it'sgood.
HELENE (25:43):
Yes, there is a few people surround me who was at
the show also.
Um the they're all back totheir passions, and sometimes
they're 50 or 60 years old, saidthat's it, I'm doing what I
love, I wanted to do that.
And those days, you know,people said, Well, want to get a
real job, right?
MAX (25:59):
Exactly, yeah, yeah.
HELENE (26:00):
That's what people said then, right?
And and now they're saying, No,that's it.
I'm diving in, like you said,you know, surround yourself, do
a workshop, do the mixtures, uh,you know, mingle, get listen
podcasts like yours.
I mean, things you learn,learn, learn.
You gotta assimilate as much asyou can.
So you can give them and forme, that's why I created that,
(26:22):
because this this class, sopeople cannot go in zigzag,
they're gonna go in straightline on the racetrack.
MAX (26:28):
You often actors will think, you know, it's a fight, a
battle to get there's a pointwhere you've got an agent, but
then it doesn't end and youcan't just sit on the couch
waiting for the call, you know,from the agent.
You've got and it's still abusiness where you've got to get
out and about and make thosecontacts and networks and
partnership.
You're always learning.
No, I think that's that'sfantastic.
So any guidance you can providethere is is certainly valuable
(26:50):
for any artist.
HELENE (26:51):
You have to put yourself out there all the time.
MAX (26:54):
As as we move to perhaps, you know, advice for for actors
when it comes to the castingprocess.
I mean, are there any sort oftrends in in casting that an
actor should be aware of at themoment?
I know one, for example, is isthe trend to doing more
self-tapes.
HELENE (27:14):
Yep.
Right now, I would say 99.5% isall self-tapes, right?
MAX (27:19):
Wow.
HELENE (27:19):
It's a whole different world, which gives a lot of uh
leeway for actors to do a lotmore editions.
Everything has changed.
But for me, if you're going toset a self-tape, for me, the
self-tape quality makes a bigdifference.
Um that your camera is notblurry, that you have the right
background, that it's neutral.
I I did I did do a video on howto self-tape and everything.
(27:44):
I do have a YouTube channelcalled Casting Vlog.
And uh so I put a few videosout there to to help out uh the
actors, but uh there's so muchinformation on YouTube about how
to do a good self-tape.
But this this is key, I think,because if you're you have
something distracting you in thebackground, or you have big
(28:05):
jewelry, or you know, thebackground is way too much, it's
gonna distract from yourperformance.
And we want to see you, theactor, in the performance, we
don't want to see everythingaround it, right?
So that's key for me, and to bereally present, have have your
whole setup.
I know it's all technical, butyeah, you don't have a choice
(28:26):
now.
This is what it is these days.
MAX (28:28):
Yeah, yeah.
I I I kind of I mean, I I Ilove to be in the room and and
and you get that feedbackimmediately, like you know, can
you try it in this direction orthat direction?
Or no, I just I really I lovethat, and you know, every actor
loves an audience, right?
But even under pressure, butbut I think I do see the benefit
in self-takes where you canjust go uh record as many takes
(28:50):
as you're comfortable with to beable to, you know, put the put
the right submission.
HELENE (28:57):
Um we had some callbacks.
When one actor was in Torontoand Montreal, so we had to do a
chemistry read two by two.
And so you put the screen sideby side and they have to read,
and wow.
You can still see if there'ssome kind of chemistry.
It's not the days where Icasted Death Race and we had to
they they were bringing anactress from LA, another one
(29:20):
from Vancouver, they brought himin Montreal and they do a
chemistry test live, like inperson.
They flew them.
MAX (29:26):
Yeah.
HELENE (29:26):
So I think we're far from that now.
MAX (29:29):
Yeah, no, I remember, you know, uh Australian actors talk
about how one minute they'restruggling to feed themselves,
you know, the industry's like asan emerging actor, and and the
next minute they're on abusiness class trip to the
states to to test for a network,you know.
It's like it's like, yeah,though those days and dusting
off their standard Americanaccent.
Um, I think you know thatyou're right.
It's it's we're far from that.
(29:49):
We just have to adapt now.
HELENE (29:51):
I wanted to come back to you about the vertical that
when they advertise, uh you Idon't know if you know that
platform, mandy.com.
MAX (29:59):
No.
HELENE (30:00):
So these verticals are advertising there and they're
flying people to China to shootfrom anywhere in the world.
So if people out there arelistening and you want to maybe
do some verticals, they're goingto pay for the trip,
everything, and then you getpaid per day whatever they're
paying.
But there's some moreadvertisement right now on that
(30:20):
platform.
So if some people out therewould like to try that, hey, you
can get a trip to China ontelevision.
MAX (30:26):
It's really interesting.
Yeah, we had, I guess, partlybecause our proximity to China
here in the Asia Pacific, we'renot that far.
I think there's there was a fewum a few actors have talked to
me about how they were lookingat going to China and and and
and I think it's like a coupleof weeks and then they shoot so
much in that period.
And and because it's just it'sjust so new.
(30:48):
We're just coming to terms withit all.
It's yeah.
HELENE (30:51):
But you know, I but it's interesting, it is, isn't it?
And it's worth to look into itand maybe send a health tape if
it's you know you're availablethose dates and you think you
can learn 25 pages, like whenyou're really good at
memorizing.
MAX (31:05):
That's where all the all the eyeballs are.
I get well, is it important foractors to develop a large
following on social media?
Is that a consideration forcasting directors?
HELENE (31:17):
Um, it's somewhat important, but not um not in
general.
But we go look sometimes at theInstagram.
My assistant gun is going to golook what that person's done or
whatever.
Um, it did happen when I did auh video game where we casted
the voice, the person had to domartial art for real in real
(31:40):
life.
They had to I had to give alltheir social media following
because of marketing, they'rethinking ahead.
Yeah, so it's sometimes it'sfor their promotion and
marketing.
They want to see if you'regonna market the product after
you've done the shoot.
So, but it's not happening veryoften.
MAX (31:56):
Okay.
HELENE (31:56):
Have you heard more on your side?
MAX (31:58):
I think as an actor, we feel the pressure sometimes to
be able to consistently put outsocial media, and we always look
at it through the lens of umwhatever casting director sees
it, or what are my agents gonnaget angry if I if I don't do
some behind-the-scenes socialposts about this job, or so it's
(32:20):
always it's always like we thisis what goes through our minds.
It's always a focus for us, andand sure there are moments like
anyone with a bit of commonsense has a lens as well to say,
Well, I don't think I shouldpost that, you know, and if
you're not sure, don't do itsort of thing.
Um, but but I think there'salways doubts, yeah.
HELENE (32:39):
Yes, yes, we we look at that not that often, but once in
a while we need to check, okay,what what is he doing?
What is because sometimes if orif some actors don't have a
demo video, we're gonna go checkbecause we need to see the
person live and we're gonnacheck if there's any videos on
Instagram or YouTube or whatnotto see a little further than
what we've seen.
MAX (33:00):
Right.
See the see the actualpersonality and some
authenticity and insights toother projects, maybe how they
work.
I get yeah, I get makes sense.
HELENE (33:08):
Yeah, maybe we want, you know, do we do we want to work
with that person?
Is that personality is gonnafit.
MAX (33:15):
Yeah.
That's really interesting.
No, that makes sense.
Do you find actors without anagent, or does everyone come to
you through an agent?
HELENE (33:25):
Uh that's a very good question.
Um both.
MAX (33:28):
Okay.
HELENE (33:29):
Yeah, I have no problem.
I have that's why I have adatabase where people can go and
register, and most of themdon't have agents, so we book
them directly.
Okay.
I send them a newsletter,whatnot.
And uh there's a couple, uh,but that's usually like you
know, pretty much like that.
There's a couple people hereand there with no agents.
Um so and sometimes when wesearch out large, then we're
(33:53):
gonna go on different platforms.
Like we go in the castingworkbook, the platform.
MAX (33:56):
Okay.
HELENE (33:57):
Um, it's a very good platform to look for uh actors
that and a lot of them have nonno agent.
Um, or if you were looking forunion, non-union, or live in
different cities, like uhcasting workbook is also good
for the states.
So we use that platform a lot,and other platforms as well,
(34:18):
honestly.
But um, I don't know whichplatform you guys receive
breakdowns.
MAX (34:22):
In Australia, there's sh the main ones are Showcast and
Casting Networks, where youcertainly pay to have your
profile up there.
Um but within those, I thinkyou certainly need an agent to
be able to, because they're theones that see all these almost
exclusive to those platforms,television commercial auditions,
some film, television.
(34:43):
And so you really need theagent to be able to submit.
You can't sort of self-submit,if you like, through those
platforms, and you don't, as anactor, get visibility.
And of course, there are manymore.
I mean, I'm on another coupleof platforms, and some of them,
you know, you can end up payinga fortune.
Pardon?
HELENE (35:00):
Do you know actors access?
MAX (35:02):
Uh no, that's not a big one.
HELENE (35:03):
A lot of the states use that in Canadian as well.
Okay.
That you can see somebreakdowns.
Like uh sometimes we can choosewho can see what, and so on,
but that you can have your ownplatform, and a lot of actors
actually can get jobs directlyfrom that platform.
Even from Australia.
MAX (35:22):
Okay.
Wow.
Something to consider.
Well, yes, and the other onethat leads into you know a
question of how can actors standout to casting directors?
How can we be seen what whatwhat what else can we do other
than be on the platform?
Um, you know, for example, ifI'm if it when I was in the
theatre in a a production, I'dI'd invite um different casting
(35:45):
directors, industry contacts tocome and watch.
Um can people email you andsay, hey, here's my updated show
real or what what what can wedo?
HELENE (35:54):
Yes, absolutely.
Um email when you do sendinvites, make sure that the
casting director or or even youragent don't pay to get in
because they receive so manyinvitations.
If they start paying foreverything, they're gonna be
bankrupt.
But that's that's one thing,one thing to do.
Um, I say also always thank acasting director, send a little
(36:16):
card or something by email, oractually a hard copy.
If you want to be differentthan others, you can find out
the address maybe of thedifferent casting directors
around you or somebody you'dlike to be seen by.
And I would actually send ahard copy in a resume with a
maybe a like, I don't know, likea little card, a ten dollar
card from Starbucks or somethinglike that.
(36:37):
I'd like to, you know, or maybefind out when their birthday is
and send a little email, alittle something.
MAX (36:44):
Okay.
HELENE (36:45):
Be creative.
That's what I'm saying.
That's what I explain also inmy class.
I I I try to give those tricks,you know.
I mean, always thank maybe thecasting director that sent you
and your agent, even if youdidn't get the gig, thank you
for sending me, or littlesomethings like that, right?
(37:05):
Appreciation.
And that will come back to you,and they will think about you
and they will remember.
Meaning gestures sometimes govery far.
So that's what I would suggest.
MAX (37:15):
Interesting.
No, I like that.
Uh especially, especially thethe because you're not the first
person in the last week to sayin the industry to say, I'm
happy to receive, you know,letters and hard copy, because
it's a it's a it's a unique wayby going back to the olden days,
you know, to stand out thesedays, you know.
I think that's reallyinteresting.
HELENE (37:34):
Um you can follow up by an email saying, Oh, did you get
my archive or yeah, I lovethat.
MAX (37:39):
That's great.
That's so cool.
I think that's great advice.
HELENE (37:42):
Yeah, I'm returning to some of the basics where people
actually are happy to receivemail.
MAX (37:48):
I know, it's hilarious.
The postman actually stops now.
Um, so what what what whatabout actors who haven't had
auditions for some time?
Like, you know, there's there'suh what what what what advice
would you give them to be ableto stay work fit and ready and
you know develop your network?
HELENE (38:09):
Well, networking is key.
So for me, I'm always that'swhy I did Showbiz Connect.
I connect people together.
I do breakout rooms at the endof the show.
MAX (38:18):
So yeah, so tell me more about the podcast.
So Showbiz, it's called ShowbizConnect, and what you invite
like a group of actors, do theydo they is it like a workshop?
HELENE (38:28):
We can be invited from anywhere.
MAX (38:29):
Okay.
HELENE (38:30):
So if if people go to totalcasting.ca, Canada, and
they click on Showbiz Connect,it's gonna bring them to a page.
They can fill up the email andthey're gonna receive a link, a
Zoom link.
It's a Zoom cast, I call it.
MAX (38:44):
Right.
HELENE (38:44):
So it's a live Zoom cast every two Wednesdays at one
o'clock, and then once theshow's finished, it's gonna go
on YouTube.
It's gonna be the editedversion on YouTube, and then
it's going to Apple Podcast andSpotify.
Spotify, yes, exactly.
MAX (39:02):
And so, what do actors need to prepare for that, or is it
just it's like a conversation?
HELENE (39:07):
It's not necessarily an audition, it's more like we have
different guests, we havedirectors, we have casting
directors, okay, okay.
We have uh coaches.
Uh that today we had thesinging coach.
I invited also a very good uhfamous singer as well.
And um, yeah, different there'sa different theme, you know
what it is to find differenttheme for a podcast or show.
MAX (39:31):
Yeah, keep it fresh, keep it relevant.
HELENE (39:33):
So we have a theme every two weeks, and uh I have maybe
coming, I'm gonna have someagents come in also uh for kids
in the biz about kids, so likedifferent themes like that.
So you learn different crafts,you have different connections,
and when we do the breakoutrooms at the end, then we have
different people, and thenpeople can make some connections
(39:55):
here and there.
Um, sometimes just producers,and yeah, in two weeks it's
gonna be a director, producer,and like different people.
So it's very exciting.
I uh uh I love it.
Uh it's my new thing, ShovisConnect.
MAX (40:09):
Well, yeah, it's a great way to really gain some
knowledge from people busy inthe industry, industry
professionals, and also yeah,start to build your build your
network a little more.
That's that's great.
HELENE (40:20):
It gives ideas just like we're doing right now, you
know.
We're trying to give as muchadvice as possible, and you
create your questions are righton point.
MAX (40:27):
So well, I mean they come from a credible, authentic place
of me being an emerging actorlooking for the next role.
So so I hope they're they'rerelevant.
But but thank you, um, thankyou, Helen, for sharing some
great learning insights.
And I appreciate that.
Thank you.
Thank you so much for sharingsome great insights um from the
perspective of a castingdirector.
(40:48):
I'll I'll be sure to check outthe podcast as well for lots of
tips.
HELENE (40:52):
Well, thank you very much.
Much appreciated, for sure.
MAX (40:56):
So don't forget to follow, download, and listen to more
episodes.
I'm Max Belmonte, and this isTwo Unemployed Actors.
Speaker 00 (41:03):
Two Unemployed Actors.
Today I'm talking to Helene Rousse, a Casting Director
based in Montreal with over 35years experience in the
business.
A great opportunity for us toexplore what the industry looks
like in Canada and perhaps evensome advice for actors today.
INTRO (00:15):
Two unemployed actors.
Two unemployed actors.
They're just between projects.
MAX (00:27):
Welcome, Helene.
Thank you for joining me.
Before we get into more detailon your experience as a Casting
Director, can you give us a bitof an update on what the
industry looks like in Canada atthe moment?
HELENE (00:39):
For sure.
First of all, thank you forhaving me.
This is great.
Thank you, Matt.
MAX (00:44):
You're welcome.
HELENE (00:45):
Yes, I'm standing right now in Montreal, Canada, and
it's still very warm.
MAX (00:51):
A bit jealous, but yeah.
HELENE (00:53):
Yes, there's no snow yet.
But u the industry here, uh, Ithink it slowed down this year,
actually.
People are like shocked.
Um, I think Toronto is doingpretty well in general.
Vancouver, well, you know, it'salways close to LA, so they get
all the series and and so on,and the dollar is pretty good,
(01:14):
right?
So it doesn't, doesn't it's nota very long road to drive to,
not to drive, but to take aplane and just go next door.
Uh here in Montreal, yeah, itslowed down a little bit.
Um, but uh we're hopeful we'redoing some um promotion.
I'm part of the BCTQ, which isthe Bureau of Cinema at Quebec,
(01:36):
and we're we're actually havinga meeting uh with the unions and
another casting director to seehow we can bring more uh film
here in uh Montreal, Quebec.
And also I'm part of anotherassociation called the Quebec
English Producer Association tobring more to do promotion and
advocacy and you know, to bringthe two languages together
(01:59):
because here um we have lots ofproduction in English, and 50%
of it is also in French.
50%.
MAX (02:07):
I thought, yeah, I thought most of I thought it'd be more
like 75% English, but uh butyeah, no, that's interesting.
HELENE (02:15):
I guess it depends which year, but um yeah, there's as
as much English as French.
French, there's future films,there's a lot of TV series,
there's still stuff going on onthe networks.
Um, so you know, people can cancan get some work and they can
work almost full-time, uhbasically.
For some of us, right?
MAX (02:36):
Yeah, and I know, right?
For uh yeah, uh it's a dreamfor every actor to be able to
work full-time, um, get canceltheir survival jobs and and and
plow on in the art that theylove.
But uh, I guess the thewriter's strike put the brakes
on a lot, even even as far flungas markets such as Australia,
you know, we felt an impact.
HELENE (02:58):
Um before mainly too, you felt it.
MAX (03:02):
Um well, I I think I think it was that our perspective, I
think we shared with manymarkets where we just thought
once it was over, it would goback to normal.
Um, what we've sort of found isthere are fewer productions
being commissioned, and whenthey are, the budgets are lower,
and they're asking more forwhether it's in front of the
(03:22):
camera or behind the camera.
HELENE (03:24):
What's coming um a lot more is the verticals.
Have you heard about it?
MAX (03:29):
Yeah.
HELENE (03:30):
It's the new end thing right now, and actors should
jump on that.
Like, it's like even like theother, like the the the big the
Disneys, they see this that theythey all want to get on the
wagon because like that's thenew era, and that's how you know
those big companies from Chinaare everywhere, they make money.
We have a few companies here,like I did the casting for a
(03:52):
couple of those verticals, andit pays okay, but some people,
some actors, they actually get acontract with a a production
company where they get used overand over and over.
It's a whole different worldnow, and you can get part of the
uh and the sales, you can bepart of the sales as well and
get a you know a piece of theaction there, which helps
(04:14):
certainly.
MAX (04:14):
I think I think at first the you know it was it was
looked down upon because of thelow budgets, and actors were
like, Oh, do I really want tocommit to something like that?
And but now that it's startingto mature as an option, um, and
you're right, you know, the bigbig studios and production
companies that have beenestablished for some time are
looking into it because at theend of the day, that's where the
(04:34):
eyeballs are.
There's there's less and lesson networks.
HELENE (04:39):
Yeah, the actor can really work on his craft and
work a lot, and the budget aregoing up and up slowly, so you
can you can get to to work likea lot more.
It's it's it's a wholedifferent world we're going into
now.
MAX (04:53):
I think from because I'm I also write and I'm trying to
produce some some televisionshows as well, and and and in in
the current environment, tryingto get your first producer
credit, you know, you're goingto strangers asking for money.
Uh, and and it's hard when youhaven't produced anything,
right?
So, a pathway I've seen israther than just doing a proof
(05:13):
of concept like a short film,it's it's we'll do verticals
because you could not onlydeliver a proof of concept and
show how successful it can be asa television series, but also
you're bringing audience with itas well.
HELENE (05:24):
Um yeah, absolutely.
MAX (05:26):
Really interesting.
I'm uh I was talking to anactor last week who is about to
debut on TikTok a 32 episode, 32by two minute uh vertical
series.
And the uh screen organizationsin Australia have sort of
gotten around to funding that,whereas before it was like web
series and they just classed itunder online, that now is
(05:49):
starting to grow as a share ofum the funding and encompasses a
lot of verticals as well, whichis interesting.
So you but look more work foractors, yeah.
HELENE (05:58):
Yes, and it's very good to practice the craft.
I think they gotta learn like20 to 25 pages, they gotta do it
in one day or something.
MAX (06:05):
They shoot fast.
HELENE (06:06):
You gotta work that muscle.
MAX (06:08):
If you don't turn up prepared, you're you're gonna
have a very very difficult day.
HELENE (06:13):
They do a full, like a full movie in like five days
that they chop it into littleepisodes, and my god, you know,
it's it's it's a good way to getworking.
And and one of the guys, Ithink his name is um Tim Milk
Milk.
Um, he um he has 250 millionfollowers because he's in
(06:36):
verticals.
Can you imagine?
Oh my god, how fast it went.
And he said it just learned hiscraft.
He was a model, became actor,and just tried to learn and
memorize.
And he said sometimes it goescrazy, and it's like 12 hour
days or something.
So he really uh so you neverknow, you know, which door it's
(06:57):
gonna it's gonna work for you.
MAX (06:58):
That's right.
HELENE (06:59):
If you just say no to something, this is like the new
opportunity, and it's shocking.
I have two of my friends, theystarted a whole platform that's
all they do.
MAX (07:08):
Really?
HELENE (07:08):
One is called Read Frame, uh-huh, and uh the one is
kind of all love stories, andyou know, it's always like uh
romance and the millionaireversus this and that.
MAX (07:19):
Ah yes, the dra the drama dramas in two minute two minute
bites.
HELENE (07:24):
That's right.
They want to hook you so youcan pay to know what's gonna be
next, what's gonna happen.
MAX (07:29):
Yeah, people scroll quickly, so you gotta get in
there with the hook.
That's interesting, isn't it?
Talking to casting directorslast year on the podcast, I
don't think it was even a topicto to talk about.
Like it wasn't even a bulletpoint.
Whereas now it's um it'sgrowing so much.
Interesting.
HELENE (07:45):
Yeah.
MAX (07:46):
Well, how how did you get into casting?
Well, you always wanted to workin the industry, or you've
yeah, I think I started like at14.
HELENE (07:56):
Oh wow in the industry.
I started dancing, modeling,and uh at 21 I opened a talent
agency.
At 21.
I knew exactly like I wanted tobe in the industry, so I took
some classes, this and that.
I opened the agency, and umeventually I um I did I had some
(08:17):
uh shareholders, and we openedum I I did an affiliation with a
company in New York calledMcDonnell Richards, it was a
commercial print agency.
And with them we opened inParis, and then we were like
sending the models so we canrepresent more models, and that
started like that.
(08:38):
And um eventually I had also adivision for actors and a
division for voice.
I always had a division forvoice, but in those days, you
know, voice we had tapes, yeah,yeah.
We didn't have MP3s, right?
So it was costing a lot ofmoney for the actors, you know,
make the tapes, and then we hadto get a courier and send it to
(09:01):
the studio, and actors had toadd like a hundred pictures, a
hundred resumes, we had to sendit all in hard copies.
Wow.
I mean, it was so expensivethose days, but anywho.
Um, so basically, um I had oneof my uh assistants that
actually left with half of myactors at the time.
Yeah, and uh she did that withher mom while my mom was at a
(09:25):
hospital pretty much dying.
So um I came back and I had torebuild, and I said, you know
what?
I'm just gonna sell the companyand I'm gonna go into casting
because you know, then it's goodit's gonna give me the
creativity to work with like thecreators, the directors.
(09:47):
And I felt like as an agent, Ididn't have you know the control
or the power to help as much asI could for the talents, the
actors, the models, the voicetalents.
So for me, um being a castingdirector, I can have more power
(10:08):
to help, yeah, to be able toselect and and push and work
directly with the creators.
And I I think that as an agent,I thought it was hard to get my
commissions actually.
So I said, I don't need that.
MAX (10:23):
Yeah, no, exactly.
You you've got less lesscontrol, I guess, and less
influence in the outcome as muchas the creative process.
HELENE (10:29):
No, I actually get paid like on time.
MAX (10:33):
You're not chasing up those phone calls, yeah.
Agents, they do earn theirmoney.
I I think um, well, I think itit the agency was good for you
in that it it it allowed you toget experience in the industry,
so you actually knew which pathyou you wanted to take.
HELENE (10:47):
Exactly, exactly.
I think it was a normal step tobecome a casting director.
I knew every side, every step,you know, when you're in at the
different angles and you sit atall these different chairs, you
know, you're well-rounded withall the, you know, from from
acting to being an agent tobeing casting director.
And we all wear so manydifferent hats, even you two.
(11:08):
You like writing, you this, youproduce, right?
Yeah, so same thing with me.
I'm co-writing a sci-fi withsomebody else, and I'm trying to
to do that as well.
And you know, there's so manydifferent hats, but uh, but
casting, it's been now 25 yearsthis year.
MAX (11:25):
Wow.
HELENE (11:26):
So I'm celebrating.
MAX (11:28):
Well, congratulations.
And I'm and so what what wouldyou say are your favorite
aspects of the job?
What's been keeping you keepingyou going over those 25 years?
HELENE (11:39):
I think when I received the email or an accolade from
the client, like the producer orthe director, saying, Helen,
that was an amazing job.
We are flabbergasted.
And I just got um anotherGoogle rate this week of another
client.
I was so happy.
He went, I didn't even ask him,he went and wrote something on
Google.
MAX (11:58):
Fantastic.
HELENE (11:58):
I'm like, yes, this is kind of my food.
And to make actors happy, likeI have a newsletter I send out
to the people that areregistered in my database, and I
congratulate all the peoplethat got lee roles or this or
that.
You know, I think it'simportant.
So I'm very happy for them, andI'm happy this happens.
If if I can help to elevatesome talent, I mean that that's
(12:22):
great.
MAX (12:22):
Do you do you cast also for television commercials, or is
it all just film and television?
And what about verticals too?
I mean, yeah.
HELENE (12:31):
The company is called Total Casting.
MAX (12:33):
Okay, got it.
HELENE (12:34):
So I I cast the clues in the title feature film uh
seasons.
I do also have an in-houserecording studio, so I cast
voices in all languages.
I've done over a hundred videogames where I book people from
all over the world, really, withtheir voice uh for different
games.
We do also dubbing foranimation, animated TV series
(12:57):
for kids.
That's one of our specialty.
MAX (12:59):
Wow.
HELENE (12:59):
That's it's a lot of fun.
Dubbing is hard to hire fromeverywhere, it's mainly central.
Yeah, but for games and formany other jobs, corporate.
We do a lot of um GPS for cars.
MAX (13:12):
Oh yeah, yeah, yeah.
I think people people, whenthey hear voiceovers, they think
of you know radio commercials.
They don't really, you know,that but there's so many
pathways to to bring voices tolife.
I I know I've been doingvoiceovers for I think like five
or six years now, and from homeas well.
Mainly, I think because I Itook a break from acting for 20
(13:34):
years in the corporate world, soI've come back to the arts.
This is why I'm so happybecause I'm I'm back in the arts
away from the corporate world.
And I um find myself bringingthose dry sort of corporate
scripts to life more thananything.
Um, and trying to make some ofthat copy sound relaxed and
relatable takes a lot of actingtalent, I can assure you.
(13:54):
Some scripts you forget as soonas you turn the microphone off.
But um, but uh yeah, there's somany avenues for uh voice work.
HELENE (14:03):
And isn't that fun?
You can do that in yourpajamas.
MAX (14:05):
Indeed, yes, you can do it from the comfort of going home.
The commute is from the livingroom to the office, it's easy.
HELENE (14:11):
But uh I I think You don't have to learn it by heart
either.
No, read the script.
MAX (14:17):
Well what's interesting, and I think the the Australian
Association of Voice Actors thatI'm a part of, we would the
dialogue at the moment has beena lot around um artificial
intelligence and how thatstarted to impact some areas of
the business.
And and even from uh in frontof the camera on set, like I
remember I did one televisioncommercial, and the director
(14:39):
came up to me and he's like, Oh,you look exactly like the AI
storyboard that I'd created,like you as this character.
I'm like, I didn't know whetherto be offended or think which
part of my work has been scrapedover the internet to construct
the AI version of me, and howlong before the AI version of me
starts to get more work thanthe real me, and all this is
going through in my head as I'mthinking, just smile and nod,
(15:01):
you know.
But I think it's it's it's itthat's something that I've seen
start to come in where even theunion in Australia uh a couple
of years ago said, make sure youput this paragraph in your
contracts to say, here's my workas per usage agreement, but not
to be in your bank of data asas AI owned, exactly.
(15:22):
Yeah.
HELENE (15:22):
Right.
MAX (15:23):
Have you uh is that something you you're seeing in
in your market as as well?
Impacts of AI.
HELENE (15:30):
Yeah, I think it happens more in um in voice and in
video games.
That's the main thing.
We get a lot of casting for forvoice for AI stuff, for all the
languages.
It's not everybody who wants todo it, and it's okay.
It's not for everybody, andit's a very different flow of
speaking, you know.
(15:51):
I mean, I use Chat GPD, I useyou know, whatever, but um, and
you can hear those differentvoices, and sometimes oh, I just
want to change the voice.
I wish I had a great accentlike you coming in.
MAX (16:02):
Um I think I think it's it's I mean, there are
opportunities, and also I thinkas we see the technology get
better and better, it's it'sit's harder and harder sometimes
to choose to to to pick up.
I think because we live andbreathe, you know, in the
industry, it's it's a bit easierfor us to see, just as it might
be to pick a paragraph that'swritten by ChatGPT than an
(16:23):
actual writer.
But uh it's it's certainly hereto stay, and I guess it's how
we live with it in the industry.
HELENE (16:30):
It's here to help.
MAX (16:31):
Yeah.
HELENE (16:32):
You don't take it verband, obviously.
But uh for for for the voice,uh for the AI voice, um, we just
had a demand today, it wasFrench-Canadian.
So I put some people in there,and it pays $150,000.
MAX (16:48):
Good lord.
But for that.
So it I mean, yeah, certainly.
Buy out.
I think so.
That's buy out.
So yeah, so so as a voiceartist, then if you were to go
on a job uh at a project, uhwould you have to declare that
you're the voice of such andsuch AI or or well this one's
(17:10):
not exclusive.
HELENE (17:12):
So it's just a buyout of your voice instead of you know
saying, Okay, we'll buy it for10 years or whatever.
Yeah.
So they pay like an amount,like a first amount, like
50,000, that say you gotta do, Idon't know, so many hours of
recording, and then a buyout of100 grand, which is pretty
interesting.
MAX (17:28):
Yeah, at least they're not all like that.
No, and I think no, and thenthere are some that are just
taking voices and and doing whatthey want, but I think that's
at least that they're up frontand there's remuneration for the
artist.
So in in the in the businessthat is total casting, um, do
how early would productioncompanies come and seek your
(17:48):
input for a project?
Is it right at the beginning inearly development, or is it
just before they startproduction, they want to know
who the rest of the cast lookslike?
HELENE (17:57):
I think way too often at last minute.
I don't know why they just wantto, you know, and then we all
rush, rush, rush, rush, and thenthe actors need to rush for
their self-tapes.
Like it doesn't make sense.
Like, why not like do thismonths before you already
started?
So and sometimes we do thecasting for the stars in
advance, so that's fine for themto be able to go get the funds
(18:21):
with the uh different subsidiesthat are available.
Uh, just like we have here,different ones that it's called
Telefilm Canada, and you know,you have to apply, and then you
still have to have the nameswith your project so you can get
maybe the funds.
MAX (18:36):
Yeah.
HELENE (18:36):
And not already gets chosen, right?
MAX (18:39):
Do you have a preference for casting more for television
or film, or is it just becauseyou're total casting, you're in
all the the areas of theindustry?
HELENE (18:47):
I think commercials are fast and quick.
MAX (18:49):
Yeah.
And and is it and do you findit a great way to find new
talent as well?
Like someone I had a castingdirector tell me once someone
comes in and they just nail theaudition.
Maybe they're not right forthat particular role, and maybe
they don't even get put forwardto the client, but the casting
director remembers them, andthen when a role comes up, they
can like, I know who would beperfect for that, you know.
Does that actually happen?
(19:10):
Or is that just an actor'sdream?
HELENE (19:13):
That's exactly it.
I keep all the auditions and Ithink, oh, this guy was good in
this one.
Even if he didn't get the job,the last one, of course, I'm
gonna call do a callback.
And sometimes I you I use theaudition to center a client,
they pre-select just sometimesby the old editions.
MAX (19:29):
Right.
HELENE (19:29):
So yeah, but of course, when we have a demo video, it's
always useful.
Like I've watched even yourdemo video, and it's very
striking right from thebeginning.
Poof, it gets your attentionimmediately.
So kudos for that.
MAX (19:44):
Thank you.
HELENE (19:46):
I think it's really important for an actor to have
that, yeah, and have it easilyavailable for everyone.
MAX (19:51):
And I think always always try and keep it updated.
And I think you're right, it'sgot a it's got a hook from from
the start, and I thinkparticularly when you're not
known for your work, you've gotto really put all the different
a lot of as much as you can havedifferent genres in there and
show you know your range uh asan actor, I guess.
Yeah, that's reallyinteresting.
HELENE (20:12):
Sometimes it's separate, like if you do like commercials
in corporate, you should haveanother demo video separate from
your film and television andyour scenes, it's very
different, right?
MAX (20:23):
Yeah, I think because at the moment, what's paying the
bills the most when you look atmy voiceover, writing,
producing, acting, it's it's umpresenting to camera work where
again it's the corporate money,it's consistent, and and a day
on set presented to camera paysmore than if I was in a
television series for a 50-worduh over two days.
It's it's it's it's a crazyimbalance, but n nonetheless, um
(20:47):
you know it's you're right,it's a different show reel for
me because of that differentstyle of work, and and uh it's
yeah, I mean ideally like anyactor, I'd love a great
character, but you can't ignorethe fact that you've got to keep
the lights on in the meantime.
HELENE (21:05):
Yeah, exactly, exactly.
And and it keeps your muscleworking anyway, right?
MAX (21:10):
That's right.
In between those fun scenes,yeah, exactly, exactly in the in
between the fun projects.
I think no, you're absolutelyright because sometimes the
material isn't stuff that you'dnormally gel with in life or in
that in a as an actor, andyou've got to really work your
acting muscles to deliver itsort of relaxed and relatable
while you're doing whatever itis you're doing.
(21:31):
And and I think it's great, itdoes keep your work fit, and
that's one reason why Icertainly keep it up.
The other the other way I'vefound to help me stay work fit
is is doing short films, like umparticularly some student
films.
There's there's plenty ofstudent schools in Sydney, even,
but there's a there's a fewthat I've learnt to avoid and
(21:51):
that sort of accept anyone, andthen there is a few where you
know they have to have aportfolio um to be accepted, uh,
where you know they meet acertain standard.
And it's a great way for you tofeel a bit freer as an actor
because there's a bit lesspressure, um, and you can
indulge and push limits a littlemore and and really immerse
(22:12):
yourself in the sometimes.
I found some of them are moreprofessional than some
professional crews, you know.
It's it's it's an amazingexperience, but again, it's
experience, it keeps you workfit in another way.
HELENE (22:23):
Always, always.
Same thing.
I I thought, you know, it wouldit slowed down a little bit
this year, just a bit, and Ithought, what else can I do?
Right.
So I think I I came up with theidea to do uh a live Zoom every
two every two weeks.
(22:44):
Not exactly a podcast like you,but um so that's what I did.
It's called Showbiz Connect,and I do that every two weeks,
and I have different guests andI do draws and I give all kinds
of things to help the actor.
It's all for the for the actorsand the talents out there.
(23:05):
And sometimes when you givelike that, you know, uh you you
get so much back in a way,right?
Yeah, and uh it's to organizeall that, you know.
It it it it took about likethree, four months to be able to
put all that together.
And at the meantime, what I dois I promote a new class that I
(23:26):
put together for for beginners.
Um and because people alwaysask, well, how do I start?
Right?
MAX (23:33):
It's always and it's and it's daunting when you don't you
don't know you you you knowwhen your only experience is
watching the content, you know,you don't it's it's hard to try
and learn as quickly as possiblewhat you know what the
processes are.
HELENE (23:46):
Um exactly and there's I put that together, it's like uh
it's called a formula one, it'slike a race to this.
Oh, good.
MAX (23:54):
I like it catchy, I love it.
HELENE (23:57):
Yeah, find the right formula with modules.
People are learning online foryou know three months to six
months, whatever they want.
It's like a platform, and um,and then twice a week they have
a live coaching, they practicetheir craft, their edition,
their self-tapes, theirmonologues, their scenes in
front of coaches.
They have feedback and theylearn all the way, every single
(24:21):
tool of the trade, you know,headshots, resumes, blah, blah,
blah, all the tricks of thetrade.
Because I've been doing thisfor more than 40 years.
MAX (24:29):
Yeah.
For me, coming back after 20years in corporate, I I because
I was acting as a teenager for awhile, they're not taking it
very seriously, and certainlynot a lot of life experiences,
many teenagers who relate, butbut then um coming back, really
not knowing the industry at alland and how it had changed, but
have just having that experiencemany, many years ago.
(24:50):
Uh, I think for me it was justdive right in and go to lots of
industry events to to learn.
You hear producers talk, QAs,find out what's happening, who
are the good agents, the badagents, all that sort of stuff,
and do the short films andimmerse yourself in workshops.
I think that flooding my mysenses with immersing myself.
(25:11):
Everything, yeah, it really wasa a quick education.
Yeah, it was it was aninteresting way to to come back
when you've got some lifeexperience and you're coming
back trying to learn theindustry again.
Yes, even that could fit feltdaunting at times.
So I absolutely it it reallyunderlines how people do need
(25:32):
and look for guidance becausethey don't know who to trust and
which path to take.
So, yeah, Formula One, okay.
I like that.
You like that?
I do, I think it's great, it'sgood.
HELENE (25:43):
Yes, there is a few people surround me who was at
the show also.
Um the they're all back totheir passions, and sometimes
they're 50 or 60 years old, saidthat's it, I'm doing what I
love, I wanted to do that.
And those days, you know,people said, Well, want to get a
real job, right?
MAX (25:59):
Exactly, yeah, yeah.
HELENE (26:00):
That's what people said then, right?
And and now they're saying, No,that's it.
I'm diving in, like you said,you know, surround yourself, do
a workshop, do the mixtures, uh,you know, mingle, get listen
podcasts like yours.
I mean, things you learn,learn, learn.
You gotta assimilate as much asyou can.
So you can give them and forme, that's why I created that,
(26:22):
because this this class, sopeople cannot go in zigzag,
they're gonna go in straightline on the racetrack.
MAX (26:28):
You often actors will think, you know, it's a fight, a
battle to get there's a pointwhere you've got an agent, but
then it doesn't end and youcan't just sit on the couch
waiting for the call, you know,from the agent.
You've got and it's still abusiness where you've got to get
out and about and make thosecontacts and networks and
partnership.
You're always learning.
No, I think that's that'sfantastic.
So any guidance you can providethere is is certainly valuable
(26:50):
for any artist.
HELENE (26:51):
You have to put yourself out there all the time.
MAX (26:54):
As as we move to perhaps, you know, advice for for actors
when it comes to the castingprocess.
I mean, are there any sort oftrends in in casting that an
actor should be aware of at themoment?
I know one, for example, is isthe trend to doing more
self-tapes.
HELENE (27:14):
Yep.
Right now, I would say 99.5% isall self-tapes, right?
MAX (27:19):
Wow.
HELENE (27:19):
It's a whole different world, which gives a lot of uh
leeway for actors to do a lotmore editions.
Everything has changed.
But for me, if you're going toset a self-tape, for me, the
self-tape quality makes a bigdifference.
Um that your camera is notblurry, that you have the right
background, that it's neutral.
I I did I did do a video on howto self-tape and everything.
(27:44):
I do have a YouTube channelcalled Casting Vlog.
And uh so I put a few videosout there to to help out uh the
actors, but uh there's so muchinformation on YouTube about how
to do a good self-tape.
But this this is key, I think,because if you're you have
something distracting you in thebackground, or you have big
(28:05):
jewelry, or you know, thebackground is way too much, it's
gonna distract from yourperformance.
And we want to see you, theactor, in the performance, we
don't want to see everythingaround it, right?
So that's key for me, and to bereally present, have have your
whole setup.
I know it's all technical, butyeah, you don't have a choice
(28:26):
now.
This is what it is these days.
MAX (28:28):
Yeah, yeah.
I I I kind of I mean, I I Ilove to be in the room and and
and you get that feedbackimmediately, like you know, can
you try it in this direction orthat direction?
Or no, I just I really I lovethat, and you know, every actor
loves an audience, right?
But even under pressure, butbut I think I do see the benefit
in self-takes where you canjust go uh record as many takes
(28:50):
as you're comfortable with to beable to, you know, put the put
the right submission.
HELENE (28:57):
Um we had some callbacks.
When one actor was in Torontoand Montreal, so we had to do a
chemistry read two by two.
And so you put the screen sideby side and they have to read,
and wow.
You can still see if there'ssome kind of chemistry.
It's not the days where Icasted Death Race and we had to
they they were bringing anactress from LA, another one
(29:20):
from Vancouver, they brought himin Montreal and they do a
chemistry test live, like inperson.
They flew them.
MAX (29:26):
Yeah.
HELENE (29:26):
So I think we're far from that now.
MAX (29:29):
Yeah, no, I remember, you know, uh Australian actors talk
about how one minute they'restruggling to feed themselves,
you know, the industry's like asan emerging actor, and and the
next minute they're on abusiness class trip to the
states to to test for a network,you know.
It's like it's like, yeah,though those days and dusting
off their standard Americanaccent.
Um, I think you know thatyou're right.
It's it's we're far from that.
(29:49):
We just have to adapt now.
HELENE (29:51):
I wanted to come back to you about the vertical that
when they advertise, uh you Idon't know if you know that
platform, mandy.com.
MAX (29:59):
No.
HELENE (30:00):
So these verticals are advertising there and they're
flying people to China to shootfrom anywhere in the world.
So if people out there arelistening and you want to maybe
do some verticals, they're goingto pay for the trip,
everything, and then you getpaid per day whatever they're
paying.
But there's some moreadvertisement right now on that
(30:20):
platform.
So if some people out therewould like to try that, hey, you
can get a trip to China ontelevision.
MAX (30:26):
It's really interesting.
Yeah, we had, I guess, partlybecause our proximity to China
here in the Asia Pacific, we'renot that far.
I think there's there was a fewum a few actors have talked to
me about how they were lookingat going to China and and and
and I think it's like a coupleof weeks and then they shoot so
much in that period.
And and because it's just it'sjust so new.
(30:48):
We're just coming to terms withit all.
It's yeah.
HELENE (30:51):
But you know, I but it's interesting, it is, isn't it?
And it's worth to look into itand maybe send a health tape if
it's you know you're availablethose dates and you think you
can learn 25 pages, like whenyou're really good at
memorizing.
MAX (31:05):
That's where all the all the eyeballs are.
I get well, is it important foractors to develop a large
following on social media?
Is that a consideration forcasting directors?
HELENE (31:17):
Um, it's somewhat important, but not um not in
general.
But we go look sometimes at theInstagram.
My assistant gun is going to golook what that person's done or
whatever.
Um, it did happen when I did auh video game where we casted
the voice, the person had to domartial art for real in real
(31:40):
life.
They had to I had to give alltheir social media following
because of marketing, they'rethinking ahead.
Yeah, so it's sometimes it'sfor their promotion and
marketing.
They want to see if you'regonna market the product after
you've done the shoot.
So, but it's not happening veryoften.
MAX (31:56):
Okay.
HELENE (31:56):
Have you heard more on your side?
MAX (31:58):
I think as an actor, we feel the pressure sometimes to
be able to consistently put outsocial media, and we always look
at it through the lens of umwhatever casting director sees
it, or what are my agents gonnaget angry if I if I don't do
some behind-the-scenes socialposts about this job, or so it's
(32:20):
always it's always like we thisis what goes through our minds.
It's always a focus for us, andand sure there are moments like
anyone with a bit of commonsense has a lens as well to say,
Well, I don't think I shouldpost that, you know, and if
you're not sure, don't do itsort of thing.
Um, but but I think there'salways doubts, yeah.
HELENE (32:39):
Yes, yes, we we look at that not that often, but once in
a while we need to check, okay,what what is he doing?
What is because sometimes if orif some actors don't have a
demo video, we're gonna go checkbecause we need to see the
person live and we're gonnacheck if there's any videos on
Instagram or YouTube or whatnotto see a little further than
what we've seen.
MAX (33:00):
Right.
See the see the actualpersonality and some
authenticity and insights toother projects, maybe how they
work.
I get yeah, I get makes sense.
HELENE (33:08):
Yeah, maybe we want, you know, do we do we want to work
with that person?
Is that personality is gonnafit.
MAX (33:15):
Yeah.
That's really interesting.
No, that makes sense.
Do you find actors without anagent, or does everyone come to
you through an agent?
HELENE (33:25):
Uh that's a very good question.
Um both.
MAX (33:28):
Okay.
HELENE (33:29):
Yeah, I have no problem.
I have that's why I have adatabase where people can go and
register, and most of themdon't have agents, so we book
them directly.
Okay.
I send them a newsletter,whatnot.
And uh there's a couple, uh,but that's usually like you
know, pretty much like that.
There's a couple people hereand there with no agents.
Um so and sometimes when wesearch out large, then we're
(33:53):
gonna go on different platforms.
Like we go in the castingworkbook, the platform.
MAX (33:56):
Okay.
HELENE (33:57):
Um, it's a very good platform to look for uh actors
that and a lot of them have nonno agent.
Um, or if you were looking forunion, non-union, or live in
different cities, like uhcasting workbook is also good
for the states.
So we use that platform a lot,and other platforms as well,
(34:18):
honestly.
But um, I don't know whichplatform you guys receive
breakdowns.
MAX (34:22):
In Australia, there's sh the main ones are Showcast and
Casting Networks, where youcertainly pay to have your
profile up there.
Um but within those, I thinkyou certainly need an agent to
be able to, because they're theones that see all these almost
exclusive to those platforms,television commercial auditions,
some film, television.
(34:43):
And so you really need theagent to be able to submit.
You can't sort of self-submit,if you like, through those
platforms, and you don't, as anactor, get visibility.
And of course, there are manymore.
I mean, I'm on another coupleof platforms, and some of them,
you know, you can end up payinga fortune.
Pardon?
HELENE (35:00):
Do you know actors access?
MAX (35:02):
Uh no, that's not a big one.
HELENE (35:03):
A lot of the states use that in Canadian as well.
Okay.
That you can see somebreakdowns.
Like uh sometimes we can choosewho can see what, and so on,
but that you can have your ownplatform, and a lot of actors
actually can get jobs directlyfrom that platform.
Even from Australia.
MAX (35:22):
Okay.
Wow.
Something to consider.
Well, yes, and the other onethat leads into you know a
question of how can actors standout to casting directors?
How can we be seen what whatwhat what else can we do other
than be on the platform?
Um, you know, for example, ifI'm if it when I was in the
theatre in a a production, I'dI'd invite um different casting
(35:45):
directors, industry contacts tocome and watch.
Um can people email you andsay, hey, here's my updated show
real or what what what can wedo?
HELENE (35:54):
Yes, absolutely.
Um email when you do sendinvites, make sure that the
casting director or or even youragent don't pay to get in
because they receive so manyinvitations.
If they start paying foreverything, they're gonna be
bankrupt.
But that's that's one thing,one thing to do.
Um, I say also always thank acasting director, send a little
(36:16):
card or something by email, oractually a hard copy.
If you want to be differentthan others, you can find out
the address maybe of thedifferent casting directors
around you or somebody you'dlike to be seen by.
And I would actually send ahard copy in a resume with a
maybe a like, I don't know, likea little card, a ten dollar
card from Starbucks or somethinglike that.
(36:37):
I'd like to, you know, or maybefind out when their birthday is
and send a little email, alittle something.
MAX (36:44):
Okay.
HELENE (36:45):
Be creative.
That's what I'm saying.
That's what I explain also inmy class.
I I I try to give those tricks,you know.
I mean, always thank maybe thecasting director that sent you
and your agent, even if youdidn't get the gig, thank you
for sending me, or littlesomethings like that, right?
(37:05):
Appreciation.
And that will come back to you,and they will think about you
and they will remember.
Meaning gestures sometimes govery far.
So that's what I would suggest.
MAX (37:15):
Interesting.
No, I like that.
Uh especially, especially thethe because you're not the first
person in the last week to sayin the industry to say, I'm
happy to receive, you know,letters and hard copy, because
it's a it's a it's a unique wayby going back to the olden days,
you know, to stand out thesedays, you know.
I think that's reallyinteresting.
HELENE (37:34):
Um you can follow up by an email saying, Oh, did you get
my archive or yeah, I lovethat.
MAX (37:39):
That's great.
That's so cool.
I think that's great advice.
HELENE (37:42):
Yeah, I'm returning to some of the basics where people
actually are happy to receivemail.
MAX (37:48):
I know, it's hilarious.
The postman actually stops now.
Um, so what what what whatabout actors who haven't had
auditions for some time?
Like, you know, there's there'suh what what what what advice
would you give them to be ableto stay work fit and ready and
you know develop your network?
HELENE (38:09):
Well, networking is key.
So for me, I'm always that'swhy I did Showbiz Connect.
I connect people together.
I do breakout rooms at the endof the show.
MAX (38:18):
So yeah, so tell me more about the podcast.
So Showbiz, it's called ShowbizConnect, and what you invite
like a group of actors, do theydo they is it like a workshop?
HELENE (38:28):
We can be invited from anywhere.
MAX (38:29):
Okay.
HELENE (38:30):
So if if people go to totalcasting.ca, Canada, and
they click on Showbiz Connect,it's gonna bring them to a page.
They can fill up the email andthey're gonna receive a link, a
Zoom link.
It's a Zoom cast, I call it.
MAX (38:44):
Right.
HELENE (38:44):
So it's a live Zoom cast every two Wednesdays at one
o'clock, and then once theshow's finished, it's gonna go
on YouTube.
It's gonna be the editedversion on YouTube, and then
it's going to Apple Podcast andSpotify.
Spotify, yes, exactly.
MAX (39:02):
And so, what do actors need to prepare for that, or is it
just it's like a conversation?
HELENE (39:07):
It's not necessarily an audition, it's more like we have
different guests, we havedirectors, we have casting
directors, okay, okay.
We have uh coaches.
Uh that today we had thesinging coach.
I invited also a very good uhfamous singer as well.
And um, yeah, different there'sa different theme, you know
what it is to find differenttheme for a podcast or show.
MAX (39:31):
Yeah, keep it fresh, keep it relevant.
HELENE (39:33):
So we have a theme every two weeks, and uh I have maybe
coming, I'm gonna have someagents come in also uh for kids
in the biz about kids, so likedifferent themes like that.
So you learn different crafts,you have different connections,
and when we do the breakoutrooms at the end, then we have
different people, and thenpeople can make some connections
(39:55):
here and there.
Um, sometimes just producers,and yeah, in two weeks it's
gonna be a director, producer,and like different people.
So it's very exciting.
I uh uh I love it.
Uh it's my new thing, ShovisConnect.
MAX (40:09):
Well, yeah, it's a great way to really gain some
knowledge from people busy inthe industry, industry
professionals, and also yeah,start to build your build your
network a little more.
That's that's great.
HELENE (40:20):
It gives ideas just like we're doing right now, you
know.
We're trying to give as muchadvice as possible, and you
create your questions are righton point.
MAX (40:27):
So well, I mean they come from a credible, authentic place
of me being an emerging actorlooking for the next role.
So so I hope they're they'rerelevant.
But but thank you, um, thankyou, Helen, for sharing some
great learning insights.
And I appreciate that.
Thank you.
Thank you so much for sharingsome great insights um from the
perspective of a castingdirector.
(40:48):
I'll I'll be sure to check outthe podcast as well for lots of
tips.
HELENE (40:52):
Well, thank you very much.
Much appreciated, for sure.
MAX (40:56):
So don't forget to follow, download, and listen to more
episodes.
I'm Max Belmonte, and this isTwo Unemployed Actors.
Speaker 00 (41:03):
Two Unemployed Actors.
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