Picture the bright lights of Hollywood. Now imagine navigating this world as a rising actor, balancing the glamour with the grit, and the triumphs with the trials. That's the life our guest, Alikhan Lochin, a recent graduate from USC's School of Drama, shares with us. He takes us on an intimate journey from his formative years on stage to his adventures in LA. Alikhan also sheds light on the importance of celebrating the richness of African-American history by playing the Soldier and Jazz Musician in the successful revival "Harlem South: a View Through the Lens" during the 1920s.
Los Angeles, famed for its clear skies and smoggy silhouettes, is a city of contrasts. Alikhan offers a candid glimpse into this city that's home to Hollywood, sharing his raw encounters with the industry's light and dark sides. He enlightens us on the power of networking, the importance of flexibility, and the balance between his social life and work. He also opens up about his music career as a DJ for Kehlani and Zendaya and the significance of inner peace amidst the glamour and drama.
We wrap up this insightful conversation with Alikhan sharing invaluable advice for aspiring actors. His emphasis on self-confidence, preparedness, and respecting everyone in the industry offers a roadmap for navigating Hollywood. He also delves deep into the significance of intuition, body language, and diet in identifying genuine intentions. Alikhan urges us to embrace our stories and experiences, reminding us that each success, no matter how small, is worth celebrating. Join us for this enlightening conversation and prepare to see Hollywood through a new lens!
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HOST MARIE FINCH: https://www.instagram.com/theofficial...
Thank you and check out our YouTube Channel to watch the episode @Up and Comers of Hollywood YouTube Channel:
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TikTok: https://www.tiktok.com/@upcomersofhollywo
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HOST MARIE FINCH: ...
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
is so exciting, because now I have this large
toolkit that I can just pullstuff out of Right and it's just
so fun to play.
I'm way up, up up, up, up.
Speaker 2 (00:09):
Thank you so much for joining Up and Comers of
Hollywood.
I am your host, marie Finch.
This is episode 10 of 11episodes this season.
I am so thrilled.
In addition to listening to uson Pandora, spotify and Amazon
Music, you can watch a shortversion of our podcast on
YouTube.
That's right on YouTube Up andComers of Hollywood.
Why don't you go over there andjust subscribe?
(00:29):
What's up guys?
What's up guys.
Thank you so much for comingback to Up and Comers of
Hollywood.
If you're new, thank you forchecking in and checking us out.
Today's guest is an Up andComer.
His name is Alakan Lochin.
He is a classically trainedactor and a recent graduate of
USC School of Drama.
This young man is a talentedentertainer from DJing Fort
(00:51):
Sendeah and Kalani during histeenager years, to be nominated
as the best actor at the RealEast Texas Film Festival.
I am so excited to introduceour guest today, alakan Lochin.
So, alakan Lochin, thank you somuch for coming out to Up and
Comers today.
Speaker 1 (01:09):
Thank you for having me.
I'm so excited to be here, soexcited to talk and have my
first interview with you.
Speaker 2 (01:15):
I know I'm so excited that you're here supporting my
channel.
Speaker 1 (01:19):
Yes, fax.
I think it's a great idea.
Like the Up and Comers ofHollywood, I know there's like
other YouTube channels aboutlike before they were who they
are today, and so it's like coolto see who they are right now
as they're coming up.
It's a great idea.
Speaker 2 (01:32):
Well, thank you, and I think I'm going a little bit
further.
It's just not actors andsingers and people in front of
the camera.
Next season I'm gonna beinterviewing a lot of people
behind the camera.
Oh, that's exciting yeahexecutive assistants for
television set designers.
Speaker 1 (01:47):
Yeah, I'd love to hear about directors and what
their thoughts are in theindustry.
You know Even casting directors.
If you can get a castingdirector in here, let me know.
I'm gonna subscribe, so I'lllike look out for it.
Oh, thank you Next season.
Speaker 2 (01:59):
We need more subscribers.
Yes, let's do that.
Yes, I will have agents, I willhave casting directors.
We're gonna have a whole hostof people next season, but today
we have an actor, a very goodactor and good friend, olicon.
Speaker 1 (02:12):
Thank you.
Thank you, I'm so happy.
Speaker 2 (02:14):
Now we met on a commercial.
Speaker 1 (02:15):
That's right.
Speaker 2 (02:16):
What was it a year ago?
Speaker 1 (02:17):
I think it was.
Oh, was it?
Speaker 2 (02:19):
Where was it a couple of years ago?
Speaker 1 (02:20):
I can't keep up with time now, I think it was like
yeah, I think it was last year.
Yeah, like around this timelast year.
Yeah, wasn't it an industrialproject?
Speaker 2 (02:29):
It was an industrial project and we were in an
industrial we were in awarehouse.
Warehouse.
That's where it was.
Yeah, Exactly.
Speaker 1 (02:36):
Did you ever see the footage from that?
Speaker 2 (02:38):
No, did you.
Speaker 1 (02:40):
Yeah, I reached out and I got some clips.
Speaker 2 (02:42):
Oh, you're gonna have to send it to me, yeah, I don't
know.
Speaker 1 (02:46):
No, it was fun.
That was actually like my first.
I think that was like my firstgig.
So, yeah, last year I decidedto officially pursue acting, you
know, full time, and that wasmy first gig and I met you there
and, yeah, I was like reallynervous, really excited, and it
was funny because, like Iremember, we were all upstairs
getting our hair and makeup doneand then they were like oh yeah
, you want to come down?
We wanted to just see what thelighting looks like.
I was like, okay, cool, I camedown.
(03:08):
They like set up the lights andI was like, wow, there's a lot
of people here.
There was like, you know, therewas a good amount of people
there.
Speaker 2 (03:12):
Yeah.
Speaker 1 (03:13):
And they were like testing the cameras, testing the
lights.
The mic guy came.
He was like cool, you're setand I'm thinking, all right, I'm
gonna go back to hair andmakeup and chill a little bit
longer.
They were like all right,everybody ready, settle?
Oh, this is right now.
And then, like the actress thatI was working with came on and
they were like ready, they werelike you're going to stand here,
do this, do that, bam, bam, bam.
And like they were just movingso fast and they were like all
right action.
And I was like here's my debut,my big break.
Speaker 2 (03:35):
You did great and but I remember you being so nice,
you just being a light.
Speaker 1 (03:40):
Oh, that means a lot.
Speaker 2 (03:41):
Tell us about your journey.
Where did you come from and whydid you decide to come to LA?
Speaker 1 (03:45):
Yeah, well, that's a good question actually.
So my name is Ali Khan.
I'm from Oakland.
I've been out here in LA.
I studied at USC, studied atSchool of Drama.
That was really, reallyinsightful.
I got to like work withprofessors from Yale and
Juilliard, so it was a lot offun to get all that experience
and knowledge.
I also went to OSA, which was acharter arts high school.
There I learned a lot ofclassical theater and stuff like
(04:07):
that, so that was reallyexciting.
Yeah, last year I decided toabsolutely pursue it full time
and this has been my first yearin the game and I think I'm
doing OK.
You know, for my first year,yeah, You're not new at acting.
Speaker 2 (04:19):
You've been acting for years and years, so tell us
that journey.
Speaker 1 (04:24):
Yeah, when I was young, my very first time
getting on stage, it was just socomfortable, just so fluid, it
just felt natural.
It felt like what I was calledto do, you know, and it was at
my aunt's wedding.
The DJ was over there DJing andit was kind of like the
reception cocktail before theevent starts and the mic was
just there and I'm just likethere by myself and I just jump
(04:45):
up on stage, I grab the mic andI become the emcee for the night
.
You know, and here I am, thissix-year-old, just how's
everybody doing?
How's everybody doing?
What's up, everybody?
And everyone's yelling with meand I'm like come on, everybody
get up and dance.
And everyone's getting up anddancing and they're having a
great time.
And, like in that moment, I waslike, wow, here I am
controlling the crowd, here I amtelling the story, here I am
entertaining people.
And it felt so right.
(05:06):
And my mom, you know, I loveher so much because she saw that
in me and she invested in that,and she was like you know what?
You're going to go somewhere,you know.
Speaker 2 (05:14):
At six years old you were up there and it was so
comfortable for you, yeah socomfortable.
Speaker 1 (05:18):
And then from there she put me in a conservatory.
I went to the new conservatorytheater in San Francisco.
Shout out to them.
I used to love going everySaturday.
That's also how I knew therewas something there, because
every Saturday morning I was thefirst one up in the house, out
running my mom and say wake up,wake up, wake up, we got to go.
We got to go.
I was already dressed and ready.
She's still waking up like, oh,and then we?
Yeah, it was just the driveacross the Bay Bridge to get to
(05:40):
San Francisco.
Everything about that was justso inspiring for me as a kid
just to go into the big city andgo into this conservatory
school and, just you know, getall this training.
I heard about Oakland Schoolfor the Arts and like that's a
charter school and I was like Ican do it every day of the week.
I was like yes, let's go.
And so I auditioned to get inand then I got in, and so for
(06:00):
the first half of the day we'rein school studying academics,
and then for the second half ofthe day we're focusing on our
discipline, our art.
So it's whether dance, music,acting, you name it that would
be the discipline for the nextthree to four hours and it was
just so amazing.
Shout out to all the teachersthere who have helped me get to
where I am today.
Like it's amazing.
Speaker 2 (06:20):
From six years old to high school, you were always
studying.
Speaker 1 (06:23):
Yeah, and then after high school I went to Pierce
College in the Valley a studydrama there.
Community college is reallyoverlooked, you know.
There's a lot of really goodprofessors there who really care
about their students and theyreally want them to succeed, and
that felt like that was aperfect place for me, because
that is when I needed supportthe most, you know, academically
, and they were all there justmaking sure that I was making
(06:45):
the right decisions, I wastaking the right classes.
They were telling me like theresources that I had available.
And then one of my professorstold me that I should apply to
USC and he said don't let themoney, you know, discourage you.
He was like it's a privateschool but they definitely pride
themselves on giving money tothose who can't afford it, and I
certainly couldn't afford it atthe time.
So I was like you know whatCause you said it, I'm going to
(07:05):
go ahead and do it.
And then he ended up writing aletter of recommendation as a
USC alumni himself, and that wasvery, very helpful, you know.
Yeah, then I got into USC andstudied there.
So, yeah, I've been studyingfor a while.
Speaker 2 (07:18):
A long while.
Yeah Now, Alakan, did you haveany jobs as a child, any acting
job?
Speaker 1 (07:24):
As a child or did you audition as a child.
I auditioned for plays, didstuff in school.
I think I was just very focusedon school at the time.
Speaker 2 (07:33):
So just school and theater.
Mm-hmm, yeah, you said you werereally trained in theater.
Speaker 1 (07:37):
Yeah, I was just behind the scenes just doing the
work and of course, you know asa kid, there's times where I'm
playing around and I'm just nottaking it seriously.
But best believe, I wasdefinitely absorbing that
information in some way oranother and that's why I'm so
thankful you know where I am nowwhen I'm just getting out there
just doing commercials andplays.
And it's so exciting, cause nowI have this large toolkit that
(07:59):
I can just pull stuff out of,right, and it's just so fun to
play.
And I feel like once you studythe craft and you know what
you're doing when you go on set,it's time to just play and just
use everything that you learned.
It was really exciting to beable to reach into my toolkit,
you know, and just pull stuffout for the stuff that I'm
working on now in this last year.
Like I'm like wow, like Iactually have a lot of resources
(08:20):
in my belt when it comes toacting that I can use for
different scenarios.
Speaker 2 (08:24):
I remember you on set and you were so happy to be
there and you were so confident.
Speaker 1 (08:29):
Yeah.
Speaker 2 (08:30):
And now I know where that confidence came from,
because you've trained for allthese years.
Even though you didn't havejobs in the industry, you were
always training in theater.
So, getting to that, I saw yourrevival of Harlem South in Los
Angeles.
Speaker 1 (08:44):
Shout out to Harlem South.
Yes, at the Grammy museum, atthe museum.
Speaker 2 (08:48):
You invited me to come.
You DM'd and say, hey, come out.
So I did.
Speaker 1 (08:52):
Thank you for that.
I'm so happy you came out, bythe way.
Speaker 2 (08:54):
And I met your mom and she was so super cool.
I was sitting right next to herand I could not get over your
talent.
I was like wow, alakon.
Thank you so much you justbrought me to tears and I just
thought you're going places.
Speaker 1 (09:09):
Thank you.
Well, I definitely got to givecredit to Dr Ron McCurdy, who
started the whole production ofHarlem South, and then also the
director, dominique Corona.
She was an amazing person to bewith.
She really helped me dig deepand really get into character
and really understand why I'mtelling these stories.
And for those who don't know,harlem South is a multimedia
(09:30):
disciplinary play about thebeautiful black people who were
living in the 1920s and justsort of what they were pursuing,
what they had to endure, and wedon't focus too much on the
hardships, we focus more on theprideful things that they were
doing at that time.
So it's a really good play.
But you're right, there is alot of raw emotion in there too.
Speaker 2 (09:47):
And it was all about the black middle class.
Yes, during the 1920s, exactlyyeah, and a lot of people didn't
know there was a middle class.
This is when they were startingto build wealth.
Speaker 1 (09:59):
Right.
Speaker 2 (10:00):
Before it was taken all the way.
And those communities werebuilding.
They were really gettingsomewhere Right.
And then, of course, otherpeople in the United States
thought that shouldn't happenand that they were taken away.
Speaker 1 (10:10):
Yeah, so it's great we had our world premiere in
2019.
And I invited you to therevival that we had and now
they're talking about we mightbe putting it up again soon, so
look out for that everyone.
Speaker 2 (10:21):
If you get a chance to see the revival, please do.
It's a really good history ofour African-American ancestors.
Speaker 1 (10:27):
Yeah, and it's great too, just to enlighten people
and let them see the brighterside of what the black middle
class was doing in the 1920s.
So it's a great way to changeyour perspective and really just
enlighten you on what life waslike for middle class people at
that time.
Speaker 2 (10:43):
And it's about a photographer.
Speaker 1 (10:44):
Yeah, it was about a photographer.
Speaker 2 (10:46):
In the 20s, and when he passed away they found all
these photos in this basement.
Speaker 1 (10:51):
Yes, yeah you got it, you got it.
Speaker 2 (10:54):
Okay, I know it was a year ago and I'm trying to
remember, but you got goodmemory.
Yeah, I just remember thedoctor talked about that on the
stage.
Speaker 1 (11:00):
Yeah, he's a robber yeah, but pretty much yeah, this
photographer.
He took all these beautifulportraits of black middle class
and he stored them on glassnegatives in his basement and
years went on and they just kindof got lost in there.
And eventually someone boughtthe house.
They looked underneath thehouse and they found all these
glass negatives and theyproduced them and they saw all
these beautiful portraits thathave never before been seen.
(11:22):
So it was incredible to look at.
And that's when Professor DrRon McCurdy from USC.
He came across the museum andsaid someone needs to bring
these stories to life and hehired some writers, got a crew
and made it happen.
So it's great stories and it'sbased on real pictures and real
people.
Speaker 2 (11:38):
Exactly, and so glad that they found those photos,
because you just don't see thattype of depiction of our
African-American ancestors inthe 20s you think they were all
just really weren't doing welland a lot of them weren't, but a
lot were building wealth andthat's what's so important?
Speaker 1 (11:54):
In our production too .
We always talk about how thephotographer chose to store them
on glass negatives, Like maybehe knew that over time it would
be rediscovered, because if itwas on paper negatives the
pictures would have faded away,it could have been lost.
But glass negatives, they lastforever Well, not forever, but
they last a very long time.
Speaker 2 (12:15):
So that's pretty interesting.
You had such a foresight onthat.
Yeah, so you were somagnificent.
So now that you're here in LA,how is it for you?
Speaker 1 (12:24):
Wow, yeah, now that I'm here in LA, it's definitely
a sour patch.
Kids treat First they're sour,then they're sweet, you know?
No, it's been a great time,honestly.
Just one year alone I've beenblessed to have a talent manager
.
I just signed with a commercialagent.
I got my first nationalcommercial with the Experian app
(12:46):
, so that was a lot of fun.
Speaker 2 (12:48):
Congratulations on that.
Speaker 1 (12:49):
Thank you.
Yeah, I was really excitedabout that when I got the call.
Speaker 2 (12:52):
I was like what.
Speaker 1 (12:53):
Are you serious?
Like my first commercialnational, I was like let's go.
Speaker 2 (12:58):
Yes.
Speaker 1 (12:59):
Yeah, and then I remember showing up to set and
they pretty much did the samething.
I'm realizing that this is justhow set life is.
You're upstairs, you'rechilling and they're like oh,
come down, we just want to seewhat lighting looks like.
And I was like I've heard thisbefore.
And so I go down and they micme up and this time I just feel
a little bit more confident.
I guess this one, I just feltmore sure of myself because I
(13:19):
was familiar with our projectthat we did.
And so they told me to sit downin the chair.
They leaned forward.
They had one camera movingaround, one camera focused here.
They had a video village.
They had the directors in thetent just looking through the
monitor.
So they do touch-ups.
They're like all right, sitdown, ready.
Lights, speed, camera speed,all right, and action.
I'm like all right.
So yeah, let me tell yousomething about credit.
Speaker 2 (13:42):
So, you're getting comfortable in front of the
camera, because that wassomething if you didn't have the
confidence.
I guess that was the thing.
Or did you do some film whenyou were training?
Speaker 1 (13:51):
So when I was at USC, I definitely worked a lot with
film students there.
The film students were amazing.
They had industry standardequipment and they had all sorts
of amazing stories, and so thatI had a wonderful privilege to
be able to work with them.
For me, that was just a tasteof what the industry was going
to feel like.
Yeah, because I would work onone student's short film and
(14:13):
then two weeks go by, then I geta call from another student who
was in that class, who saw thefilm, and they're like hey, we
want you in our film.
And I was like huh, so that'show it works.
You know a little word of mouthSome people see you here, some
people see you there.
Yeah, I just made sure to showup, do my best and be kind to
everyone and I feel like just inthat school setting it really
(14:33):
took me far.
And that's where I started toget more familiar with the
camera.
I started to see playback fromthe videos and I was like, okay,
I did that way too big, likelet me tone that down a bit.
Like this isn't the stage I was.
Yeah, I had that time to reallyown in on the reality of
working with the camera versusthe reality of working on stage.
Speaker 2 (14:51):
Exactly, and we had to learn how to tone that down
and to use the eyes opposed tobeing big on stage because
you're using your whole body.
Speaker 1 (14:59):
Well, it's good that you brought that up, because on
the last film I worked, Irealized when there's a wide
shot, it's okay to use more ofyour body because you're filling
the space, and when it's aclose-up shot, that's when you
want to keep it.
You know small minute movementsbecause it's really focused on
your face and that's going to be, you know, on the big screen.
You know.
So, big body, wide shot, dowhatever you know close-up, then
(15:22):
you kind of like own in alittle bit more.
So, yeah, that's another thingthat I learned.
You know working on set andit's a lot of fun and it's all a
learning process, you know, andthe way I look at everything,
it's like, yeah, I'm confidentabout it, but I'm also coming in
as a student.
I'm also saying, okay, like thisis there.
I'm not afraid to say I don'tknow what that is or what does
that mean, or can you clarify?
Because I'd rather just letthem know that, hey, I'm new
(15:42):
here, you know, and I'm learningand that's what I'm here for
and I hope to get something outof this, rather than, oh, yeah,
I know that already, oh, I knowthat, and then I'll go walk over
here and they're like we saidover here, you know, like what
is this guy doing?
You know it's better to justsay, hey, like what does that
mean?
Speaker 2 (15:55):
Or you know, it really is important that you get
clarification, because it savesthem time and time is money in
the industry.
Speaker 1 (16:01):
Yeah like even with auditions, like it's okay to ask
the casting director, like whatdo you mean by that, or what
exactly are you looking for, andthey'll give you an example,
they'll sit you down.
The reality is they want you tobe the one.
So if you help them be the one,then it makes their life easier
, you know 100%.
Yeah, that's a great tip.
Speaker 2 (16:20):
Thank you so much.
So what was your perception ofLos Angeles before you got here
to Los Angeles, and then whatwas the reality of it for you?
Speaker 1 (16:28):
That's a great question.
My perception of Los Angeleswas this big, bright city, you
know, the clean streets andglamour everywhere, red carpets
rolling out of all these venues,and my thought was like
someone's just going to come upand be like you're the guy, you
have the face, come with me.
And next thing, you know, I'mlike on a billboard somewhere,
like that was my perception.
(16:49):
So I really came in to LosAngeles really like googly-eyed,
really like whoa, whoa, likelet me do that and let me do
that and what's that?
And oh my God, and reallyinquisitive, you know, really
curious about what it was.
And now my reality of it is LosAngeles is a place where a lot
of people come to chase theirdreams, and so that part is
(17:10):
really inspiring, just to seethe amount of people who come
here and their stories.
You know where they come from,what they want in life, why they
came here and the weatherthat's something that I did not
think about.
And when I came here, I'm like,oh my God, this is beautiful, I
love it, like the clear skies,you know, the sunshine, it's
great.
And then, of course, there area lot of roaches on the streets.
(17:31):
I didn't know that, especiallyin Hollywood.
You know, on the streets ofHollywood there's a lot of
roaches.
I didn't know that and I waslike, OK, it's not as glitz and
glam as I thought.
You know, in certain parts ofHollywood, I mean just like in
any neighborhood.
You know, you have the roughpart and you have the nice part.
So then I started to discoveryou know Beverly Hills and Bel
Air and you know the West Side,and I was like, oh OK, so here's
(17:51):
the nice part, here's what wesee, you know, on TV and stuff
like that, like selling sunsetand stuff like that.
It can be nice.
But what I didn't think aboutis that there's also bad parts
of LA too.
Speaker 2 (18:01):
Yeah, there's the light in the dark side of
Hollywood.
Speaker 1 (18:05):
Yeah, there definitely is the light side,
there definitely is a dark side,and you know I choose to stay
on the light side of Hollywood.
I do too.
Speaker 2 (18:10):
I'm only staying on the light side not going to that
dark side at all.
I did not know about theroaches.
Speaker 1 (18:16):
I'm in the valley.
Speaker 2 (18:18):
No roaches here?
Well, not that I know of.
And then you mentioned clearskies.
Where is that now like?
Because it's all smog.
Speaker 1 (18:26):
Oh yeah, I guess there's smog sometimes.
Yeah, when you're over, like bythe beach, you get clear skies.
Speaker 2 (18:32):
Oh, that's, true.
Speaker 1 (18:32):
Yeah, because or when you look past the smog, you see
clear skies.
You know.
Speaker 2 (18:36):
I moved here during the pandemic and the skies were
actually clear because no onewas on the road.
Speaker 1 (18:41):
Yeah, yeah.
Speaker 2 (18:42):
And I think once everything opened up and then I
start seeing the layers of, youknow, I kept thinking it was
marine layers, but it was reallysmog, yeah.
So that's really cool.
I'm glad you see both side ofthings and then you want to
stick to the light side, Becauseyou're a light person anyway.
Speaker 1 (18:57):
Yeah, You're full of light.
Yeah, yeah, I stay on the darkside.
You don't need to go to thedark side.
Yeah, no, I stay away from thedark side.
I like the light side.
I like you know positivity andI just like inspiring people.
There's just a better feelingwhen you're on that side.
You're just spreadingpositivity, You're spreading
good and that comes back to youand it's just a world of peace.
Speaker 2 (19:16):
Yes, yes, that's important to have peace, inner
peace, definitely I'm at,finally at that place.
Speaker 1 (19:21):
Yeah, that's good.
Yeah, not, I got here it waskind of like crazy too.
And I was like OK, slow down.
Speaker 2 (19:26):
Yeah, exactly, take your time.
Speaker 1 (19:28):
I remember in high school there was always like
high school drama and I wasalways the one like I'm just
going to step away, I'm going tolet y'all handle it, like I'm
good.
I'm good, you know, just always.
You know stepping away from thedrama, but of course, like
where it permits.
You know you've got to bedramatic when it permits, yeah
you've got to take care ofyourself when you have to.
Speaker 2 (19:47):
I know you act, but you do do some other talents.
You're a music.
You said that quickly and Icaught it.
So why don't you elaborate justa little bit about your talents
and music?
Because I think it's good forour listeners to know that, as
an actor, you've been trained intheater and classical, but then
(20:07):
you also have this other sideto you, which is music.
Speaker 1 (20:10):
Yeah, I did not expect you to bring that up.
That was a surprise.
I have worked in music.
I've worked as a DJ in music.
I've DJed all over the Bay Areaand in a band.
Yeah, we did a lot of stuffwith that.
I worked in some studios, youknow, met a lot of cool people.
It was a thrill.
I would always tell my momDJing is just a hobby and my
(20:32):
career is going to be acting,and I would always tell my mom
that.
And so DJing really kind oftook off for me career-wise.
You mentioned if I had any workwhile I was coming up.
I was DJing.
I was DJing most of the time.
Speaker 2 (20:43):
So you're getting paid for DJing.
Now you DJed for someone who'skind of famous.
Speaker 1 (20:47):
Yeah, I did.
Yeah, a few people actually.
Yeah, when we started with theband with Kaylani, she was
amazing.
She was like an amazing personto be around.
She was always so enlightened,she was always so informative,
she always had something to say,whether it was good, bad,
criticism, whatever.
She always voiced herself andthat's something I truly always
(21:09):
admired about her, like shewasn't afraid to say it and she
wasn't afraid to be wrong.
Yeah, just working around herand just seeing the way she
navigated the industry evenafter we kind of split up with
the band, like just seeing hernavigate, I was like wow, like
she's really doing it and it'sjust amazing to see her
everywhere.
And it's funny becauseeveryone's like, oh, like
Kaylani, like they get star eyedand I'm just like that's the
homie from the Bay, you know,like that's my friend from OSA,
(21:32):
like that's someone that I wasjust on the stage with.
Like there's an old photo of mein like a gray hoodie.
I think I was kind of sick thatday and we had a performance
and I was like, ah, I guess I'llgo and we showed up.
I remember we had like a bestfriend handshake and we're on
stage like doing our best friendhandshake.
Yeah, like those times wereamazing, man.
If I could go back in time, Iwould love to just relive those
moments, you know.
Speaker 2 (21:53):
I think she's amazing .
I love her music.
I do listen to her music, yeah.
Speaker 1 (21:56):
And now she has a child.
Shout out Adea.
I think I'm saying her right.
Shout out Adea.
I came to visit her when shewas pregnant, you know.
So that was amazing.
I haven't seen the baby yet.
Yeah, I'm sure I'll see hersoon.
Speaker 2 (22:06):
So that is so cool.
I think that's wonderful thatyou do have such a different
side to you.
Speaker 1 (22:11):
Yeah, definitely being on stage as a DJ.
There's a different way thatyou look at the audience.
So as a DJ, you're alwaysreading the crowd, you're
reading the room, you're gettingpeople amped up for the show or
whatever it is and adjustingyour music based on what the
response is.
So it's really reading thecrowd and filling them out.
And so I think also you know,when you're acting on stage, or
(22:31):
even you know on set, likeyou're reading the room and
you're seeing like what the toneis, what the vibe is, you know,
and it's getting that sameenergy for the project that as
if I'm getting that energy DJing.
You know what I mean.
It's the same sort of process.
So those are things thatoverlap.
And then also just being myselfand talking to the audience.
And then also Zendaya I got toDJ with her on a little tour
(22:54):
when she was doing music.
I remember we were at theArizona State Fair and it was
packed, it was sold out, and Ijust remember being up there on
the stage.
It was a pretty big crowd and Iwas like I have to get these
people ready to see Zendaya.
That'll be easy, becauseeveryone loves Zendaya, you know
.
So I just came out there anddid my thing and, yeah, it just
felt really good to just sharethat energy with the crowd who
truly love someone and just feelthat reciprocal energy.
(23:17):
It was beautiful.
Speaker 2 (23:18):
Well, now I know where you get your confidence.
I love our listeners who wantto get into acting.
I think really work on thatconfidence part, but it comes
naturally to have thatconfidence and trust in yourself
to be able to do all you did,to take the leadership and being
a DJ and getting over the crowdtogether.
That's some good training.
Speaker 1 (23:38):
Yeah, now that you say it, yeah.
And then I just got to go backto when you say you know
confidence and actors havingconfidence.
There's a fine line when you'rehaving confidence.
I noticed on set there's a lotof people that they cater to
talent.
Come in, hey, is there anythingyou need?
Hey, is there anything I can dofor you?
Hey, is that too hot, you wantme to go?
Is that too cold, you want meto do that?
Do you want room temperature?
All that stuff can kind of getin your head.
And then now you come out thetrailer and you're like, hey,
(24:00):
where's my room temperature,water and dry celery.
So for actors, in order to haveconfidence on set, you just got
to know who you are and you gotto come with that.
And I think you bring up a goodpoint when you say now you
understand why I come to setwith confidence.
Like it's just a relaxed sortof confidence because I know
what I'm doing and I'm prepared.
An actor prepares, so if you'rewell prepared and you're ready
(24:22):
to go on and do the work andjust play, then it speaks for
itself and that's where theconfidence comes from.
You don't have to come withthis facade of like I'm
confident, stick my chest out,chin up, look everybody in the
eye, cause people can also readthrough that.
Speaker 2 (24:35):
It's like overcompensating your insecurity
.
So that's why it's so importantto be humble and grateful in
your confidence and that's whatI saw in you.
But you introduced yourself toeveryone.
I remember I was, I think it,my makeup and everything on.
You came and introducedyourself and you're just humble
and grateful to be there.
Speaker 1 (24:52):
Thank you.
I also give credit to my newtalent manager, kimberly.
Like she has definitely beenhelping me, like just kind of,
yeah, she's building me up, youknow, to really, you know, take
lead and take control of mycareer.
And so, yeah, coming in andintroducing yourself, really
take lead and, you know, takeaction.
Yeah, definitely, just beauthentic and you know, just be
genuine.
(25:12):
And it takes time.
That takes time.
It's a lot easier said thandone.
I hear a lot of people say itall the time, but it takes time.
To be authentic cause, youreally have to explore yourself
and you really have to know whoyou are.
To be authentic, you have toknow your flaws, you have to
know what triggers you and youhave to.
You know, even as an actor, youknow when you're going on set.
You have to know what's goingto trigger you to a certain
(25:33):
level and it's just like themore you're aware of that, the
more relaxed you can be and whoyou are.
Speaker 2 (25:38):
That's a really good point, alakan, because one of my
acting instructors told me thatit's so important that actors
have a therapist.
Yeah, I know now why cause toget to know yourself, like you
said, the triggers.
But once you get to know thatabout yourself, that really
helps with your craft, becauseyou could pull from your tool
belt Exactly, from your ownexperiences, exactly, yeah, and
then you know how to harness it.
(25:59):
So, even though you have yourtriggers, you can harness it to
not let it affect your real life.
Speaker 1 (26:03):
Exactly.
Speaker 2 (26:04):
And then you can pull it out when you need it for a
character.
You got it and no oneunderstands that actors go
through that.
That's a lot psychology that wework on on ourselves on an
ongoing basis.
Speaker 1 (26:16):
Yeah, it's a lot of psychology.
I actually have a friend fromUSC his name is Omete and he
studied neurology and theaterand his philosophy was he wants
to understand how yourneurological brain creates these
certain emotional patterns inacting, and for me I was just
like Whoa, I love that becauseI'm a science nerd.
(26:38):
Mind blown yeah.
I love it and so he really doveinto that and he really like
attacked that aspect and weactually worked on a production
together at USC.
It's called Facing Our Truth.
Yeah, it was a really good playabout race privilege and
Trayvon Martin.
It was a wonderful play and heplayed Trayvon Martin and just
seeing him every night on thatstage we were all really
connected and tapped in.
I really felt somethingpowerful in that play,
(26:58):
definitely felt presence therewhen we were doing the
production.
I think the family got to seeit too.
So it was really cool to havehis family see our production at
USC and really spread thatmessage.
Speaker 2 (27:08):
What a blessing to be part of that.
I would love to see it.
Speaker 1 (27:12):
Yeah, sorry.
Since we're on the topic, Ijust want to say rest in peace
to Shirley Jo Finney.
She was the director for thatplay.
She was amazing.
She recently left us, so justwant to say rest in peace to her
and thank you, shirley JoFinney, for everything that you
instilled in us.
She was amazing to work with.
Speaker 2 (27:28):
Oh, that's really great, alakan, you said that you
really just started working asan actor this past year.
What are some of the challengesthat you've been going through?
Speaker 1 (27:38):
Yeah, well, one of my biggest challenges has to be
finding friends, finding peopleto just hang out with and just
chill, just have a good timewith.
It's definitely the balancethat you have to have in this
industry, and I think my biggestchallenge is I'm so driven to
get there that I neglect havinga social life.
Sometimes I can neglect havingfriends.
(27:59):
Sometimes I can neglect justgoing out and maybe having a
drink or two.
I neglect a lot of that becauseI'm so driven and so focused.
I think that's a challenge tome because it's important to
have balance, especially ifyou're in it for the journey.
It's about the present timeright now.
It's about enjoying the balanceand the good in life, and so
it's like I have to make time tohave friends and hang out with
(28:23):
them because that's gonna helpmy social meter, that's gonna
help that side of my life, andthen going on set, I feel like
I'm good on that.
But the challenge right now isthat having a balance between
work and social life.
Speaker 2 (28:35):
Right, no, I understand that totally.
How many auditions do you getin a week?
Speaker 1 (28:40):
In a week.
I probably get, I'd say, likefour or five auditions a week.
Speaker 2 (28:44):
So you have so many auditions, I could see why you
wouldn't have a life.
Speaker 1 (28:47):
Yeah, it gets a.
Speaker 2 (28:49):
Four or five a week.
I mean that's successful andthat's great.
But do you find yourself juststuck in the house?
You're going over your lines.
Speaker 1 (28:56):
There's also auditions in person.
Now Go to a casting office andread in front of casting
directors and I just I preferreading in person because I feel
like you can really feel theenergy there versus self-tape at
home.
They can't really like see youressence and stuff like that and
they can't feel your vibe.
But I mean, I'm sure they cansee what's going on.
But I love going in person andso I'd say maybe once or twice
(29:19):
I'm going in person a week andthen the rest are self tapes.
Speaker 2 (29:23):
Okay, so say five a week.
Two are in person and three areself tapes.
Yeah, yeah, but that's still alot of lines and stories that
you have to create.
Speaker 1 (29:32):
I'm just laughing, because I remember this one
audition.
I forgot there was two parts tothe audition, so I was so
focused on the first part and Iwas staring and I was like I got
it.
I got it and I came in and Inailed it, I crushed it the
first part, and they were likeall right, now the second part,
go ahead and bite into thecheeseburger.
Okay, cool, bite into thecheeseburger.
He was like okay, when's thelast time you had food?
(29:54):
I was like, oh right, and it'sthings like that too that you
also need to study and prepare.
How does this burger taste?
Connecting with the burger, isthis a good burger?
Is this a bad burger?
Is this a warm?
Is it hot?
Is it cold?
You have to process all that.
And I think, because I justwasn't prepared for that, I was
like cool, it's a burger.
And he's like all right, do itagain, but slower.
(30:15):
And I'm like, okay.
He was like, okay, that waslike slow motion.
I was like, okay, so meet youin the middle.
And then I'm just like he'slike do you enjoy it?
And I was like oh, yeah, yeah,I enjoy it.
And it's all these thoughts, andthat's a thing too, like when
you're on set or even like in acasting office, they're not
gonna tell you the actor theaterway of getting into it.
They're just gonna say can youdo it faster, can you do it
(30:35):
slower, can you do it this way?
Oh, turn it upside down.
It's very technical, and soit's up to you, as an actor, to
take those technical notes andapply it to your craft.
So it's like okay, he's tellingme to do it slower, so what I
should have done was said okay,you want me to do it slower, so
let me take the time to enjoythe burger, let me relish in it.
(30:56):
Then at that point I probablywouldn't have done it in slow
motion.
But yeah, you give what I'msaying.
Speaker 2 (31:00):
No, 100 percent.
Commercials are so differentbecause you're really selling
the product.
Yeah, yeah, and you always haveto remember that when you
audition to sell the product.
So when you're eating ahamburger, you're selling the
idea of this hamburger being sogood yeah exactly.
So they don't really go overthat in commercial classes.
They don't go over like buyinginto things.
Speaker 1 (31:20):
Yeah, that's something you learn on the job.
Speaker 2 (31:23):
I think, but I don't know have you been in a
commercial class where they saidOK, we're going to eat
hamburgers and we're going toeat spaghetti, or we're going?
Speaker 1 (31:28):
to try this.
I remember at USC I was in acommercial class.
That one was really fun.
We were just doing likecommercial auditions every day,
but I don't remember eatinganything.
Speaker 2 (31:38):
Yeah, I never been in a class where they had us eat
or drink anything.
Speaker 1 (31:42):
I think I think we were drinking, but I don't
remember eating.
I do remember I was like acommercial for the shoe surgeon
and Reese's Pieces Peanut ButterCups.
That one was really fun.
Yeah, like I remember they hada freezer full of Reese's Pieces
Peanut Butter Cups and afterevery take they would just come
out with ice cold you knowReese's Pieces Peanut Butter
Cups and it was just yeah, everytime I was like I was just
(32:04):
telling myself, wow, I didn't, Ididn't rehearse this, Like you
know, opening up the wrapper andtaking a bite, Like I got to
make it look natural.
So in between takes I wouldjust I knew we had a lot, so I
would just take time opening it,taking it out, biting it,
enjoying it and I think, justhaving that time to just kind of
like go through it.
I was like, okay, got it.
So, yeah, it's just a matter ofbeing prepared and just
practicing that.
(32:24):
So it's like we always think ofthe emotion or the lines, and
but it's also the actions thatwe're doing too.
Speaker 2 (32:29):
Right, especially in commercials because, you're
selling the product and I thinkthat's why they keep telling us
to watch commercials.
That's kind of like you knowwhen watching commercials
because it gives us.
I'm only saying this because Iknow our listeners are people
who are listening becausethey're wanting to be actors.
They want to come to LA andthey're just trying to find out.
You know other people's stories, so I'm just bringing up a
little things for them.
(32:50):
You know to understand too.
Speaker 1 (32:52):
Yeah, no, you bring up a good point, because I
wasn't looking at commercialsthat way.
But after I got my firstnational commercial, then every
commercial that I see, I'm like,oh okay, like what are they
doing here?
You know, I'm really studyingit now, you know, and it's like
I don't want to do commercialsfor the rest of my life, but it
is good experience.
So it's good to just tap intothat and really study it.
And you also got to think likeas a new actor.
(33:12):
It is a competitive industry.
When I look at the commercials,I'm telling myself I'm looking
at this differently.
I'm looking at it and I'mstudying it, because I'm sure
the next person probably is justlooking at it, you know right.
So it's like it gives you thatcompetitive advantage.
So definitely do that as anactor throughout there.
Definitely do that.
Speaker 2 (33:27):
What are you doing in film right now?
Speaker 1 (33:30):
I just finished shooting a film called it
Happens.
It's a indie short film written, produced and directed by Jaden
Wiggins and Cole Meslanski.
They are two incredible artists.
They were also a pleasure towork with.
They were amazing directors.
I think it's always good when adirector knows exactly what he
wants.
So then every take they're ableto say it, and I think we also
(33:52):
have really good chemistry asfriends, so it's easy for them
to tell me okay, don't do itlike that, all right, do this.
Or try that, all right, let'sdo this one more time.
And this time just don't dothat.
You know, and I don't take anyoffense, but I'm like bet,
because we're all trying to geta really good shot.
We're all trying to makesomething that we're all proud
of.
So it's all about collaboratingand I make sure that my ego
doesn't get in the way.
I'm like you know, they're thedirectors and I trust them, and
(34:13):
so they were incredible to workwith.
They knew what they wanted.
And then also the DP, trevorHollander, was fantastic.
He works really well underpressure.
We had like a rig on top of thecar, very expensive camera on
top of the car, and then we hadone on the side of the car.
We had one in the car.
We had a shot where the camerais in the back of the pickup
truck and I'm like runningbehind the pickup truck and it's
(34:34):
just the whole process.
Like it's definitely an indieproject but we really, really
made it work.
And it was just cool to seeTrevor, just like you know, work
fast with everything and workunder pressure and get the shot
right, and if something wasn'tworking he was quick to just say
okay, like all right, we'regoing to do this, flip this here
, like he knows what he's doing.
Think, as an actor, it justfeels so good to be able to just
focus on acting.
(34:54):
You know that everyone else haseverything else situated.
You can focus on acting andthat is the exciting part there.
So, yeah, it was really great.
It's a really good film.
Everyone that worked on it.
It was a pleasure to workaround everyone.
We shot it for three daysovernight shoots, so it was 6 pm
to 6 am Friday, saturday andSunday.
That must have been hard.
The last day, you know, we'resaying bye to everyone and
(35:17):
there's this house that werented to like film the project
in and we're just kind of likechilling on the couch at 6 am
and I'm like what a night.
And then I sit on the couch andthen Jaden, the director, sits
on the couch and then Cole islike working on his laptop and
then we all just pass out, andso he took a picture of like me
and Jaden passed out on thecouch with Jaden's dog.
His name is Axel and he got hisdebut in the film too.
(35:39):
So yeah, I've got a littlepoodle debut.
Speaker 2 (35:41):
That's so cute.
So where will this movie be?
Speaker 1 (35:44):
Film festivals, or yeah, so they are.
They're going to send it intosome film festivals.
Hopefully we'll have a privatescreening soon.
Yeah, I'm excited to see whereit goes.
Yeah, I put a lot of work in it, so I definitely put in all my
effort into it and I really, youknow, try to do my best, you
know.
So I'm really excited to seehow it comes out.
Yeah, we've all worked hard.
(36:06):
Late hours we definitely put inthe grind.
There is definitely a shotwhere there's a scene where I'm
running, and so I think it waslike four o'clock in the morning
.
I'm just like sprinting downthe street while they're in the
back of the pickup truck.
We probably do like I don'tknow, six or seven, you know,
sprints down the street.
I think we did more than that.
Actually, we were just lockedin just going different angles,
you know, catching the sprints.
Speaker 2 (36:26):
So you know all the listeners right now.
I just want to let you knowthat we will have a YouTube
video of Alakan and I talking,and I will be sharing some of
these pictures.
He's referring to these photosthat he's referring to.
You'll get to see it on ourYouTube, so make sure that you
hop over through the YouTubeunder up and comers of Hollywood
and subscribe to our channel soyou can get more interviews
(36:48):
like this.
Alakan, where are some of thesuccesses that we can share with
you today?
Speaker 1 (36:52):
Yeah, that's a really good question.
So my manager likes to tell meto celebrate everything,
especially when you're workingin an industry of rejection.
Everyone's consistently gettingrejection, and it's just the
world you know we live in asactors.
It's so many people auditioningfor so many roles and only one
person can get it.
99% of people who audition aregetting a no, you know.
(37:14):
So when you look at it that way,you know it's really important
to appreciate all your wins, andso I love my manager, Kim Lee,
for always reminding me thatthis is a win.
You know, every time I get acallback, I look at that as a
win.
That's a success.
I got a callback that's onestep closer.
Every time I booked something,you know, no matter how big or
how small, even if it's abackground role, you know I'm
working that day, I'm on setthat day, so I look at that as a
(37:36):
win.
You know it's another day onset versus at home, or you know
doing something else.
So pretty much any time that Iget to study the craft I look at
as a win.
So those definitely be mysuccesses.
I would say yeah that's reallygreat.
Speaker 2 (37:51):
I like that a lot because everything is a win.
You're getting all theseauditions.
Yeah, that's a win in itself.
Speaker 1 (37:56):
I know, being seen by these casting directors is a
win.
Callbacks is a win.
Working on indie films withfriends who are just equally as
passionate, who are just asequally passionate as you are,
is also a win.
It's exciting.
Are you SAG yet?
I am SAG-eligible.
So, yeah, I'm not with theunion as of yet.
I think I need to do a few moreprojects and then I'll be a
(38:16):
must join, and so then I'll jointhen.
But yeah, it's great right nowbecause I can do both non-union
and union projects.
It's great experience for me tojust really explore both sides.
But yeah, as soon as I'm ableto must join, I will definitely
join and I stand in solidaritywith the union because, you know
, I believe in everythingthey're asking for and I think,
for me especially, like, once Ibecome a part of the union, I'll
have all the benefits thatwe're fighting for currently.
(38:38):
So you know, I'm definitelyrooting for them.
Speaker 2 (38:41):
So yeah, the reason I ask if you were SAG, because I
know we're on a strike right now.
Are you getting any televisionauditions?
What type of auditions are youactually getting right now,
during the strike?
Speaker 1 (38:50):
So I have gotten a few soap opera auditions.
It's funny because I told mymanager, soap opera, what?
And she's like Michael B Jordandid a soap opera.
She's like there's a lot ofpeople who did soap operas.
It's okay, it's a contract.
You know I'm like okay, butyeah, no, that would be fun.
I've auditioned for soap operasand they have special contracts
with SAG to still be able to doproductions.
(39:12):
It's all permitted by SAG.
And SAG is saying you know,these are the exclusions, these
are not productions that are onstrike.
Yeah, I've been doing like fewsoap opera auditions and then
some Tyler Perry auditions.
So I'm definitely in the room,I'm definitely like reading for
stuff, so that's really exciting, yeah.
And then the rest are just likeyou know, commercials or indie
projects.
A lot of indie projects too I'mauditioning for right now while
(39:33):
I'm still SAG eligible.
You know it's still a goodflexibility.
Speaker 2 (39:36):
That's really great, because even with the strike
you're busy.
Speaker 1 (39:38):
Sure, and I asked my manager I'm like what's up with
these soap operas andcommercials?
Aren't we on strike?
She's like yes, we are onstrike.
These are productions that arenot strike.
Speaker 2 (39:47):
Right.
Speaker 1 (39:47):
So we're striking against the AMPTP, which is sort
of like the bigger productions,you know, the bigger pictures
and stuff like that.
Speaker 2 (39:55):
Commercials are exempt, so poppers are exempt I
think I heard even A24production company.
Speaker 1 (40:00):
They're exempt because they're offering to give
everything that the actors areasking for.
So it's like if an indieproduction company like A24 can
do it like, why can't the bigguys?
Speaker 2 (40:10):
Right.
Yeah, I am so down with soapoperas I would do it.
I would just soap opera any day.
Speaker 1 (40:15):
It's funny because at first I was like what a soap
opera?
Like I don't know.
I think there's just like thestigma behind soap opera acting
or whatever.
I hear a lot of people in theindustry say like, oh, you can
get stuck in that, but I meanyou're having fun, you're
working, you know.
And once I started reading thescript I was like oh, this is
actually juicy.
I was like wait a minute, likehe did what.
I was like this could be fun,you know, yeah.
Speaker 2 (40:36):
It seems like it would be fun.
Just the drama.
Speaker 1 (40:38):
Yeah.
Speaker 2 (40:38):
That's my genre.
Exactly, yeah, and so thatwould be really fun.
And then they're just kind of alittle bit more intense.
Speaker 1 (40:44):
Yeah, I hear.
Speaker 2 (40:45):
It's really good training because you have to
like right away, know your linesreally fast.
Speaker 1 (40:50):
And they're packed so they're really dense.
It's actually really hard.
It's crazy how some people lookdown on soap operas, but it's
actually a workout.
You know, it's a powerhouse ofactors in there.
Speaker 2 (40:59):
I don't know how they do it.
Speaker 1 (40:59):
Yeah, they're locked in for sure.
Speaker 2 (41:01):
Yeah, because I understand they get their lines
at last minute of the day andafter little pages and pages.
Yeah, how do I hear?
Speaker 1 (41:09):
I wouldn't mind you know soap, more soap opera,
auditions.
I wouldn't mind you know morestuff like that.
Just putting that out there.
Speaker 2 (41:15):
Yeah, we got new faces here.
I love it.
We have to.
Well, if you can't marketourselves, who can you market?
You know you have to get yourname out there, but I am so
excited for you.
I know I'm going to see you onsomething big as soon as this
trying gets over.
Speaker 1 (41:30):
I can't wait to see you in Tyler Berry.
Speaker 2 (41:32):
I would love to see I could see you on one of this
movie.
Speaker 1 (41:35):
Yeah, for sure.
It's definitely been a pleasureauditioning for them too and
just getting to see some oftheir new material before it
comes out Great.
Speaker 2 (41:42):
Yeah, so what tips do you have?
I know you give so many tipsalready for young actors who are
listening today and people whoare just curious about who you
are and what you're about, andwe already know what he's about.
He's great, he's kind, he'swell trained, he's musician.
Speaker 1 (41:58):
He's everything.
He's so talented.
I receive it.
I receive it.
Thank you, yes.
Speaker 2 (42:01):
You had a younger brother who wanted to come to LA
.
What would be your advice tohim?
Speaker 1 (42:06):
Definitely start saving money.
Make sure you have a nicecushion before you come out here
, because LA is expensive.
I mean, let's just keep it real, la is expensive.
It's a lot of people, a lot ofdemand for housing and stuff
like that.
So just make sure you have acushion.
Definitely have some sort ofgame plan.
I know there's stories ofpeople who just catch a flight,
(42:27):
come out here and figure it out.
That's definitely a way to doit.
La is hard enough already.
I don't think you want to makeit like harder for yourself.
So definitely have a game plan.
Definitely have some peoplethat you know here.
Yeah, I would say definitelycome with at least one or two
connections that you trust.
Definitely come with a nicecushion and then also come with
a game plan.
(42:47):
Make sure you have a plan andyou know where to go.
And then also be nice toeveryone, because you don't know
who you're going to run into.
And a lot of times I remember Iwent to one audition.
There's a lady at the frontdesk.
She was so sweet and she waslike hey, how are you?
What's your name?
And she was checking people in.
Turns out she's the owner ofthe casting company her casting
company and she was outsidetaking people's name.
(43:09):
So just imagine if I was like,yeah, I'll be kind, yeah, okay,
come on, I got to go.
It's like there's, there'speople in there, you know.
It's like no, that's the personright there that you're walking
in, the first person you meet.
So it's really come in, likenot even casting rooms, but
anywhere you go, like servers,whatever it's.
Just you know, come with goodintentions.
Speaker 2 (43:24):
Yeah, you know, I always said that I always was
kind to everyone.
I don't care if they're thesecretary or clerical person.
When I walk in the building,you just never know where
they're going to be in fiveyears or 10 years.
Yes, they might be your bossone day.
I've seen this happenthroughout my career.
Just because someone's writingdown names and you think that's
not important, you'll know who'sthere writing those names.
(43:45):
Yeah, they could be the owner ofthe, like you said, that was
the owner and maybe someonebailed out the last minute and
they had to just do what theyhad to do that day.
Or maybe they wanted to seekind of test the people coming
in to see how they would betreated.
See, so there's a lot of thatlittle test that go on because I
think people want to make surethey're working with good people
(44:07):
Just because they're reallygood talent.
If they're rude and dismissiveof others, people don't want to
work around that.
Speaker 1 (44:14):
They don't.
Speaker 2 (44:15):
But because you're so kind in the light, this is
another important thing.
Coming to LA, there's a lot ofpits right.
So how do you balance beingkind and gentle and humble and
grateful and protecting yourselffrom that?
Speaker 1 (44:28):
I think that is an amazing question.
First of all, I just gotta say,like you are a great person and
you are very kind and gentleand I definitely feel that
energy from you and you've beennothing but nice and you're one
of those good people too, like I, definitely light sees light,
you know, and I definitely feelthat from you.
Speaker 2 (44:46):
Thank you.
Speaker 1 (44:47):
But yeah, like when you come around people with bad
intentions or, you know, darkerenergy or whatever, for me what
I realized especially recentlyis, you know, still be nice, you
know still come with goodintentions, but also just
distance yourself.
You're not obligated to bearound that person, you're not
obligated to talk to that personIf there's something that
doesn't really interest youabout that person, or if they do
(45:08):
something that kind of rubs youthe wrong way, like it's okay
to still be cordial with themand just kind of turn the other
way, find someone else to talkto, and eventually they'll get
it.
And then, you know, a lot oftimes too, I think the way that
I look at it is maybe they don'thave bad intentions, maybe
they're just going throughsomething right now, maybe
there's something internallythat they're fighting or there's
, you know, something thatthey're working on themselves,
(45:30):
and so, instead of coming backwith bad energy, you might be
igniting something in them thatthey need to work on and you
might not be ready to deal withthat right now Right.
You know.
So you know, I think it's justimportant to see and be able to
read.
You know certain people like doI need to open this person up
right now?
You know, yeah, I'm gonna openthat for another day.
Speaker 2 (45:49):
Yeah, don't open that Pandora box.
Exactly, exactly.
Yeah, I've learned that thehard way and it just backfired
because it brought out my worstin me.
Speaker 1 (45:58):
Yeah, yeah.
Speaker 2 (45:59):
And I'm like, oh no, I'm staying in the light, I'm
not going into the dark, I gottajust get away from this person.
Speaker 1 (46:04):
Exactly.
Speaker 2 (46:06):
Because so do you use your intuition.
Yeah, so you use your.
Like your body will know ifsomeone's bad.
Speaker 1 (46:12):
So I oh yeah, your gut feeling is a real thing.
That is a real thing.
It's really being tuned in withyour gut, and I think that also
comes with diet and everythinglike that.
Like, if you're eating a lot ofstuff and there's always you
know stuff in your gut you'renot able to have that gut
feeling right away, you know.
Speaker 2 (46:26):
Oh, I never thought about that, yeah.
Speaker 1 (46:28):
I mean, that's the way I look at it.
It's like, yeah, if there'sfood being digested, I can't
really be in tuned with my gutbecause my gut is focused on
something else right now.
But when, when you know my gutis healthy and active, you know,
then I'm able to be more intune and you just get that deep
rooted feeling.
You're like huh.
Something's not right here forme.
Speaker 2 (46:46):
Something doesn't feel right and don't go.
Keep going forward.
Don't dismiss your own, yeah.
Speaker 1 (46:52):
Trust your initial feelings, yeah.
And then, on top of that, for metoo, like you know, a lot of
times it doesn't even have to dowith a gut feeling.
It's like we're all energy.
You know, we're all made up oflittle molecules, so we're all
vibrating at a certain frequency, you know.
So it's like if, if someonejust like accidentally knocks
over a glass, or maybe you knowdrops utensils or you know,
they're always like kicking withtheir feet or you know, just
(47:14):
doing something, it's likeenergy that's being, you know,
moved.
So maybe they have a lot ofenergy that needs to be released
.
And if I'm calm and I don't needa lot of energy like that, then
maybe, like, that's someone Idon't want to be next to right
now, you know, and that's okay,it's not saying anything is
wrong with that person, butthey're just fumbling around a
lot and I don't think I want tobe around.
That, you know, and that's just.
It's.
That's just what it is, youknow, and I think with that,
(47:37):
those are just certain thingsthat I look at and I'm I mean,
it's okay to be clumsy.
I'm not saying that, you knowthat's a bad thing.
It's okay to be clumsy, but youknow, it's just.
It's just to each its own.
You know it's a case by casescenario, you know.
Speaker 2 (47:50):
Yeah, but I guess in this, in light of what's going
on and what people were seeingon news, and people become
victims of predators and LosAngeles is a big city and
there's some predators I thinkto spring that up, there's
nothing wrong with talking aboutit, at least getting people to
be aware If they're come to LAand want to be an actor, just be
(48:10):
aware that people do takeadvantage of their, their status
or their titles, and justreally have confidence in
yourself and your abilities andanything else.
Anything that doesn't feelright isn't right, at least for
you at that moment.
Yeah, and to go off of that andlisten to it.
Speaker 1 (48:27):
Yeah, and to go off of that, just know that it's
okay to say no.
It is okay to say no.
Speaker 2 (48:32):
Definitely.
Speaker 1 (48:33):
When you get a project that you don't like, you
know if there's kissinginvolved, you could say you know
.
Speaker 2 (48:37):
I don't want to do that.
Speaker 1 (48:38):
Or you know if, if, if I were to get a call to a
callback and it was, like youknow, at someone's house, and
I'm just like, uh, I'd rather doit like some republic casting
office.
You know it's it's okay to saythat A lot of people feel like
if they say no, that's their bigbreak and they're missing out
on it.
But in reality, like my managertells me this too like
sometimes when you say no, itmakes them want you even more,
you know, and they're just likedamn, like okay, so this guy
(49:00):
must be working.
Like he said no to us, likewhat you know.
Speaker 2 (49:03):
Yeah, cause you're not as desperate.
Speaker 1 (49:05):
Right, yeah.
Speaker 2 (49:05):
That desperation comes across.
That's like anything, thoughright.
Speaker 1 (49:08):
Yeah, just play it cool and trust that you know you
are the one Play it cool.
Speaker 2 (49:13):
But most of all, protect yourself.
Speaker 1 (49:15):
Definitely.
Speaker 2 (49:16):
Yeah, protect yourself, and if it feels good
to say no, say no right now.
Definitely don't meet people inplaces that you don't feel safe
in yeah.
And if you know what, ifthey're up and up, they will
understand and they will not putyourself in that situation.
That's how I see it.
Speaker 1 (49:29):
Yeah, and if they're real about it, they'll just be
like, okay, cool, well, you know, let's, let's go over here then
.
Or why don't we just meet at acoffee shop?
Yeah, I understand.
Speaker 2 (49:36):
If I'm my daughter or son, I would feel the same way,
but if they're not like that,stay away.
Yeah, we're just.
We're just giving a little bitof advice here.
Speaker 1 (49:44):
Yeah, no facts, that's always good.
Speaker 2 (49:46):
But you know, you talk about that nervous energy,
and I just bring this up becausewe're actors and I find myself
I know we're getting off subjecta little bit here, but this is
part of acting- talk and I lovetalking to you about this, yeah
it's fine.
I, when I have so much energyin an emotion, in a scene, I
want to use my hands a lot, andall my energy goes out of my
(50:06):
hands Instead of holding itstill and allowing it to come
through my eyes and my face.
Speaker 1 (50:13):
Yeah.
Speaker 2 (50:14):
And that's do you find that, do you find?
But you've been training foryears.
Maybe that's not a thing withyou.
Speaker 1 (50:18):
No, that's, that's a thing for sure.
Speaker 2 (50:20):
The energy's coming out and I'm just using my hands,
instead of sitting still in theemotion, and let it come
through your eyes on camera,especially for a close up.
Yeah, that is that's tough.
Speaker 1 (50:29):
No, yeah, you're, you're absolutely right.
I remember I was in the classand one of my acting coaches he,
he had a circle around, standup and close our eyes and I
couldn't stop shaking my arm.
I just kept, you know, shakingit and I was just like kind of
moving around, you know, justreally swaying around, and then
finally, like we all opened oureyes, he says Alikon, you need
(50:51):
to go run.
Speaker 2 (50:53):
Get that energy out.
Speaker 1 (50:54):
Yeah, I was like what .
He was like you got a lot ofbuilt up energy.
You need to go run.
And I was like you know what?
He's right, I usually run maybetwo, three times a week.
And so I was like you know what?
I haven't ran at all this week.
And he said that and I was likewow.
And so I feel like a lot oftimes built up energy, you just
need to release it.
You need to go somewhererelease it.
Find your way of releasing yourenergy.
You know, whether it's running,swimming, biking or being
(51:16):
social or bowling or playingpool or riding your bike all
these different ways to you gotto sometimes.
You just got to let that energyout, allow space for new energy
to come in.
Yeah, so I would say, if you'repreparing for a scene like that
, definitely do what you need todo to release some of that
energy the day before.
Technical note, like if you feelyourself doing a lot with your
hands and your character, maybeyou shouldn't do that.
(51:37):
Just be aware that that'ssomething that you're trying to
get across.
You're trying to communicateand for a lack of a better word
or using something else to getthat form across.
So it's just channeling thatand finding something else to
use to get that same message out.
So if you find yourself movingyour arm a lot, then think okay,
what am I trying to say with myarm?
Oh, I'm explaining information.
(51:58):
I'm trying to like you know,let you know.
So let me put that down and letme think with my head and let
me maybe like use my eyes.
So you really have to like talkyourself through the process and
that's the only way you'regonna like get connected to that
and understand.
And it takes, you know it takestime.
Take practice.
You know you can't get it onthe first time, so definitely
practice that.
Like I would say, definitelyset up.
I do this sometimes, like setup a camera, do a self-tape and
(52:20):
just look back at it.
And I think I heard someone sayplay your audition tape without
the sound and just look at youractions.
Is it interesting?
Are you reeled in?
And then play it without thepicture and just listen to it.
How does that sound?
Does it feel right?
Yeah, I've been playing withthat too, and that's a great way
to like find your flaws, findwhat you need to work on.
Speaker 2 (52:41):
This is so great, Alika.
Speaker 1 (52:43):
And thank you so much .
Speaker 2 (52:44):
I'm so excited about your future and I can't wait to
see how far you go.
Speaker 1 (52:48):
Up and comers.
Let's go.
Let's call it the Up and Comersof Hollywood.
Speaker 2 (52:52):
Yeah, Up Hollywood, because we might have some
people outside of Hollywood.
That's why I put of instead ofin.
Speaker 1 (52:57):
Okay of Hollywood.
Speaker 2 (52:58):
Because I might go Zoom, we might start doing
interviews, oh, nice, I'm Zoom.
Speaker 1 (53:02):
It's just a thought, I don't know that's fun.
Speaker 2 (53:05):
It might be something I might wanna do for people in
other states.
Speaker 1 (53:08):
So we'll see how far I go, for sure like New York or
Atlanta.
Speaker 2 (53:11):
Just keeping it open.
Where can people find you onsocial media?
Speaker 1 (53:15):
Oh yeah, I'm only on Instagram.
I don't use X, twitter,facebook, all that.
If I'm just on Instagram, it'sat A510, aklnd, so it's like A51
Oakland.
So the zero is like the O, soA51 Oakland.
Speaker 2 (53:32):
Okay, a51, oakland.
Speaker 1 (53:34):
Oh.
Speaker 2 (53:35):
I like that.
Speaker 1 (53:36):
And the O is a zero from the 510.
Speaker 2 (53:38):
Oh, that's clever, I like that.
I like that a lot.
Speaker 1 (53:41):
Thank you so much for having me.
This was a lot of fun and verynew for me.
So it's really exciting to kindof explore this realm of acting
, cause this is a part of acting, you know, this is, you know,
interviews and stuff like that.
So it was really exciting.
So thank you again for havingme here and, you know, asking me
all the wonderful questionsLike it's great, it's good.
Speaker 2 (53:57):
No, I'm so glad that everyone gets to know who you
are and that's what's reallyexciting and your story,
learning your story, and how yougot where you got.
Speaker 1 (54:05):
So yeah, You're the best Well you're the best,
alakan Lohchan.
Speaker 2 (54:09):
Thank you so much.
I really appreciate you beinghere today.
Our listeners are going toreally love the tips that you
gave and everyone out there.
You can watch us on YouTube, upand Comers of Hollywood.
You'll see a 20 minute shortversion of this entire podcast,
but at least you get a sense ofwho we are.
You'll see photos of what wetalked about today on our, so
(54:30):
make sure you share with yourfamily and friends and follow us
on Up and Comers of Hollywoodon Instagram.
We're on threads.
We're everywhere, so whereveryou are, up and Comers of
Hollywood is there, so juststart following us and you'll
start getting to know all ourinterviews and when they're
coming up.
Stay kind and, most of all, bekind to your son.
Good day.
Speaker 1 (54:50):
Thank you, marie.
Speaker 2 (54:50):
Bye, bye.
Thank you, alakan.
Bye, bye, bye, bye, bye, bye,bye, bye, bye bye, bye, bye, so
yeah.
is so exciting, because now I have this large
toolkit that I can just pullstuff out of Right and it's just
so fun to play.
I'm way up, up up, up, up.
Speaker 2 (00:09):
Thank you so much for joining Up and Comers of
Hollywood.
I am your host, marie Finch.
This is episode 10 of 11episodes this season.
I am so thrilled.
In addition to listening to uson Pandora, spotify and Amazon
Music, you can watch a shortversion of our podcast on
YouTube.
That's right on YouTube Up andComers of Hollywood.
Why don't you go over there andjust subscribe?
(00:29):
What's up guys?
What's up guys.
Thank you so much for comingback to Up and Comers of
Hollywood.
If you're new, thank you forchecking in and checking us out.
Today's guest is an Up andComer.
His name is Alakan Lochin.
He is a classically trainedactor and a recent graduate of
USC School of Drama.
This young man is a talentedentertainer from DJing Fort
(00:51):
Sendeah and Kalani during histeenager years, to be nominated
as the best actor at the RealEast Texas Film Festival.
I am so excited to introduceour guest today, alakan Lochin.
So, alakan Lochin, thank you somuch for coming out to Up and
Comers today.
Speaker 1 (01:09):
Thank you for having me.
I'm so excited to be here, soexcited to talk and have my
first interview with you.
Speaker 2 (01:15):
I know I'm so excited that you're here supporting my
channel.
Speaker 1 (01:19):
Yes, fax.
I think it's a great idea.
Like the Up and Comers ofHollywood, I know there's like
other YouTube channels aboutlike before they were who they
are today, and so it's like coolto see who they are right now
as they're coming up.
It's a great idea.
Speaker 2 (01:32):
Well, thank you, and I think I'm going a little bit
further.
It's just not actors andsingers and people in front of
the camera.
Next season I'm gonna beinterviewing a lot of people
behind the camera.
Oh, that's exciting yeahexecutive assistants for
television set designers.
Speaker 1 (01:47):
Yeah, I'd love to hear about directors and what
their thoughts are in theindustry.
You know Even casting directors.
If you can get a castingdirector in here, let me know.
I'm gonna subscribe, so I'lllike look out for it.
Oh, thank you Next season.
Speaker 2 (01:59):
We need more subscribers.
Yes, let's do that.
Yes, I will have agents, I willhave casting directors.
We're gonna have a whole hostof people next season, but today
we have an actor, a very goodactor and good friend, olicon.
Speaker 1 (02:12):
Thank you.
Thank you, I'm so happy.
Speaker 2 (02:14):
Now we met on a commercial.
Speaker 1 (02:15):
That's right.
Speaker 2 (02:16):
What was it a year ago?
Speaker 1 (02:17):
I think it was.
Oh, was it?
Speaker 2 (02:19):
Where was it a couple of years ago?
Speaker 1 (02:20):
I can't keep up with time now, I think it was like
yeah, I think it was last year.
Yeah, like around this timelast year.
Yeah, wasn't it an industrialproject?
Speaker 2 (02:29):
It was an industrial project and we were in an
industrial we were in awarehouse.
Warehouse.
That's where it was.
Yeah, Exactly.
Speaker 1 (02:36):
Did you ever see the footage from that?
Speaker 2 (02:38):
No, did you.
Speaker 1 (02:40):
Yeah, I reached out and I got some clips.
Speaker 2 (02:42):
Oh, you're gonna have to send it to me, yeah, I don't
know.
Speaker 1 (02:46):
No, it was fun.
That was actually like my first.
I think that was like my firstgig.
So, yeah, last year I decidedto officially pursue acting, you
know, full time, and that wasmy first gig and I met you there
and, yeah, I was like reallynervous, really excited, and it
was funny because, like Iremember, we were all upstairs
getting our hair and makeup doneand then they were like oh yeah
, you want to come down?
We wanted to just see what thelighting looks like.
I was like, okay, cool, I camedown.
(03:08):
They like set up the lights andI was like, wow, there's a lot
of people here.
There was like, you know, therewas a good amount of people
there.
Speaker 2 (03:12):
Yeah.
Speaker 1 (03:13):
And they were like testing the cameras, testing the
lights.
The mic guy came.
He was like cool, you're setand I'm thinking, all right, I'm
gonna go back to hair andmakeup and chill a little bit
longer.
They were like all right,everybody ready, settle?
Oh, this is right now.
And then, like the actress thatI was working with came on and
they were like ready, they werelike you're going to stand here,
do this, do that, bam, bam, bam.
And like they were just movingso fast and they were like all
right action.
And I was like here's my debut,my big break.
Speaker 2 (03:35):
You did great and but I remember you being so nice,
you just being a light.
Speaker 1 (03:40):
Oh, that means a lot.
Speaker 2 (03:41):
Tell us about your journey.
Where did you come from and whydid you decide to come to LA?
Speaker 1 (03:45):
Yeah, well, that's a good question actually.
So my name is Ali Khan.
I'm from Oakland.
I've been out here in LA.
I studied at USC, studied atSchool of Drama.
That was really, reallyinsightful.
I got to like work withprofessors from Yale and
Juilliard, so it was a lot offun to get all that experience
and knowledge.
I also went to OSA, which was acharter arts high school.
There I learned a lot ofclassical theater and stuff like
(04:07):
that, so that was reallyexciting.
Yeah, last year I decided toabsolutely pursue it full time
and this has been my first yearin the game and I think I'm
doing OK.
You know, for my first year,yeah, You're not new at acting.
Speaker 2 (04:19):
You've been acting for years and years, so tell us
that journey.
Speaker 1 (04:24):
Yeah, when I was young, my very first time
getting on stage, it was just socomfortable, just so fluid, it
just felt natural.
It felt like what I was calledto do, you know, and it was at
my aunt's wedding.
The DJ was over there DJing andit was kind of like the
reception cocktail before theevent starts and the mic was
just there and I'm just likethere by myself and I just jump
(04:45):
up on stage, I grab the mic andI become the emcee for the night
.
You know, and here I am, thissix-year-old, just how's
everybody doing?
How's everybody doing?
What's up, everybody?
And everyone's yelling with meand I'm like come on, everybody
get up and dance.
And everyone's getting up anddancing and they're having a
great time.
And, like in that moment, I waslike, wow, here I am
controlling the crowd, here I amtelling the story, here I am
entertaining people.
And it felt so right.
(05:06):
And my mom, you know, I loveher so much because she saw that
in me and she invested in that,and she was like you know what?
You're going to go somewhere,you know.
Speaker 2 (05:14):
At six years old you were up there and it was so
comfortable for you, yeah socomfortable.
Speaker 1 (05:18):
And then from there she put me in a conservatory.
I went to the new conservatorytheater in San Francisco.
Shout out to them.
I used to love going everySaturday.
That's also how I knew therewas something there, because
every Saturday morning I was thefirst one up in the house, out
running my mom and say wake up,wake up, wake up, we got to go.
We got to go.
I was already dressed and ready.
She's still waking up like, oh,and then we?
Yeah, it was just the driveacross the Bay Bridge to get to
(05:40):
San Francisco.
Everything about that was justso inspiring for me as a kid
just to go into the big city andgo into this conservatory
school and, just you know, getall this training.
I heard about Oakland Schoolfor the Arts and like that's a
charter school and I was like Ican do it every day of the week.
I was like yes, let's go.
And so I auditioned to get inand then I got in, and so for
(06:00):
the first half of the day we'rein school studying academics,
and then for the second half ofthe day we're focusing on our
discipline, our art.
So it's whether dance, music,acting, you name it that would
be the discipline for the nextthree to four hours and it was
just so amazing.
Shout out to all the teachersthere who have helped me get to
where I am today.
Like it's amazing.
Speaker 2 (06:20):
From six years old to high school, you were always
studying.
Speaker 1 (06:23):
Yeah, and then after high school I went to Pierce
College in the Valley a studydrama there.
Community college is reallyoverlooked, you know.
There's a lot of really goodprofessors there who really care
about their students and theyreally want them to succeed, and
that felt like that was aperfect place for me, because
that is when I needed supportthe most, you know, academically
, and they were all there justmaking sure that I was making
(06:45):
the right decisions, I wastaking the right classes.
They were telling me like theresources that I had available.
And then one of my professorstold me that I should apply to
USC and he said don't let themoney, you know, discourage you.
He was like it's a privateschool but they definitely pride
themselves on giving money tothose who can't afford it, and I
certainly couldn't afford it atthe time.
So I was like you know whatCause you said it, I'm going to
(07:05):
go ahead and do it.
And then he ended up writing aletter of recommendation as a
USC alumni himself, and that wasvery, very helpful, you know.
Yeah, then I got into USC andstudied there.
So, yeah, I've been studyingfor a while.
Speaker 2 (07:18):
A long while.
Yeah Now, Alakan, did you haveany jobs as a child, any acting
job?
Speaker 1 (07:24):
As a child or did you audition as a child.
I auditioned for plays, didstuff in school.
I think I was just very focusedon school at the time.
Speaker 2 (07:33):
So just school and theater.
Mm-hmm, yeah, you said you werereally trained in theater.
Speaker 1 (07:37):
Yeah, I was just behind the scenes just doing the
work and of course, you know asa kid, there's times where I'm
playing around and I'm just nottaking it seriously.
But best believe, I wasdefinitely absorbing that
information in some way oranother and that's why I'm so
thankful you know where I am nowwhen I'm just getting out there
just doing commercials andplays.
And it's so exciting, cause nowI have this large toolkit that
(07:59):
I can just pull stuff out of,right, and it's just so fun to
play.
And I feel like once you studythe craft and you know what
you're doing when you go on set,it's time to just play and just
use everything that you learned.
It was really exciting to beable to reach into my toolkit,
you know, and just pull stuffout for the stuff that I'm
working on now in this last year.
Like I'm like wow, like Iactually have a lot of resources
(08:20):
in my belt when it comes toacting that I can use for
different scenarios.
Speaker 2 (08:24):
I remember you on set and you were so happy to be
there and you were so confident.
Speaker 1 (08:29):
Yeah.
Speaker 2 (08:30):
And now I know where that confidence came from,
because you've trained for allthese years.
Even though you didn't havejobs in the industry, you were
always training in theater.
So, getting to that, I saw yourrevival of Harlem South in Los
Angeles.
Speaker 1 (08:44):
Shout out to Harlem South.
Yes, at the Grammy museum, atthe museum.
Speaker 2 (08:48):
You invited me to come.
You DM'd and say, hey, come out.
So I did.
Speaker 1 (08:52):
Thank you for that.
I'm so happy you came out, bythe way.
Speaker 2 (08:54):
And I met your mom and she was so super cool.
I was sitting right next to herand I could not get over your
talent.
I was like wow, alakon.
Thank you so much you justbrought me to tears and I just
thought you're going places.
Speaker 1 (09:09):
Thank you.
Well, I definitely got to givecredit to Dr Ron McCurdy, who
started the whole production ofHarlem South, and then also the
director, dominique Corona.
She was an amazing person to bewith.
She really helped me dig deepand really get into character
and really understand why I'mtelling these stories.
And for those who don't know,harlem South is a multimedia
(09:30):
disciplinary play about thebeautiful black people who were
living in the 1920s and justsort of what they were pursuing,
what they had to endure, and wedon't focus too much on the
hardships, we focus more on theprideful things that they were
doing at that time.
So it's a really good play.
But you're right, there is alot of raw emotion in there too.
Speaker 2 (09:47):
And it was all about the black middle class.
Yes, during the 1920s, exactlyyeah, and a lot of people didn't
know there was a middle class.
This is when they were startingto build wealth.
Speaker 1 (09:59):
Right.
Speaker 2 (10:00):
Before it was taken all the way.
And those communities werebuilding.
They were really gettingsomewhere Right.
And then, of course, otherpeople in the United States
thought that shouldn't happenand that they were taken away.
Speaker 1 (10:10):
Yeah, so it's great we had our world premiere in
2019.
And I invited you to therevival that we had and now
they're talking about we mightbe putting it up again soon, so
look out for that everyone.
Speaker 2 (10:21):
If you get a chance to see the revival, please do.
It's a really good history ofour African-American ancestors.
Speaker 1 (10:27):
Yeah, and it's great too, just to enlighten people
and let them see the brighterside of what the black middle
class was doing in the 1920s.
So it's a great way to changeyour perspective and really just
enlighten you on what life waslike for middle class people at
that time.
Speaker 2 (10:43):
And it's about a photographer.
Speaker 1 (10:44):
Yeah, it was about a photographer.
Speaker 2 (10:46):
In the 20s, and when he passed away they found all
these photos in this basement.
Speaker 1 (10:51):
Yes, yeah you got it, you got it.
Speaker 2 (10:54):
Okay, I know it was a year ago and I'm trying to
remember, but you got goodmemory.
Yeah, I just remember thedoctor talked about that on the
stage.
Speaker 1 (11:00):
Yeah, he's a robber yeah, but pretty much yeah, this
photographer.
He took all these beautifulportraits of black middle class
and he stored them on glassnegatives in his basement and
years went on and they just kindof got lost in there.
And eventually someone boughtthe house.
They looked underneath thehouse and they found all these
glass negatives and theyproduced them and they saw all
these beautiful portraits thathave never before been seen.
(11:22):
So it was incredible to look at.
And that's when Professor DrRon McCurdy from USC.
He came across the museum andsaid someone needs to bring
these stories to life and hehired some writers, got a crew
and made it happen.
So it's great stories and it'sbased on real pictures and real
people.
Speaker 2 (11:38):
Exactly, and so glad that they found those photos,
because you just don't see thattype of depiction of our
African-American ancestors inthe 20s you think they were all
just really weren't doing welland a lot of them weren't, but a
lot were building wealth andthat's what's so important?
Speaker 1 (11:54):
In our production too .
We always talk about how thephotographer chose to store them
on glass negatives, Like maybehe knew that over time it would
be rediscovered, because if itwas on paper negatives the
pictures would have faded away,it could have been lost.
But glass negatives, they lastforever Well, not forever, but
they last a very long time.
Speaker 2 (12:15):
So that's pretty interesting.
You had such a foresight onthat.
Yeah, so you were somagnificent.
So now that you're here in LA,how is it for you?
Speaker 1 (12:24):
Wow, yeah, now that I'm here in LA, it's definitely
a sour patch.
Kids treat First they're sour,then they're sweet, you know?
No, it's been a great time,honestly.
Just one year alone I've beenblessed to have a talent manager
.
I just signed with a commercialagent.
I got my first nationalcommercial with the Experian app
(12:46):
, so that was a lot of fun.
Speaker 2 (12:48):
Congratulations on that.
Speaker 1 (12:49):
Thank you.
Yeah, I was really excitedabout that when I got the call.
Speaker 2 (12:52):
I was like what.
Speaker 1 (12:53):
Are you serious?
Like my first commercialnational, I was like let's go.
Speaker 2 (12:58):
Yes.
Speaker 1 (12:59):
Yeah, and then I remember showing up to set and
they pretty much did the samething.
I'm realizing that this is justhow set life is.
You're upstairs, you'rechilling and they're like oh,
come down, we just want to seewhat lighting looks like.
And I was like I've heard thisbefore.
And so I go down and they micme up and this time I just feel
a little bit more confident.
I guess this one, I just feltmore sure of myself because I
(13:19):
was familiar with our projectthat we did.
And so they told me to sit downin the chair.
They leaned forward.
They had one camera movingaround, one camera focused here.
They had a video village.
They had the directors in thetent just looking through the
monitor.
So they do touch-ups.
They're like all right, sitdown, ready.
Lights, speed, camera speed,all right, and action.
I'm like all right.
So yeah, let me tell yousomething about credit.
Speaker 2 (13:42):
So, you're getting comfortable in front of the
camera, because that wassomething if you didn't have the
confidence.
I guess that was the thing.
Or did you do some film whenyou were training?
Speaker 1 (13:51):
So when I was at USC, I definitely worked a lot with
film students there.
The film students were amazing.
They had industry standardequipment and they had all sorts
of amazing stories, and so thatI had a wonderful privilege to
be able to work with them.
For me, that was just a tasteof what the industry was going
to feel like.
Yeah, because I would work onone student's short film and
(14:13):
then two weeks go by, then I geta call from another student who
was in that class, who saw thefilm, and they're like hey, we
want you in our film.
And I was like huh, so that'show it works.
You know a little word of mouthSome people see you here, some
people see you there.
Yeah, I just made sure to showup, do my best and be kind to
everyone and I feel like just inthat school setting it really
(14:33):
took me far.
And that's where I started toget more familiar with the
camera.
I started to see playback fromthe videos and I was like, okay,
I did that way too big, likelet me tone that down a bit.
Like this isn't the stage I was.
Yeah, I had that time to reallyown in on the reality of
working with the camera versusthe reality of working on stage.
Speaker 2 (14:51):
Exactly, and we had to learn how to tone that down
and to use the eyes opposed tobeing big on stage because
you're using your whole body.
Speaker 1 (14:59):
Well, it's good that you brought that up, because on
the last film I worked, Irealized when there's a wide
shot, it's okay to use more ofyour body because you're filling
the space, and when it's aclose-up shot, that's when you
want to keep it.
You know small minute movementsbecause it's really focused on
your face and that's going to be, you know, on the big screen.
You know.
So, big body, wide shot, dowhatever you know close-up, then
(15:22):
you kind of like own in alittle bit more.
So, yeah, that's another thingthat I learned.
You know working on set andit's a lot of fun and it's all a
learning process, you know, andthe way I look at everything,
it's like, yeah, I'm confidentabout it, but I'm also coming in
as a student.
I'm also saying, okay, like thisis there.
I'm not afraid to say I don'tknow what that is or what does
that mean, or can you clarify?
Because I'd rather just letthem know that, hey, I'm new
(15:42):
here, you know, and I'm learningand that's what I'm here for
and I hope to get something outof this, rather than, oh, yeah,
I know that already, oh, I knowthat, and then I'll go walk over
here and they're like we saidover here, you know, like what
is this guy doing?
You know it's better to justsay, hey, like what does that
mean?
Speaker 2 (15:55):
Or you know, it really is important that you get
clarification, because it savesthem time and time is money in
the industry.
Speaker 1 (16:01):
Yeah like even with auditions, like it's okay to ask
the casting director, like whatdo you mean by that, or what
exactly are you looking for, andthey'll give you an example,
they'll sit you down.
The reality is they want you tobe the one.
So if you help them be the one,then it makes their life easier
, you know 100%.
Yeah, that's a great tip.
Speaker 2 (16:20):
Thank you so much.
So what was your perception ofLos Angeles before you got here
to Los Angeles, and then whatwas the reality of it for you?
Speaker 1 (16:28):
That's a great question.
My perception of Los Angeleswas this big, bright city, you
know, the clean streets andglamour everywhere, red carpets
rolling out of all these venues,and my thought was like
someone's just going to come upand be like you're the guy, you
have the face, come with me.
And next thing, you know, I'mlike on a billboard somewhere,
like that was my perception.
(16:49):
So I really came in to LosAngeles really like googly-eyed,
really like whoa, whoa, likelet me do that and let me do
that and what's that?
And oh my God, and reallyinquisitive, you know, really
curious about what it was.
And now my reality of it is LosAngeles is a place where a lot
of people come to chase theirdreams, and so that part is
(17:10):
really inspiring, just to seethe amount of people who come
here and their stories.
You know where they come from,what they want in life, why they
came here and the weatherthat's something that I did not
think about.
And when I came here, I'm like,oh my God, this is beautiful, I
love it, like the clear skies,you know, the sunshine, it's
great.
And then, of course, there area lot of roaches on the streets.
(17:31):
I didn't know that, especiallyin Hollywood.
You know, on the streets ofHollywood there's a lot of
roaches.
I didn't know that and I waslike, OK, it's not as glitz and
glam as I thought.
You know, in certain parts ofHollywood, I mean just like in
any neighborhood.
You know, you have the roughpart and you have the nice part.
So then I started to discoveryou know Beverly Hills and Bel
Air and you know the West Side,and I was like, oh OK, so here's
(17:51):
the nice part, here's what wesee, you know, on TV and stuff
like that, like selling sunsetand stuff like that.
It can be nice.
But what I didn't think aboutis that there's also bad parts
of LA too.
Speaker 2 (18:01):
Yeah, there's the light in the dark side of
Hollywood.
Speaker 1 (18:05):
Yeah, there definitely is the light side,
there definitely is a dark side,and you know I choose to stay
on the light side of Hollywood.
I do too.
Speaker 2 (18:10):
I'm only staying on the light side not going to that
dark side at all.
I did not know about theroaches.
Speaker 1 (18:16):
I'm in the valley.
Speaker 2 (18:18):
No roaches here?
Well, not that I know of.
And then you mentioned clearskies.
Where is that now like?
Because it's all smog.
Speaker 1 (18:26):
Oh yeah, I guess there's smog sometimes.
Yeah, when you're over, like bythe beach, you get clear skies.
Speaker 2 (18:32):
Oh, that's, true.
Speaker 1 (18:32):
Yeah, because or when you look past the smog, you see
clear skies.
You know.
Speaker 2 (18:36):
I moved here during the pandemic and the skies were
actually clear because no onewas on the road.
Speaker 1 (18:41):
Yeah, yeah.
Speaker 2 (18:42):
And I think once everything opened up and then I
start seeing the layers of, youknow, I kept thinking it was
marine layers, but it was reallysmog, yeah.
So that's really cool.
I'm glad you see both side ofthings and then you want to
stick to the light side, Becauseyou're a light person anyway.
Speaker 1 (18:57):
Yeah, You're full of light.
Yeah, yeah, I stay on the darkside.
You don't need to go to thedark side.
Yeah, no, I stay away from thedark side.
I like the light side.
I like you know positivity andI just like inspiring people.
There's just a better feelingwhen you're on that side.
You're just spreadingpositivity, You're spreading
good and that comes back to youand it's just a world of peace.
Speaker 2 (19:16):
Yes, yes, that's important to have peace, inner
peace, definitely I'm at,finally at that place.
Speaker 1 (19:21):
Yeah, that's good.
Yeah, not, I got here it waskind of like crazy too.
And I was like OK, slow down.
Speaker 2 (19:26):
Yeah, exactly, take your time.
Speaker 1 (19:28):
I remember in high school there was always like
high school drama and I wasalways the one like I'm just
going to step away, I'm going tolet y'all handle it, like I'm
good.
I'm good, you know, just always.
You know stepping away from thedrama, but of course, like
where it permits.
You know you've got to bedramatic when it permits, yeah
you've got to take care ofyourself when you have to.
Speaker 2 (19:47):
I know you act, but you do do some other talents.
You're a music.
You said that quickly and Icaught it.
So why don't you elaborate justa little bit about your talents
and music?
Because I think it's good forour listeners to know that, as
an actor, you've been trained intheater and classical, but then
(20:07):
you also have this other sideto you, which is music.
Speaker 1 (20:10):
Yeah, I did not expect you to bring that up.
That was a surprise.
I have worked in music.
I've worked as a DJ in music.
I've DJed all over the Bay Areaand in a band.
Yeah, we did a lot of stuffwith that.
I worked in some studios, youknow, met a lot of cool people.
It was a thrill.
I would always tell my momDJing is just a hobby and my
(20:32):
career is going to be acting,and I would always tell my mom
that.
And so DJing really kind oftook off for me career-wise.
You mentioned if I had any workwhile I was coming up.
I was DJing.
I was DJing most of the time.
Speaker 2 (20:43):
So you're getting paid for DJing.
Now you DJed for someone who'skind of famous.
Speaker 1 (20:47):
Yeah, I did.
Yeah, a few people actually.
Yeah, when we started with theband with Kaylani, she was
amazing.
She was like an amazing personto be around.
She was always so enlightened,she was always so informative,
she always had something to say,whether it was good, bad,
criticism, whatever.
She always voiced herself andthat's something I truly always
(21:09):
admired about her, like shewasn't afraid to say it and she
wasn't afraid to be wrong.
Yeah, just working around herand just seeing the way she
navigated the industry evenafter we kind of split up with
the band, like just seeing hernavigate, I was like wow, like
she's really doing it and it'sjust amazing to see her
everywhere.
And it's funny becauseeveryone's like, oh, like
Kaylani, like they get star eyedand I'm just like that's the
homie from the Bay, you know,like that's my friend from OSA,
(21:32):
like that's someone that I wasjust on the stage with.
Like there's an old photo of mein like a gray hoodie.
I think I was kind of sick thatday and we had a performance
and I was like, ah, I guess I'llgo and we showed up.
I remember we had like a bestfriend handshake and we're on
stage like doing our best friendhandshake.
Yeah, like those times wereamazing, man.
If I could go back in time, Iwould love to just relive those
moments, you know.
Speaker 2 (21:53):
I think she's amazing .
I love her music.
I do listen to her music, yeah.
Speaker 1 (21:56):
And now she has a child.
Shout out Adea.
I think I'm saying her right.
Shout out Adea.
I came to visit her when shewas pregnant, you know.
So that was amazing.
I haven't seen the baby yet.
Yeah, I'm sure I'll see hersoon.
Speaker 2 (22:06):
So that is so cool.
I think that's wonderful thatyou do have such a different
side to you.
Speaker 1 (22:11):
Yeah, definitely being on stage as a DJ.
There's a different way thatyou look at the audience.
So as a DJ, you're alwaysreading the crowd, you're
reading the room, you're gettingpeople amped up for the show or
whatever it is and adjustingyour music based on what the
response is.
So it's really reading thecrowd and filling them out.
And so I think also you know,when you're acting on stage, or
(22:31):
even you know on set, likeyou're reading the room and
you're seeing like what the toneis, what the vibe is, you know,
and it's getting that sameenergy for the project that as
if I'm getting that energy DJing.
You know what I mean.
It's the same sort of process.
So those are things thatoverlap.
And then also just being myselfand talking to the audience.
And then also Zendaya I got toDJ with her on a little tour
(22:54):
when she was doing music.
I remember we were at theArizona State Fair and it was
packed, it was sold out, and Ijust remember being up there on
the stage.
It was a pretty big crowd and Iwas like I have to get these
people ready to see Zendaya.
That'll be easy, becauseeveryone loves Zendaya, you know
.
So I just came out there anddid my thing and, yeah, it just
felt really good to just sharethat energy with the crowd who
truly love someone and just feelthat reciprocal energy.
(23:17):
It was beautiful.
Speaker 2 (23:18):
Well, now I know where you get your confidence.
I love our listeners who wantto get into acting.
I think really work on thatconfidence part, but it comes
naturally to have thatconfidence and trust in yourself
to be able to do all you did,to take the leadership and being
a DJ and getting over the crowdtogether.
That's some good training.
Speaker 1 (23:38):
Yeah, now that you say it, yeah.
And then I just got to go backto when you say you know
confidence and actors havingconfidence.
There's a fine line when you'rehaving confidence.
I noticed on set there's a lotof people that they cater to
talent.
Come in, hey, is there anythingyou need?
Hey, is there anything I can dofor you?
Hey, is that too hot, you wantme to go?
Is that too cold, you want meto do that?
Do you want room temperature?
All that stuff can kind of getin your head.
And then now you come out thetrailer and you're like, hey,
(24:00):
where's my room temperature,water and dry celery.
So for actors, in order to haveconfidence on set, you just got
to know who you are and you gotto come with that.
And I think you bring up a goodpoint when you say now you
understand why I come to setwith confidence.
Like it's just a relaxed sortof confidence because I know
what I'm doing and I'm prepared.
An actor prepares, so if you'rewell prepared and you're ready
(24:22):
to go on and do the work andjust play, then it speaks for
itself and that's where theconfidence comes from.
You don't have to come withthis facade of like I'm
confident, stick my chest out,chin up, look everybody in the
eye, cause people can also readthrough that.
Speaker 2 (24:35):
It's like overcompensating your insecurity
.
So that's why it's so importantto be humble and grateful in
your confidence and that's whatI saw in you.
But you introduced yourself toeveryone.
I remember I was, I think it,my makeup and everything on.
You came and introducedyourself and you're just humble
and grateful to be there.
Speaker 1 (24:52):
Thank you.
I also give credit to my newtalent manager, kimberly.
Like she has definitely beenhelping me, like just kind of,
yeah, she's building me up, youknow, to really, you know, take
lead and take control of mycareer.
And so, yeah, coming in andintroducing yourself, really
take lead and, you know, takeaction.
Yeah, definitely, just beauthentic and you know, just be
genuine.
(25:12):
And it takes time.
That takes time.
It's a lot easier said thandone.
I hear a lot of people say itall the time, but it takes time.
To be authentic cause, youreally have to explore yourself
and you really have to know whoyou are.
To be authentic, you have toknow your flaws, you have to
know what triggers you and youhave to.
You know, even as an actor, youknow when you're going on set.
You have to know what's goingto trigger you to a certain
(25:33):
level and it's just like themore you're aware of that, the
more relaxed you can be and whoyou are.
Speaker 2 (25:38):
That's a really good point, alakan, because one of my
acting instructors told me thatit's so important that actors
have a therapist.
Yeah, I know now why cause toget to know yourself, like you
said, the triggers.
But once you get to know thatabout yourself, that really
helps with your craft, becauseyou could pull from your tool
belt Exactly, from your ownexperiences, exactly, yeah, and
then you know how to harness it.
(25:59):
So, even though you have yourtriggers, you can harness it to
not let it affect your real life.
Speaker 1 (26:03):
Exactly.
Speaker 2 (26:04):
And then you can pull it out when you need it for a
character.
You got it and no oneunderstands that actors go
through that.
That's a lot psychology that wework on on ourselves on an
ongoing basis.
Speaker 1 (26:16):
Yeah, it's a lot of psychology.
I actually have a friend fromUSC his name is Omete and he
studied neurology and theaterand his philosophy was he wants
to understand how yourneurological brain creates these
certain emotional patterns inacting, and for me I was just
like Whoa, I love that becauseI'm a science nerd.
(26:38):
Mind blown yeah.
I love it and so he really doveinto that and he really like
attacked that aspect and weactually worked on a production
together at USC.
It's called Facing Our Truth.
Yeah, it was a really good playabout race privilege and
Trayvon Martin.
It was a wonderful play and heplayed Trayvon Martin and just
seeing him every night on thatstage we were all really
connected and tapped in.
I really felt somethingpowerful in that play,
(26:58):
definitely felt presence therewhen we were doing the
production.
I think the family got to seeit too.
So it was really cool to havehis family see our production at
USC and really spread thatmessage.
Speaker 2 (27:08):
What a blessing to be part of that.
I would love to see it.
Speaker 1 (27:12):
Yeah, sorry.
Since we're on the topic, Ijust want to say rest in peace
to Shirley Jo Finney.
She was the director for thatplay.
She was amazing.
She recently left us, so justwant to say rest in peace to her
and thank you, shirley JoFinney, for everything that you
instilled in us.
She was amazing to work with.
Speaker 2 (27:28):
Oh, that's really great, alakan, you said that you
really just started working asan actor this past year.
What are some of the challengesthat you've been going through?
Speaker 1 (27:38):
Yeah, well, one of my biggest challenges has to be
finding friends, finding peopleto just hang out with and just
chill, just have a good timewith.
It's definitely the balancethat you have to have in this
industry, and I think my biggestchallenge is I'm so driven to
get there that I neglect havinga social life.
Sometimes I can neglect havingfriends.
(27:59):
Sometimes I can neglect justgoing out and maybe having a
drink or two.
I neglect a lot of that becauseI'm so driven and so focused.
I think that's a challenge tome because it's important to
have balance, especially ifyou're in it for the journey.
It's about the present timeright now.
It's about enjoying the balanceand the good in life, and so
it's like I have to make time tohave friends and hang out with
(28:23):
them because that's gonna helpmy social meter, that's gonna
help that side of my life, andthen going on set, I feel like
I'm good on that.
But the challenge right now isthat having a balance between
work and social life.
Speaker 2 (28:35):
Right, no, I understand that totally.
How many auditions do you getin a week?
Speaker 1 (28:40):
In a week.
I probably get, I'd say, likefour or five auditions a week.
Speaker 2 (28:44):
So you have so many auditions, I could see why you
wouldn't have a life.
Speaker 1 (28:47):
Yeah, it gets a.
Speaker 2 (28:49):
Four or five a week.
I mean that's successful andthat's great.
But do you find yourself juststuck in the house?
You're going over your lines.
Speaker 1 (28:56):
There's also auditions in person.
Now Go to a casting office andread in front of casting
directors and I just I preferreading in person because I feel
like you can really feel theenergy there versus self-tape at
home.
They can't really like see youressence and stuff like that and
they can't feel your vibe.
But I mean, I'm sure they cansee what's going on.
But I love going in person andso I'd say maybe once or twice
(29:19):
I'm going in person a week andthen the rest are self tapes.
Speaker 2 (29:23):
Okay, so say five a week.
Two are in person and three areself tapes.
Yeah, yeah, but that's still alot of lines and stories that
you have to create.
Speaker 1 (29:32):
I'm just laughing, because I remember this one
audition.
I forgot there was two parts tothe audition, so I was so
focused on the first part and Iwas staring and I was like I got
it.
I got it and I came in and Inailed it, I crushed it the
first part, and they were likeall right, now the second part,
go ahead and bite into thecheeseburger.
Okay, cool, bite into thecheeseburger.
He was like okay, when's thelast time you had food?
(29:54):
I was like, oh right, and it'sthings like that too that you
also need to study and prepare.
How does this burger taste?
Connecting with the burger, isthis a good burger?
Is this a bad burger?
Is this a warm?
Is it hot?
Is it cold?
You have to process all that.
And I think, because I justwasn't prepared for that, I was
like cool, it's a burger.
And he's like all right, do itagain, but slower.
(30:15):
And I'm like, okay.
He was like, okay, that waslike slow motion.
I was like, okay, so meet youin the middle.
And then I'm just like he'slike do you enjoy it?
And I was like oh, yeah, yeah,I enjoy it.
And it's all these thoughts, andthat's a thing too, like when
you're on set or even like in acasting office, they're not
gonna tell you the actor theaterway of getting into it.
They're just gonna say can youdo it faster, can you do it
(30:35):
slower, can you do it this way?
Oh, turn it upside down.
It's very technical, and soit's up to you, as an actor, to
take those technical notes andapply it to your craft.
So it's like okay, he's tellingme to do it slower, so what I
should have done was said okay,you want me to do it slower, so
let me take the time to enjoythe burger, let me relish in it.
(30:56):
Then at that point I probablywouldn't have done it in slow
motion.
But yeah, you give what I'msaying.
Speaker 2 (31:00):
No, 100 percent.
Commercials are so differentbecause you're really selling
the product.
Yeah, yeah, and you always haveto remember that when you
audition to sell the product.
So when you're eating ahamburger, you're selling the
idea of this hamburger being sogood yeah exactly.
So they don't really go overthat in commercial classes.
They don't go over like buyinginto things.
Speaker 1 (31:20):
Yeah, that's something you learn on the job.
Speaker 2 (31:23):
I think, but I don't know have you been in a
commercial class where they saidOK, we're going to eat
hamburgers and we're going toeat spaghetti, or we're going?
Speaker 1 (31:28):
to try this.
I remember at USC I was in acommercial class.
That one was really fun.
We were just doing likecommercial auditions every day,
but I don't remember eatinganything.
Speaker 2 (31:38):
Yeah, I never been in a class where they had us eat
or drink anything.
Speaker 1 (31:42):
I think I think we were drinking, but I don't
remember eating.
I do remember I was like acommercial for the shoe surgeon
and Reese's Pieces Peanut ButterCups.
That one was really fun.
Yeah, like I remember they hada freezer full of Reese's Pieces
Peanut Butter Cups and afterevery take they would just come
out with ice cold you knowReese's Pieces Peanut Butter
Cups and it was just yeah, everytime I was like I was just
(32:04):
telling myself, wow, I didn't, Ididn't rehearse this, Like you
know, opening up the wrapper andtaking a bite, Like I got to
make it look natural.
So in between takes I wouldjust I knew we had a lot, so I
would just take time opening it,taking it out, biting it,
enjoying it and I think, justhaving that time to just kind of
like go through it.
I was like, okay, got it.
So, yeah, it's just a matter ofbeing prepared and just
practicing that.
(32:24):
So it's like we always think ofthe emotion or the lines, and
but it's also the actions thatwe're doing too.
Speaker 2 (32:29):
Right, especially in commercials because, you're
selling the product and I thinkthat's why they keep telling us
to watch commercials.
That's kind of like you knowwhen watching commercials
because it gives us.
I'm only saying this because Iknow our listeners are people
who are listening becausethey're wanting to be actors.
They want to come to LA andthey're just trying to find out.
You know other people's stories, so I'm just bringing up a
little things for them.
(32:50):
You know to understand too.
Speaker 1 (32:52):
Yeah, no, you bring up a good point, because I
wasn't looking at commercialsthat way.
But after I got my firstnational commercial, then every
commercial that I see, I'm like,oh okay, like what are they
doing here?
You know, I'm really studyingit now, you know, and it's like
I don't want to do commercialsfor the rest of my life, but it
is good experience.
So it's good to just tap intothat and really study it.
And you also got to think likeas a new actor.
(33:12):
It is a competitive industry.
When I look at the commercials,I'm telling myself I'm looking
at this differently.
I'm looking at it and I'mstudying it, because I'm sure
the next person probably is justlooking at it, you know right.
So it's like it gives you thatcompetitive advantage.
So definitely do that as anactor throughout there.
Definitely do that.
Speaker 2 (33:27):
What are you doing in film right now?
Speaker 1 (33:30):
I just finished shooting a film called it
Happens.
It's a indie short film written, produced and directed by Jaden
Wiggins and Cole Meslanski.
They are two incredible artists.
They were also a pleasure towork with.
They were amazing directors.
I think it's always good when adirector knows exactly what he
wants.
So then every take they're ableto say it, and I think we also
(33:52):
have really good chemistry asfriends, so it's easy for them
to tell me okay, don't do itlike that, all right, do this.
Or try that, all right, let'sdo this one more time.
And this time just don't dothat.
You know, and I don't take anyoffense, but I'm like bet,
because we're all trying to geta really good shot.
We're all trying to makesomething that we're all proud
of.
So it's all about collaboratingand I make sure that my ego
doesn't get in the way.
I'm like you know, they're thedirectors and I trust them, and
(34:13):
so they were incredible to workwith.
They knew what they wanted.
And then also the DP, trevorHollander, was fantastic.
He works really well underpressure.
We had like a rig on top of thecar, very expensive camera on
top of the car, and then we hadone on the side of the car.
We had one in the car.
We had a shot where the camerais in the back of the pickup
truck and I'm like runningbehind the pickup truck and it's
(34:34):
just the whole process.
Like it's definitely an indieproject but we really, really
made it work.
And it was just cool to seeTrevor, just like you know, work
fast with everything and workunder pressure and get the shot
right, and if something wasn'tworking he was quick to just say
okay, like all right, we'regoing to do this, flip this here
, like he knows what he's doing.
Think, as an actor, it justfeels so good to be able to just
focus on acting.
(34:54):
You know that everyone else haseverything else situated.
You can focus on acting andthat is the exciting part there.
So, yeah, it was really great.
It's a really good film.
Everyone that worked on it.
It was a pleasure to workaround everyone.
We shot it for three daysovernight shoots, so it was 6 pm
to 6 am Friday, saturday andSunday.
That must have been hard.
The last day, you know, we'resaying bye to everyone and
(35:17):
there's this house that werented to like film the project
in and we're just kind of likechilling on the couch at 6 am
and I'm like what a night.
And then I sit on the couch andthen Jaden, the director, sits
on the couch and then Cole islike working on his laptop and
then we all just pass out, andso he took a picture of like me
and Jaden passed out on thecouch with Jaden's dog.
His name is Axel and he got hisdebut in the film too.
(35:39):
So yeah, I've got a littlepoodle debut.
Speaker 2 (35:41):
That's so cute.
So where will this movie be?
Speaker 1 (35:44):
Film festivals, or yeah, so they are.
They're going to send it intosome film festivals.
Hopefully we'll have a privatescreening soon.
Yeah, I'm excited to see whereit goes.
Yeah, I put a lot of work in it, so I definitely put in all my
effort into it and I really, youknow, try to do my best, you
know.
So I'm really excited to seehow it comes out.
Yeah, we've all worked hard.
(36:06):
Late hours we definitely put inthe grind.
There is definitely a shotwhere there's a scene where I'm
running, and so I think it waslike four o'clock in the morning
.
I'm just like sprinting downthe street while they're in the
back of the pickup truck.
We probably do like I don'tknow, six or seven, you know,
sprints down the street.
I think we did more than that.
Actually, we were just lockedin just going different angles,
you know, catching the sprints.
Speaker 2 (36:26):
So you know all the listeners right now.
I just want to let you knowthat we will have a YouTube
video of Alakan and I talking,and I will be sharing some of
these pictures.
He's referring to these photosthat he's referring to.
You'll get to see it on ourYouTube, so make sure that you
hop over through the YouTubeunder up and comers of Hollywood
and subscribe to our channel soyou can get more interviews
(36:48):
like this.
Alakan, where are some of thesuccesses that we can share with
you today?
Speaker 1 (36:52):
Yeah, that's a really good question.
So my manager likes to tell meto celebrate everything,
especially when you're workingin an industry of rejection.
Everyone's consistently gettingrejection, and it's just the
world you know we live in asactors.
It's so many people auditioningfor so many roles and only one
person can get it.
99% of people who audition aregetting a no, you know.
(37:14):
So when you look at it that way,you know it's really important
to appreciate all your wins, andso I love my manager, Kim Lee,
for always reminding me thatthis is a win.
You know, every time I get acallback, I look at that as a
win.
That's a success.
I got a callback that's onestep closer.
Every time I booked something,you know, no matter how big or
how small, even if it's abackground role, you know I'm
working that day, I'm on setthat day, so I look at that as a
(37:36):
win.
You know it's another day onset versus at home, or you know
doing something else.
So pretty much any time that Iget to study the craft I look at
as a win.
So those definitely be mysuccesses.
I would say yeah that's reallygreat.
Speaker 2 (37:51):
I like that a lot because everything is a win.
You're getting all theseauditions.
Yeah, that's a win in itself.
Speaker 1 (37:56):
I know, being seen by these casting directors is a
win.
Callbacks is a win.
Working on indie films withfriends who are just equally as
passionate, who are just asequally passionate as you are,
is also a win.
It's exciting.
Are you SAG yet?
I am SAG-eligible.
So, yeah, I'm not with theunion as of yet.
I think I need to do a few moreprojects and then I'll be a
(38:16):
must join, and so then I'll jointhen.
But yeah, it's great right nowbecause I can do both non-union
and union projects.
It's great experience for me tojust really explore both sides.
But yeah, as soon as I'm ableto must join, I will definitely
join and I stand in solidaritywith the union because, you know
, I believe in everythingthey're asking for and I think,
for me especially, like, once Ibecome a part of the union, I'll
have all the benefits thatwe're fighting for currently.
(38:38):
So you know, I'm definitelyrooting for them.
Speaker 2 (38:41):
So yeah, the reason I ask if you were SAG, because I
know we're on a strike right now.
Are you getting any televisionauditions?
What type of auditions are youactually getting right now,
during the strike?
Speaker 1 (38:50):
So I have gotten a few soap opera auditions.
It's funny because I told mymanager, soap opera, what?
And she's like Michael B Jordandid a soap opera.
She's like there's a lot ofpeople who did soap operas.
It's okay, it's a contract.
You know I'm like okay, butyeah, no, that would be fun.
I've auditioned for soap operasand they have special contracts
with SAG to still be able to doproductions.
(39:12):
It's all permitted by SAG.
And SAG is saying you know,these are the exclusions, these
are not productions that are onstrike.
Yeah, I've been doing like fewsoap opera auditions and then
some Tyler Perry auditions.
So I'm definitely in the room,I'm definitely like reading for
stuff, so that's really exciting, yeah.
And then the rest are just likeyou know, commercials or indie
projects.
A lot of indie projects too I'mauditioning for right now while
(39:33):
I'm still SAG eligible.
You know it's still a goodflexibility.
Speaker 2 (39:36):
That's really great, because even with the strike
you're busy.
Speaker 1 (39:38):
Sure, and I asked my manager I'm like what's up with
these soap operas andcommercials?
Aren't we on strike?
She's like yes, we are onstrike.
These are productions that arenot strike.
Speaker 2 (39:47):
Right.
Speaker 1 (39:47):
So we're striking against the AMPTP, which is sort
of like the bigger productions,you know, the bigger pictures
and stuff like that.
Speaker 2 (39:55):
Commercials are exempt, so poppers are exempt I
think I heard even A24production company.
Speaker 1 (40:00):
They're exempt because they're offering to give
everything that the actors areasking for.
So it's like if an indieproduction company like A24 can
do it like, why can't the bigguys?
Speaker 2 (40:10):
Right.
Yeah, I am so down with soapoperas I would do it.
I would just soap opera any day.
Speaker 1 (40:15):
It's funny because at first I was like what a soap
opera?
Like I don't know.
I think there's just like thestigma behind soap opera acting
or whatever.
I hear a lot of people in theindustry say like, oh, you can
get stuck in that, but I meanyou're having fun, you're
working, you know.
And once I started reading thescript I was like oh, this is
actually juicy.
I was like wait a minute, likehe did what.
I was like this could be fun,you know, yeah.
Speaker 2 (40:36):
It seems like it would be fun.
Just the drama.
Speaker 1 (40:38):
Yeah.
Speaker 2 (40:38):
That's my genre.
Exactly, yeah, and so thatwould be really fun.
And then they're just kind of alittle bit more intense.
Speaker 1 (40:44):
Yeah, I hear.
Speaker 2 (40:45):
It's really good training because you have to
like right away, know your linesreally fast.
Speaker 1 (40:50):
And they're packed so they're really dense.
It's actually really hard.
It's crazy how some people lookdown on soap operas, but it's
actually a workout.
You know, it's a powerhouse ofactors in there.
Speaker 2 (40:59):
I don't know how they do it.
Speaker 1 (40:59):
Yeah, they're locked in for sure.
Speaker 2 (41:01):
Yeah, because I understand they get their lines
at last minute of the day andafter little pages and pages.
Yeah, how do I hear?
Speaker 1 (41:09):
I wouldn't mind you know soap, more soap opera,
auditions.
I wouldn't mind you know morestuff like that.
Just putting that out there.
Speaker 2 (41:15):
Yeah, we got new faces here.
I love it.
We have to.
Well, if you can't marketourselves, who can you market?
You know you have to get yourname out there, but I am so
excited for you.
I know I'm going to see you onsomething big as soon as this
trying gets over.
Speaker 1 (41:30):
I can't wait to see you in Tyler Berry.
Speaker 2 (41:32):
I would love to see I could see you on one of this
movie.
Speaker 1 (41:35):
Yeah, for sure.
It's definitely been a pleasureauditioning for them too and
just getting to see some oftheir new material before it
comes out Great.
Speaker 2 (41:42):
Yeah, so what tips do you have?
I know you give so many tipsalready for young actors who are
listening today and people whoare just curious about who you
are and what you're about, andwe already know what he's about.
He's great, he's kind, he'swell trained, he's musician.
Speaker 1 (41:58):
He's everything.
He's so talented.
I receive it.
I receive it.
Thank you, yes.
Speaker 2 (42:01):
You had a younger brother who wanted to come to LA
.
What would be your advice tohim?
Speaker 1 (42:06):
Definitely start saving money.
Make sure you have a nicecushion before you come out here
, because LA is expensive.
I mean, let's just keep it real, la is expensive.
It's a lot of people, a lot ofdemand for housing and stuff
like that.
So just make sure you have acushion.
Definitely have some sort ofgame plan.
I know there's stories ofpeople who just catch a flight,
(42:27):
come out here and figure it out.
That's definitely a way to doit.
La is hard enough already.
I don't think you want to makeit like harder for yourself.
So definitely have a game plan.
Definitely have some peoplethat you know here.
Yeah, I would say definitelycome with at least one or two
connections that you trust.
Definitely come with a nicecushion and then also come with
a game plan.
(42:47):
Make sure you have a plan andyou know where to go.
And then also be nice toeveryone, because you don't know
who you're going to run into.
And a lot of times I remember Iwent to one audition.
There's a lady at the frontdesk.
She was so sweet and she waslike hey, how are you?
What's your name?
And she was checking people in.
Turns out she's the owner ofthe casting company her casting
company and she was outsidetaking people's name.
(43:09):
So just imagine if I was like,yeah, I'll be kind, yeah, okay,
come on, I got to go.
It's like there's, there'speople in there, you know.
It's like no, that's the personright there that you're walking
in, the first person you meet.
So it's really come in, likenot even casting rooms, but
anywhere you go, like servers,whatever it's.
Just you know, come with goodintentions.
Speaker 2 (43:24):
Yeah, you know, I always said that I always was
kind to everyone.
I don't care if they're thesecretary or clerical person.
When I walk in the building,you just never know where
they're going to be in fiveyears or 10 years.
Yes, they might be your bossone day.
I've seen this happenthroughout my career.
Just because someone's writingdown names and you think that's
not important, you'll know who'sthere writing those names.
(43:45):
Yeah, they could be the owner ofthe, like you said, that was
the owner and maybe someonebailed out the last minute and
they had to just do what theyhad to do that day.
Or maybe they wanted to seekind of test the people coming
in to see how they would betreated.
See, so there's a lot of thatlittle test that go on because I
think people want to make surethey're working with good people
(44:07):
Just because they're reallygood talent.
If they're rude and dismissiveof others, people don't want to
work around that.
Speaker 1 (44:14):
They don't.
Speaker 2 (44:15):
But because you're so kind in the light, this is
another important thing.
Coming to LA, there's a lot ofpits right.
So how do you balance beingkind and gentle and humble and
grateful and protecting yourselffrom that?
Speaker 1 (44:28):
I think that is an amazing question.
First of all, I just gotta say,like you are a great person and
you are very kind and gentleand I definitely feel that
energy from you and you've beennothing but nice and you're one
of those good people too, like I, definitely light sees light,
you know, and I definitely feelthat from you.
Speaker 2 (44:46):
Thank you.
Speaker 1 (44:47):
But yeah, like when you come around people with bad
intentions or, you know, darkerenergy or whatever, for me what
I realized especially recentlyis, you know, still be nice, you
know still come with goodintentions, but also just
distance yourself.
You're not obligated to bearound that person, you're not
obligated to talk to that personIf there's something that
doesn't really interest youabout that person, or if they do
(45:08):
something that kind of rubs youthe wrong way, like it's okay
to still be cordial with themand just kind of turn the other
way, find someone else to talkto, and eventually they'll get
it.
And then, you know, a lot oftimes too, I think the way that
I look at it is maybe they don'thave bad intentions, maybe
they're just going throughsomething right now, maybe
there's something internallythat they're fighting or there's
, you know, something thatthey're working on themselves,
(45:30):
and so, instead of coming backwith bad energy, you might be
igniting something in them thatthey need to work on and you
might not be ready to deal withthat right now Right.
You know.
So you know, I think it's justimportant to see and be able to
read.
You know certain people like doI need to open this person up
right now?
You know, yeah, I'm gonna openthat for another day.
Speaker 2 (45:49):
Yeah, don't open that Pandora box.
Exactly, exactly.
Yeah, I've learned that thehard way and it just backfired
because it brought out my worstin me.
Speaker 1 (45:58):
Yeah, yeah.
Speaker 2 (45:59):
And I'm like, oh no, I'm staying in the light, I'm
not going into the dark, I gottajust get away from this person.
Speaker 1 (46:04):
Exactly.
Speaker 2 (46:06):
Because so do you use your intuition.
Yeah, so you use your.
Like your body will know ifsomeone's bad.
Speaker 1 (46:12):
So I oh yeah, your gut feeling is a real thing.
That is a real thing.
It's really being tuned in withyour gut, and I think that also
comes with diet and everythinglike that.
Like, if you're eating a lot ofstuff and there's always you
know stuff in your gut you'renot able to have that gut
feeling right away, you know.
Speaker 2 (46:26):
Oh, I never thought about that, yeah.
Speaker 1 (46:28):
I mean, that's the way I look at it.
It's like, yeah, if there'sfood being digested, I can't
really be in tuned with my gutbecause my gut is focused on
something else right now.
But when, when you know my gutis healthy and active, you know,
then I'm able to be more intune and you just get that deep
rooted feeling.
You're like huh.
Something's not right here forme.
Speaker 2 (46:46):
Something doesn't feel right and don't go.
Keep going forward.
Don't dismiss your own, yeah.
Speaker 1 (46:52):
Trust your initial feelings, yeah.
And then, on top of that, for metoo, like you know, a lot of
times it doesn't even have to dowith a gut feeling.
It's like we're all energy.
You know, we're all made up oflittle molecules, so we're all
vibrating at a certain frequency, you know.
So it's like if, if someonejust like accidentally knocks
over a glass, or maybe you knowdrops utensils or you know,
they're always like kicking withtheir feet or you know, just
(47:14):
doing something, it's likeenergy that's being, you know,
moved.
So maybe they have a lot ofenergy that needs to be released
.
And if I'm calm and I don't needa lot of energy like that, then
maybe, like, that's someone Idon't want to be next to right
now, you know, and that's okay,it's not saying anything is
wrong with that person, butthey're just fumbling around a
lot and I don't think I want tobe around.
That, you know, and that's just.
It's.
That's just what it is, youknow, and I think with that,
(47:37):
those are just certain thingsthat I look at and I'm I mean,
it's okay to be clumsy.
I'm not saying that, you knowthat's a bad thing.
It's okay to be clumsy, but youknow, it's just.
It's just to each its own.
You know it's a case by casescenario, you know.
Speaker 2 (47:50):
Yeah, but I guess in this, in light of what's going
on and what people were seeingon news, and people become
victims of predators and LosAngeles is a big city and
there's some predators I thinkto spring that up, there's
nothing wrong with talking aboutit, at least getting people to
be aware If they're come to LAand want to be an actor, just be
(48:10):
aware that people do takeadvantage of their, their status
or their titles, and justreally have confidence in
yourself and your abilities andanything else.
Anything that doesn't feelright isn't right, at least for
you at that moment.
Yeah, and to go off of that andlisten to it.
Speaker 1 (48:27):
Yeah, and to go off of that, just know that it's
okay to say no.
It is okay to say no.
Speaker 2 (48:32):
Definitely.
Speaker 1 (48:33):
When you get a project that you don't like, you
know if there's kissinginvolved, you could say you know
.
Speaker 2 (48:37):
I don't want to do that.
Speaker 1 (48:38):
Or you know if, if, if I were to get a call to a
callback and it was, like youknow, at someone's house, and
I'm just like, uh, I'd rather doit like some republic casting
office.
You know it's it's okay to saythat A lot of people feel like
if they say no, that's their bigbreak and they're missing out
on it.
But in reality, like my managertells me this too like
sometimes when you say no, itmakes them want you even more,
you know, and they're just likedamn, like okay, so this guy
(49:00):
must be working.
Like he said no to us, likewhat you know.
Speaker 2 (49:03):
Yeah, cause you're not as desperate.
Speaker 1 (49:05):
Right, yeah.
Speaker 2 (49:05):
That desperation comes across.
That's like anything, thoughright.
Speaker 1 (49:08):
Yeah, just play it cool and trust that you know you
are the one Play it cool.
Speaker 2 (49:13):
But most of all, protect yourself.
Speaker 1 (49:15):
Definitely.
Speaker 2 (49:16):
Yeah, protect yourself, and if it feels good
to say no, say no right now.
Definitely don't meet people inplaces that you don't feel safe
in yeah.
And if you know what, ifthey're up and up, they will
understand and they will not putyourself in that situation.
That's how I see it.
Speaker 1 (49:29):
Yeah, and if they're real about it, they'll just be
like, okay, cool, well, you know, let's, let's go over here then
.
Or why don't we just meet at acoffee shop?
Yeah, I understand.
Speaker 2 (49:36):
If I'm my daughter or son, I would feel the same way,
but if they're not like that,stay away.
Yeah, we're just.
We're just giving a little bitof advice here.
Speaker 1 (49:44):
Yeah, no facts, that's always good.
Speaker 2 (49:46):
But you know, you talk about that nervous energy,
and I just bring this up becausewe're actors and I find myself
I know we're getting off subjecta little bit here, but this is
part of acting- talk and I lovetalking to you about this, yeah
it's fine.
I, when I have so much energyin an emotion, in a scene, I
want to use my hands a lot, andall my energy goes out of my
(50:06):
hands Instead of holding itstill and allowing it to come
through my eyes and my face.
Speaker 1 (50:13):
Yeah.
Speaker 2 (50:14):
And that's do you find that, do you find?
But you've been training foryears.
Maybe that's not a thing withyou.
Speaker 1 (50:18):
No, that's, that's a thing for sure.
Speaker 2 (50:20):
The energy's coming out and I'm just using my hands,
instead of sitting still in theemotion, and let it come
through your eyes on camera,especially for a close up.
Yeah, that is that's tough.
Speaker 1 (50:29):
No, yeah, you're, you're absolutely right.
I remember I was in the classand one of my acting coaches he,
he had a circle around, standup and close our eyes and I
couldn't stop shaking my arm.
I just kept, you know, shakingit and I was just like kind of
moving around, you know, justreally swaying around, and then
finally, like we all opened oureyes, he says Alikon, you need
(50:51):
to go run.
Speaker 2 (50:53):
Get that energy out.
Speaker 1 (50:54):
Yeah, I was like what .
He was like you got a lot ofbuilt up energy.
You need to go run.
And I was like you know what?
He's right, I usually run maybetwo, three times a week.
And so I was like you know what?
I haven't ran at all this week.
And he said that and I was likewow.
And so I feel like a lot oftimes built up energy, you just
need to release it.
You need to go somewhererelease it.
Find your way of releasing yourenergy.
You know, whether it's running,swimming, biking or being
(51:16):
social or bowling or playingpool or riding your bike all
these different ways to you gotto sometimes.
You just got to let that energyout, allow space for new energy
to come in.
Yeah, so I would say, if you'repreparing for a scene like that
, definitely do what you need todo to release some of that
energy the day before.
Technical note, like if you feelyourself doing a lot with your
hands and your character, maybeyou shouldn't do that.
(51:37):
Just be aware that that'ssomething that you're trying to
get across.
You're trying to communicateand for a lack of a better word
or using something else to getthat form across.
So it's just channeling thatand finding something else to
use to get that same message out.
So if you find yourself movingyour arm a lot, then think okay,
what am I trying to say with myarm?
Oh, I'm explaining information.
(51:58):
I'm trying to like you know,let you know.
So let me put that down and letme think with my head and let
me maybe like use my eyes.
So you really have to like talkyourself through the process and
that's the only way you'regonna like get connected to that
and understand.
And it takes, you know it takestime.
Take practice.
You know you can't get it onthe first time, so definitely
practice that.
Like I would say, definitelyset up.
I do this sometimes, like setup a camera, do a self-tape and
(52:20):
just look back at it.
And I think I heard someone sayplay your audition tape without
the sound and just look at youractions.
Is it interesting?
Are you reeled in?
And then play it without thepicture and just listen to it.
How does that sound?
Does it feel right?
Yeah, I've been playing withthat too, and that's a great way
to like find your flaws, findwhat you need to work on.
Speaker 2 (52:41):
This is so great, Alika.
Speaker 1 (52:43):
And thank you so much .
Speaker 2 (52:44):
I'm so excited about your future and I can't wait to
see how far you go.
Speaker 1 (52:48):
Up and comers.
Let's go.
Let's call it the Up and Comersof Hollywood.
Speaker 2 (52:52):
Yeah, Up Hollywood, because we might have some
people outside of Hollywood.
That's why I put of instead ofin.
Speaker 1 (52:57):
Okay of Hollywood.
Speaker 2 (52:58):
Because I might go Zoom, we might start doing
interviews, oh, nice, I'm Zoom.
Speaker 1 (53:02):
It's just a thought, I don't know that's fun.
Speaker 2 (53:05):
It might be something I might wanna do for people in
other states.
Speaker 1 (53:08):
So we'll see how far I go, for sure like New York or
Atlanta.
Speaker 2 (53:11):
Just keeping it open.
Where can people find you onsocial media?
Speaker 1 (53:15):
Oh yeah, I'm only on Instagram.
I don't use X, twitter,facebook, all that.
If I'm just on Instagram, it'sat A510, aklnd, so it's like A51
Oakland.
So the zero is like the O, soA51 Oakland.
Speaker 2 (53:32):
Okay, a51, oakland.
Speaker 1 (53:34):
Oh.
Speaker 2 (53:35):
I like that.
Speaker 1 (53:36):
And the O is a zero from the 510.
Speaker 2 (53:38):
Oh, that's clever, I like that.
I like that a lot.
Speaker 1 (53:41):
Thank you so much for having me.
This was a lot of fun and verynew for me.
So it's really exciting to kindof explore this realm of acting
, cause this is a part of acting, you know, this is, you know,
interviews and stuff like that.
So it was really exciting.
So thank you again for havingme here and, you know, asking me
all the wonderful questionsLike it's great, it's good.
Speaker 2 (53:57):
No, I'm so glad that everyone gets to know who you
are and that's what's reallyexciting and your story,
learning your story, and how yougot where you got.
Speaker 1 (54:05):
So yeah, You're the best Well you're the best,
alakan Lohchan.
Speaker 2 (54:09):
Thank you so much.
I really appreciate you beinghere today.
Our listeners are going toreally love the tips that you
gave and everyone out there.
You can watch us on YouTube, upand Comers of Hollywood.
You'll see a 20 minute shortversion of this entire podcast,
but at least you get a sense ofwho we are.
You'll see photos of what wetalked about today on our, so
(54:30):
make sure you share with yourfamily and friends and follow us
on Up and Comers of Hollywoodon Instagram.
We're on threads.
We're everywhere, so whereveryou are, up and Comers of
Hollywood is there, so juststart following us and you'll
start getting to know all ourinterviews and when they're
coming up.
Stay kind and, most of all, bekind to your son.
Good day.
Speaker 1 (54:50):
Thank you, marie.
Speaker 2 (54:50):
Bye, bye.
Thank you, alakan.
Bye, bye, bye, bye, bye, bye,bye, bye, bye bye, bye, bye, so
yeah.
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