August 18, 2025 • 52 mins
Today on What's My Frame I'm joined by Casting Professional and Actor, Andrew Dahreddine. Andrew is based between Los Angeles and New York. He is currently casting Lauren Minnerath's debut feature film, CLARE (which has been supported by Sundance, Tribeca, and SXSW); Stacey Maltin and Jay DeYonker’s feature film, C-SIDE (working title); and Rebecca Louisell’s film, THE TRIP, which is one segment of the upcoming anthology feature film, THROUGH THE BLINDS.
Andrew previously worked with Barden/Schnee Casting on television shows for Apple TV+ (the breakout series, PALM ROYALE), Paramount+ (SCHOOL SPIRITS), and ABC (ALASKA DAILY), as well as many films including the upcoming feature, CODE 3 (Rainn Wilson, Lil Rel Howery, and Aimee Carrero); and EZRA (Robert De Niro, Bobby Cannavale, Rose Byrne).
Additional selected casting credits include: the FX limited series, THE PATIENT (starring Steve Carell & Domhnall Gleeson); Aaron Sorkin’s Oscar-nominated Netflix feature film, THE TRIAL OF THE CHICAGO 7; and the first season of the Emmy-nominated Hulu series, RAMY.
Andrew has also been the casting director for many short films that have competed at festivals including SXSW, BFI, SIFF, Palm Springs ShortFest, HollyShorts, Vienna Shorts, and many others.
As an actor, Andrew was a series regular on the comedy series, 86’d, for BRIC TV. He also has appeared in many national commercials, and was the lead role in the second season premiere of Homicide City on Investigation Discovery.
A BFA graduate of NYU’s Tisch School of the Arts and the Stella Adler Studio of Acting, Andrew has performed in many stage productions, as well. Selected credits include: Kenneth Branagh and Rob Ashford's epic Macbeth at the Park Avenue Armory; the Lincoln Center Festival's Russian-language adaptation of Miss Julie (dir. Thomas Ostermeier) at NY City Center. He also appeared in several productions with The Drilling Company, and received praise in the New York Times for his performance in their version of As You Like It. Regionally, he spent a season with the Alabama Shakespeare Festival, as well as one summer at Boston's Commonwealth Shakespeare Company, in their production of Coriolanus.
Andrew is a fierce union advocate, and a proud member of SAG-AFTRA; the Hollywood Teamsters Local 399 - Casting Shop; and Actors Equity Association. #UnionStrong
For more follow Andrew on Instagram @Dramaddine or visit www.andrewdahreddine.com
-
What's My Frame, hosted by Laura Linda Bradley
Join the WMF creative community now!
Instagram: @whatsmyframe
IMDb
What's My Frame? official site
What's My Frame? merch
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:03):
Hi everyone, today and what's myframe?
I'm joined by casting director and actor Andrew Davidine.
Andrew shares his journey from the Chocolate River to Tisch and
how he found his home thriving as a bicoastal casting director
and actor. Today we chat about his creative
mentors, favorite projects, his unique perspective on advice for
(00:25):
actors, and our shared passion for union service.
Now let's get to the conversation.
Hey Andrew, welcome to What's MyFrame?
Hey, Laura, thanks so much for having me.
As we were talking beforehand, it's a, it's a, it's a union
kind of day. And we're going to talk about
your union service, but also your casting, your acting.
(00:47):
You have so many facets of your career I want to talk about.
But for anyone who isn't familiar, if you don't mind,
just share your origin story, like what drew you to a career
in the arts and the different avenues that you've explored and
embraced. Yeah, so I was a theatre kid,
(01:08):
like so many of us in this industry.
My parents, well, really, my momput me in theatre when I was
really young, like elementary school.
And my first play was Charlie and the Chocolate Factory, and I
was typecast as Augustus Gloop and I fell into that chocolate
(01:31):
river and it's it's been drowning me ever since.
No, I'm just kidding. That's the sound bite right
there. Exactly.
Yeah. But yeah, so did theater, you
know, all throughout growing up and knew I wanted to go to
(01:51):
school for it pretty early on. Like, I don't know, beginning of
high school, I'd already made-upmy mind, much to the dismay of
my, you know, Moroccan immigrantfather who wanted me to be a
doctor or a lawyer or something.But luckily, you know, we moved
past all that. And once I got into Tish NYU,
(02:15):
you know, I think people were more on board because it's a
good school, the name brand, blah, blah, blah.
If. Tish signs off.
There's a there's a legitimacy there if like this is hype
dream. Well, it was the only school
that signed off. I literally like got rejected
from every school, including my like safety schools that have
(02:37):
been like begging me to apply. And I was shocked.
Like I was a very pretty good student.
Like not the I went to a really tough high school.
There's actually a book about myhigh school.
It's called the overachievers. So like, but like, you know, I
was not a bad student, but for some reason I just didn't get in
anywhere. And you know, with like
(02:58):
conservatories, it's rolling in mission.
So like I found out like week after week.
No, no, no. And then I finally got into Tish
and I was like, Oh my God, this is crazy.
And here I am all these years later still talking about that.
It's going to be it's like my myforever haunting moment.
(03:21):
I studied acting at Stella Adler, that was my studio at
Tish, and then I did a semester at RADA in London studying
Shakespeare. And yeah, then I was like a
Little Theatre kid right out of school.
Like I really thought Shakespeare was what I was going
(03:42):
to be doing the rest of my life.And then I did a very formative
year in Alabama a couple of years after school.
I was one of their acting apprentices and did like 4 plays
toward the South. Like it was a really great
experience. Got my equity card that way.
But, you know, I did learn like a lot in that time that maybe my
(04:07):
dreams of doing like regional theatre and Shakespeare and you
know what not we're not going tobe a sustainable lifestyle in
the way that I wanted because they met all these older actors
and they were fantastic and hearing their stories.
But you know, when I really started accounting like, well,
(04:27):
OK, they really need to get their weeks or their health
insurance. And this is a quote UN quote
good contract and it pays this much money and you don't work 52
weeks a year. So that's poverty.
And, you know, so I, I started to rethink like where is my
career really going to go and started, you know, moving,
(04:49):
making moves into more of a filmand TV landscape as an actor.
But right around that time I hadbeen, before I left for Alabama,
I had been a part of this amazing educational theatre
company in New York called STAR,which is an acronym serving
(05:10):
teams through arts and resources.
And it was a little subset of the director's company, which is
an Off Broadway theatre there. And I could no longer be an
actor with them because I joinedthe union.
And so I basically convinced them I was like, why don't you
(05:31):
let me be your casting director?I had never done it before.
And I was, I was kind of excited.
I was like thinking I would, I was always the kid like in, you
know, I had to assure like even the kind of before that like
where I would be like, you know,you'd be really great in this
role or like, let me try to connect you.
Or like that was sort of always been my vibe is like I was a
(05:53):
producing minor in college and you know, I thought maybe I
would go down the producing pathfor a while in addition to I
think performing. But you know, people kept saying
like, maybe you should think about casting.
So I, I took this opportunity and it was a really low stakes,
easy way to get my feet a littlewet, you know, because it's like
(06:17):
mostly young kids, like straightout of school, first gig.
And it's like they need. Yeah.
It was low stakes, non equity theatre basically, but a really
a valuable, important resource, teaching sort of sex Ed to kids
in New York City public schools,mostly through musical theatre.
(06:37):
Yeah. So it was really cool.
And so I was their casting director for a few years.
And then also around that time, I had started being a reader at
a lot of film and TV casting offices.
And so I was reading for like, Rosalie Joseph, who was like an
icon of the New York casting andscene.
(07:00):
She, you know, was the head of ABC for a long time and Cbsi
think after that. And I was reading for Paul
Schnee of Barton Schnee casting,who I actually met through a
class at the director's company because he is also a director.
And he was taking taking this like directing actors class that
(07:22):
they had asked me to do because they needed like a guy around my
age and since I was already involved with the director's
company, etcetera. But so then I started reading
for Paul because he was like, bythe way, I'm a I'm a casting
director too. Like if you ever want to read.
So reading became like, a big part of my life in New York.
And I, I was intuitive enough toknow that that was going to be a
(07:44):
really good way to meet casting directors.
And, you know, it would be so funny.
Like, they would be like, oh, there's just like this little
role on, like, Quantico. Like, would you?
You wouldn't want to read for that, would you?
And I'm like, I don't have any TV credits.
Yeah. I want to read for it, like.
So then Rosalie started working on the first season of Rami, the
(08:05):
Hulu show by Rami Youssef, whichwas actually a 24's first TV
show. I don't think people really know
that, but they were small, smaller company than than they
are now. So she was casting that with Mia
Cusamano and I was reading for them and I, as I'm said, I'm
(08:26):
half Arab and I knew just like alot of the Middle Eastern North
African community in New York ofactors.
And so I was like, oh, I know this guy for this role.
I know this girl for this role, like, And so after like a week
or two, they were like, OK, likeclearly, you know, you know a
(08:48):
lot about this and we could use like your inputs.
And also we don't have an assistant and we really need an
assistant. Like they're technically not
going to give us one, but if we pay you a little bit out of
pocket, like could you do like acouple days a week as our
casting assistant? That's how I fell into TV
casting. And from there, Mia, you know, a
(09:11):
few months later, asked me to beher assistant full time on Aaron
Sorkin's The Trial of the Chicago 7.
We were doing all of the basically all of the New York
rolls, which was everything but the, you know, celebrities that
were already cast from LA. It was like 40 something rolls.
And I was like, are you kidding?My first film is going to be an
(09:32):
Aaron Sorkin movie. Like, OK, it was a dream come
true, and little did I know, notevery project would be quite as
easy as that one she is. Also fantastic she's been on the
podcast like she's fantastic. We are so so close.
I talk to her all the time. She is truly my mentor and I
love her so much. And no one who looks out for me
(09:55):
like she does like and in all ways.
When I have a question about like a contract, if I'm taking
on a casting job on my own or, you know, when she's casting,
she just cast the better Sister,which recently came out on
prime. She threw me so many auditions
my way. Like she's just always looking
out for me and I adore her and I, you know, anyway, I'm like
(10:17):
getting a little little misty eyed when.
It's like it's, it's good peopledoing good work and like
bringing people along the journey with them like that.
I could talk for hours about like the importance of that and
how we need to do that more So Ilove.
Exactly. But yeah, so then I'll wrap up
(10:39):
my origin story, I guess with I,you know, pandemic hit shortly,
like just a few months after we wrapped Chicago seven.
I was like very lost in New York.
I had had a full time job in corporate restaurant world, like
an office job for many years. And I had lost that job like
(11:00):
right before the pandemic. So I was really just, I mean, I
would have lost it anyway, I think.
But it just was interesting timebecause I was like, I had been
like, sort of like rolling, rolling, rolling with the
punches, seeing where things aregoing to land.
And then suddenly, you know, like so many people, well,
everyone we, I was hit with like, I don't know what's next.
I don't really have a thing now.I don't have a job now.
(11:23):
And so I decided that it made a lot of sense for me to move to
LA, at least try it out, which is crazy.
Like people were shocked becauseI was a 10 year New Yorker at
that point. I was like, people joke that I
was like the mayor of New York. Like I would like run into
someone everywhere. I was like, you know, and I love
(11:45):
New York and I didn't want to leave.
But that version of New York wasjust horrible and sad and not
worth it, like in terms of the money, you know, and everything.
But so I moved to LA and I've been here for almost five years
(12:06):
now, actually. Yeah, it'll be five years and
just a couple weeks. And I love it.
But now I have a a base in both places.
I go to New York all the time. I'm extremely bicoastal.
And this is sort of, I think it was a, it was a great decision.
It was the right decision. August is my LA anniversary as
(12:28):
well. Oh my God.
Amazing. Congrats.
Thank you. Yeah, I, I also, I, I've lived
in New York for a period of timeand it will always have my
heart. It's I don't think unless you
live there, you realize, like how much you, like, you do run
into your friends on the street.Like people think that, oh,
that's, that's not possible. That would never happen.
And like you do and you don't have that happen in LA because
everybody's in cars. So I think in some ways, like
(12:49):
New York is actually more of a communal city because you're
actually out and about. But there's so much there.
There's so much to unpack. Andrew, I'm still in the
Chocolate River. I've got to be honest, just a
little bit. What?
So you came to LA, There was pandemic LA of auditioning and
casting and then their strikes. What's the last like 2 years
(13:14):
been like for you of actually getting to experience LA,
getting on its feet, You gettingacclimated to the climate of the
business here? So what's really interesting is
the LA, the first year was like,let's get settled kind of, you
(13:34):
know, a lot of people are peoplego like it's crazy that you
would move here or like that youmade that big move at that time.
And I always tell people like, well, actually it was the best
decision because I was going to be in my house either way.
And so I'd rather be in this weather.
(13:55):
And I moved here with a couple of my best friends.
And so, you know, we were like alittle pod and it was, it was
great to be able to sort of explore the city with them and
or, you know, as safely as we could, or at least explore the
outdoors and get acclimated without the pressure of, you
know, having to hustle and go toa million auditions.
(14:18):
Or, you know, I wasn't really working.
I was getting unemployment right, Like, and yeah, it was a
really good way to transition into living here.
And like, and then like when things started opening up, I was
able to, I didn't feel like so new.
I mean, I, I still felt new, butI didn't feel like I didn't know
(14:41):
where anything was. And I got really lucky.
I got a job in 2021 on the Patients, which was FX show with
Steve Carell and Donald Gleason.I feel like not that many
people. I, I feel like it was in that
era where it kind of went under the radar.
I'm gonna. Say yeah, it's like the.
(15:03):
Radar unless you were like, yeah, but so I worked with
Jeanie Bacharach and Allison Goodman on that.
I was their assistant. And, you know, that was a a nice
way to sort of learn about L as TV culture and learn some of the
actors here. And, you know, working for
(15:24):
Jeannie was was such a great opportunity.
And, you know, she hadn't reallylike, I mean, she was a huge
casting director at that point, but she hadn't blown up because
of the bear yet. They had actually just finished
casting, I think the pilot of the Bear at that point and they
were so excited about it. Like I remember coming into the
first week and they were like, Oh my God, like we just cast
(15:48):
this show. We love it so much.
Like we really hope it gets picked up.
Next thing you know, it's like the show.
Meanwhile, I worked on the one that was like a limited series
and like, no, just kidding. It was a great experience.
And I got to sort of like, you know, see Steve Carell on our
like, Zoom cams, chemistry reads.
And like that was a really exciting to me and what not.
(16:12):
But yeah, so then, you know, I immediately, as soon as that job
ended, I got hired up. Arden Schnee.
Full circle. They needed someone to step in
for their associate who was going on maternity leave.
Roya. I don't know if you've had Roya
(16:34):
on the podcast. She's amazing.
And I was really close still with Paul and Rachel Goldman,
the New York associate. And so I was like, hey, guys,
the time has come. I've been doing this for a while
now and I need actually I'm looking for a job soon.
So I got hired with them and that was really like when I like
(16:59):
felt like things started, I was going to like embracing that.
This was fully going to be part of my, you know, slate of things
I do because I I worked on multiple shows with that and a
lot of films. It was just like for about a
year, a little bit less than a year, but you know, it was, it
(17:23):
was busy and I learned a lot andI had a lot of responsibility
because they trusted me. You know, Rachel Goldman and I,
along with Carrie Barton, like we, we did Palm Royale the first
season, just, you know, Rachel, that was Rachel Nye's baby.
Like we were hustling on that show and just learned so much
(17:44):
from them and was so grateful for that opportunity.
And, you know, then in December,they're like, OK, we're out of
work now. So we're going to put you on a
little hiatus and, you know, hopefully we'll have something
in January. We'll bring you back.
(18:05):
So little did I know that like, I guess because I had been
working for them, I was kind of blissfully unaware that the
industry was starting to, this is the end of 2022 heading into
2023, that the industry was starting to sort of crumble.
And I'm like, oh, there's no, there's no shows.
(18:27):
And then there was no jobs. And I was like, oh, what's
happening? I thought I was on this little
roll. And then strikes happen.
And, you know, I mean, they needed to happen.
And obviously the rest is history.
I I'm sure everyone listening tothis knows, but yeah, so I, you
(18:48):
know, I spent, I would say a year kind of like lost.
I mean, I had some small stuff Icast here and there, like some
shorts, but few and far between.And I don't know, actually, I
shouldn't say few and four between.
I had a few, but like, you know,that's not I was like it.
I was in a crisis, like a lot ofpeople I don't know or I don't
want to say crisis, but I was I was struggling.
(19:12):
And then in the last, like, yearor year and a half, really, I
feel like something shifted. And I finally feel like I'm at
this place where, like, everything I'm doing is working
in tandem. I'm doing all of it at once and
really doing all of it. And yeah, I don't know if things
(19:36):
are still strange, I guess. But like, to me, they feel a
little more sure footed because I have my hands in a lot of
different baskets. And so if one thing's not
popping off, another thing is popping off, you know?
Yeah. And, and you have to, I don't
think the industry is not for, Idon't think any profession like
that anymore where you can just be singularly focused.
(19:59):
You have to have all the plates spinning from both a creative
fulfillment standpoint, but alsoa financial security standpoint.
We've, I mean, there's so many casting directors that started
as actors, but you were the first one on the pod and
actually the first one that I know that is actively balancing
both careers. How does it inform?
(20:22):
Empower but also offer like understanding and like sympathy
to both sides as you as you switch between those those lanes
in your career. Yeah, I mean, look, when I
started doing casting, people were like it was taboo in New
(20:42):
York. Like people were like, you're an
actor. And I'm like, well, yeah, but
like, this is genuine. Like, I'm not just, like, trying
to get seen by you, you know, And everyone in New York, it was
a little more taboo. And I don't know if it's just
because times have changed or LAis different.
But, you know, everyone said it wasn't possible.
(21:07):
And like, maybe eventually it won't be for me, but to do all
of it. But I was like, well, I have
these skills. You know, I'm really driven.
I can make a lot of things work and spin a lot of plates at
once. And now I'm like, I think it's
fine. Like I mostly work on my own
(21:28):
now. I cast mostly independent
features and shorts. And, you know, having that, I
work on my own time, right? Like I don't have to report to
someone, at least for now. And you know, I can audition and
do acting jobs or whatever it is, whatever I need to do.
And I'm really grateful, frankly, to just continue to
(21:50):
have careers on both sides because it, like you said, it
really does. I mean, I guess your question is
more about how it inform, they inform each other and they're
they're constantly informing each other.
You know, I think the beauty of me working and casting is as an
(22:11):
actor, I can let go. Oh my God, I can let go so much
easier, right? Like I'm not, I mean, some,
there's some auditions where I'mlike, that was a really good
one. That was a big one.
And I, you know, I want it, but if it doesn't go my way, I'm
like, well, I know why. There's like 1,000,000 reasons.
(22:34):
And so I don't, you know, think I don't hold on to those
thoughts as strong as I used to in terms of obsessive thoughts,
I guess. But on the flip side, like being
an actor has provided a lot of empathy for me when I'm casting,
(22:55):
right? Like, you know, what it takes to
get the tape in, what it takes to show up and, you know, give
your all with everything that you might have going on in your
day-to-day or in your personal life.
And like, you know, I get to meet actors on the ground and
(23:15):
like, you know, be like, oh, like I met this person.
Like, maybe they're not wrapped or maybe they're, you know,
still coming up, but they could be really good.
And it helps me pitch to directors and be like, I have a
personal relationship with this person.
We've worked together as actors or, you know, whatever it is.
So they're constantly informing each other, you know, also like
(23:38):
basic things like technical stuff and learning how to label
things and how important stuff like that is, right?
Like I know it's all been said before, but it really is true to
some degree. Like these things do matter.
They don't make or break you getting the job, but like they
make our job as casting professionals easier.
(24:01):
And you know, while most of the time it has provided me with
empathy, it also has provided mewith like sometimes a little bit
like you got to get your bleep together.
You know, I don't know if I can curse on here, but I.
Appreciated the actual. Sound effect.
Yeah, exactly. I'm like, well, what do you mean
(24:22):
you couldn't get the tape in? Like, you know, like, I'm like,
you got to hustle, right? Like if you really want it, you
got to hustle. I do feel like we're living in a
little bit of a culture that does not Oh well, without like
stepping onto too many egg shells here like that.
I don't, I don't want to say like, I'm not going to be like
(24:43):
Kim Kardashian. People don't want to work
anymore. That's not what I'm trying to
get out of here. Like work smarter, not harder.
Like definitely that's, you know, I believe in not fully,
but like you got to do the work.You got to do the audition.
You got to do your best work andI'm so and if you have a million
things to do, we all do, you know, like and you still got to
(25:05):
you still got to put in the workif you really want it, if you
want it. Yeah.
And if someone who like knows what it was like to go to a non
equity open call in New York. Oh, honey.
Tape is a walk in the park. Too many years of those waking
up at 5:00 in the morning. Literally that was like.
(25:26):
To then go home and then just, you know, no.
It was those things were so crazy.
Thank God for those years. I'm so grateful for those years.
Well, they. Teach you like a strength of,
you know, I believe like you have to train to lift like 200
lbs So like 50 is a breeze when like you do have to like knock
out that tape quickly because you do have I mean, my acting
(25:48):
mentor and teacher, he always used to say is like you actually
do better work when you're busy because then it's just one more
thing. You can't get precious with it.
You can't like get so hovery andlike I'm going to do 20 takes.
Like no, this is just one thing I'm doing today and I keep it
moving. 100% I, I believe in that fully.
I really do, yeah. I mean from non equity open
(26:08):
calls to let's talk about union service because like the segue
and why we're both very involvedin union service.
I'm curious, was there a mentor or someone that got you involved
and invited you to like a meeting or a conversation?
Or was it something that you personally felt like you are on
the receiving end of? Something that was broken and
(26:29):
you wanted to fix and help for others?
How? How did you get involved?
So I actually only joined SAG AFTRA in December of 2023, like
right after the strikes. I don't want to say I wasn't
like I was out there on the strike line every week,
(26:50):
literally like multiple times a week normally.
And that was not fake, you know,that was real.
That was coming from both my standpoint as an actor and as a
like a casting director in solidarity.
But I, you know, I knew as soon as it the strikes ended, I was
(27:12):
going to join. It was the time had to come.
I was, I was going to have to join in the next booking anyway.
And you know, but I didn't, I waited until the work started
again. But you know, I joined and I was
like, well, I don't want to justjoin and like blindly do this,
(27:32):
right? Like I want to be involved.
And at first that didn't really mean that much.
But pretty much like throughout last year, 2024, there was this
theme union, Union solidarity and union service became a
theme. I, there was a lot of buzz and
momentum towards casting assistants joining the
(27:54):
Teamsters, of course. And as soon as I found out about
that, I just reached out to the right people and I was like, I
really want to get involved morewith this.
And it wasn't like a huge commitment, but I was on the
organizing committee and obviously reached out to all the
assistants I had worked with in the past or knew to try to get
(28:15):
them, you know, fired up and ready to join.
And the bummer was that I wasn'tactually able to participate in
the voting process because you had to have been working on a
show within like 6 months or something.
But I don't really care that I was able to help make it happen.
And I don't know if people remember this, but it was 100%
(28:38):
of people who signed vote said they wanted to join.
So, you know, we we joined and we were able to join Teamsters
if you had worked up until a certain point in the past as an
assistant. And that was really important to
me. I just, you know, assistants
have been, I've been very lucky to have a lot of amazing
assistant jobs and I've never really had anything that
(29:00):
traumatic. But, you know, the story is that
are crazy and we needed, we needa lot of stuff and we got a lot
of stuff. I mean, the Teamsters are,
there's a reason you don't mess with the Teamsters.
Yeah, and Lindsay Doherty is like my icon, the Yeah, Local
(29:21):
39. 9 powerhouse, like I remember getting to meet her at
like strike line events and things like that.
And I'm just like, your energy is like we we need more people
like you involved in everything because literally, yeah, she's
incredible. Like, absolutely.
Incredible. Yeah.
And then last summer, I saw thisjaw.
I got this e-mail from Actors Equity that they were hiring
(29:44):
political organizers for the first time and they were looking
for two people in Los Angeles towork on a campaign that they had
endorsed. And I got hired to go.
I drove to Palmdale and Lancaster in the north of LA
County 3-4 times a week for months to be an A political
(30:08):
organizer on behalf of Actors Equity.
Door knocking a door. I knocked over 2000 doors to
help elect the new congressman in the 27th District, George
Whitesides, and we flipped the seat.
It was a really big deal. It was one of the only positive
union things to come out of thatelection.
(30:32):
Again, don't need to re traumatize people who might be
listening to this, but you know,it was great to be involved in
equity in that way and be on staff there briefly.
And you know, we it was a memberto member campaign.
So we were knocking not just equity members because there's
(30:53):
not that many that live up there, obviously, but all sorts
of union members and meeting union members at every door
talking about union issues and he really hearing them.
And it was enlightening to me for, you know, the future if I
ever want to go into politics or, you know, because I've
(31:14):
always been really political. I'm from DC like I grew up in, I
grew up in that, you know, not literally, my family was not in
politics, but we were all you'rekind of naturally.
Political living there. So that was a great experience.
And then towards the end of thattime in October was when we
(31:35):
started the WN WS for commercialnegotiations first hack after
and I have done a lot of commercial work.
That was the main, one of the main driver that was the reason
I joined was a commercial. I had, I had to join a Super
Bowl commercial was very exciting.
(31:56):
Did I get downgraded? Yes, but it was very cool.
You booked it. You.
I did. There you go.
You're a great director because I always have great directors.
Yes, it was, it was the whole thing was it was fantastic.
But you know, I had worked in the non union space for so long
(32:16):
as the commercial actor. I was booking like, you know,
567 commercials a year non unionand they paid horribly.
And there was a couple of them that really aired like crazy and
I would get text everyday. Like I saw your commercial and I
(32:36):
would be like cool, 'cause I only made $1800 for the whole
thing, you know, like, and you know, I was like, I'm over this.
This is not worth it. Not to mention like I was doing
like 10, five to 10 auditions a week for non union commercials.
Like it was insane and. They also there's no guardrails
(32:59):
on what they're asking you to doin the audition.
Yeah, so I, you know, was very happy to join and have like and
yes, there are less currently there are less auditions for SAG
after commercials than on unit. However, that's fine.
(33:20):
I was, I was, I was overworked, you know, I was burnt out on
auditioning a little bit and I would rather have less auditions
but know each time what it's going to pay and that it's going
to be worth it to me. So I was, you know, so the WNW
(33:40):
started and as someone who, you know, is very involved in that
space, I was like, I want to show up to this just to like see
what it's like. And you know, I've been a member
for, at that point only like 8 months, you know, 10 months, I
guess. And so I went to all the W and
WS, spoke just a few times on things that I thought were
(34:03):
important to me. And then the vice chair of the
LA local committee reached out to me and was like, I want to
talk to you about being further involved and possibly being on
the negotiating committee and spent the better part of 2 1/2
months in New York this year. Will not to mention the lead up
(34:24):
with plenary, which was supposedto happen during the weekend of
the fires. And that got moved.
And it was the whole thing was so crazy and overwhelming and
stressful for so many reasons. And but yeah, hit the ground
running. The plenary happened and I was
like, oh, this is serious business and you got to get on
(34:45):
board fast. And then was in and out of New
York. I was, I was a alternate voting
member. So I only voted, you know, when,
when needed. But we're full committee members
still and able to contribute to the discussion and say whatever
we want. But because of that, I was in
and out of New York like every week for like 10 weeks.
(35:09):
Like literally one week in New York, 1 in LA, one in New York.
It was, it was a little intense.It was I've, I was like, oh,
this is what it's like to be like a business traveller.
But ultimately I was so proud bythe end because I think we all
felt like, you know, we had to give up some stuff, right?
Like it's negotiation, but ultimately the games we've we
(35:31):
all really stuck together for the most part on certain non
negotiables that we were not going to walk out with, like our
new streaming rates, for example.
And you know, we got and the AIImean the AI protections.
I learned so much about AI during that time and, you know,
(35:54):
it was very obvious that we weregetting by far the best AI
provisions of any of the SAG after contracts so far.
And so it was an honor to serve and it only, you know,
heightened my desire to be involved in the union.
What you all were able to accomplish not only with AI
provisions and protections, but getting YouTube.
(36:18):
Like there was so much, but I also know how much it cost you
all on a personal level. Most members will never actually
be in those negotiating rooms. What was the most eye opening or
empowering for you as an actor working through those
experiences and hearing those negotiations and conversations?
When you get in this room for weeks on end, hours and hours a
(36:41):
day, like hearing the stories, hearing the things people are
going to come up to the mic and say over and over again until
it's burned in your ears becausethey care so much about it.
Like, you know, we're going through a time in the industry
in all aspects, huge changes in the media, landscaping,
(37:03):
commercials. We are fighting to keep as many
commercials union as possible. And there's a lot that members
don't know about what goes into that from the staff side, how
many are flipped weekly? And there's a lot that we need
to do. There's no doubt.
I mean, there's a huge amount ofwork that needs to be done in on
(37:25):
the member organizing fronts andthe odd school union campaign.
You know, there's a lot that hasto be done.
I'm not naive to that. But hearing from people in the
mid and small locals and the NewYork locals and how their
experiences differ. And you know, there was this
moment in negotiations where ourCo chairs of our committee both
(37:50):
had lost their insurance like for the first time in like 20
years, I think or something, each of them of being a member,
they just lost their health insurance like the day before or
the day of. And we were repeating, you know,
something pension health related.
(38:11):
And I just remember that was such a sad and eye opening
moment. And you know, but also like, but
you're here, you're here fighting for us, even though
you're going through this momentwhere things are uncertain or
you have less work and how powerful that was to still stand
(38:35):
up and still fight and demand more because we're worth more.
I wish that more Members felt encouraged or or welcomed to
join into more of a union service position because I think
it would help them understand what their dues go towards, what
(38:56):
protections there are that the union offers.
We are the union. The union is us.
And if you have something to sayand you have issues, you can get
involved. You have to show up to the
meetings, you have to speak, youhave to be present.
We're all in this together and we have to be, yeah.
(39:20):
Shifting gears off of union service and back to casting.
You've worked in the office withsome big shows like you
mentioned. Palmarielle was one of your
babies. Alaska Daily.
I am still heartbroken that thatshe only got one season.
It was so good. I don't know what.
I don't know what happened with that show.
It was so good. Full, good and also so
important. So important for those.
I know I. Know anyway, but watching
(39:41):
auditions for these like really high level shows with name
attachments, what separates an audition that's technically good
from one that is completely changing how you see the
character from like just really making them like I'm no longer
watching an audition, I'm watching this character become
its own entity. That's a really good question.
(40:07):
I feel like it's hard to describe exactly what it is, but
I think there's a few things that come to mind.
First and foremost, like if you have been able to make the
dialogue your own, like, and I don't mean necessarily changing
it. In fact, I would not advise that
(40:29):
unless you have been explicitly told that like you can and
that's different, which is different than adding like a
little improv line at the end, abutton if it sounds like it's
coming from an authentic place. Like that is so much easier said
than done. I know that's very basic to
acting, but like if I stop thinking about the script and
(40:49):
thinking about what I've seen before and it's sounding fresh
and new, then that is always going to perk my ear up, right?
But I think more than that, it'sif you think that everyone is
going to make a certain choice, you're probably right.
(41:10):
Everyone is making that choice. And after you watch however many
tapes, you know, you start to notice the one that didn't make
that choice, right? That made an interesting,
specific to the actor choice that is unexpected and is not
(41:30):
necessarily written on the page.And this is sort of an
intangible thing. And you have to, it's a fine
line, right? Because you don't want to go so
crazy where you go, whoa, what'swrong with that person?
I could never send that, right? You know, there are certain
things where it's just you go that's different.
(41:52):
And that's compelling and interesting.
And it made me lean in and want to learn more.
And we're going to at least share that with the team.
But in terms of, let's say series regular or media guest
star or whatever it is, you know, let's say there's two
scenes. We do want to see a difference,
right? Like not only do we want to see
(42:13):
a change in the scene, like you have to find where the turn is.
If there is a turn, hopefully there is if it's good writing.
But we do want to see a little bit of a difference between the
scenes. There's a reason that there's
probably more than one scene. What something that was helpful
for you to understand as an actor by seeing the side of
casting after we leave an audition.
(42:35):
I mean, I touched on this a little bit earlier that that is
one of the things I'm most grateful for.
Like after years and years and years of experience is like now
I, you know, can have that Peaceof Mind a little bit better.
I think the thing actors need toremember, and I, I really try to
say this in every workshop I do,every interview I give, is
(43:00):
booking a job is like a miracle.And like, I mean almost any job,
like down to a small little short film, right?
Like the number of people that have to say yes to you.
Obviously the bigger the project, the more people that
have to say yes. But you know, you have to 1st
(43:23):
the casting direct. I mean, let's, let's break it
down. First you, you had to get a Rep.
So most people, I mean, it is a necessity really.
So you're a Rep had to say yes. Then the casting associate or
casting director had to say yes to selecting you.
(43:47):
Then they had to say yes to including you on the link.
Then the director and the producers had to say yes to you,
either wanting you as the choiceor wanting to see more from you
that. So let's say there's a call
back, then they have to say yes from there.
(44:11):
Then if it's a big feature or let's say it's ATV show, even
for costars, the network and thestudio and multiple people at
each of those places have to sayyes to you.
So booking a job is truly a miracle.
You and the best person does notalways book the role.
(44:32):
In fact, often the best person does not book the role.
And so you have to really be grateful and count the wins.
And you know, the wins are obviously booking a job, but a
callback is a huge win. A pin is a huge win on a veil
(44:53):
for a commercial is a massive win.
I mean, that avail is like you're one of two people and a
pin too for a theatrical project, maybe more than two,
but depends a repeated audition from an office, that's a win.
That that's what we the expression doesn't come from
nowhere. You don't book the job, you book
the room. That's the more important is
(45:15):
booking the room, getting peopleon your side, you know, being
the one that they've always think of and the one that they
always want to call. And so you saying yes is really
important as well. I mean, casting directors,
directors, producers, this is a industry of ego, you know, and
(45:36):
we're no one is immune from it. Like, and, you know, I, I, I, I
think people want to pretend like that's not the case, but
like, I got a little, you know, like as a casting director, if I
really want to go to bat for someone for a project and then
they turn down the audition or they turn down an offer, you
know, it's not personal, but it does sting a little bit, you
(45:58):
know, and because they don't know what went into fighting for
them for the role. And so when people say no, that
can also be, that could hurt, you know, and it can be, it can
make me not want to go to them in the future, you know, and,
you know, obviously everyone hastheir reasons.
But so I think saying yes, as much as possible, as much as
(46:20):
you're comfortable with, can only hide in and enhance your
career. I mean, like you people, I wish
actors realized how many conversations between casting
and producers and directors revolves around, oh, I don't
know, they're really hard to getor they don't do a lot of stuff,
(46:43):
especially if it's not a lot of money.
You know, like you don't want tobe the actor who that that's
what they say or thought about. You want to be the actor who we
say, oh, they're the best. They just love to work, you
know, they love to be on set. That's the actor I think we
should all be striving to be. They're fun to be around.
(47:03):
They're easy to work with, right?
All of that stuff is a given. You mentioned about your time at
Tisch. You have some amazing
productions and credits to your name.
You lit up talking about certainlike productions and tours and
and places that you've been. I'm curious if you have a
favorite character to date that you've helped bring to life or a
character that you want to give life to.
(47:28):
Oh, this feels like. More of a theatre question,
which I love honestly. Like one of the first roles in
this one that I really like. This is so lame to even bring
this up. I don't know.
When I was a junior in high school, I played Bottom in my
Shakespeare club's production ofMidsummer, and it really was a
(47:49):
revelatory experience for me. Such a fun role that I have been
like dying to play ever since. And I did Midsummer
professionally in Alabama. I was another mechanical, the
one who plays the lion stump, the Joyner.
I just am dying to play bottom professionally.
(48:13):
And you know, I mean, there's a million other things I want to
do as an actor. I mean, I haven't been a series
regular yet or anything like that.
And that is, you know, I would love to do that, obviously, and
especially like on like a comedylike that would be really fun.
(48:35):
And I just want that experience of being like on the ensemble of
ATV show, you know? But yeah, I never, you never
know where things are going to lead.
I also am a drag queen. We didn't actually talk about
this at all. I did see a little bit on your
Instagram. Yeah, OK, OK.
And. Drag is actually like a pretty
(48:56):
big part of my life again after not being for a while.
I mostly do corporate drag. I host bingo and trivia for
corporate events. It's it's pretty iconic, but I
think it'll be fun to do like a,a bigger arc as a drag queen on
something. I just like to blend all of the
things together. So maybe the pinnacle of my
(49:17):
career would be like, and actually there is a project that
maybe this eventually could cometo fruition, a script that my
friend wrote where maybe I cast the other roles.
I star as a drag queen slash manactor.
That would be fun to blend all of it together into one project,
(49:38):
so who knows? Of all the careers, yeah.
Andrew. Sadly, our time is up, we close.
Every episode the same way. What is one thing you would go
back and tell your younger self?If I could tell little Andrew
(49:59):
anything, it's that you have to just constantly believe in
yourself and the cards will fallwhere they may.
And it's not all up to you. But you have a lot of control
and you should keep pursuing andkeep exploring and do whatever
(50:23):
you want to do and don't let people tell you that you can't.
My high school drama teacher, after I got into Tesh, told me
that I shouldn't go and that andthis was also in front of my
classmates and that he didn't think that I had what it took to
(50:45):
make it in this business. And I'm going to be honest, I
think about it all the time, butnot in the way of I can't, in
the way that I am proving him wrong every single day because I
am doing it. And so sometimes those moments
(51:07):
where you feel like gutted that someone didn't believe in you
can be the moments that propel you forward and into the future.
And don't let anyone tell you that you can't.
You have to believe in yourself above everything else.
You almost got me tearing up, Andrew.
Well, I am. So glad that you proved him
(51:27):
wrong, and I'm so excited to seewhere all of the different
avenues and streams of your creativity and career go next.
And thank you so much for joining us on the show.
Thank you, Laura. It was a pleasure.
So lovely talking to you. Hi everyone, thanks for
listening and being the. Absolute best part of our
(51:48):
creative community here at What's My Frame?
If you'd like to learn more about our guests, please check
out the show notes and please join us on socials at What's My
Frame to Stay in the Know for upcoming events, I'm your host,
Laurie Linda Bradley. We'll see you next Monday.
Hi everyone, today and what's myframe?
I'm joined by casting director and actor Andrew Davidine.
Andrew shares his journey from the Chocolate River to Tisch and
how he found his home thriving as a bicoastal casting director
and actor. Today we chat about his creative
mentors, favorite projects, his unique perspective on advice for
(00:25):
actors, and our shared passion for union service.
Now let's get to the conversation.
Hey Andrew, welcome to What's MyFrame?
Hey, Laura, thanks so much for having me.
As we were talking beforehand, it's a, it's a, it's a union
kind of day. And we're going to talk about
your union service, but also your casting, your acting.
(00:47):
You have so many facets of your career I want to talk about.
But for anyone who isn't familiar, if you don't mind,
just share your origin story, like what drew you to a career
in the arts and the different avenues that you've explored and
embraced. Yeah, so I was a theatre kid,
(01:08):
like so many of us in this industry.
My parents, well, really, my momput me in theatre when I was
really young, like elementary school.
And my first play was Charlie and the Chocolate Factory, and I
was typecast as Augustus Gloop and I fell into that chocolate
(01:31):
river and it's it's been drowning me ever since.
No, I'm just kidding. That's the sound bite right
there. Exactly.
Yeah. But yeah, so did theater, you
know, all throughout growing up and knew I wanted to go to
(01:51):
school for it pretty early on. Like, I don't know, beginning of
high school, I'd already made-upmy mind, much to the dismay of
my, you know, Moroccan immigrantfather who wanted me to be a
doctor or a lawyer or something.But luckily, you know, we moved
past all that. And once I got into Tish NYU,
(02:15):
you know, I think people were more on board because it's a
good school, the name brand, blah, blah, blah.
If. Tish signs off.
There's a there's a legitimacy there if like this is hype
dream. Well, it was the only school
that signed off. I literally like got rejected
from every school, including my like safety schools that have
(02:37):
been like begging me to apply. And I was shocked.
Like I was a very pretty good student.
Like not the I went to a really tough high school.
There's actually a book about myhigh school.
It's called the overachievers. So like, but like, you know, I
was not a bad student, but for some reason I just didn't get in
anywhere. And you know, with like
(02:58):
conservatories, it's rolling in mission.
So like I found out like week after week.
No, no, no. And then I finally got into Tish
and I was like, Oh my God, this is crazy.
And here I am all these years later still talking about that.
It's going to be it's like my myforever haunting moment.
(03:21):
I studied acting at Stella Adler, that was my studio at
Tish, and then I did a semester at RADA in London studying
Shakespeare. And yeah, then I was like a
Little Theatre kid right out of school.
Like I really thought Shakespeare was what I was going
(03:42):
to be doing the rest of my life.And then I did a very formative
year in Alabama a couple of years after school.
I was one of their acting apprentices and did like 4 plays
toward the South. Like it was a really great
experience. Got my equity card that way.
But, you know, I did learn like a lot in that time that maybe my
(04:07):
dreams of doing like regional theatre and Shakespeare and you
know what not we're not going tobe a sustainable lifestyle in
the way that I wanted because they met all these older actors
and they were fantastic and hearing their stories.
But you know, when I really started accounting like, well,
(04:27):
OK, they really need to get their weeks or their health
insurance. And this is a quote UN quote
good contract and it pays this much money and you don't work 52
weeks a year. So that's poverty.
And, you know, so I, I started to rethink like where is my
career really going to go and started, you know, moving,
(04:49):
making moves into more of a filmand TV landscape as an actor.
But right around that time I hadbeen, before I left for Alabama,
I had been a part of this amazing educational theatre
company in New York called STAR,which is an acronym serving
(05:10):
teams through arts and resources.
And it was a little subset of the director's company, which is
an Off Broadway theatre there. And I could no longer be an
actor with them because I joinedthe union.
And so I basically convinced them I was like, why don't you
(05:31):
let me be your casting director?I had never done it before.
And I was, I was kind of excited.
I was like thinking I would, I was always the kid like in, you
know, I had to assure like even the kind of before that like
where I would be like, you know,you'd be really great in this
role or like, let me try to connect you.
Or like that was sort of always been my vibe is like I was a
(05:53):
producing minor in college and you know, I thought maybe I
would go down the producing pathfor a while in addition to I
think performing. But you know, people kept saying
like, maybe you should think about casting.
So I, I took this opportunity and it was a really low stakes,
easy way to get my feet a littlewet, you know, because it's like
(06:17):
mostly young kids, like straightout of school, first gig.
And it's like they need. Yeah.
It was low stakes, non equity theatre basically, but a really
a valuable, important resource, teaching sort of sex Ed to kids
in New York City public schools,mostly through musical theatre.
(06:37):
Yeah. So it was really cool.
And so I was their casting director for a few years.
And then also around that time, I had started being a reader at
a lot of film and TV casting offices.
And so I was reading for like, Rosalie Joseph, who was like an
icon of the New York casting andscene.
(07:00):
She, you know, was the head of ABC for a long time and Cbsi
think after that. And I was reading for Paul
Schnee of Barton Schnee casting,who I actually met through a
class at the director's company because he is also a director.
And he was taking taking this like directing actors class that
(07:22):
they had asked me to do because they needed like a guy around my
age and since I was already involved with the director's
company, etcetera. But so then I started reading
for Paul because he was like, bythe way, I'm a I'm a casting
director too. Like if you ever want to read.
So reading became like, a big part of my life in New York.
And I, I was intuitive enough toknow that that was going to be a
(07:44):
really good way to meet casting directors.
And, you know, it would be so funny.
Like, they would be like, oh, there's just like this little
role on, like, Quantico. Like, would you?
You wouldn't want to read for that, would you?
And I'm like, I don't have any TV credits.
Yeah. I want to read for it, like.
So then Rosalie started working on the first season of Rami, the
(08:05):
Hulu show by Rami Youssef, whichwas actually a 24's first TV
show. I don't think people really know
that, but they were small, smaller company than than they
are now. So she was casting that with Mia
Cusamano and I was reading for them and I, as I'm said, I'm
(08:26):
half Arab and I knew just like alot of the Middle Eastern North
African community in New York ofactors.
And so I was like, oh, I know this guy for this role.
I know this girl for this role, like, And so after like a week
or two, they were like, OK, likeclearly, you know, you know a
(08:48):
lot about this and we could use like your inputs.
And also we don't have an assistant and we really need an
assistant. Like they're technically not
going to give us one, but if we pay you a little bit out of
pocket, like could you do like acouple days a week as our
casting assistant? That's how I fell into TV
casting. And from there, Mia, you know, a
(09:11):
few months later, asked me to beher assistant full time on Aaron
Sorkin's The Trial of the Chicago 7.
We were doing all of the basically all of the New York
rolls, which was everything but the, you know, celebrities that
were already cast from LA. It was like 40 something rolls.
And I was like, are you kidding?My first film is going to be an
(09:32):
Aaron Sorkin movie. Like, OK, it was a dream come
true, and little did I know, notevery project would be quite as
easy as that one she is. Also fantastic she's been on the
podcast like she's fantastic. We are so so close.
I talk to her all the time. She is truly my mentor and I
love her so much. And no one who looks out for me
(09:55):
like she does like and in all ways.
When I have a question about like a contract, if I'm taking
on a casting job on my own or, you know, when she's casting,
she just cast the better Sister,which recently came out on
prime. She threw me so many auditions
my way. Like she's just always looking
out for me and I adore her and I, you know, anyway, I'm like
(10:17):
getting a little little misty eyed when.
It's like it's, it's good peopledoing good work and like
bringing people along the journey with them like that.
I could talk for hours about like the importance of that and
how we need to do that more So Ilove.
Exactly. But yeah, so then I'll wrap up
(10:39):
my origin story, I guess with I,you know, pandemic hit shortly,
like just a few months after we wrapped Chicago seven.
I was like very lost in New York.
I had had a full time job in corporate restaurant world, like
an office job for many years. And I had lost that job like
(11:00):
right before the pandemic. So I was really just, I mean, I
would have lost it anyway, I think.
But it just was interesting timebecause I was like, I had been
like, sort of like rolling, rolling, rolling with the
punches, seeing where things aregoing to land.
And then suddenly, you know, like so many people, well,
everyone we, I was hit with like, I don't know what's next.
I don't really have a thing now.I don't have a job now.
(11:23):
And so I decided that it made a lot of sense for me to move to
LA, at least try it out, which is crazy.
Like people were shocked becauseI was a 10 year New Yorker at
that point. I was like, people joke that I
was like the mayor of New York. Like I would like run into
someone everywhere. I was like, you know, and I love
(11:45):
New York and I didn't want to leave.
But that version of New York wasjust horrible and sad and not
worth it, like in terms of the money, you know, and everything.
But so I moved to LA and I've been here for almost five years
(12:06):
now, actually. Yeah, it'll be five years and
just a couple weeks. And I love it.
But now I have a a base in both places.
I go to New York all the time. I'm extremely bicoastal.
And this is sort of, I think it was a, it was a great decision.
It was the right decision. August is my LA anniversary as
(12:28):
well. Oh my God.
Amazing. Congrats.
Thank you. Yeah, I, I also, I, I've lived
in New York for a period of timeand it will always have my
heart. It's I don't think unless you
live there, you realize, like how much you, like, you do run
into your friends on the street.Like people think that, oh,
that's, that's not possible. That would never happen.
And like you do and you don't have that happen in LA because
everybody's in cars. So I think in some ways, like
(12:49):
New York is actually more of a communal city because you're
actually out and about. But there's so much there.
There's so much to unpack. Andrew, I'm still in the
Chocolate River. I've got to be honest, just a
little bit. What?
So you came to LA, There was pandemic LA of auditioning and
casting and then their strikes. What's the last like 2 years
(13:14):
been like for you of actually getting to experience LA,
getting on its feet, You gettingacclimated to the climate of the
business here? So what's really interesting is
the LA, the first year was like,let's get settled kind of, you
(13:34):
know, a lot of people are peoplego like it's crazy that you
would move here or like that youmade that big move at that time.
And I always tell people like, well, actually it was the best
decision because I was going to be in my house either way.
And so I'd rather be in this weather.
(13:55):
And I moved here with a couple of my best friends.
And so, you know, we were like alittle pod and it was, it was
great to be able to sort of explore the city with them and
or, you know, as safely as we could, or at least explore the
outdoors and get acclimated without the pressure of, you
know, having to hustle and go toa million auditions.
(14:18):
Or, you know, I wasn't really working.
I was getting unemployment right, Like, and yeah, it was a
really good way to transition into living here.
And like, and then like when things started opening up, I was
able to, I didn't feel like so new.
I mean, I, I still felt new, butI didn't feel like I didn't know
(14:41):
where anything was. And I got really lucky.
I got a job in 2021 on the Patients, which was FX show with
Steve Carell and Donald Gleason.I feel like not that many
people. I, I feel like it was in that
era where it kind of went under the radar.
I'm gonna. Say yeah, it's like the.
(15:03):
Radar unless you were like, yeah, but so I worked with
Jeanie Bacharach and Allison Goodman on that.
I was their assistant. And, you know, that was a a nice
way to sort of learn about L as TV culture and learn some of the
actors here. And, you know, working for
(15:24):
Jeannie was was such a great opportunity.
And, you know, she hadn't reallylike, I mean, she was a huge
casting director at that point, but she hadn't blown up because
of the bear yet. They had actually just finished
casting, I think the pilot of the Bear at that point and they
were so excited about it. Like I remember coming into the
first week and they were like, Oh my God, like we just cast
(15:48):
this show. We love it so much.
Like we really hope it gets picked up.
Next thing you know, it's like the show.
Meanwhile, I worked on the one that was like a limited series
and like, no, just kidding. It was a great experience.
And I got to sort of like, you know, see Steve Carell on our
like, Zoom cams, chemistry reads.
And like that was a really exciting to me and what not.
(16:12):
But yeah, so then, you know, I immediately, as soon as that job
ended, I got hired up. Arden Schnee.
Full circle. They needed someone to step in
for their associate who was going on maternity leave.
Roya. I don't know if you've had Roya
(16:34):
on the podcast. She's amazing.
And I was really close still with Paul and Rachel Goldman,
the New York associate. And so I was like, hey, guys,
the time has come. I've been doing this for a while
now and I need actually I'm looking for a job soon.
So I got hired with them and that was really like when I like
(16:59):
felt like things started, I was going to like embracing that.
This was fully going to be part of my, you know, slate of things
I do because I I worked on multiple shows with that and a
lot of films. It was just like for about a
year, a little bit less than a year, but you know, it was, it
(17:23):
was busy and I learned a lot andI had a lot of responsibility
because they trusted me. You know, Rachel Goldman and I,
along with Carrie Barton, like we, we did Palm Royale the first
season, just, you know, Rachel, that was Rachel Nye's baby.
Like we were hustling on that show and just learned so much
(17:44):
from them and was so grateful for that opportunity.
And, you know, then in December,they're like, OK, we're out of
work now. So we're going to put you on a
little hiatus and, you know, hopefully we'll have something
in January. We'll bring you back.
(18:05):
So little did I know that like, I guess because I had been
working for them, I was kind of blissfully unaware that the
industry was starting to, this is the end of 2022 heading into
2023, that the industry was starting to sort of crumble.
And I'm like, oh, there's no, there's no shows.
(18:27):
And then there was no jobs. And I was like, oh, what's
happening? I thought I was on this little
roll. And then strikes happen.
And, you know, I mean, they needed to happen.
And obviously the rest is history.
I I'm sure everyone listening tothis knows, but yeah, so I, you
(18:48):
know, I spent, I would say a year kind of like lost.
I mean, I had some small stuff Icast here and there, like some
shorts, but few and far between.And I don't know, actually, I
shouldn't say few and four between.
I had a few, but like, you know,that's not I was like it.
I was in a crisis, like a lot ofpeople I don't know or I don't
want to say crisis, but I was I was struggling.
(19:12):
And then in the last, like, yearor year and a half, really, I
feel like something shifted. And I finally feel like I'm at
this place where, like, everything I'm doing is working
in tandem. I'm doing all of it at once and
really doing all of it. And yeah, I don't know if things
(19:36):
are still strange, I guess. But like, to me, they feel a
little more sure footed because I have my hands in a lot of
different baskets. And so if one thing's not
popping off, another thing is popping off, you know?
Yeah. And, and you have to, I don't
think the industry is not for, Idon't think any profession like
that anymore where you can just be singularly focused.
(19:59):
You have to have all the plates spinning from both a creative
fulfillment standpoint, but alsoa financial security standpoint.
We've, I mean, there's so many casting directors that started
as actors, but you were the first one on the pod and
actually the first one that I know that is actively balancing
both careers. How does it inform?
(20:22):
Empower but also offer like understanding and like sympathy
to both sides as you as you switch between those those lanes
in your career. Yeah, I mean, look, when I
started doing casting, people were like it was taboo in New
(20:42):
York. Like people were like, you're an
actor. And I'm like, well, yeah, but
like, this is genuine. Like, I'm not just, like, trying
to get seen by you, you know, And everyone in New York, it was
a little more taboo. And I don't know if it's just
because times have changed or LAis different.
But, you know, everyone said it wasn't possible.
(21:07):
And like, maybe eventually it won't be for me, but to do all
of it. But I was like, well, I have
these skills. You know, I'm really driven.
I can make a lot of things work and spin a lot of plates at
once. And now I'm like, I think it's
fine. Like I mostly work on my own
(21:28):
now. I cast mostly independent
features and shorts. And, you know, having that, I
work on my own time, right? Like I don't have to report to
someone, at least for now. And you know, I can audition and
do acting jobs or whatever it is, whatever I need to do.
And I'm really grateful, frankly, to just continue to
(21:50):
have careers on both sides because it, like you said, it
really does. I mean, I guess your question is
more about how it inform, they inform each other and they're
they're constantly informing each other.
You know, I think the beauty of me working and casting is as an
(22:11):
actor, I can let go. Oh my God, I can let go so much
easier, right? Like I'm not, I mean, some,
there's some auditions where I'mlike, that was a really good
one. That was a big one.
And I, you know, I want it, but if it doesn't go my way, I'm
like, well, I know why. There's like 1,000,000 reasons.
(22:34):
And so I don't, you know, think I don't hold on to those
thoughts as strong as I used to in terms of obsessive thoughts,
I guess. But on the flip side, like being
an actor has provided a lot of empathy for me when I'm casting,
(22:55):
right? Like, you know, what it takes to
get the tape in, what it takes to show up and, you know, give
your all with everything that you might have going on in your
day-to-day or in your personal life.
And like, you know, I get to meet actors on the ground and
(23:15):
like, you know, be like, oh, like I met this person.
Like, maybe they're not wrapped or maybe they're, you know,
still coming up, but they could be really good.
And it helps me pitch to directors and be like, I have a
personal relationship with this person.
We've worked together as actors or, you know, whatever it is.
So they're constantly informing each other, you know, also like
(23:38):
basic things like technical stuff and learning how to label
things and how important stuff like that is, right?
Like I know it's all been said before, but it really is true to
some degree. Like these things do matter.
They don't make or break you getting the job, but like they
make our job as casting professionals easier.
(24:01):
And you know, while most of the time it has provided me with
empathy, it also has provided mewith like sometimes a little bit
like you got to get your bleep together.
You know, I don't know if I can curse on here, but I.
Appreciated the actual. Sound effect.
Yeah, exactly. I'm like, well, what do you mean
(24:22):
you couldn't get the tape in? Like, you know, like, I'm like,
you got to hustle, right? Like if you really want it, you
got to hustle. I do feel like we're living in a
little bit of a culture that does not Oh well, without like
stepping onto too many egg shells here like that.
I don't, I don't want to say like, I'm not going to be like
(24:43):
Kim Kardashian. People don't want to work
anymore. That's not what I'm trying to
get out of here. Like work smarter, not harder.
Like definitely that's, you know, I believe in not fully,
but like you got to do the work.You got to do the audition.
You got to do your best work andI'm so and if you have a million
things to do, we all do, you know, like and you still got to
(25:05):
you still got to put in the workif you really want it, if you
want it. Yeah.
And if someone who like knows what it was like to go to a non
equity open call in New York. Oh, honey.
Tape is a walk in the park. Too many years of those waking
up at 5:00 in the morning. Literally that was like.
(25:26):
To then go home and then just, you know, no.
It was those things were so crazy.
Thank God for those years. I'm so grateful for those years.
Well, they. Teach you like a strength of,
you know, I believe like you have to train to lift like 200
lbs So like 50 is a breeze when like you do have to like knock
out that tape quickly because you do have I mean, my acting
(25:48):
mentor and teacher, he always used to say is like you actually
do better work when you're busy because then it's just one more
thing. You can't get precious with it.
You can't like get so hovery andlike I'm going to do 20 takes.
Like no, this is just one thing I'm doing today and I keep it
moving. 100% I, I believe in that fully.
I really do, yeah. I mean from non equity open
(26:08):
calls to let's talk about union service because like the segue
and why we're both very involvedin union service.
I'm curious, was there a mentor or someone that got you involved
and invited you to like a meeting or a conversation?
Or was it something that you personally felt like you are on
the receiving end of? Something that was broken and
(26:29):
you wanted to fix and help for others?
How? How did you get involved?
So I actually only joined SAG AFTRA in December of 2023, like
right after the strikes. I don't want to say I wasn't
like I was out there on the strike line every week,
(26:50):
literally like multiple times a week normally.
And that was not fake, you know,that was real.
That was coming from both my standpoint as an actor and as a
like a casting director in solidarity.
But I, you know, I knew as soon as it the strikes ended, I was
(27:12):
going to join. It was the time had to come.
I was, I was going to have to join in the next booking anyway.
And you know, but I didn't, I waited until the work started
again. But you know, I joined and I was
like, well, I don't want to justjoin and like blindly do this,
(27:32):
right? Like I want to be involved.
And at first that didn't really mean that much.
But pretty much like throughout last year, 2024, there was this
theme union, Union solidarity and union service became a
theme. I, there was a lot of buzz and
momentum towards casting assistants joining the
(27:54):
Teamsters, of course. And as soon as I found out about
that, I just reached out to the right people and I was like, I
really want to get involved morewith this.
And it wasn't like a huge commitment, but I was on the
organizing committee and obviously reached out to all the
assistants I had worked with in the past or knew to try to get
(28:15):
them, you know, fired up and ready to join.
And the bummer was that I wasn'tactually able to participate in
the voting process because you had to have been working on a
show within like 6 months or something.
But I don't really care that I was able to help make it happen.
And I don't know if people remember this, but it was 100%
(28:38):
of people who signed vote said they wanted to join.
So, you know, we we joined and we were able to join Teamsters
if you had worked up until a certain point in the past as an
assistant. And that was really important to
me. I just, you know, assistants
have been, I've been very lucky to have a lot of amazing
assistant jobs and I've never really had anything that
(29:00):
traumatic. But, you know, the story is that
are crazy and we needed, we needa lot of stuff and we got a lot
of stuff. I mean, the Teamsters are,
there's a reason you don't mess with the Teamsters.
Yeah, and Lindsay Doherty is like my icon, the Yeah, Local
(29:21):
39. 9 powerhouse, like I remember getting to meet her at
like strike line events and things like that.
And I'm just like, your energy is like we we need more people
like you involved in everything because literally, yeah, she's
incredible. Like, absolutely.
Incredible. Yeah.
And then last summer, I saw thisjaw.
I got this e-mail from Actors Equity that they were hiring
(29:44):
political organizers for the first time and they were looking
for two people in Los Angeles towork on a campaign that they had
endorsed. And I got hired to go.
I drove to Palmdale and Lancaster in the north of LA
County 3-4 times a week for months to be an A political
(30:08):
organizer on behalf of Actors Equity.
Door knocking a door. I knocked over 2000 doors to
help elect the new congressman in the 27th District, George
Whitesides, and we flipped the seat.
It was a really big deal. It was one of the only positive
union things to come out of thatelection.
(30:32):
Again, don't need to re traumatize people who might be
listening to this, but you know,it was great to be involved in
equity in that way and be on staff there briefly.
And you know, we it was a memberto member campaign.
So we were knocking not just equity members because there's
(30:53):
not that many that live up there, obviously, but all sorts
of union members and meeting union members at every door
talking about union issues and he really hearing them.
And it was enlightening to me for, you know, the future if I
ever want to go into politics or, you know, because I've
(31:14):
always been really political. I'm from DC like I grew up in, I
grew up in that, you know, not literally, my family was not in
politics, but we were all you'rekind of naturally.
Political living there. So that was a great experience.
And then towards the end of thattime in October was when we
(31:35):
started the WN WS for commercialnegotiations first hack after
and I have done a lot of commercial work.
That was the main, one of the main driver that was the reason
I joined was a commercial. I had, I had to join a Super
Bowl commercial was very exciting.
(31:56):
Did I get downgraded? Yes, but it was very cool.
You booked it. You.
I did. There you go.
You're a great director because I always have great directors.
Yes, it was, it was the whole thing was it was fantastic.
But you know, I had worked in the non union space for so long
(32:16):
as the commercial actor. I was booking like, you know,
567 commercials a year non unionand they paid horribly.
And there was a couple of them that really aired like crazy and
I would get text everyday. Like I saw your commercial and I
(32:36):
would be like cool, 'cause I only made $1800 for the whole
thing, you know, like, and you know, I was like, I'm over this.
This is not worth it. Not to mention like I was doing
like 10, five to 10 auditions a week for non union commercials.
Like it was insane and. They also there's no guardrails
(32:59):
on what they're asking you to doin the audition.
Yeah, so I, you know, was very happy to join and have like and
yes, there are less currently there are less auditions for SAG
after commercials than on unit. However, that's fine.
(33:20):
I was, I was, I was overworked, you know, I was burnt out on
auditioning a little bit and I would rather have less auditions
but know each time what it's going to pay and that it's going
to be worth it to me. So I was, you know, so the WNW
(33:40):
started and as someone who, you know, is very involved in that
space, I was like, I want to show up to this just to like see
what it's like. And you know, I've been a member
for, at that point only like 8 months, you know, 10 months, I
guess. And so I went to all the W and
WS, spoke just a few times on things that I thought were
(34:03):
important to me. And then the vice chair of the
LA local committee reached out to me and was like, I want to
talk to you about being further involved and possibly being on
the negotiating committee and spent the better part of 2 1/2
months in New York this year. Will not to mention the lead up
(34:24):
with plenary, which was supposedto happen during the weekend of
the fires. And that got moved.
And it was the whole thing was so crazy and overwhelming and
stressful for so many reasons. And but yeah, hit the ground
running. The plenary happened and I was
like, oh, this is serious business and you got to get on
(34:45):
board fast. And then was in and out of New
York. I was, I was a alternate voting
member. So I only voted, you know, when,
when needed. But we're full committee members
still and able to contribute to the discussion and say whatever
we want. But because of that, I was in
and out of New York like every week for like 10 weeks.
(35:09):
Like literally one week in New York, 1 in LA, one in New York.
It was, it was a little intense.It was I've, I was like, oh,
this is what it's like to be like a business traveller.
But ultimately I was so proud bythe end because I think we all
felt like, you know, we had to give up some stuff, right?
Like it's negotiation, but ultimately the games we've we
(35:31):
all really stuck together for the most part on certain non
negotiables that we were not going to walk out with, like our
new streaming rates, for example.
And you know, we got and the AIImean the AI protections.
I learned so much about AI during that time and, you know,
(35:54):
it was very obvious that we weregetting by far the best AI
provisions of any of the SAG after contracts so far.
And so it was an honor to serve and it only, you know,
heightened my desire to be involved in the union.
What you all were able to accomplish not only with AI
provisions and protections, but getting YouTube.
(36:18):
Like there was so much, but I also know how much it cost you
all on a personal level. Most members will never actually
be in those negotiating rooms. What was the most eye opening or
empowering for you as an actor working through those
experiences and hearing those negotiations and conversations?
When you get in this room for weeks on end, hours and hours a
(36:41):
day, like hearing the stories, hearing the things people are
going to come up to the mic and say over and over again until
it's burned in your ears becausethey care so much about it.
Like, you know, we're going through a time in the industry
in all aspects, huge changes in the media, landscaping,
(37:03):
commercials. We are fighting to keep as many
commercials union as possible. And there's a lot that members
don't know about what goes into that from the staff side, how
many are flipped weekly? And there's a lot that we need
to do. There's no doubt.
I mean, there's a huge amount ofwork that needs to be done in on
(37:25):
the member organizing fronts andthe odd school union campaign.
You know, there's a lot that hasto be done.
I'm not naive to that. But hearing from people in the
mid and small locals and the NewYork locals and how their
experiences differ. And you know, there was this
moment in negotiations where ourCo chairs of our committee both
(37:50):
had lost their insurance like for the first time in like 20
years, I think or something, each of them of being a member,
they just lost their health insurance like the day before or
the day of. And we were repeating, you know,
something pension health related.
(38:11):
And I just remember that was such a sad and eye opening
moment. And you know, but also like, but
you're here, you're here fighting for us, even though
you're going through this momentwhere things are uncertain or
you have less work and how powerful that was to still stand
(38:35):
up and still fight and demand more because we're worth more.
I wish that more Members felt encouraged or or welcomed to
join into more of a union service position because I think
it would help them understand what their dues go towards, what
(38:56):
protections there are that the union offers.
We are the union. The union is us.
And if you have something to sayand you have issues, you can get
involved. You have to show up to the
meetings, you have to speak, youhave to be present.
We're all in this together and we have to be, yeah.
(39:20):
Shifting gears off of union service and back to casting.
You've worked in the office withsome big shows like you
mentioned. Palmarielle was one of your
babies. Alaska Daily.
I am still heartbroken that thatshe only got one season.
It was so good. I don't know what.
I don't know what happened with that show.
It was so good. Full, good and also so
important. So important for those.
I know I. Know anyway, but watching
(39:41):
auditions for these like really high level shows with name
attachments, what separates an audition that's technically good
from one that is completely changing how you see the
character from like just really making them like I'm no longer
watching an audition, I'm watching this character become
its own entity. That's a really good question.
(40:07):
I feel like it's hard to describe exactly what it is, but
I think there's a few things that come to mind.
First and foremost, like if you have been able to make the
dialogue your own, like, and I don't mean necessarily changing
it. In fact, I would not advise that
(40:29):
unless you have been explicitly told that like you can and
that's different, which is different than adding like a
little improv line at the end, abutton if it sounds like it's
coming from an authentic place. Like that is so much easier said
than done. I know that's very basic to
acting, but like if I stop thinking about the script and
(40:49):
thinking about what I've seen before and it's sounding fresh
and new, then that is always going to perk my ear up, right?
But I think more than that, it'sif you think that everyone is
going to make a certain choice, you're probably right.
(41:10):
Everyone is making that choice. And after you watch however many
tapes, you know, you start to notice the one that didn't make
that choice, right? That made an interesting,
specific to the actor choice that is unexpected and is not
(41:30):
necessarily written on the page.And this is sort of an
intangible thing. And you have to, it's a fine
line, right? Because you don't want to go so
crazy where you go, whoa, what'swrong with that person?
I could never send that, right? You know, there are certain
things where it's just you go that's different.
(41:52):
And that's compelling and interesting.
And it made me lean in and want to learn more.
And we're going to at least share that with the team.
But in terms of, let's say series regular or media guest
star or whatever it is, you know, let's say there's two
scenes. We do want to see a difference,
right? Like not only do we want to see
(42:13):
a change in the scene, like you have to find where the turn is.
If there is a turn, hopefully there is if it's good writing.
But we do want to see a little bit of a difference between the
scenes. There's a reason that there's
probably more than one scene. What something that was helpful
for you to understand as an actor by seeing the side of
casting after we leave an audition.
(42:35):
I mean, I touched on this a little bit earlier that that is
one of the things I'm most grateful for.
Like after years and years and years of experience is like now
I, you know, can have that Peaceof Mind a little bit better.
I think the thing actors need toremember, and I, I really try to
say this in every workshop I do,every interview I give, is
(43:00):
booking a job is like a miracle.And like, I mean almost any job,
like down to a small little short film, right?
Like the number of people that have to say yes to you.
Obviously the bigger the project, the more people that
have to say yes. But you know, you have to 1st
(43:23):
the casting direct. I mean, let's, let's break it
down. First you, you had to get a Rep.
So most people, I mean, it is a necessity really.
So you're a Rep had to say yes. Then the casting associate or
casting director had to say yes to selecting you.
(43:47):
Then they had to say yes to including you on the link.
Then the director and the producers had to say yes to you,
either wanting you as the choiceor wanting to see more from you
that. So let's say there's a call
back, then they have to say yes from there.
(44:11):
Then if it's a big feature or let's say it's ATV show, even
for costars, the network and thestudio and multiple people at
each of those places have to sayyes to you.
So booking a job is truly a miracle.
You and the best person does notalways book the role.
(44:32):
In fact, often the best person does not book the role.
And so you have to really be grateful and count the wins.
And you know, the wins are obviously booking a job, but a
callback is a huge win. A pin is a huge win on a veil
(44:53):
for a commercial is a massive win.
I mean, that avail is like you're one of two people and a
pin too for a theatrical project, maybe more than two,
but depends a repeated audition from an office, that's a win.
That that's what we the expression doesn't come from
nowhere. You don't book the job, you book
the room. That's the more important is
(45:15):
booking the room, getting peopleon your side, you know, being
the one that they've always think of and the one that they
always want to call. And so you saying yes is really
important as well. I mean, casting directors,
directors, producers, this is a industry of ego, you know, and
(45:36):
we're no one is immune from it. Like, and, you know, I, I, I, I
think people want to pretend like that's not the case, but
like, I got a little, you know, like as a casting director, if I
really want to go to bat for someone for a project and then
they turn down the audition or they turn down an offer, you
know, it's not personal, but it does sting a little bit, you
(45:58):
know, and because they don't know what went into fighting for
them for the role. And so when people say no, that
can also be, that could hurt, you know, and it can be, it can
make me not want to go to them in the future, you know, and,
you know, obviously everyone hastheir reasons.
But so I think saying yes, as much as possible, as much as
(46:20):
you're comfortable with, can only hide in and enhance your
career. I mean, like you people, I wish
actors realized how many conversations between casting
and producers and directors revolves around, oh, I don't
know, they're really hard to getor they don't do a lot of stuff,
(46:43):
especially if it's not a lot of money.
You know, like you don't want tobe the actor who that that's
what they say or thought about. You want to be the actor who we
say, oh, they're the best. They just love to work, you
know, they love to be on set. That's the actor I think we
should all be striving to be. They're fun to be around.
(47:03):
They're easy to work with, right?
All of that stuff is a given. You mentioned about your time at
Tisch. You have some amazing
productions and credits to your name.
You lit up talking about certainlike productions and tours and
and places that you've been. I'm curious if you have a
favorite character to date that you've helped bring to life or a
character that you want to give life to.
(47:28):
Oh, this feels like. More of a theatre question,
which I love honestly. Like one of the first roles in
this one that I really like. This is so lame to even bring
this up. I don't know.
When I was a junior in high school, I played Bottom in my
Shakespeare club's production ofMidsummer, and it really was a
(47:49):
revelatory experience for me. Such a fun role that I have been
like dying to play ever since. And I did Midsummer
professionally in Alabama. I was another mechanical, the
one who plays the lion stump, the Joyner.
I just am dying to play bottom professionally.
(48:13):
And you know, I mean, there's a million other things I want to
do as an actor. I mean, I haven't been a series
regular yet or anything like that.
And that is, you know, I would love to do that, obviously, and
especially like on like a comedylike that would be really fun.
(48:35):
And I just want that experience of being like on the ensemble of
ATV show, you know? But yeah, I never, you never
know where things are going to lead.
I also am a drag queen. We didn't actually talk about
this at all. I did see a little bit on your
Instagram. Yeah, OK, OK.
And. Drag is actually like a pretty
(48:56):
big part of my life again after not being for a while.
I mostly do corporate drag. I host bingo and trivia for
corporate events. It's it's pretty iconic, but I
think it'll be fun to do like a,a bigger arc as a drag queen on
something. I just like to blend all of the
things together. So maybe the pinnacle of my
(49:17):
career would be like, and actually there is a project that
maybe this eventually could cometo fruition, a script that my
friend wrote where maybe I cast the other roles.
I star as a drag queen slash manactor.
That would be fun to blend all of it together into one project,
(49:38):
so who knows? Of all the careers, yeah.
Andrew. Sadly, our time is up, we close.
Every episode the same way. What is one thing you would go
back and tell your younger self?If I could tell little Andrew
(49:59):
anything, it's that you have to just constantly believe in
yourself and the cards will fallwhere they may.
And it's not all up to you. But you have a lot of control
and you should keep pursuing andkeep exploring and do whatever
(50:23):
you want to do and don't let people tell you that you can't.
My high school drama teacher, after I got into Tesh, told me
that I shouldn't go and that andthis was also in front of my
classmates and that he didn't think that I had what it took to
(50:45):
make it in this business. And I'm going to be honest, I
think about it all the time, butnot in the way of I can't, in
the way that I am proving him wrong every single day because I
am doing it. And so sometimes those moments
(51:07):
where you feel like gutted that someone didn't believe in you
can be the moments that propel you forward and into the future.
And don't let anyone tell you that you can't.
You have to believe in yourself above everything else.
You almost got me tearing up, Andrew.
Well, I am. So glad that you proved him
(51:27):
wrong, and I'm so excited to seewhere all of the different
avenues and streams of your creativity and career go next.
And thank you so much for joining us on the show.
Thank you, Laura. It was a pleasure.
So lovely talking to you. Hi everyone, thanks for
listening and being the. Absolute best part of our
(51:48):
creative community here at What's My Frame?
If you'd like to learn more about our guests, please check
out the show notes and please join us on socials at What's My
Frame to Stay in the Know for upcoming events, I'm your host,
Laurie Linda Bradley. We'll see you next Monday.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
New Heights with Jason & Travis Kelce
Football’s funniest family duo — Jason Kelce of the Philadelphia Eagles and Travis Kelce of the Kansas City Chiefs — team up to provide next-level access to life in the league as it unfolds. The two brothers and Super Bowl champions drop weekly insights about the weekly slate of games and share their INSIDE perspectives on trending NFL news and sports headlines. They also endlessly rag on each other as brothers do, chat the latest in pop culture and welcome some very popular and well-known friends to chat with them. Check out new episodes every Wednesday. Follow New Heights on the Wondery App, YouTube or wherever you get your podcasts. You can listen to new episodes early and ad-free, and get exclusive content on Wondery+. Join Wondery+ in the Wondery App, Apple Podcasts or Spotify. And join our new membership for a unique fan experience by going to the New Heights YouTube channel now!
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com