July 7, 2025 • 32 mins
Welcome back! Today, I'm sitting down with an old friend, Mandi Price, to discuss her career in Los Angeles as a TV Producer and Editor. Mandi also gives viewers insights into what modern day Hollywood looks like, especially what the future holds for up and coming filmmakers.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
The only thing I wanted to do was tell stories escually.
In that moment when we're so isolated and we're so alone,
you want community. I think at the end of the day,
you know the storytellers will always persevere.
Speaker 2 (00:10):
So I love that about you willing to learn.
Speaker 3 (00:13):
I think that's such a huge piece of somebody being successful.
Speaker 1 (00:17):
So I primarily work on for two different companies, Hell
of Sunshine, which is Reese Witherspoon's company, and Point Gray,
which is Seth Rogan and Evan Goolberg's company. What was
really cool about working there at Q was that I
was already working. I was already doing literally what we
were learning in school. I was doing it every morning.
Speaker 3 (00:35):
And having just the courage to pack up and go
to Hollywood on a women in La Los Angeles, Hollywood?
Speaker 2 (00:45):
Is this a new era?
Speaker 3 (00:48):
Hi?
Speaker 2 (00:48):
I'm Leslie low. Welcome to Leslie's Low Down on Life.
Speaker 3 (01:05):
You guys, I'm so excited to introduce you to today's guest.
A longtime friend I consider my other child, actually, Amanda
k Price. Amanda graduated from Shadele Park High School, Gonzaga University.
You worked here at kate Q. You left us back
in twenty twelve. Yeah, where did the time go?
Speaker 1 (01:28):
Nowhere?
Speaker 2 (01:29):
That's crazy. So you were an editor.
Speaker 3 (01:32):
A producer here, a cage Q, but you packed up
your car, you left Spokane and you went to go
do some amazing things.
Speaker 2 (01:40):
So currently a producer in Hollywood.
Speaker 1 (01:43):
Yeah yeah, I work on some pretty great TV shows.
Speaker 2 (01:46):
Yeah.
Speaker 1 (01:48):
Yeah.
Speaker 3 (01:48):
So let's talk about that because I, first of all,
I want to talk about that whole transition because you
went to school with you know, broadcasting in mind, which
is why you started here, which is awesome.
Speaker 2 (02:00):
That's how far back we go.
Speaker 3 (02:01):
But let's talk about that jump from working in television
and having just the courage to pack up and go
to Hollywood on a women or prayer.
Speaker 1 (02:13):
It was nuts. It's crazy. I you know, I think
that there's this element of of what happens if, Like
we have this thing of what would happen if I
do this? Or what what if? And I sort of
had this conversation with myself and others of like what
I don't like, I don't know, like why like why
(02:35):
if I can stay here and I love it here?
And what happens if I just dream a little bigger,
make something a little bit like risk it just a
little bit what would happen? And it's been a crazy
wild ride.
Speaker 3 (02:49):
So you talk a lot about you know, encouraging and yeah,
encouraging other women to dream big, but dream bigger?
Speaker 1 (02:59):
Yeah, I think I don't know. So many times growing
up you're you're limited to what you know, and you're
limited to how big can I get or how small
or you know, like doctor nurse, Like we all know
that we all know the things that we that we
think are big, that are big accomplishments. And and I
(03:20):
think for me it was like I knew that I
wanted to be an editor or a producer and then
but like news maybe wasn't for me all the time.
So then what happens, Like I still want to do
the job I love. I want a story. I'm a storyteller.
I want to tell stories. So how do I do
that on a maybe a bigger scale? And let's see
(03:42):
what happens?
Speaker 2 (03:43):
Okay.
Speaker 3 (03:43):
I want to talk about your story though, because you
are Spokane Native. Yeah, you were adopted into a white family, yep,
and so that builds a lot of who you are.
Speaker 1 (03:56):
It is very much who I am. Yeah, I think
being not only being adopted into a white family, but
adopted in a family in a community that is primarily white,
has done has influenced me in ways that I obviously
you don't know, don't You don't know what you don't know.
But now looking back, certain decisions that I made or
(04:20):
certain communities that I identify with was very much shaped
by the community that I grew up in. And it's
been really fun coming back to Spokane so often to
really reunite with with I've just had the opportunity like
a lot of African American, like black influencers here in
the community, and how big the community has gotten since,
(04:41):
like since I've left and then came back, and it's
sort of a whole new world that I've discovered and
I'm so grateful for and like there's just so many
resources in community involvement that I just didn't ever see
when I was growing up that is available now.
Speaker 3 (04:57):
How does it feel for you, though, to be a
part of that big influence because you've really stepped in
and you're part of that movement here.
Speaker 1 (05:05):
Thank you. I don't know if I don't know about that,
you really are, but it's I mean, it's great. I mean,
I've gotten just to meet so many wonderful community leaders,
and they've taught me so much and they make me
a better leader. And just they everyone, just everyone leads
so much with kindness that it's hard not to gravitate
towards that. And it's and to use, you know, to
(05:30):
use people who have who are more experienced than I am,
and take just little pieces from them.
Speaker 3 (05:36):
We do learn so much from everybody that we come
in contact with, don't we.
Speaker 1 (05:40):
Yeah, we do, we do, We definitely do.
Speaker 2 (05:43):
I love that.
Speaker 1 (05:43):
I love that about meeting people.
Speaker 2 (05:45):
Yeah, I want to take us back to early Cage
Q days.
Speaker 3 (05:49):
Okay, yes, because you were just a little Mandy then, yes, yeah,
little Mandy working in television.
Speaker 2 (05:55):
You came out of Gonzaga University.
Speaker 1 (05:56):
Not even I was still in college.
Speaker 2 (05:58):
You were still in college right.
Speaker 1 (06:00):
When I started working overnights here.
Speaker 3 (06:01):
Oh boy, what a tough one though, to get started
on doing the overnights overnight.
Speaker 2 (06:06):
Yeah.
Speaker 1 (06:07):
I was worrying like ten pm to well, either ten
pm or if I was lucky enough and no breaking
news happened, then I would get to sleep till three
in the morning and then come here and then work
until the morning show ended, then go to class and
then go take a nap, then the whole thing would
start again. Yeah, and I did that for two years,
like my junior and senior year, which is nuts, if.
Speaker 2 (06:29):
That really is nuts, but to nasty, right and work ethic.
Speaker 1 (06:33):
Yeah, I mean it was great because I have a
degree in broadcasting and polysci. And what was really cool
about working there at QU was that I was already working.
I was already doing literally what we were learning in school.
I was doing it every morning or every night and
how you want to look at it. But so that
was crazy because I was learning in tandem with my education,
(06:56):
which was really fun and really interesting to do. And
Gonzaga just does such a great job of combining both
of those kind of elements. And I was lucky enough
to have professors and you know, just everyone really helped
me navigate a world that I was unfamiliar with.
Speaker 2 (07:14):
Yeah, hands on experience goes a long way.
Speaker 1 (07:17):
Literally.
Speaker 2 (07:17):
What are some of your favorite moments.
Speaker 1 (07:20):
From Q Yeah, well, Bloomsday like, oh yeah, Lilac Parade. Well,
you and I used to do those as science experiments
every morning, like those were always fun. I like breaking news.
I will never not get like an adrenaline rush, like
when I see breaking news, and like how you're feeding
the camera, like the camera out in the field is
(07:40):
feeding the edit room and you're just live cutting, Like
I still think about a lot of those days.
Speaker 3 (07:45):
See, you took a lot of that with you obviously
packed up the car, yeah, and you headed south into
La Yeah, and the Sunshine State.
Speaker 2 (07:55):
So lucky you, I know, thank you.
Speaker 3 (07:57):
But you took everything that you aren't hear and the
experiences in life, and you took it with you there.
Talk about those first few months in La.
Speaker 1 (08:08):
Oh, they were scary. The first my first night there,
my car got broken into.
Speaker 2 (08:13):
So that was exactly welcome to La.
Speaker 1 (08:15):
Yeah, exactly welcome to La. And so then I didn't
leave my house for like a week because I was
terrified to exit. But then I started working on a
TV show called Risolian Isles, And what I learned very
quickly is what we were what I was doing in news,
What we were doing in news like translates really hand
like one to one almost in how we create television shows.
(08:38):
The only thing is that we do it in a
twenty four hour segment and they do it in you know,
a twenty two day, thirty day, forty day. But really
the process is nearly the same. We just have more
people that do it, and there's just more specialties within
the field that we work in. But it's it's really
I credit a lot of my like efficiencies and just
(09:03):
the like the work ethic, but also the time management
to working in news because you don't have time to
do all of the other things. You just have to
get to it because it's a breaking news story or
something's happening, and so I use that those same tools
definitely as a producer now for sure, especially as an
editor and just as well when I do edit, but
(09:26):
just as a producer specifically.
Speaker 2 (09:27):
What was your first shot?
Speaker 3 (09:28):
I mean it was Resoli and Aisles, But what was
your first position?
Speaker 1 (09:32):
Uh? PA, I was a post production assistant. Every thing
about Hollywood that is great is that everyone starts at
the bottom, So you start as a PA and then
you work your way up. And I my specialty is
in post production because of editing. So so I was
a post PA and then post coordinator and then those
(09:54):
two seasons of Rosol and Aisles and then like the
second the like the second to last one, and then
the final season, and then then got the bump to
post supervisor, which is more of a management role, like
a year and a half after moving there, which was
nuts that that jump doesn't happen for years and years
and years, and I it was crazy.
Speaker 3 (10:17):
Strong work ethics show you were willing to do whatever
it takes. I think that that's why I say to
nasty and courage, and you just had what it took
and you were willing to do all the steps to
get there.
Speaker 1 (10:29):
Yeah, I think there's this element of I just wanted
to learn. I think that that I love learning and
I just wanted to soak up as much information. I
didn't go to film school, I didn't go, you know,
to journalism school. So I just wanted I was in
this environment that I was unfamiliar with and I didn't
know the rules, and that sort of lent itself to
my ability to sort of learn everything and the desire
(10:53):
to learn everything. And so I had so many I
have so many great coworkers who've been willing to teach
me along the way.
Speaker 2 (10:59):
So I love that about you willing to learn.
Speaker 3 (11:01):
I think that's such a huge piece of somebody being successful,
being willing to step back and to learn from everybody
that you can, to get to know the people that
you're with and you're working with and then be able
to step out.
Speaker 2 (11:17):
But you're willing to learn first, and I think that
speaks volumes.
Speaker 1 (11:22):
Thank you.
Speaker 2 (11:23):
Yeah.
Speaker 1 (11:23):
I mean life is a big learning that you just
feel like I'm always learning, but I really, I genuinely
love to learn. I love to learn new things. And
to me, that's only been a it's only been a benefit.
It's only been a benefit.
Speaker 3 (11:37):
I'm going to rattle off a few things, so Rizzoli
and Al's Future Man, Little Fires Everywhere, Boomerang, Gosha, Daisy Jones,
and The Six.
Speaker 2 (11:48):
There are so many that I could go.
Speaker 3 (11:50):
You've been on so many successful shows things so far,
and you've really connected yourself with some really great groups,
one of them being.
Speaker 1 (11:58):
There's only work on for two different companies, production companies.
I work for Hello Sunshine, which is Reese Witherspoon's company,
and Point Gray, which is seth Rogen and Evan Goldberg's company.
And I've been with both, like each of them pretty
much most of my career at this point, and I
(12:20):
just feel so lucky to be able to have like
get I get my like the like my female energy,
like I get all of my like the great female
lead content, female driven content, and also get to play
with the boys, which is, you know, I'm the only
I have three brothers, so Seth and Evn are definitely
more me naturally is that sort of vibe, I guess.
(12:45):
And so it's been great because I get to work,
I get to have both sides, and you know, it's
I get the drama and I also get the comedy.
But it's also at a level that is such just
exceptional work, like exceptional work all like all around, from
grip to screen to editorial to just everyone is amazing.
I feel so privileged.
Speaker 3 (13:06):
Well, they're lucky to have you, really, I mean, you
get connected with the group. When we were talking about
this earlier, you get connected with the group, and you
want to stay connected with a group because then you
can kind of go from project to project.
Speaker 2 (13:18):
Can you really become like family?
Speaker 1 (13:20):
Yeah, I mean it's so nice to be I mean
I was with Hello Sunshine, like with little Fires everywhere.
Hello Sunshine was a group of like six people now
and now they have like one hundred and fifty or
something like. So it's it's very funny to work to
like grown with the company and have seen it like
just everyone that I worked with originally. How they've all
(13:41):
grown and then they've you know, they've chosen me to
you know, to bring up to be brought up with them,
and it's been so great, and like my team is
just exceptional. I work with the best people, and I
feel again, just so lucky and honored. And it's it's
really hard to work in an industry that is constantly
(14:02):
battling all the time, like like who's everyone sort of
always looking over their shoulder a bit. And it's nice
to work for a company or companies who they just
want to make good shows and they will throw anything
and everything at it to make wonderful, amazing content.
Speaker 3 (14:21):
What's been your favorite or can you even pick? And
you like a favor because you have worked on so
many great shows.
Speaker 1 (14:28):
Every show is my favorite because they're like little children
that you raise. So a big part of my job
specifically is, you know, I'm the usually the third or
fourth person hired on a TV show, so I see
something from beginning to end. I'm you know, my department
post is, you know, we're in charge of delivering the
series and getting it to air. But specifically my job
(14:50):
is I'm really am the last one to see a
show before it airs, and so it's each one you
can sort of fall in love with in its own way.
I mean, each show I've done, I have little lessons,
like Future Men is what I like. The only instruction
Seth and Evan and Ben Colin, Arlan Ariol and that
team ever gave me was maybe we just want like
this to be cool. We would want that, like we
(15:11):
just want to make you look cool, and like that
is to give a creative that freedom. I mean I
could just they taught me how to do my job
and how to love my job, so that one is
special in its own way, and then you know, and
then you know. Little Fires Everywhere was the first one
that was like so like just acclaimed in a way.
(15:32):
And the pressure on that show was something I didn't
had never experienced with having Carrie Washington and Reese done
only as producers but also as actors and the leads,
and that was its own thing because we also had
the press in editorial and like the managing their schedules
and all of that was it. So I was doing
my job plus many others, just to keep it afloat.
(15:54):
But then I think Daisy is probably the one I'm
most proud of that one took about five years because
we were supposed to start before the pandemic and like
five or ten days before and then the world shut down,
so that got put on hold. But with that, as
we were, it was like five years almost. So in
between Daisy, which was supposed to I did Archive eighty one,
(16:17):
which was such a fun show, and it was my
first scary show and I don't watch scary movies, so
that one was its own baby and Element because I
am a whimp like and then I had to do
a scary show and I was like, I don't know
how to do this, but okay, but you did that
during the pandemic, right, So everything was at home. Yeah,
So everything was at home during that time. And then
(16:40):
even the start of Daisy, a lot of it was
at home just because it was still we were still
working from home in La a lot most of us were.
And so then it was yeah, and now I've done
you know, I did Surface and then the Studio, which
is airing right now, and and now I'm on two others,
so we're you know, it's been busy.
Speaker 2 (17:00):
Yeah, go and ride Along, which is pretty fantastic.
Speaker 3 (17:03):
I want to go back to We're the pandemic, because
what a unique experience. And I say unique in the
nicest way. I possibly can't because that like even I've
lost track of time and we talk about things, and
so you talk about Daisy being put on hold during
(17:23):
the pandemic?
Speaker 2 (17:24):
What was that like in Hollywood?
Speaker 1 (17:26):
It was scary. Yeah, it was really scary because the war.
I was delivering the final episode of Little Fires and
that show, like that episode almost didn't air, like I'm
not joking by like a matter of minutes because of
the upload speeds and the world was shutting down and
we couldn't go into vendors and we couldn't do like
just like everyone else. We didn't know what was happening.
(17:46):
So I'm in my car and everyone's stuck at home
and I'm trying to like make sure I don't get
arrested because it's like, you know, because we're all doing that.
And then with the so then you know, we're off
of work, like everyone is put on like a two
week coiatus. But then we just it just kept going
and going, and then you know, the like the protests,
like the George Floyd stuff happened, which was like right
(18:08):
where I lived. And so that was also its own
There were you know, racial divide there, which was really scary,
and you're then you know, then I got a call
from Netflix actually when I came up here, because I
ended up driving up and then driving almost back down,
(18:29):
and it was creating a TV show when you're used
to creating with people in person was really difficult. And
we were the first show back from the pandemic, so
it was like we were literally paving a way of
how to even do this, how to even work during
a pandemic. So that was also like I didn't meet
(18:50):
my boss until like eighteen months later, Like the person
that is literally the way I work day to day
with I didn't meet for eighteen months after.
Speaker 2 (18:59):
That's crazy.
Speaker 1 (19:00):
Yeah, it was nuts.
Speaker 2 (19:01):
That's like flying blind, Yes, it was yeah, and starting
a new show.
Speaker 1 (19:05):
With a new team and a new like knew everything.
Speaker 2 (19:08):
So how did you how did you persevere through that?
Like how what? How did you get from point A
to point Z? Really?
Speaker 1 (19:17):
I think we're storytellers and we're artists, so you just
find a way and you work it out. Yeah, you
know you sort of just the only thing I wanted
to do was tell stories, especially in that moment when
we're so isolated and we're so alone, you want community,
and what better way to do it is like to
(19:39):
tell stories to can you continue that? I think at
the end of the day, you know the storytellers were
will always persevere because we just want to.
Speaker 3 (19:48):
Tell stories, right, And you had to buy a battle isolation.
You know, during the pandemic, we all thought isolated, but
at least you had that connection, you know, even if
it's a bunch of Model nine monitors in front of you,
but you still have that connection to people and you
are building stories that you know that are going to
(20:08):
help people. Because we were all leaning into every show
we could watch. That's what we did because what else.
Speaker 1 (20:15):
Were we going to do?
Speaker 3 (20:17):
Going to do it during too Much Wine, so much,
oh so much they went from the pandemic and all
of that, and then you went into the strikes and
I am I getting this like chronologically correct, but the
strikes in itself that was terrifying.
Speaker 1 (20:36):
That to me, it was scarier than the pandemic really
because you just don't know when it's like the pandemic.
Everyone it was like universal shutdown. But then you know
the government came in to help with like finances and
you know, so you had more support. But then with
the strike is it's not I wasn't on strike. It
(20:58):
was people that I work with on the strike, so
and and I can see I have so much empathy
for the writers and for the directors and and the actors.
But at the same time, it's you're You've got this
divide of I still need to work, like this fight
isn't for me. I get sort of in the long
(21:19):
run it is, but not really. But then it just
kept going on and going on and going on. And
I was lucky enough to be working on Bass Reeves
at the time, so we were we had already finished
filming and so when the actors went on strike or
when the writers went on strike and the actors, like
we were we were well into post so I could
(21:39):
continue working. But one of my shows in London Surface
got shut down, so then I so I was so
that was put on hold. And then when the strike ended,
then we brought back. But it was like it was
really hard to go back because you've you've like it
was like I felt like it was six months and
maybe was not four I think, but it felt like
(22:02):
it was like a year because you then had to
restart everything that and at that point when the strike,
when we came back from the strike, is people were
on different shows like people had left, and so you're
now getting to know a new crew and try to
pick up where you left off.
Speaker 3 (22:19):
So we talked about post production, which is kind of
your wheelhaus, and you love the putting the pieces together,
which is what my son does as well. We'll talk
about that here in just a minute, but talk about
the different elements of putting a show together, because your
post production, you love that creative putting it together, making
it look good, and then sending the baby off.
Speaker 1 (22:39):
Yeah, so there's sort of three. I mean, there's development,
there's writing, there's physical production, then there's post production. So
the post producer, which is a unique role in it,
is there's the head showrunner who's the head writer and
they're writing the scripts like I don't write, don't ask
me to write, not my wheelhouse. But then there's the
(23:03):
line producer the universe like UPM who's in charge of
physical production. And then there's the post producer who's in
charge of post production. But the way that TV works
nowadays is that I you know, I'm involved, I'm in
prep ten weeks before we're filming easily, if not more,
just because the post element is such a huge key
(23:23):
part now and it's so integral with just visual effects
and sound design and and just all of that that
my role just needs to be done. We need to
have like in order for them to shoot and film accurately,
you just have to have the expertise of a post
producer and also to dictate this like the schedule sort
(23:45):
of how that all works for the studio network because
at the end of the day, again, it's when can
this air? How quickly can we get this done and
still make it as beautiful as we want it to be.
So yeah, that sort of the easy piece of it,
I guess, like the very like rudimentary version of what
is involved of what all goes together. But it's you know,
(24:05):
that's not easy. I knows, and it's like and more
people I think, yeah, something I always try to Bryan
people's you know, there's actor, director, producer, like we know
those roles. Yeah, but then there's you know, sometimes up
to two thousand other people working on the show that
to get it to air, and that's a lot of roles,
that's a lot of jobs. It's a lot of positions
(24:27):
that so many people don't understand or don't know about.
And that's I feel it like a big disservice to
the industry that the education of what can be done
and who does what. It's not you know, there's cost designers,
there's props, there's you know, there's editorials, there's sound design,
there's composers. There's just so many various departments. Yes, yeah,
(24:50):
and like everyone who wants to tell stories should know that.
Speaker 2 (24:55):
Yes.
Speaker 3 (24:55):
And I think that when the strikes happened, and I'll
just touch on that briefly, it's I think we saw
one avenue of the strikes, but really there is just
so much more that was affected by.
Speaker 1 (25:10):
What happened with the strikes that I think people finally
understood because it lasted so long. Was that, especially with
the actors and with the writers. Is that when a
TV show shuts down, it's not just the crew on
the show. It affects the nail like the hair salon
down the street. It affects the light, you know, the lighting,
the light bulbs, light, It affects every avenue like the
(25:32):
hair dress Like it doesn't just encompass the little world
of like my job or like the TV show itself.
But when you have a whole industry that is entirely
shut down that spans globally, that's a lot of people
without work and without like a way forward because we can't.
(25:54):
We can't really. I mean it's yes, I could go
get another job somewhere else, but most people can't because again,
like if the if you're on on set hair like
you know, hair and makeup artists, but no one's getting
their hair and makeup done outside anyway either, Like so
(26:15):
you're gonna go like a you know, it's the doctors
who are working essentially like in the city yea, the
like just people they just you just don't think about it. Yeah,
the how much one you know, one industry, especially in
a town like LA, but you know it affects La, Vancouver, Atlanta,
(26:36):
you know, London. Like it's a global it's a global industry.
So anyone who was a member of like anyone, like
you know SAG after the w g A all were
not working.
Speaker 2 (26:49):
Yeah, and that was tough.
Speaker 1 (26:52):
Yeah, that was totally scary.
Speaker 3 (26:53):
I saw something the other day and it kind of
struck me, and it said, La Los Angeles, Hollywood is
this a new era, and because there's so so many,
so many changes that seem to be happening, and I
kind of want your take on that and really what
you've seen as the biggest changes since you went down.
Speaker 1 (27:17):
It's been. I feel really lucky in the sense of
like I've had a like a thrust into like a
very prominent piece of like the Hollywood story in the
last ten years that I've been there, because it was
right before streamers started, like right before my second show,
like Future Man was like the first streamer on Hulu,
(27:38):
like it was the first show. So I was at
the literally the start of streaming. And so then so
then you just see the rise and you see just
there's not there's so many shows just I mean, I
was getting phone calls all just Mandy, when are you done? Mandy,
when like just so many there weren't there were too
many shows and not enough people to now have the
(28:01):
strike and it's I mean, it's back to smaller numbers
before I moved to LA So it's not only back
five years ago, it's back almost twenty years. So the content,
so we're so used to consuming all of this content
and sorry to tell y'all, like it's going to be
a rough four years for you because there just isn't anything.
(28:23):
There isn't anything coming up.
Speaker 3 (28:25):
We're there.
Speaker 1 (28:27):
It's the studios and the networks are picking two three
shows a year, and each one of those shows will
take eighteen months unless it is like the SVUS and
you know, sort of those shows which are so formulaic,
like you can do them with your eyes closed. But
you know, you're you're not getting a Game of Thrones
(28:49):
anytime soon. They're just not spending that money anymore. Like
that money's gone.
Speaker 3 (28:54):
That's what I was going to ask. I mean, it's
the financial piece of it. Financial piece is gone.
Speaker 2 (29:00):
Would you what advice would you give to somebody that's
wanting to go down there? And I asked that. I
asked that knowing that you helped my son Robbie.
Speaker 3 (29:10):
Yeah, and he packed up the car yep and went
to LA and slept on your couch, he did, And
you helped him get his foot in the door. And
for that, I'm I'm eternally grateful. He's eternally grateful, and
he's had a great run himself. I mean, you're like
a You're just going to say you're like a sister
to him. But now nowadays and I think that was
(29:33):
what how many years ago? Was that?
Speaker 2 (29:34):
Again?
Speaker 3 (29:35):
I'm lost, So seven years yeah, seven years ago. But
now somebody wanting to go down there, what would you
what would you tell them? What advice would you give them?
Speaker 1 (29:46):
Patience? Be patient? And also I think the industry is
still it's still alive, and it's still well, and it's
growing like it it's low and now it'll grow high.
But patient, And I think the same advice that I
give anyone is like, be the hardest working person in
the room. Make yourself indispensable, no matter what position that is,
(30:10):
whether it's getting coffee, be the best person to ever
get coffee ever. You know, that's that element of making
yourself shine in a way where people want you on
their team and they want you, they want to bring
you up, and they want to continue working with you.
Keep doing that. The Hollywood industry is all about who
(30:30):
you know, but it's also about working for it is
I can get you in the door, I can make
the phone call. That's not the heart, but you have
to prove it because it's an industry that will eat
you alive if you are not strong enough. They do
not care. It's it's you either make it sink or swim.
And there are nine hundred people literally in like like
there are nine hundred people behind you. Yeah, that will
(30:53):
fill your spot.
Speaker 2 (30:55):
Best advice ever, be the best at getting the coffee.
Speaker 1 (30:59):
Yeah.
Speaker 2 (30:59):
Get to know the people that you're around.
Speaker 1 (31:01):
Yeah.
Speaker 2 (31:01):
Connect yourself with the team.
Speaker 1 (31:03):
Yeah. And be kind and be kind. The kindness gets
people forget about that. Be kind kind to everyone, like,
no matter that they're the executive producer or the you know,
the you know, the cleaning team, the craft services. Just
be kind to everyone because you never know who who's watching.
(31:25):
And you also never Hollywood is well, any industry is
really so small, so you just will always run into people.
I mean, look at like this is a really per
example of like me coming back to khq's like there's
still so many people that I work with that I
worked with when I was here in so many new faces.
But also I love coming back here. It feels like
(31:45):
home and so and and they make me feel like
it's home and that's you know, that's a I love
that piece of this.
Speaker 3 (31:55):
Mandy Price, this is always going to be home for you, always, always,
and we're so proud of you, and I think that
we're just seeing the very beginning of the greatness that
you're going to create, because you were one of the
kindest people I've ever met.
Speaker 2 (32:09):
Thank you for being on the show with me today,
for having
Speaker 1 (32:12):
Me mom alone
The only thing I wanted to do was tell stories escually.
In that moment when we're so isolated and we're so alone,
you want community. I think at the end of the day,
you know the storytellers will always persevere.
Speaker 2 (00:10):
So I love that about you willing to learn.
Speaker 3 (00:13):
I think that's such a huge piece of somebody being successful.
Speaker 1 (00:17):
So I primarily work on for two different companies, Hell
of Sunshine, which is Reese Witherspoon's company, and Point Gray,
which is Seth Rogan and Evan Goolberg's company. What was
really cool about working there at Q was that I
was already working. I was already doing literally what we
were learning in school. I was doing it every morning.
Speaker 3 (00:35):
And having just the courage to pack up and go
to Hollywood on a women in La Los Angeles, Hollywood?
Speaker 2 (00:45):
Is this a new era?
Speaker 3 (00:48):
Hi?
Speaker 2 (00:48):
I'm Leslie low. Welcome to Leslie's Low Down on Life.
Speaker 3 (01:05):
You guys, I'm so excited to introduce you to today's guest.
A longtime friend I consider my other child, actually, Amanda
k Price. Amanda graduated from Shadele Park High School, Gonzaga University.
You worked here at kate Q. You left us back
in twenty twelve. Yeah, where did the time go?
Speaker 1 (01:28):
Nowhere?
Speaker 2 (01:29):
That's crazy. So you were an editor.
Speaker 3 (01:32):
A producer here, a cage Q, but you packed up
your car, you left Spokane and you went to go
do some amazing things.
Speaker 2 (01:40):
So currently a producer in Hollywood.
Speaker 1 (01:43):
Yeah yeah, I work on some pretty great TV shows.
Speaker 2 (01:46):
Yeah.
Speaker 1 (01:48):
Yeah.
Speaker 3 (01:48):
So let's talk about that because I, first of all,
I want to talk about that whole transition because you
went to school with you know, broadcasting in mind, which
is why you started here, which is awesome.
Speaker 2 (02:00):
That's how far back we go.
Speaker 3 (02:01):
But let's talk about that jump from working in television
and having just the courage to pack up and go
to Hollywood on a women or prayer.
Speaker 1 (02:13):
It was nuts. It's crazy. I you know, I think
that there's this element of of what happens if, Like
we have this thing of what would happen if I
do this? Or what what if? And I sort of
had this conversation with myself and others of like what
I don't like, I don't know, like why like why
(02:35):
if I can stay here and I love it here?
And what happens if I just dream a little bigger,
make something a little bit like risk it just a
little bit what would happen? And it's been a crazy
wild ride.
Speaker 3 (02:49):
So you talk a lot about you know, encouraging and yeah,
encouraging other women to dream big, but dream bigger?
Speaker 1 (02:59):
Yeah, I think I don't know. So many times growing
up you're you're limited to what you know, and you're
limited to how big can I get or how small
or you know, like doctor nurse, Like we all know
that we all know the things that we that we
think are big, that are big accomplishments. And and I
(03:20):
think for me it was like I knew that I
wanted to be an editor or a producer and then
but like news maybe wasn't for me all the time.
So then what happens, Like I still want to do
the job I love. I want a story. I'm a storyteller.
I want to tell stories. So how do I do
that on a maybe a bigger scale? And let's see
(03:42):
what happens?
Speaker 2 (03:43):
Okay.
Speaker 3 (03:43):
I want to talk about your story though, because you
are Spokane Native. Yeah, you were adopted into a white family, yep,
and so that builds a lot of who you are.
Speaker 1 (03:56):
It is very much who I am. Yeah, I think
being not only being adopted into a white family, but
adopted in a family in a community that is primarily white,
has done has influenced me in ways that I obviously
you don't know, don't You don't know what you don't know.
But now looking back, certain decisions that I made or
(04:20):
certain communities that I identify with was very much shaped
by the community that I grew up in. And it's
been really fun coming back to Spokane so often to
really reunite with with I've just had the opportunity like
a lot of African American, like black influencers here in
the community, and how big the community has gotten since,
(04:41):
like since I've left and then came back, and it's
sort of a whole new world that I've discovered and
I'm so grateful for and like there's just so many
resources in community involvement that I just didn't ever see
when I was growing up that is available now.
Speaker 3 (04:57):
How does it feel for you, though, to be a
part of that big influence because you've really stepped in
and you're part of that movement here.
Speaker 1 (05:05):
Thank you. I don't know if I don't know about that,
you really are, but it's I mean, it's great. I mean,
I've gotten just to meet so many wonderful community leaders,
and they've taught me so much and they make me
a better leader. And just they everyone, just everyone leads
so much with kindness that it's hard not to gravitate
towards that. And it's and to use, you know, to
(05:30):
use people who have who are more experienced than I am,
and take just little pieces from them.
Speaker 3 (05:36):
We do learn so much from everybody that we come
in contact with, don't we.
Speaker 1 (05:40):
Yeah, we do, we do, We definitely do.
Speaker 2 (05:43):
I love that.
Speaker 1 (05:43):
I love that about meeting people.
Speaker 2 (05:45):
Yeah, I want to take us back to early Cage
Q days.
Speaker 3 (05:49):
Okay, yes, because you were just a little Mandy then, yes, yeah,
little Mandy working in television.
Speaker 2 (05:55):
You came out of Gonzaga University.
Speaker 1 (05:56):
Not even I was still in college.
Speaker 2 (05:58):
You were still in college right.
Speaker 1 (06:00):
When I started working overnights here.
Speaker 3 (06:01):
Oh boy, what a tough one though, to get started
on doing the overnights overnight.
Speaker 2 (06:06):
Yeah.
Speaker 1 (06:07):
I was worrying like ten pm to well, either ten
pm or if I was lucky enough and no breaking
news happened, then I would get to sleep till three
in the morning and then come here and then work
until the morning show ended, then go to class and
then go take a nap, then the whole thing would
start again. Yeah, and I did that for two years,
like my junior and senior year, which is nuts, if.
Speaker 2 (06:29):
That really is nuts, but to nasty, right and work ethic.
Speaker 1 (06:33):
Yeah, I mean it was great because I have a
degree in broadcasting and polysci. And what was really cool
about working there at QU was that I was already working.
I was already doing literally what we were learning in school.
I was doing it every morning or every night and
how you want to look at it. But so that
was crazy because I was learning in tandem with my education,
(06:56):
which was really fun and really interesting to do. And
Gonzaga just does such a great job of combining both
of those kind of elements. And I was lucky enough
to have professors and you know, just everyone really helped
me navigate a world that I was unfamiliar with.
Speaker 2 (07:14):
Yeah, hands on experience goes a long way.
Speaker 1 (07:17):
Literally.
Speaker 2 (07:17):
What are some of your favorite moments.
Speaker 1 (07:20):
From Q Yeah, well, Bloomsday like, oh yeah, Lilac Parade. Well,
you and I used to do those as science experiments
every morning, like those were always fun. I like breaking news.
I will never not get like an adrenaline rush, like
when I see breaking news, and like how you're feeding
the camera, like the camera out in the field is
(07:40):
feeding the edit room and you're just live cutting, Like
I still think about a lot of those days.
Speaker 3 (07:45):
See, you took a lot of that with you obviously
packed up the car, yeah, and you headed south into
La Yeah, and the Sunshine State.
Speaker 2 (07:55):
So lucky you, I know, thank you.
Speaker 3 (07:57):
But you took everything that you aren't hear and the
experiences in life, and you took it with you there.
Talk about those first few months in La.
Speaker 1 (08:08):
Oh, they were scary. The first my first night there,
my car got broken into.
Speaker 2 (08:13):
So that was exactly welcome to La.
Speaker 1 (08:15):
Yeah, exactly welcome to La. And so then I didn't
leave my house for like a week because I was
terrified to exit. But then I started working on a
TV show called Risolian Isles, And what I learned very
quickly is what we were what I was doing in news,
What we were doing in news like translates really hand
like one to one almost in how we create television shows.
(08:38):
The only thing is that we do it in a
twenty four hour segment and they do it in you know,
a twenty two day, thirty day, forty day. But really
the process is nearly the same. We just have more
people that do it, and there's just more specialties within
the field that we work in. But it's it's really
I credit a lot of my like efficiencies and just
(09:03):
the like the work ethic, but also the time management
to working in news because you don't have time to
do all of the other things. You just have to
get to it because it's a breaking news story or
something's happening, and so I use that those same tools
definitely as a producer now for sure, especially as an
editor and just as well when I do edit, but
(09:26):
just as a producer specifically.
Speaker 2 (09:27):
What was your first shot?
Speaker 3 (09:28):
I mean it was Resoli and Aisles, But what was
your first position?
Speaker 1 (09:32):
Uh? PA, I was a post production assistant. Every thing
about Hollywood that is great is that everyone starts at
the bottom, So you start as a PA and then
you work your way up. And I my specialty is
in post production because of editing. So so I was
a post PA and then post coordinator and then those
(09:54):
two seasons of Rosol and Aisles and then like the
second the like the second to last one, and then
the final season, and then then got the bump to
post supervisor, which is more of a management role, like
a year and a half after moving there, which was
nuts that that jump doesn't happen for years and years
and years, and I it was crazy.
Speaker 3 (10:17):
Strong work ethics show you were willing to do whatever
it takes. I think that that's why I say to
nasty and courage, and you just had what it took
and you were willing to do all the steps to
get there.
Speaker 1 (10:29):
Yeah, I think there's this element of I just wanted
to learn. I think that that I love learning and
I just wanted to soak up as much information. I
didn't go to film school, I didn't go, you know,
to journalism school. So I just wanted I was in
this environment that I was unfamiliar with and I didn't
know the rules, and that sort of lent itself to
my ability to sort of learn everything and the desire
(10:53):
to learn everything. And so I had so many I
have so many great coworkers who've been willing to teach
me along the way.
Speaker 2 (10:59):
So I love that about you willing to learn.
Speaker 3 (11:01):
I think that's such a huge piece of somebody being successful,
being willing to step back and to learn from everybody
that you can, to get to know the people that
you're with and you're working with and then be able
to step out.
Speaker 2 (11:17):
But you're willing to learn first, and I think that
speaks volumes.
Speaker 1 (11:22):
Thank you.
Speaker 2 (11:23):
Yeah.
Speaker 1 (11:23):
I mean life is a big learning that you just
feel like I'm always learning, but I really, I genuinely
love to learn. I love to learn new things. And
to me, that's only been a it's only been a benefit.
It's only been a benefit.
Speaker 3 (11:37):
I'm going to rattle off a few things, so Rizzoli
and Al's Future Man, Little Fires Everywhere, Boomerang, Gosha, Daisy Jones,
and The Six.
Speaker 2 (11:48):
There are so many that I could go.
Speaker 3 (11:50):
You've been on so many successful shows things so far,
and you've really connected yourself with some really great groups,
one of them being.
Speaker 1 (11:58):
There's only work on for two different companies, production companies.
I work for Hello Sunshine, which is Reese Witherspoon's company,
and Point Gray, which is seth Rogen and Evan Goldberg's company.
And I've been with both, like each of them pretty
much most of my career at this point, and I
(12:20):
just feel so lucky to be able to have like
get I get my like the like my female energy,
like I get all of my like the great female
lead content, female driven content, and also get to play
with the boys, which is, you know, I'm the only
I have three brothers, so Seth and Evn are definitely
more me naturally is that sort of vibe, I guess.
(12:45):
And so it's been great because I get to work,
I get to have both sides, and you know, it's
I get the drama and I also get the comedy.
But it's also at a level that is such just
exceptional work, like exceptional work all like all around, from
grip to screen to editorial to just everyone is amazing.
I feel so privileged.
Speaker 3 (13:06):
Well, they're lucky to have you, really, I mean, you
get connected with the group. When we were talking about
this earlier, you get connected with the group, and you
want to stay connected with a group because then you
can kind of go from project to project.
Speaker 2 (13:18):
Can you really become like family?
Speaker 1 (13:20):
Yeah, I mean it's so nice to be I mean
I was with Hello Sunshine, like with little Fires everywhere.
Hello Sunshine was a group of like six people now
and now they have like one hundred and fifty or
something like. So it's it's very funny to work to
like grown with the company and have seen it like
just everyone that I worked with originally. How they've all
(13:41):
grown and then they've you know, they've chosen me to
you know, to bring up to be brought up with them,
and it's been so great, and like my team is
just exceptional. I work with the best people, and I
feel again, just so lucky and honored. And it's it's
really hard to work in an industry that is constantly
(14:02):
battling all the time, like like who's everyone sort of
always looking over their shoulder a bit. And it's nice
to work for a company or companies who they just
want to make good shows and they will throw anything
and everything at it to make wonderful, amazing content.
Speaker 3 (14:21):
What's been your favorite or can you even pick? And
you like a favor because you have worked on so
many great shows.
Speaker 1 (14:28):
Every show is my favorite because they're like little children
that you raise. So a big part of my job
specifically is, you know, I'm the usually the third or
fourth person hired on a TV show, so I see
something from beginning to end. I'm you know, my department
post is, you know, we're in charge of delivering the
series and getting it to air. But specifically my job
(14:50):
is I'm really am the last one to see a
show before it airs, and so it's each one you
can sort of fall in love with in its own way.
I mean, each show I've done, I have little lessons,
like Future Men is what I like. The only instruction
Seth and Evan and Ben Colin, Arlan Ariol and that
team ever gave me was maybe we just want like
this to be cool. We would want that, like we
(15:11):
just want to make you look cool, and like that
is to give a creative that freedom. I mean I
could just they taught me how to do my job
and how to love my job, so that one is
special in its own way, and then you know, and
then you know. Little Fires Everywhere was the first one
that was like so like just acclaimed in a way.
(15:32):
And the pressure on that show was something I didn't
had never experienced with having Carrie Washington and Reese done
only as producers but also as actors and the leads,
and that was its own thing because we also had
the press in editorial and like the managing their schedules
and all of that was it. So I was doing
my job plus many others, just to keep it afloat.
(15:54):
But then I think Daisy is probably the one I'm
most proud of that one took about five years because
we were supposed to start before the pandemic and like
five or ten days before and then the world shut down,
so that got put on hold. But with that, as
we were, it was like five years almost. So in
between Daisy, which was supposed to I did Archive eighty one,
(16:17):
which was such a fun show, and it was my
first scary show and I don't watch scary movies, so
that one was its own baby and Element because I
am a whimp like and then I had to do
a scary show and I was like, I don't know
how to do this, but okay, but you did that
during the pandemic, right, So everything was at home. Yeah,
So everything was at home during that time. And then
(16:40):
even the start of Daisy, a lot of it was
at home just because it was still we were still
working from home in La a lot most of us were.
And so then it was yeah, and now I've done
you know, I did Surface and then the Studio, which
is airing right now, and and now I'm on two others,
so we're you know, it's been busy.
Speaker 2 (17:00):
Yeah, go and ride Along, which is pretty fantastic.
Speaker 3 (17:03):
I want to go back to We're the pandemic, because
what a unique experience. And I say unique in the
nicest way. I possibly can't because that like even I've
lost track of time and we talk about things, and
so you talk about Daisy being put on hold during
(17:23):
the pandemic?
Speaker 2 (17:24):
What was that like in Hollywood?
Speaker 1 (17:26):
It was scary. Yeah, it was really scary because the war.
I was delivering the final episode of Little Fires and
that show, like that episode almost didn't air, like I'm
not joking by like a matter of minutes because of
the upload speeds and the world was shutting down and
we couldn't go into vendors and we couldn't do like
just like everyone else. We didn't know what was happening.
(17:46):
So I'm in my car and everyone's stuck at home
and I'm trying to like make sure I don't get
arrested because it's like, you know, because we're all doing that.
And then with the so then you know, we're off
of work, like everyone is put on like a two
week coiatus. But then we just it just kept going
and going, and then you know, the like the protests,
like the George Floyd stuff happened, which was like right
(18:08):
where I lived. And so that was also its own
There were you know, racial divide there, which was really scary,
and you're then you know, then I got a call
from Netflix actually when I came up here, because I
ended up driving up and then driving almost back down,
(18:29):
and it was creating a TV show when you're used
to creating with people in person was really difficult. And
we were the first show back from the pandemic, so
it was like we were literally paving a way of
how to even do this, how to even work during
a pandemic. So that was also like I didn't meet
(18:50):
my boss until like eighteen months later, Like the person
that is literally the way I work day to day
with I didn't meet for eighteen months after.
Speaker 2 (18:59):
That's crazy.
Speaker 1 (19:00):
Yeah, it was nuts.
Speaker 2 (19:01):
That's like flying blind, Yes, it was yeah, and starting
a new show.
Speaker 1 (19:05):
With a new team and a new like knew everything.
Speaker 2 (19:08):
So how did you how did you persevere through that?
Like how what? How did you get from point A
to point Z? Really?
Speaker 1 (19:17):
I think we're storytellers and we're artists, so you just
find a way and you work it out. Yeah, you
know you sort of just the only thing I wanted
to do was tell stories, especially in that moment when
we're so isolated and we're so alone, you want community,
and what better way to do it is like to
(19:39):
tell stories to can you continue that? I think at
the end of the day, you know the storytellers were
will always persevere because we just want to.
Speaker 3 (19:48):
Tell stories, right, And you had to buy a battle isolation.
You know, during the pandemic, we all thought isolated, but
at least you had that connection, you know, even if
it's a bunch of Model nine monitors in front of you,
but you still have that connection to people and you
are building stories that you know that are going to
(20:08):
help people. Because we were all leaning into every show
we could watch. That's what we did because what else.
Speaker 1 (20:15):
Were we going to do?
Speaker 3 (20:17):
Going to do it during too Much Wine, so much,
oh so much they went from the pandemic and all
of that, and then you went into the strikes and
I am I getting this like chronologically correct, but the
strikes in itself that was terrifying.
Speaker 1 (20:36):
That to me, it was scarier than the pandemic really
because you just don't know when it's like the pandemic.
Everyone it was like universal shutdown. But then you know
the government came in to help with like finances and
you know, so you had more support. But then with
the strike is it's not I wasn't on strike. It
(20:58):
was people that I work with on the strike, so
and and I can see I have so much empathy
for the writers and for the directors and and the actors.
But at the same time, it's you're You've got this
divide of I still need to work, like this fight
isn't for me. I get sort of in the long
(21:19):
run it is, but not really. But then it just
kept going on and going on and going on. And
I was lucky enough to be working on Bass Reeves
at the time, so we were we had already finished
filming and so when the actors went on strike or
when the writers went on strike and the actors, like
we were we were well into post so I could
(21:39):
continue working. But one of my shows in London Surface
got shut down, so then I so I was so
that was put on hold. And then when the strike ended,
then we brought back. But it was like it was
really hard to go back because you've you've like it
was like I felt like it was six months and
maybe was not four I think, but it felt like
(22:02):
it was like a year because you then had to
restart everything that and at that point when the strike,
when we came back from the strike, is people were
on different shows like people had left, and so you're
now getting to know a new crew and try to
pick up where you left off.
Speaker 3 (22:19):
So we talked about post production, which is kind of
your wheelhaus, and you love the putting the pieces together,
which is what my son does as well. We'll talk
about that here in just a minute, but talk about
the different elements of putting a show together, because your
post production, you love that creative putting it together, making
it look good, and then sending the baby off.
Speaker 1 (22:39):
Yeah, so there's sort of three. I mean, there's development,
there's writing, there's physical production, then there's post production. So
the post producer, which is a unique role in it,
is there's the head showrunner who's the head writer and
they're writing the scripts like I don't write, don't ask
me to write, not my wheelhouse. But then there's the
(23:03):
line producer the universe like UPM who's in charge of
physical production. And then there's the post producer who's in
charge of post production. But the way that TV works
nowadays is that I you know, I'm involved, I'm in
prep ten weeks before we're filming easily, if not more,
just because the post element is such a huge key
(23:23):
part now and it's so integral with just visual effects
and sound design and and just all of that that
my role just needs to be done. We need to
have like in order for them to shoot and film accurately,
you just have to have the expertise of a post
producer and also to dictate this like the schedule sort
(23:45):
of how that all works for the studio network because
at the end of the day, again, it's when can
this air? How quickly can we get this done and
still make it as beautiful as we want it to be.
So yeah, that sort of the easy piece of it,
I guess, like the very like rudimentary version of what
is involved of what all goes together. But it's you know,
(24:05):
that's not easy. I knows, and it's like and more
people I think, yeah, something I always try to Bryan
people's you know, there's actor, director, producer, like we know
those roles. Yeah, but then there's you know, sometimes up
to two thousand other people working on the show that
to get it to air, and that's a lot of roles,
that's a lot of jobs. It's a lot of positions
(24:27):
that so many people don't understand or don't know about.
And that's I feel it like a big disservice to
the industry that the education of what can be done
and who does what. It's not you know, there's cost designers,
there's props, there's you know, there's editorials, there's sound design,
there's composers. There's just so many various departments. Yes, yeah,
(24:50):
and like everyone who wants to tell stories should know that.
Speaker 2 (24:55):
Yes.
Speaker 3 (24:55):
And I think that when the strikes happened, and I'll
just touch on that briefly, it's I think we saw
one avenue of the strikes, but really there is just
so much more that was affected by.
Speaker 1 (25:10):
What happened with the strikes that I think people finally
understood because it lasted so long. Was that, especially with
the actors and with the writers. Is that when a
TV show shuts down, it's not just the crew on
the show. It affects the nail like the hair salon
down the street. It affects the light, you know, the lighting,
the light bulbs, light, It affects every avenue like the
(25:32):
hair dress Like it doesn't just encompass the little world
of like my job or like the TV show itself.
But when you have a whole industry that is entirely
shut down that spans globally, that's a lot of people
without work and without like a way forward because we can't.
(25:54):
We can't really. I mean it's yes, I could go
get another job somewhere else, but most people can't because again,
like if the if you're on on set hair like
you know, hair and makeup artists, but no one's getting
their hair and makeup done outside anyway either, Like so
(26:15):
you're gonna go like a you know, it's the doctors
who are working essentially like in the city yea, the
like just people they just you just don't think about it. Yeah,
the how much one you know, one industry, especially in
a town like LA, but you know it affects La, Vancouver, Atlanta,
(26:36):
you know, London. Like it's a global it's a global industry.
So anyone who was a member of like anyone, like
you know SAG after the w g A all were
not working.
Speaker 2 (26:49):
Yeah, and that was tough.
Speaker 1 (26:52):
Yeah, that was totally scary.
Speaker 3 (26:53):
I saw something the other day and it kind of
struck me, and it said, La Los Angeles, Hollywood is
this a new era, and because there's so so many,
so many changes that seem to be happening, and I
kind of want your take on that and really what
you've seen as the biggest changes since you went down.
Speaker 1 (27:17):
It's been. I feel really lucky in the sense of
like I've had a like a thrust into like a
very prominent piece of like the Hollywood story in the
last ten years that I've been there, because it was
right before streamers started, like right before my second show,
like Future Man was like the first streamer on Hulu,
(27:38):
like it was the first show. So I was at
the literally the start of streaming. And so then so
then you just see the rise and you see just
there's not there's so many shows just I mean, I
was getting phone calls all just Mandy, when are you done? Mandy,
when like just so many there weren't there were too
many shows and not enough people to now have the
(28:01):
strike and it's I mean, it's back to smaller numbers
before I moved to LA So it's not only back
five years ago, it's back almost twenty years. So the content,
so we're so used to consuming all of this content
and sorry to tell y'all, like it's going to be
a rough four years for you because there just isn't anything.
(28:23):
There isn't anything coming up.
Speaker 3 (28:25):
We're there.
Speaker 1 (28:27):
It's the studios and the networks are picking two three
shows a year, and each one of those shows will
take eighteen months unless it is like the SVUS and
you know, sort of those shows which are so formulaic,
like you can do them with your eyes closed. But
you know, you're you're not getting a Game of Thrones
(28:49):
anytime soon. They're just not spending that money anymore. Like
that money's gone.
Speaker 3 (28:54):
That's what I was going to ask. I mean, it's
the financial piece of it. Financial piece is gone.
Speaker 2 (29:00):
Would you what advice would you give to somebody that's
wanting to go down there? And I asked that. I
asked that knowing that you helped my son Robbie.
Speaker 3 (29:10):
Yeah, and he packed up the car yep and went
to LA and slept on your couch, he did, And
you helped him get his foot in the door. And
for that, I'm I'm eternally grateful. He's eternally grateful, and
he's had a great run himself. I mean, you're like
a You're just going to say you're like a sister
to him. But now nowadays and I think that was
(29:33):
what how many years ago? Was that?
Speaker 2 (29:34):
Again?
Speaker 3 (29:35):
I'm lost, So seven years yeah, seven years ago. But
now somebody wanting to go down there, what would you
what would you tell them? What advice would you give them?
Speaker 1 (29:46):
Patience? Be patient? And also I think the industry is
still it's still alive, and it's still well, and it's
growing like it it's low and now it'll grow high.
But patient, And I think the same advice that I
give anyone is like, be the hardest working person in
the room. Make yourself indispensable, no matter what position that is,
(30:10):
whether it's getting coffee, be the best person to ever
get coffee ever. You know, that's that element of making
yourself shine in a way where people want you on
their team and they want you, they want to bring
you up, and they want to continue working with you.
Keep doing that. The Hollywood industry is all about who
(30:30):
you know, but it's also about working for it is
I can get you in the door, I can make
the phone call. That's not the heart, but you have
to prove it because it's an industry that will eat
you alive if you are not strong enough. They do
not care. It's it's you either make it sink or swim.
And there are nine hundred people literally in like like
there are nine hundred people behind you. Yeah, that will
(30:53):
fill your spot.
Speaker 2 (30:55):
Best advice ever, be the best at getting the coffee.
Speaker 1 (30:59):
Yeah.
Speaker 2 (30:59):
Get to know the people that you're around.
Speaker 1 (31:01):
Yeah.
Speaker 2 (31:01):
Connect yourself with the team.
Speaker 1 (31:03):
Yeah. And be kind and be kind. The kindness gets
people forget about that. Be kind kind to everyone, like,
no matter that they're the executive producer or the you know,
the you know, the cleaning team, the craft services. Just
be kind to everyone because you never know who who's watching.
(31:25):
And you also never Hollywood is well, any industry is
really so small, so you just will always run into people.
I mean, look at like this is a really per
example of like me coming back to khq's like there's
still so many people that I work with that I
worked with when I was here in so many new faces.
But also I love coming back here. It feels like
(31:45):
home and so and and they make me feel like
it's home and that's you know, that's a I love
that piece of this.
Speaker 3 (31:55):
Mandy Price, this is always going to be home for you, always, always,
and we're so proud of you, and I think that
we're just seeing the very beginning of the greatness that
you're going to create, because you were one of the
kindest people I've ever met.
Speaker 2 (32:09):
Thank you for being on the show with me today,
for having
Speaker 1 (32:12):
Me mom alone
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