Podcasts about innovative artists

“Oakland in ‘87 was hella wild.” So begins the new movie “Freaky Tales,” which establishes its bonafides by having rap legend Too $hort as its narrator. Told in four chapters, the film weaves together punks, rappers, Nazis, and the Warriors, with clutch cameos from local legends. We'll talk to its director and some of the people whose wild stories inspired the movie. Prepare yourself, we're popping in the cassette tape and readying the time machine. Guests: Gabe Meline, senior editor, KQED Arts and Culture Tamra Goins, talent agent, Innovative Artists; Goins performed as Entice in the rap duo Dangerzone, which is featured in the movie "Freaky Tales" Too $hort, Oakland-based West Coast rap legend, producer and founder of OG records; Too $hort is the narrator and executive producer of the movie "Freaky Tales," a love letter to late 1980s Oakland Ryan Fleck, filmmaker and co-director of the movie "Freaky Tales," Fleck and his co-director Anna Boden's credits include "Captain Marvel," "Half Nelson," "Sugar" and "It's Kind of a Funny Story," among other films; Fleck grew up in Berkeley Learn more about your ad choices. Visit megaphone.fm/adchoices

Anne Ganguzza (00:05.233) Hey everyone, welcome to the VO Boss podcast. I'm your host, Anne Ganguzza, and today I am so excited to be with very special guest, Luanne Regis. Luanne is a veteran voiceover agent and talent agency executive with over 30 years of experience. Her career spans everything voiceover, all voiceover, including... heading up scale departments at two LA boutique agencies, running the celebrity division at a top bi-coastal theatrical and commercial agency, as well as launching her own Chicago voiceover department in 2007. After a year at Sound and Fury Casting, she now owns and operates her own talent representation agency, Regal V.O. Luanne, thank you so much for joining me today. Luanne Regis (00:57.621) and thank you for having me, Anne. Anne Ganguzza (00:59.929) I love this. So I had such a wonderful time meeting you like fleetingly at MAVO and was so excited to get the chance to talk to you and work with you as well. You're gonna be coming up soon as a guest director for me on my VO Peeps group. So I'm very excited about that. And so for bosses that don't know who you are, give us a brief, kind of a brief. Luanne Regis (01:06.115) Yes. Luanne Regis (01:16.777) I can't wait. Anne Ganguzza (01:26.981) bio of you more than what I've given in regards to your evolution through the years as a talent agent and representative. Luanne Regis (01:37.067) Sure, of course. So I'll try to be brief because it is quite a long speech. And you know, voiceover, just, people ask you, how do you get into voiceover? And I'm like, I sort of really just fell into it, which I did. You know, back in the mid nineties, I answered an ad, they were looking for a voiceover assistant, an agent, and one of the partners at a boutique agency was looking for an assistant. And I thought, this is great. Let me just try this. And I quickly liked it. I liked the fact that Anne Ganguzza (01:41.124) Ha ha ha ha! Luanne Regis (02:04.703) The voice can really be anything. It has nothing to do with your aesthetic, what you look like, how tall you are, what color your hair is. I loved that. That to me was a very creative aspect for VoiceOver. And I started there and quickly became an agent, a scale agent, and was there for about five years. I have seen the business really, really grow and change to... And right around the early 2001s when all of the theatrical agencies were getting into voiceover because they poo-pooed and they snubbed their noses at voiceover for so very long, a major theatrical agency wanted to have a voiceover department. And so they plucked our entire department from the boutique agency, which was Special Artists, which is where I worked since the mid-90s. And we took our entire business, SpongeBob and all, and set up shop at Innovative Artists, which was the Anne Ganguzza (02:56.229) Mm-hmm. Luanne Regis (02:58.751) Bicoastal theatrical agency that I was at for 16 years, including what you mentioned in my bio, starting a Chicago voiceover department for them in 2007, just after the birth of my daughter. So I was there for 16 years and you wake up one day and you have 800 clients because you represent not only, we came with not only our voiceover department intact with all of our amazing clients, but we also were there to represent. Anne Ganguzza (03:00.314) Yes. Luanne Regis (03:26.591) their clients and they have a really healthy roster, a very well known TV and film actors. And that's where I began doing celebrity and overscale voiceover and really enjoyed it. But you know, like I said, you wake up one day and you have 800 clients and that's a lot to manage, especially in the way in which I agent. I was taught voiceover agenting by one of the best, she's a mentor, Marsha Hurwitz. you know, it's... Anne Ganguzza (03:29.735) Mm-hmm. Anne Ganguzza (03:43.441) Yeah. Luanne Regis (03:52.321) All hands on, it's more like a manager. It's not just submit an audition and whatever happens happens. It's you pitch, you sell, you call producers. We don't do that anymore because the business has changed. But you're on the phone, you're calling producers, you're selling people, you're saying, I think you should really listen to Nancy Smith. She's really good on this read. That's the way I voice over agent and it's really impossible to do that with 800 people. Anne Ganguzza (03:55.589) Yeah. Luanne Regis (04:20.641) 800 clients on your roster. So I went back to my small boutique agency, Roots TGMD Talent, which is formerly Tishman Agency. the owner, Kevin Motley, who's a dear friend of mine, had recently sort of reshaped his agency, gutted all of the promo and trailer announcer type guys, which was an avenue in which advertisers weren't going down anymore. And we built a really great roster of actors, well-known actors. Anne Ganguzza (04:28.993) Yep. Luanne Regis (04:50.761) working actors, which is all I know. I know about actors in voiceover as opposed to voice actors. And was there for four years doing that until the pandemic. And then after the pandemic, I thought, you know what, I want to try my hand on the buyer's side. I always wanted to try my hand at being on the other side of the business, not just rapping. And so I worked at Sound and Fury, which is one of the, if not the top voice casting companies in the entire country, if not the world. Anne Ganguzza (05:14.928) Mm. Luanne Regis (05:18.941) And you know, really enjoyed my time with that team. They're like a family to me. And I missed representing talent and agenting. And so after a year, I decided to go back to it, but do it on my own. And believe it or not, I kept a lot of clients with me even as I left the agenting side and went over to the casting side because I have a a really lovely roster of very loyal talent. Some of them I've had since I started in the mid 90s and you know they were very sad to see me leave the agenting side. So they sort of held on to me even while I was on the casting side and once I decided to jump back they were like well we're still here for the ride let's go and that's how I sort of built my roster, my independent roster I should say and again it just they just come at me. I have agents and managers and Anne Ganguzza (05:56.687) Mm-hmm. Luanne Regis (06:13.909) theatrical agents and commercial agents just wanting to work with me and they throw all their clients my way and I don't refuse them because I love to Anne Ganguzza (06:21.827) love that, I love that. You know, it's interesting because, you know, as we're talking, you're kind of going back and forth between casting and agent and manager. And, you know, for the benefit of our boss listeners, what is your definition of the difference between the responsibilities of each? Because I think it's important for us as voice actors to know when we're trying to develop relationships, you know, to understand. what is encompassed in your job because that makes us able to communicate with you easier and help you, because I really believe it's a partnership no matter what you're really looking for. And so I think it will help us as voice actors to work with agents or casting directors better. Luanne Regis (06:57.664) It is. Luanne Regis (07:06.443) Well, the reason why, and that's a great question, and the reason why the transition from agent to casting director back to agent was such a seamless one is because a lot of what my job entails as a voiceover agent is casting. We work with casting directors, but agents also work directly with buyers and producers, and they come to us looking for talent. And we sit there and cast. Anne Ganguzza (07:22.287) Mm-hmm. Anne Ganguzza (07:28.657) Mm-hmm. Luanne Regis (07:33.555) in pretty much the same way a casting director who gets paid to do it does it. I sit there, I go through my roster, who's right for this? And I do essentially do a casting. And so a lot of my agenting is casting, but that's just sort of like the day-to-day job of a voiceover agent. Again, back in the day when we had booths and actors would come into our lobby and read and have, you'd be distributing copy, you know, back in the day, pre-pandemic and all that. Anne Ganguzza (07:41.307) Mm-hmm. Anne Ganguzza (07:48.07) Mm-hmm. Anne Ganguzza (07:58.631) Look at Luanne Regis (08:03.611) A big part of my job also was directing talent, not just sitting at a desk and agenting. I would go into the booth. I need to know what my talent does. I need to be able to sell that person. So in order to do that, I'm in the booth, I'm directing, and I really, really love that directing process because it's, again, it hinges on such creativity. It's so creative. They get to play around. I get also to play around with them in terms of what they can do, what their range is. Anne Ganguzza (08:07.974) Mm-hmm. Anne Ganguzza (08:15.109) Right. Anne Ganguzza (08:21.264) Mm-hmm. Luanne Regis (08:32.991) And that's how I know what my clients can bring to the table so I can effectively sell them. So it's casting, it's directing, it's obviously selling. It's very managerial as well because I'm, like I said, very, very hands on. you know, like for instance, many times I go into the booth with a client and we'd spend an hour in there if we have the time. And the last five minutes of that hour really is recording the copy and auditioning. Anne Ganguzza (08:46.767) Mm-hmm. Anne Ganguzza (09:02.342) Mm-hmm. Mm-hmm. Luanne Regis (09:02.561) but the previous, how many ever minutes, spent catching up. How's your wife? How are the kids? How is life? How's your mom doing? Stuff like that. That's how you get to really know clients because what they share with you in the booth, you bring that to you as you're casting. You bring that to you as you're selling them. You have to really know them inside out. That's more of a very managerial, I think, position as an agent. Anne Ganguzza (09:08.646) Right. Anne Ganguzza (09:16.238) Right. Luanne Regis (09:30.641) not all agents agent that way. I just learned to do it that way. So it's manage it's managing talent. It's selling talent, agenting obviously, but it's also casting and directing talent in the booth. And then of course your negotiations skills come into play. Your knowledge of contracts, your knowledge of legal, legal procedures, as far as contracts go. That's all encompassing as a voiceover agent. Anne Ganguzza (09:33.484) Mm-hmm. Mm-hmm. Anne Ganguzza (09:48.355) Sure. Anne Ganguzza (09:54.34) Mm-hmm. Anne Ganguzza (09:58.767) It's such a broad base of that you need to have. And you said something before that I thought was so interesting. You said you had been working with, and it really, I think it goes to show the evolution of the business. You talked about actors who did voice acting rather than voice actors. And so I caught that little tiny nuance right there, which really speaks to your amount of time and experience in the industry. Luanne Regis (10:00.82) It is. Luanne Regis (10:16.416) Yes. Yes. Luanne Regis (10:23.829) Yes, yes. Anne Ganguzza (10:25.509) Because how often, like what would you say, I guess now in your, because you've been in business for so long, you must still, I suspect, deal with actors who do voice acting, as well as voice actors. And what are your thoughts on how you work with, let's say, actors now who do voice acting, or voice actors differently? Do you spend as much time, or how does that work today? Luanne Regis (10:33.877) We will. Mm-hmm. Luanne Regis (10:53.737) The reason why for me, it's actors in voiceover, not only was I brought up in the business knowing that, because when I started at Special Artists, they were mainly a commercial, on-camera commercial agency, and this predated me, obviously, but when they started their voiceover department, they used their on-camera actors as the basis for their voiceover department. Anne Ganguzza (10:56.25) Mm-hmm. Mm-hmm. Anne Ganguzza (11:10.118) Mm-hmm. Anne Ganguzza (11:21.253) Mm-hmm. Luanne Regis (11:21.853) I come from a track record where the agents who taught me used actors and put them in voiceover and made them successful. The voice of SpongeBob, Tom Kenny, was a comedian, an actor. We put him, he made that transition because of how talented he is. So I do feel voiceover is not just a voice, you're acting. Anne Ganguzza (11:29.339) Mm-hmm. Anne Ganguzza (11:35.44) Mm-hmm. Anne Ganguzza (11:49.35) Sure. Yeah. Luanne Regis (11:50.529) You're bringing copy to life. You're selling copy, but you have to bring it to life. You have to connect with the product. You have to connect with what the words are saying. So at the end of the day, it really is about acting, which is why I favor having someone who has an acting resume, someone who's done work, because they have a certain measure of experience that they can bring to the voiceover table. Anne Ganguzza (11:59.761) Sure. Anne Ganguzza (12:08.358) Sure. Anne Ganguzza (12:15.463) Yeah, yeah, absolutely. And I love the emphasis on acting because even for something like I specialize in a lot of the corporate e-learning, the non-broadcast style stuff, but in order to really bring that material to life, and sometimes it needs a lot of help, just saying, because it can be a little bit dry and boring, you have to, I mean, every company, and I think whether you're dealing with commercial, Luanne Regis (12:27.894) Yes. Anne Ganguzza (12:41.959) Right? Any type of copy. mean, if you're dealing with a company or a client, they're ultimately, I mean, unless you're doing entertainment, right? Ultimately, they're trying to sell something. And so there's always a story. I good companies, I would say that, you know, it's marketing 101 that, you know, stories really sell better than, you know, Luanne Regis (12:49.375) Right. Absolutely. Anne Ganguzza (13:03.322) cold heart announcing facts sort of thing. And so if you can be the actor that can tell the story or understand the story that the company wants to sell or tell, that's gonna help them to sell. So I love the emphasis on acting. Luanne Regis (13:04.437) Yeah, yeah. Luanne Regis (13:14.749) Absolutely, and it really, you're absolutely right. When you say, a story, that is really what it is. I was telling actors yesterday, you have to, when you get a script, you create a narrative behind that script that those lines will support. Whether it's right or wrong, it's truthful and it's authentic. But you do have to connect with the product. You do have to connect with the lines. You do have to connect with the script. And the only way you do that is if you make it part of a story that you're telling. Anne Ganguzza (13:36.142) Mm-hmm. Anne Ganguzza (13:45.703) Yes, absolutely. And I think that's what so, at least with students when I'm working with them in the corporate narration or the e-lin, like what story? I'm delivering information. I'm like, but there is a story and you have to keep the listener's attention for longer than 30 or 60 seconds. This is not a 60 second commercial. And so even if I... Luanne Regis (13:58.849) We resist. Luanne Regis (14:04.372) You too. That's right. Anne Ganguzza (14:08.642) I think if the story doesn't make sense, right, if they're reading the words and they're like, well, I would never really say that, or you know, you have to create the scene in which those words make sense. And I guess my question to you is, what would you say is the main difference between on-camera acting and voice acting? Luanne Regis (14:17.173) That's right. Yes. Luanne Regis (14:26.939) on camera acting, you have so much more at your disposal. You have what you look like, you have the physicality of being on camera. And this is why I love voiceover, because with voiceover acting, you have to basically emit all of that just vocally. Whether you're in the booth and you're, you where you see the animation characters, they're in the booth and they're using their hands and all that, that's all well and fine, but that does not translate on camera in the way it Anne Ganguzza (14:31.59) Mm-hmm. Anne Ganguzza (14:44.708) Yeah, yeah, through your voice. Luanne Regis (14:56.417) would if you were an on-camera actor. really does have, so again, we go back to is telling that story. If you have a story to tell, it's gonna come out in the words, it's gonna come out in the smile, it's going to come out in the warmth that you bring out, or not the warmth, or the cold, or whatever it is, the stories that you're telling. But it all comes from the heart, it all comes from here. Anne Ganguzza (14:57.062) Right. Luanne Regis (15:22.313) as opposed to you being able to use your hands to gesture in a way that conveys whatever you're trying to convey in an acting, you know, when you're acting. Anne Ganguzza (15:26.49) Mm-hmm. Mm-hmm. Anne Ganguzza (15:32.231) So what would you say when you're working with talent? time is precious these days, so I imagine that you probably don't have as much time to work with talent, let's say on a job or an audition, as you would. What are the types of things that you find you're telling your talent to do most in terms of, know, either following direction better or their performance-wise? What are the kind of tips or tricks that you're speaking to most? Luanne Regis (15:40.437) Yeah. Yeah. Yeah. Luanne Regis (15:59.487) Yeah. Well, it does vary from project and script to script, obviously, but a lot of it is what I just said, you know, creating that story, creating that narrative. A lot of times, and this specifically relates to commercial copy, a lot of times you get a script and you have no idea what the storyboards are. You have no idea what the visuals are. You just have maybe two or three lines and you sort of have to put it together. At that point, you have to make a very specific creative choice. This is the story I'm going to tell. Anne Ganguzza (16:02.171) these days. Mm. Anne Ganguzza (16:18.566) Mm-hmm. Anne Ganguzza (16:25.562) Mm-hmm. Luanne Regis (16:27.957) So that's one tip and we just spoke about that. There's a lot of non-announcery, non-polish, non-slick directives nowadays and I always have to tell my clients, so here's what I want you to do. I don't want you to think about yourself on mic. I don't want you to think about yourself up there as a speaker or as an announcer saying something. I want you to sit and talk to a friend at a bar and you say what you need to say and you come from that place. so that we can get you conversational, we can get you casual, and we don't have you coming out of the box like you're making a grand announcement. A tip, a trick I use sometimes is I will have them slate their name after they've done their session, after they've done their audition, because once you slate your name, Luanne Regis, you sort of go into this, okay, I'm here, I'm announcing mode, I just want you to tell me what you have to say on your copy, you can save the slate for later. So that's just one of the tips that I use. Anne Ganguzza (17:05.296) Sure, sure. Anne Ganguzza (17:17.808) Right. Anne Ganguzza (17:25.06) Mm-hmm. Luanne Regis (17:25.375) you know, the conversational thing, just sort of like bring it back home. If it's something that I feel they need to be a little bit more intimate with, I give them situations like, I want you to read this bedtime story to your six year old, or I want you to sit with your child and have a one-on-one conversation with him or her. you know, I just give them a place from which to emote so that we can bring that emotion into the copy. Anne Ganguzza (17:48.752) Mm-hmm. Mm-hmm. Anne Ganguzza (17:52.803) Speaking of emotion, find, for me, just on longer copy, because if you have a particular energy or emotion and you continue for over a minute or two or three, with that same energy, it doesn't necessarily allow the story to flow. And I feel that people might get into the rhythm of this particular emotion or this particular... Luanne Regis (18:03.958) Mm-hmm. Anne Ganguzza (18:14.887) Energy and I feel with with any good story right energy in your story changes and evolves and it can evolve throughout like the course of one sentence even and the energy you start with in the beginning or the story that you tell in the beginning isn't necessarily the same story that's happening or evolving when you're halfway through or three-quarters of the way through and for a lot of for a lot of my students I find that you know if they're if they forget Luanne Regis (18:25.502) Absolutely. Luanne Regis (18:37.152) Right. Anne Ganguzza (18:44.119) about the story halfway through, then it starts to turn into this kind of just into this, let's news, news broadcast read or, you know, something like that. And so in the middle of the script, do you ever have to kind of redirect or give another scene to help this through? Or are you finding that for the most part, you're working with with top caliber actors that already are doing that or have done that? Luanne Regis (18:51.041) Yeah. Luanne Regis (19:09.279) Yeah, know what, an actor is gonna find his or her way, again, depending on the story that they want to tell. The seasoned actors, the really good actors understand how to flow in and out, how to make a change, or how to sort of navigate around certain things. And I'm glad you asked that question, because one point I really wanna bring to mind is sometimes when you're directing talent, I can't tell you. Anne Ganguzza (19:13.723) Mm-hmm. Anne Ganguzza (19:18.042) Yeah. Luanne Regis (19:37.663) Yes, I can give you a line reading. Yes, I can tell you how to do it. But I want you to color it the way you would color it because that brings a certain uniqueness that no one else will do. You might put a pause in the middle of the copy for effect, or you could take a beat, or you could do a slight, And someone else will not necessarily do that. that... Anne Ganguzza (19:39.748) Yeah. Anne Ganguzza (19:44.613) Right. Anne Ganguzza (19:50.395) Mm-hmm. Anne Ganguzza (20:02.822) Mm-hmm. Luanne Regis (20:02.827) Completely changes the way that copy gets conveyed to to the audience. So a lot of times it's it's what you do specifically and not me directing you into that read because I want it I sort of wanted to come from you I want you to bring that that authenticity to it because at the end of the day authenticity is what will May not book you the job, but it will have the producer go. Wait a second. What can we hear what? And that's what you want to do Anne Ganguzza (20:27.787) Mm, it might get you on the short list. Luanne Regis (20:31.357) Exactly. That's what I'm glad you said that I was seeing this exact same thing yesterday. It's like, yes, you want to book the job, but don't focus on booking the job. Focus on wowing whoever's listening, focus on making an impact. So maybe you weren't right for that job, but perhaps you bring you back in for something else. Anne Ganguzza (20:42.17) Yeah. Anne Ganguzza (20:48.133) Yeah, yeah. And also I think then you're really, especially if it's an audition that you're submitting to your agent or casting director that is very familiar with working with actors in regards to, well, okay, it can showcase right away that you're an actor. And if you're an actor, you'll be able to follow direction no matter what the direction ends up being. Cause I have a lot of times people will say to me, but that's not what I hear in the actual commercial. Luanne Regis (21:00.321) Mm-hmm. Luanne Regis (21:06.037) Yes. Anne Ganguzza (21:16.229) you know, it sounds completely different. And, you know, I'm always like, well, you know, it really depends on who's directing you at the time and what the client is listening to and what they hear in their head as being the way they want the copyright. So you have to be versatile enough to be able to take any direction. I've turned in for me as a coach, I've turned to almost saying, well, here, I'm coaching you on how to get the gig, not necessarily on the final product, because Luanne Regis (21:17.878) Thanks Luanne Regis (21:22.251) That's right. Luanne Regis (21:28.415) Yes, yes. Luanne Regis (21:45.429) Right. Anne Ganguzza (21:46.129) Coaching you to get the gig is gonna make you the most authentic actor that you can showcase in the first or second sentence. So for me, Luanne, coming in in the first or second sentence is so important with a connection to the copy. Talk to the importance of maybe that, the first few words that come out of the actor's mouth or in the copy, how important is that? Luanne Regis (21:50.145) That's right. Luanne Regis (21:58.719) Yes. Yes. Luanne Regis (22:10.145) very, very important because again, when I worked at Sound and Fury and we got 800 casting, 800 auditions from one casting, they're listening and they know right away if this person's gonna nail it or not. So you wanna come in just hitting the mark immediately. even, obviously I don't have 800 clients, but you see that process with a casting director. They don't have the time to listen to the entire script if they feel you didn't hit it within the first. Anne Ganguzza (22:24.079) Mm. Anne Ganguzza (22:28.027) Mm-hmm. Luanne Regis (22:39.929) Or maybe not even hit it if you didn't do something in the beginning that made them go. let me keep listening because time is money and they do have to get through all of these these auditions and the same to a certain extent with me I mean I listen to every single audition all the way through but I know by the second or third line if someone has nailed that piece of copy or not just because obviously I have the the experience in the years of the instinct but again, it's that You can't put your finger on it. It's that je ne sais quoi. It's like, yeah, let me keep this. wow, she did that? Okay. It really is important to nail whatever you want to nail at the beginning of the copy as opposed to saving your best for last. Anne Ganguzza (23:24.047) Yeah. Now, I love that you said you listen to the auditions all the way through. Now, why? Why do you do that? Luanne Regis (23:32.085) For several reasons. One, and you said something that I wanted to sort of bring back to the forefront, so I'm glad you asked that question. A lot of times, again, I'm a casting, I'm sort of a casting director when I age, because I'm putting people on stuff and I'm wondering, is she right for it, is he right for it? I have to listen throughout the whole thing. One, because it's my client and they've done the audition and I need to hear what they did, they may not be right for it. Anne Ganguzza (23:33.732) Mm-hmm. Anne Ganguzza (23:48.848) Mm-hmm. Anne Ganguzza (23:54.715) Mm. Luanne Regis (23:58.805) That way I know, you know what, I'm not gonna put him or her on this anymore because I don't think they're right for it. Or I hear something that they do and I think, you know what, I've got something else that, I've got a different role that I think she's right for. I don't think I put her on the right role. I think I need to get her on this other one. So it gives me a clue. It clues me into what my clients can do, what they can't do, even as well as I know them, even as much as I know their range. Anne Ganguzza (24:04.314) Mm-hmm. Anne Ganguzza (24:23.494) Mm-hmm. Luanne Regis (24:25.481) I still am learning a lot about them as we go along. So it behooves me to listen to everything that they do. Anne Ganguzza (24:33.53) so interesting. I love that you listen all the way through because it shows that you really care and that you really care about your clients and you care about making the best fit and really choosing the best person for the job. That just requires a lot of, think, integrity and I love that. I think that's amazing. Plus, I think it's so interesting because maybe even... Luanne Regis (24:36.417) Mm-hmm. It does, yeah. Yeah. Luanne Regis (24:47.359) Yeah. Luanne Regis (24:52.883) Yeah. Anne Ganguzza (24:57.946) You know, people that you've known for a long time, I mean, we continue to grow and evolve and learn and discover. I find with myself, like, I discover new things about myself and it impacts, right, my acting in the booth. And, you know, in lots of different ways where all of a sudden I'll be like, well, gosh, I've been doing it like this for years and goodness, I should have maybe thought this way. And it just will bring something different out in me, which is kind of cool. And so that's just kind of being the lifelong learner sort of. Luanne Regis (25:02.678) Yes. Luanne Regis (25:12.607) Yes. Luanne Regis (25:27.05) Yeah! Anne Ganguzza (25:27.483) you know, always trying to grow my skills and craft. And you think like, well, have I reached this point? Well, now I've done it and I'm an actor. But I feel like you never quite reach the point where you're never not learning. Luanne Regis (25:31.583) All right. Luanne Regis (25:42.129) No, you always are learning and you're always trying new things and I'm always learning things about clients. I'm like, I didn't know you did that. That's good for me. I can sell you in a different way now. it's a learning process on both ends. Anne Ganguzza (25:49.508) Mm-hmm. Anne Ganguzza (25:53.05) Yeah. Yeah. Anne Ganguzza (25:59.142) So the sell, okay? I wanna talk a little bit about the sell. When you're trying to sell a talent, what is it when you're communicating with a client for a particular spot? So what's involved in the sell of it on your end? I'm just curious because I've never, I mean, I've cast people, but I've never really been had to like, hear my choices and then the client will ultimately make the... the end result, but when you're really trying to sell a talent, like what goes, what sort of qualities are you selling in the talent? Luanne Regis (26:36.605) So you're talking about me selling to a buyer a casting director or okay? So then it would it depends on if it's the buyer's a casting director or if the buyer is the actual buyer the producer the the ad agency or something You know if it's a casting director. It's because I want that person to understand He can do this what you're asking what you're asking for me to cast for you This guy can do this so I need you to Anne Ganguzza (26:39.876) Yeah, to a buyer, yes, yeah. Anne Ganguzza (26:45.766) Mm-hmm. buyer, right, Yeah. Luanne Regis (27:05.161) I send links, send if it's stand-up comedians they're looking for, I send a link to their stand-up. One of many different ways I keep all of my auditions, so I will curate a specific sample of voices so that they can hear. For instance, if they're looking for something specific, I go back and I pull auditions that they've done for that specific character and I said, listen, here's what he's done for me in the past. That's one tool I use to sell. Anne Ganguzza (27:20.75) Mm-hmm. Anne Ganguzza (27:32.622) Mm. Mm-hmm. Luanne Regis (27:32.833) And that's to a cast director if I want to convince her that this client can audition for her on a project if it's a buyer the actual buyer the producer the ad agency or Yeah, well, it would be the producer of an ad agency because if it's animation is it's casting directors You know again, it's showcasing what they've done before showcasing the stuff that they've done showing them listen to this Anne Ganguzza (27:40.218) Got it, got it. Mm-hmm. Anne Ganguzza (27:48.357) Yeah, yeah, yeah. Anne Ganguzza (27:55.206) Mm-hmm. Luanne Regis (27:59.647) I know you're looking for a guy that can do this. Listen to him right here. He's done this before. He's auditioned for this before. He's actually booked this before. Here's a spot that he's done. And you might want to listen to this. So that is, that's what I'm pushing when I'm speaking to producers. Sadly, don't get, don't have, agents don't have that direct link to producers anymore. It's really become so remote now and remote, in the sense of remote recording, but. Anne Ganguzza (28:12.003) Mm-hmm. Mm-hmm. Anne Ganguzza (28:16.624) Got it. Luanne Regis (28:27.433) remote in the sense of we're far removed from these producers. I used to be able to pick up the phone and call a producer at Leo Burnett and say, listen to Nancy, she's really great for this. You want to hire her. And they would hire her. But they themselves, the producers, they're removed as well from their clients. Now it's the client, Walmart, that has to make the decision. The producer used to be able to make the decision before. Anne Ganguzza (28:30.181) Yeah. Anne Ganguzza (28:47.59) Sure. that's a, I'm so glad you made that distinction because I think for a lot of voice actors, they don't really know what happens once they submit that audition. then what is, like what's, how does my audition traverse, you know, to either get to the ears of the person who's hiring and who is the person that's hiring, right? You know, because I think if you're my talent agent, right, and I'm auditioning for you. Luanne Regis (29:03.478) Yes. That's right. Luanne Regis (29:11.638) Mm-hmm. Anne Ganguzza (29:17.219) What I love and what I've heard from you is that you must have a little file of me where you're keeping all my good auditions and you're keeping all the spots that I've done and I like that, right? You didn't just trash my audition if I didn't work for that particular spot, but you're like, okay, so you've got like bits and pieces of me there. And then, so if you're working with another, let's say, casting director, right? You can then send those files and sell me in that way. But then if you're actually talking to the client directly, Luanne Regis (29:22.527) Yes. Yes. Luanne Regis (29:28.619) Nope, keep everything. Luanne Regis (29:43.236) Right. Anne Ganguzza (29:47.342) Which is something I'm like, well, I've not been in this process. I speak with my clients directly, but probably not on the scale that you do because you're working on a broadcast scale. So I have a client that I've worked with for years and they'll ask me, who do you think would be good to do this for me? And I can refer, which is. Luanne Regis (29:55.937) you Luanne Regis (30:00.394) Right. Luanne Regis (30:05.569) Mm-hmm. Anne Ganguzza (30:09.817) on a small scale compared to what you do. Because you're talking to big time producers and agencies that have multiple projects going on. And so for me as an actor, I never quite know what happens once I submit that audition. So it's really nice that you just kind of explain that process. And the fact that you said you don't always get to talk to the producer like you used to be able to, which is what I sometimes I assume and I don't really know. Luanne Regis (30:11.457) Yes. Anne Ganguzza (30:36.548) you know, depending on the agency, depending on who it is and what your relationships are, which I think it comes all down to relationships. But you're right, now even the producer is removed because it really comes down to like, let's say the client Walmart or whoever that might be. So that's a very good thing to know from my perspective. Luanne Regis (30:42.518) Yes. Luanne Regis (30:53.621) And I'll tell you the reason, I'll tell you the reason for that, Anne, and I want to make sure people understand this because it was a very drastic change. think the reason that I was able to, first of all, be able to pick up the phone and call a producer and they would actually book, or the producer would call me and say, who do you have for this? We need to cast this job right away. Who do you have? book David Pasquese. He'd be great. And they would hire him. So how many ever years, 10, 15 years ago when, you know, the big Anne Ganguzza (31:09.666) Mm. Mm-hmm. Anne Ganguzza (31:15.611) Mm-hmm. Luanne Regis (31:23.113) ad agencies, the DDB Needhams, the Chiat Days, you the big ad agencies, they had the bulk of the work, they had the majority of the work. And as time went by, these smaller agencies started picking up work. So the ad agency now sort of lost the power to be able to make that decision because they themselves are trying to hold on to their accounts. So they no longer can say, I can hire you for this Walmart voiceover. Anne Ganguzza (31:25.37) Mm-hmm. Anne Ganguzza (31:29.821) mm-hmm. Anne Ganguzza (31:41.527) Mm-hmm. Yes, yes, yes. Makes sense. Luanne Regis (31:49.953) they now have to check with the head of marketing or whomever at Walmart. That never used to be the case. They used to be able to pull that trigger and go, great, let's hire him. That's no longer the case. And I do firmly believe it's because of that change over in, in work, a lot of ad agencies lost clients, a lot of ad agencies are afraid of losing their clients. So they're really at the disposal at the mercy of their clients to make every single decision. Anne Ganguzza (31:52.944) Sure. Anne Ganguzza (32:20.359) That's very interesting and that really speaks to this, think also the size of the industry over the years that has really increased greatly. Luanne Regis (32:21.248) Yeah. Luanne Regis (32:25.183) Yes, yes. It has, yeah. No, it has. You've had a lot of these smaller or maybe ad execs from ad agencies sort of offshoots and go off and start their own small companies, and they're now getting the big jobs. They're now getting the big work as opposed to those big multimedia conglomerate ad agencies that they're not really getting those accounts anymore. Anne Ganguzza (32:41.616) Sure. Anne Ganguzza (32:46.544) Right? Anne Ganguzza (32:51.686) Well, and now also I think technology, mean, gosh, technology has certainly evolved over the years. And now a lot of times, like you said, you'd meet in the, and I from back in the day when I would go to a studio for a callback, and gosh, that's almost not the case too much anymore. But I miss the days when you would see all your voiceover friends in the lobby. And even though you'd kind of be a little bit nervous, you'd all be like catching up and seeing people you hadn't seen in a while. Luanne Regis (32:55.179) Yeah. Luanne Regis (32:59.188) It has. Luanne Regis (33:09.491) I know. Luanne Regis (33:14.185) Yeah. Luanne Regis (33:19.137) Yeah. Anne Ganguzza (33:21.375) And I kind of miss that. with the digital evolution and people having their home studios and the internet and I think a lot of those agencies too, mean, went online, am I not correct? Yeah, yeah. Luanne Regis (33:23.497) Yeah. Luanne Regis (33:34.943) They sure did. They sure did. Yeah, they really did. And to speak a little bit, I'm just going to hear my pet peeve about that. Again, I remember a day when ad agency would hire a studio here, hire a studio in Chicago, hire a studio where they are, and they would connect. Now that cost, because we've had a situation like the pandemic where everyone sort of had to get set up to record from home, a lot of ad agencies haven't gone back to that, gone back to hiring studios. Anne Ganguzza (33:49.52) Mm-hmm. Anne Ganguzza (33:59.366) Mm-hmm. Yeah. Luanne Regis (34:04.277) they figured out a way, wait a second, we don't have to hire a studio. We don't have to incur that cost. We can keep that budget under control and pass that cost on to the actor. That's one of my biggest pet peeves of the consequence of the pandemic where actors have now had to become engineers, incur their own costs for studios. I'm like, wait a second, you would hire a studio in New York and Los Angeles back in the day. We're like, how is that? Anne Ganguzza (34:29.489) Yeah. Luanne Regis (34:34.37) What do I know what you're doing. Anne Ganguzza (34:36.282) Yeah, and they're not necessarily, you know, claiming, I am correct in the assumption, they're not necessarily saying, well, hey, I've got a home studio. I should be charging for that studio. I should be tired. Theoretically, right, they are, but I don't know anybody that really, like, has a line item that says, hey, this is my studio cost, right? Luanne Regis (34:45.825) No! Luanne Regis (34:53.957) No, no, the actors sadly have had to fall in line, you know, and now we've gone, it's just everyone is now remote studio required, home studio required. I'm like, wait a second, you would hire a studio back in the day. I just think it's unfair because now the actor should be concentrating on his audition and he should be concentrating on the creative aspect. He should not be asked to upload stuff. He should not be asked to be an engineer in his own session. You know, it's just the way of the world now. Anne Ganguzza (34:58.35) Yeah, it got absorbed. Anne Ganguzza (35:03.504) Yeah. Yeah. Anne Ganguzza (35:23.567) It is such a luxury to be directed even in my home studio now. It's just, and it's lovely for, I will say at least they're Source Connect so that an engineer can take what I'm doing back here in my home studio and engineer it and I don't have to upload and he can just take it. That is a luxury. And also the fact of actually having a director is a luxury these days. And I love it. And I kind of wish we went back to it. Luanne Regis (35:27.403) Yeah. Luanne Regis (35:39.711) and do his own thing. Yes. Luanne Regis (35:47.198) Yeah. Luanne Regis (35:52.757) I know. Anne Ganguzza (35:53.33) And you never know, mean, maybe that will happen, maybe that will not, but I think in the end, right, is it not all driven by the customer, right, the client, like it's Walmart, like what do they want? And so ultimately, what type of voice are they gonna look for? How are they gonna hire? And I think that's something as a voice actor, we need to consider the business aspect of it, because how are we going to kind of shine in front of all of... it seems like obstacles, maybe not obstacles, but there's so many paths to getting hired these days, you know, and yeah. Luanne Regis (36:28.031) Yes, there are. And let me go back to a question you asked earlier about what happens when that audition goes off. And it's really important for actors to understand, because you don't book a job, that doesn't mean you weren't on a short list. That doesn't mean that you weren't listened to and someone was vying for you and that just, the client or whomever came in and said, no, let's go with a woman instead of a man. doesn't, you have... Anne Ganguzza (36:53.264) Mm-hmm. Luanne Regis (36:54.205) I have no idea what happens once it leaves my, you know, my coffers because no one says anything. And then you get on a short list and you have one of five on a short list and that's great, you're excited. And then it just goes away. But for me, that's a win. Like someone listened to you and someone put you on a short list and someone considered you for this job. And even beyond the short list, you don't know who listened and went, wow, I really like him. You know what I mean? It's like, there's so many. Anne Ganguzza (36:57.574) Mm-hmm. Anne Ganguzza (37:08.42) Yeah. Mm-hmm. Anne Ganguzza (37:20.496) Sure. Yeah, yeah, yeah. I love that you brought that up. Mm-hmm. Yeah. Luanne Regis (37:23.837) intangibles and actors need to understand that just because you didn't book a job doesn't mean you weren't right for it. They could have changed their minds, changed the specs, changed the age, changed the gender. All of those things sort of are out of your control. Anne Ganguzza (37:36.432) Yeah. Anne Ganguzza (37:39.791) Yeah, there's so many aspects that are out of your control. And I think that's one of the most important things that a voice actor can also do is try to understand that and not let the mental, like, my gosh, I don't know what happened, or I'm not good enough, or that self-sabotage, get to them. And I think that's one of the biggest challenges that a lot of voice actors face is imposter syndrome that, because they didn't hear anything, they assume, right? Luanne Regis (37:53.119) I know. Yeah. Yeah. Luanne Regis (38:00.788) It is. Luanne Regis (38:06.399) Yeah, that's right. And by the way, that's another aspect of my job as an agent, to sort of manage their expectations and manage their disappointments. I had an actress tell me last night, she said, you know, I'm really just very dejected and sort of tired and fatigued with these auditions. I haven't had a callback, I haven't had this, I haven't had that. And for me, you know, I need to... Anne Ganguzza (38:15.171) Mm-hmm. Anne Ganguzza (38:19.792) Mm-hmm. Luanne Regis (38:32.841) I do need to boost her up, at the same time, I do need to understand her frustration and it's real. So, you know, my job there is to sort of maybe go, okay, let me reevaluate, reevaluate, excuse me, what I'm sending her. Maybe I'm not sending her the things that she's really gonna nail because at the end of the day, as an agent, you don't want to keep sending an actor hundreds and hundreds and hundreds of auditions and they're not booking because that debilitates them. Anne Ganguzza (38:38.63) Mm-hmm. Yeah. Luanne Regis (39:02.207) So part of my job is almost like a therapist of sorts. It's sort of like manage how they feel. Okay, let's do this then. Let's sort of reevaluate what we send you. Let me pull back a little bit so that you don't feel burnt out. How can I help you? Because obviously I believe in her. I don't want her to just go silent and not do auditions, but I have to kind of hold her hand along the way. Anne Ganguzza (39:06.086) Yeah. Yeah. Yeah. Anne Ganguzza (39:26.727) Right, Sure. Luanne Regis (39:30.187) That's another aspect of the voiceover agent's job, at least mine. Anne Ganguzza (39:31.706) Yeah. Yeah. I love it. this has been such a wonderful conversation, Luanne. thank you. Thank you. Well, it's been a pleasure. And I'll tell you what, I cannot wait to have you as a guest director for my group, for my VO Peeps guys. So make sure you take a look for that coming up soon. Luanne Regis (39:37.824) I love your questions, the way. Your questions are very pointed. Luanne Regis (39:47.711) Yes, I cannot wait. Yes. Luanne Regis (39:54.08) Yes. Anne Ganguzza (39:55.916) And with that, I will give a great big shout out to our sponsor, IPDTL. You too can connect and network like bosses. Find out more at ipdtl.com. Luanne, this has really been amazing. Thank you so much. It's been a pleasure. Luanne Regis (40:08.373) Thank you, Anne, for having me. I really do love talking about this stuff. Anne Ganguzza (40:13.146) Bosses, have an amazing week and we'll see you next week. Bye. Luanne Regis (40:16.033) Bye!  

Which Acting Agencies Are Worth Your Time?Looking for the right acting agency can feel overwhelming. With so many options out there, how do you know which ones are truly reputable?In this episode of The Actor's Career Compass, host Martin Bentsen breaks down five of the top acting agencies and which agencies can help you land major film, TV, and theater roles.Why This Matters for Your CareerNot all agencies are created equal. Some cater to well-established actors, while others are open to discovering new talent. Understanding the differences between large and boutique agencies can help you make the right choice for where you are in your career.What You'll Learn in This Episode:The key differences between large, well-connected agencies and smaller, hands-on boutique agencies.How to determine whether an agency is actively seeking new talent or requires industry referrals.Five top-tier agencies you should have on your radar, including Avalon Artists Group, Buchwald, Carson Kolker Organization, The Gersh Agency, and Innovative Artists.Ready to take the next step in your acting career? Tune in now to find out which agency could be the right fit for you!Connect with Martin Bentsen:Email: martin@cityheadshots.comWebsite: martinbentsen.comAdditional Resources:Professional HeadshotsShoot Footage for Your ReelEdit Footage Into a ReelThis show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles.

What happens when a rock and roller decides to venture into clubland? Singer, songwriter and author Lias Saoudi, the charismatic frontman of the Fat White Family, joined me initially to explore this question. Lending his seductive, slinky and sleezy tonsils to techno supergroup, Decius:  their second album "Decius Volume 2: Splendor and Obedience,” absolutely pumps and you can see why they were picked to play at Berghain's 19th Birthday. The Fat White Family have a rep. As Lias says in our conversation, they were a band made up of some of the five worst people in England, yet I found him to be a charming, erudite gent. From the psychological chaos of band dynamics to the romanticized notion of the tortured artist, our conversation touches on the existential struggles of maintaining artistic integrity. Lias offers a raw and honest perspective on balancing creative freedom with the pressures of performance, sharing humorous anecdotes about societal expectations and generational quirks along the way.If you like the show and you havn‘t already, please give it a subscribe and consider leaving a rating and a review on Apple, Spotify, Amazon or wherever you listen. It all really helps build the show.Decius Vol. II (Splendour & Obedience), released 31st January 2025 on The Leaf LabelThe Moonlandingz — The Sign Of A Man, listen here.Follow me on Instagram at PaulhanfordLost and Sound is sponsored by Audio-TechnicaMy BBC World Service radio documentary “The man who smuggled punk rock across the Berlin Wall” is available now on BBC Sounds. Click here to listen.My book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culturet Capital is out now on Velocity Press. Click here to find out more. Lost and Sound title music by Thomas Giddins

Send us a textImagine transforming the art world with just a dash of augmented reality and a sprinkle of pop culture flair! Join me as I share my thrilling collaborations with creative powerhouses like Mike Sturdivant, the mastermind behind Rock Island Growth Specialists and the innovative Stark Flavor app—designed to boost local businesses. Mike and I have been working magic together by blending technology and art, bringing new dimensions to our creations. Also featured in this episode is Dave Sherrill from DaveRuinsArt, who adds a playful twist to thrifted pieces with his love for pop culture. From live painting sessions to crafting unique art with a tiny Japanese pencil set, these projects highlight the beauty of supporting and uplifting our vibrant creative community.Looking forward, I'm buzzing with excitement about our upcoming studio projects and classes. Every Thursday night in January, you'll find a welcoming space where creativity knows no bounds. Whether you're picking up crocheting, crafting vision boards, or diving into a DIY no-sew cardigan workshop, these sessions promise to inspire and connect. We're also gearing up to introduce you to a talented January artist whose innovative techniques could change the way you view art—and perhaps even fuel your own artistic journey. Plus, a heads-up about our holiday hours and a continuation of our online "Grabie art Advent Calendar." Stay tuned for more art, inspiration, and community connection!Mike's visit to Brewtifully Support the showCatch the doodles on YouTubeMy socials:Sign up for my monthly newsletterPortfolio website: Brewtifully.comInstagram: /BrewtifullyFacebook: /brewtifullyTikTok: GettingSmallwithGrandmaLinkedIn: Tracy Dawn Brewer

In this episode, we dive into the fascinating world of "biodata sonification," a technique that translates the bioelectrical signals of mushrooms into mesmerizing melodies.  Three artists are leading the scene in music with mushrooms. Hear how Tarun Nayar, Mycolyco and Matthewdavid are pushing the boundaries of music and inviting us to connect with nature on a deeper level.  Subscribe to our newsletter: https://theshroomgroove.com/registration/ Here are the links to the interviews we mention in this episode: Making Music with Mushrooms! The Story Behind My New Album 'Field Notes' Matthewdavid - Building Community as an Artist and Label | Syng Myco Lyco - Fungal Frequencies, Biodata Sonification & the Music of Mushrooms | Noah Kalos Here are links to the songs of the artists mentioned in this episode: Modern Biology - Mushroom Dance Two Minutes Of Chestnut Mushroom Singing: Fungal Biodata Sonification Matthewdavid - On Mushrooms EP —---- Follow us on Instagram and Facebook @TheShroomGroove Subscribe on YouTube @CraftTherapyNetwork Join us in this podcast episode as we explore the enchanting world of magic mushroom music. Discover how three artists use mushrooms to create captivating mushroom music, blending the mushrooms with their musical talents. We delve into the creative process of making music, resulting in unique mushroom music mixes, trippy mushroom music, and psychedelic mushroom music. This episode also covers the influence of nature sounds on song creation and the broader creative arts and industries. Whether you're curious about shroom music, magic mushroom meditation, or the creative economy, this conversation reveals the powerful connection between mushrooms and music, offering insights into the creative industry and the magic of nature clips.

Posted on YouTube June 14, 2024. Audio edited by Kiara Horowitz. Met Eli Harris at the Salt Lake Animation Expo and he is a professional in every sense of the word, nicknamed "The Image Maker" because of the inspiring passion that comes from his voice acting. His advice, tips, and experience were fun topics for discussion! From his LinkedIn bio: I am Eli Harris, an award winning actor and voice artist in the industry. I am also known as the outstandingly smooth and versatile voice of several brands which has earned me the title of “The Image Maker” in the entertainment industry. -- Originally, I am from Central Virginia (Lynchburg, Virginia) where I started my acting career at age 6 for the Cherry Tree players. After graduation, I joined the military as I live by the set of values of Loyalty, Duty, Respect, Selfless service, Honor, Integrity, and Personal courage. Only after the passing of my late mother in 1998, I decided to pursue my biggest passion in life that is the performing arts.

George K. Burns is a comedian, writer, and actor, who has appeared on E! Entertainment, FuboTV and TV One sitcom “Born Again Virgin”. He recently co-created,  co-wrote, and executive-produced a scripted comedy series for Audible titled Yes We Cannabis.  Born and raised in Tallahassee, FL, George once had dreams of playing professional basketball in the NBA. However, he decided the world wasn't ready for his talents and chose instead to earn a Doctor of Pharmacy degree. Inspired by friends and family who encouraged him to pursue stand-up, he quickly discovered a love for the stage. George is the hilarious, straight shooter you can bring to any dinner party. His unique perspective on personal life experiences, race, and society leaves audiences in hysterics, more open-minded, and with a new comedic best friend.  George is represented by Innovative Artists and Wonder Street Management. You can also find him on Twitter and Instagram @georgekburns. Listen to the conversation, get some good news, and have some laughs with the guys on Good Things Are Happening. Visit us on the web at https://www.goodthingspod.com/ Patreon: https://www.patreon.com/goodthingsarehappeningpodcast/

We are so thrilled to welcome rockstar Agent, Sasha Passero to Tipsy Casting! Sasha Passero is an alumna of Sarah Lawrence College, where she earned her Bachelor's Degree in Liberal Arts. Sasha began her career working in production and casting, and later worked at Killer Films and Innovative Artists. She is currently the VP of Talent at Independent Artist Group (formerly APA), where she represents artists of screen and stage. Outside of the entertainment industry, Sasha's greatest passion is animal welfare, and she volunteers with several dog rescue organizations.  In this episode we dive into: How she was brought up in the industry and how that led to becoming an agent Sasha's exciting award season run with client, Lily Gladstone and how they've grown together through their careers What does she look for when finding new talent Stories about how actors try to get on her radar and get her attention How IAG has changed with the merger and the ever changing industry post Covid and post strike What she is watching these days and all of our mutual love of Harry Potter Where she sees her career going and her hot take on the difference between agents and managers these days Her favorite and not so favorite things about her relationships with Agents and Casting Directors Resources: Sasha's Instagram Sasha's LinkedIn Sasha's IMDB ──────────────────────────── ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn More About ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Casting --- Send in a voice message: https://podcasters.spotify.com/pod/show/tipsycastingpodcast/message

Lina González-Granados is conducting LA Opera's “El Último Sueño de Frida y Diego.” She reflects on the show's themes of love and forgiveness, plus her journey to U.S. orchestras. OpenAI, the company that created Chat GPT, unexpectedly ousted its chief executive Sam Altman on Friday. By Monday, Microsoft had hired him to run a new research unit. “A federal appeals court heard oral arguments today over whether a lower court's gag order violates former President Trump's free speech rights. KCRW hears how the film, TV, and theater business is going for Bill Veloric, a talent agent with Innovative Artists, and Carmen Cubah, an Emmy Award-winning casting director.

Welcome to a special bonus episode of Decorating the Set: From Hollywood to Your Home with Beth Kushnick!  We're celebrating the premiere of Insidious: The Red Door, Beth's first horror film that she's worked on, with this special bonus episode of Decorating the Set! This week, Beth and Caroline sit down with Adam Reamer, the production designer on Insidious: The Red Door. Adam was a wonderful guest with great insight into what makes a memorable and scary horror film. Insidious: The Red Door, Rated PG-13, is out TODAY, ONLY in movie theaters! The Interview with Adam begins at Time Code: 6:39. GUEST BIO: ADAM REAMER Adam's recent filmography includes Insidious: The Red Door, James Ponsoldt's film Summering for Sony/Bleeker Street, Michael Mohan's film The Voyeurs for Amazon Studios, and Catherine Hardwicke's Don't Look Deeper. Adam got his degree in architecture at Penn State University where he also focused on sculpture and art history. In New York, he started as a set carpenter and scenic artist for the studio photography industry, later managing design and construction for advertising and editorial shoots, retail environments, and events. After relocating to the West Coast and a brief foray into design-build architecture and interiors, he returned to the industry as an episodic television set designer and art director. Since then he has accrued production design credits across a variety of formats and genres. He is an active member of the Art Director's Guild (IATSE 800) and is represented by Innovative Artists. Adam lives in Portland, Oregon when he is not sailing the waters of the Pacific Northwest, but also considers himself a Los Angeles local. Follow Adam and Insidious: The Red Door on Social Media: Instagram: @ajreamer | @insidiousmovie Adam's Website (https://www.reamerdesign.com/) Insidious: The Red Door Website (https://www.insidious.movie/) ### For over 35 years, Beth Kushnick has created character-driven settings for countless award-winning television series and feature films. As a Set Decorator, she's composed visuals that both capture and enhance any story. Now, she wants to help you capture and enhance YOUR story. Join Beth and her co-host, Caroline Daley, each week as they go behind the scenes of Hollywood's magic, and give you approachable, yet sophisticated tips to realize the space that best expresses who you are. ### Follow Beth Kushnick on Social Media:  Instagram: @bethkushnick Twitter: @bethkushnick Website: DecoratingTheSet.com  Follow Caroline Daley on Social Media: Twitter: @Tweet2Caroline Website: PodClubhouse.com ### Credits: "Giraffes" by Harrison Amer, licensed by Pod Clubhouse. This is an original production of Pod Clubhouse Productions, LLC. Produced, engineered and edited at Pod Clubhouse Studios. For more information, visit our Website.

Nick has been a talent agent, agency operator and media executive for 35 years, beginning his career in the William Morris mailroom in 1986.   Between 1987 and 1991, Nick worked as a talent agent for Innovative Artists. In 1991, Nick began at United Talent Agency, upon its inception. There, Nick served as Agent, Owner and Managing Director until 2008. During his tenure, Nick discovered and developed some of the most successful artists in the entertainment world, including Renee Zellweger, Ben Stiller, Jim Carey and many more. He also broke new ground as a deal maker. Nick is responsible for packaging some of the most successful movies, television shows, and Broadway plays, in history.   In 2008, Nick joined the Endeavor Agency where he served on the Senior Leadership Team and worked across the Endeavor Platform. He is one of the most successful and powerful people in Hollywood, that you've never heard about. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho A post-apocalyptic troubadour with a penchant for the sonically grotesque self-describes Jason Bieler singer, guitarist, and songwriter who is most famous for playing with metal band Saigon Kick. Jason Bieler and The Baron Von Bielski Orchestra's music has been described as Nordic Ambient Post-Classical Satanic Love Songs for Nomadic Peoples Living Above the Arctic Circle catering specifically for those who staff Musk Oxen Rescues and wear hemp-based sweaters. When aggressively prodded for comment The Baron says…"Well, Art is Art, isn't it? Still, on the other hand, water is water. And east is east, and west is west and if you take cranberries and stew them like applesauce, they taste much more like prunes than rhubarb does. Now you tell me what you know." Bieler's new album is called 'Postcards From The Asylum' by Jason Bieler and the Baron Von Bielski Orchestra, the follow up to 2021's critically acclaimed Songs For The Apocalypse. The New single "Heathens" is available now on SPOTIFY or APPLE MUSIC. You can preorder the new album at https://jasonbieler.bandcamp.com/album/postcards-from-the-asylum. PLEASE WELCOME singer, guitarist, and songwriter … JASON BIELER to Interviewing the Legends …   PREORDER Postcards From The Asylum by Jason Bieler And The Baron Von Bielski Orchestra AT https://jasonbieler.bandcamp.com/album/postcards-from-the-asylum The album is now available for pre-order from Bandcamp as a exclusive red double vinyl (limited to 250 copies) or as a CD (the first 250 copies will be signed): Writer, producer, raconteur, comedian, singer-songwriter, fashion icon and renown hand-model Jason Bieler and the Baron Von Bielski Orchestra has returned once again with Postcards From The Asylum, the follow up to 2021's critically acclaimed Songs For The Apocalypse. Postcards From The Asylum features a guest appearances by: •Andee Blacksugar: Blondie, KMFDM, Peter Murphy •Marco Minnemann: The Aristocrats •Todd  “Dammit” Kerns: Slash & The Conspirators, Toque •Edu Cominato: Geoff Tate, Soto •Ryo Okumoto: Spock's Beard, Progject and more Check out the new single "Heathens" now on SPOTIFY or APPLE MUSIC   POSTCARDS FROM THE ASYLUM   AN ECLECTIC AWE-INSPIRING BLEND OF PROFOUND ROCK HYMNS PERFORMED IMPECCABLY BY ACCOMPLISHED & INNOVATIVE ARTISTS. THE ALBUM HAS ALL THE ELEMENTS NEEDED FOR A GREAT ALBUM! A LEGENDARY ROCK OPERA/CONCEPT ALBUM IN THE MAKING! 5 stars By music journalist Ray Shasho   FOR MORE INFORMATION ABOUT JASON BIELER VISIT www.jasonbieler.com Official website www.instagram.com/jasonbieler Instagram www.facebook.com/jasonbielermusic Facebook https://twitter.com/jasonbieler Twitter www.youtube.com/user/jasonbieler YouTube https://jasonbieler.bandcamp.com/ Bandcamp   Discography With Saigon Kick Saigon Kick (1991) The Lizard (1992) Water (1993) Devil in the Details (1995) Moments from the Fringe (1998) Greatest Mrs.: The Best of Saigon Kick (1998) Bastards (2000) Greatest Hits Live (2000) With Super TransAtlantic Shuttlecock (2000) Solo Houston, We Have a Problem (1998) Where Dreams Go to Die (2018) Songs for the Apocalypse (2021) (released as Jason Bieler and The Baron Von Bielski Orchestra) Postcards from the Asylum (2023)   Support us!

In this episode, Helene Estes, Coordinator at MediaLink discusses the transition from training as an actor to working in a more traditional 9-5 role at Innovative Artists and later, at a bustling media and entertainment consulting agency. Estes joins Media x Women host, Sonia Case, to share insights into how she makes use of her acting skills to be able to manage time efficiently and build a strong work life balance. Tune in for her tips on navigating a new career path and adapting to a change in work and lifestyle. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/media-x-women/support

Aggie continues her interview with Innovative Artists Talent Agent Barbara Coleman. Barbara has been a talent agent representing young talent for over 40 years. She and her team currently represent children and teens at Innovative Artists, for commercials, voiceovers, animation, television, film, and theatre. Through her many years of experience, Barbara has become extremely well-versed in the rules and regulations established to protect children in the industry. She is often consulted by producers and casting directors to ensure their projects are in accordance with guidelines.

Aggie interviews Innovative Artists Talent Agent Barbara Coleman. Barbara has been a talent agent representing young talent for over 40 years. She and her team currently represent children and teens at Innovative Artists, for commercials, voiceovers, animation, television, film, and theatre. Through her many years of experience, Barbara has become extremely well-versed in the rules and regulations established to protect children in the industry. She is often consulted by producers and casting directors to ensure their projects are in accordance with guidelines.

The Legends Of S.H.I.E.L.D. Producer of the show Director SP, Agent Lauren, and Consultant Chris discuss the Disney+ What If…? season one episode “What If Zombies?” The Team debriefs you National Amersand Day, their thoughts about Zombies in Marvel, their opinions on the voice over cast review and discussion, which Avengers that possibly survived, the first MCU Uncle Ben mention, their speculation on who should play Uncle Ben in the MCU, their confusion over the episode ending, what the Tentacle Monster might be, a potential series team-up, and some weekly Marvel news discussion. Stay tuned after the credits for a few minutes of Legends Of S.H.I.E.L.D. bonus audio.   THIS TIME ON LEGENDS OF S.H.I.E.L.D.:   What If…Zombies? From the Disney+ Marvel series What If (S1E5) Weekly Marvel News Shang Chi and the Legend of the Ten Rings Box Office Results How the Scarlett Johanson Lawsuit affected the Russo Brothers Where you can see a former Runaways actor next   WHAT IF…? “WHAT IF … ZOMBIES?” [5:00]   S1E5 “What If … Zombies?”   “What If … Zombies?” premiered on Disney+ on Wednesday September 9th, 2021.   Series Directed By: Bryan Andrews https://www.imdb.com/name/nm1635535/?ref_=ttfc_fc_dr1 3 directing credits starting 1999 3x Men In Black: The Series 5x Jackie Chan Adventures 5x What If Also a Storyboard Artist with 41 credit And a Writer with 9 total credits   Head Writer: A.C. Bradley (Creator and Showrunner) https://www.imdb.com/name/nm5642271/?ref_=tt_cl_wr_1  5 writing credits starting 2005 1x Arrow 28x Trollhunters: Tales of Arcadia 38x 3Below: Tales of Arcadia 9x What If   Story Editor: Mathew Chauncy https://www.imdb.com/name/nm10508309/?ref_=ttfc_fc_wr3#writer 2 Writer Credits starting in 2018 16x 3Below: Tales Of Arcadia 9x What If…? (Including writing credit for this episode)   Showrunner: A.C. Bradley   Jeffrey Wright                     ... The Watcher (voice) 9 episodes Westworld The Hunger Games Casino Royale Quantum Of Solace Mark Ruffalo                                     ...         Bruce Banner / Hulk Windtalkers 13 Going on 30 Rumor Has It… Date Night Now You See Me Now You See Me 2 Chadwick Boseman                         ...         Black Panther (4 episodes) Lincoln Heights 42 Marshall Get On Up Paul Bettany                                     …          Vision A Knight's Tale Kiss Kiss Bang Bang A Beautiful Mind Master and Commander: The Far Side of the World The Da Vinci Code Legion Margin Call Sebastian Stan                         ...         Bucky Barnes / Winter Soldier (voice) Hot Tub Time Machine The Martian The Future Luke Skywalker Evangeline Lilly                         ...         Hope Van Dyne / Wasp The Hurt Locker Lost (TV Series) Real Steel The Hobbit: The Desolation of Smaug The Hobbit: The Battle of the Five Armies Paul Rudd                                     ...         Scott Lang / Ant-Man  The Object of My Affection Wet Hot American Summer Friends (TV Series) Anchorman: The Legend of Ron Burgundy The 40-Year-Old Virgin Night at the Museum Knocked Up Forgetting Sarah Marshall I Love You, Man Wanderlust The Perks of Being a Wallflower This Is 40 Anchorman 2: The Legend Continues Jon Favreau ...         Happy Hogan / Zombie Happy Batman Forever Friends (TV Series) Deep Impact The Replacements Elf The Break-Up G-Force John Carter Star Wars: The Clone Wars (TV Series) The Jungle Book Solo: A Star Wars Story The Mandalorian (TV Series) Danai Gurira                                                 ...         Okoye (1 episode) The Walking Dead Emily VanCamp ...         Sharon Carter Brothers & Sisters (TV Series) Revenge (TV Series) The Resident (TV Series) SP's Marvel On Screen Crush David Dastmalchian                         ...         Kurt  12 Monkeys (TV Series) Gotham (TV Series) Twin Peaks (TV Series) Blade Runner 2049 Jay and Silent Bob Reboot MacGyver (TV Series) Dune Hudson Thames             ...         Peter Parker / Spider-Man Mad Men (TV Series) I Think You Should Leave with Tim Robinson (TV Series) Malibu Country (TV Series) The Secret Life of the American Teenager (TV Series) Tom Vaughan-Lawlor             ...         Ebony Maw  Becoming Jane The Infiltrator Josh Keaton                                     ...         Steve Rogers / Captain America Dr Quinn Medicine Woman Boy Meets World Enough Video Game and Animation Voice Over titles to cover the state of Texas   NEWS [41:20]   TOP NEWS STORY OF THE WEEK   Shang Chi and the Legend of the Ten Rings is scheduled to premiere on September 3rd, 2021.   Eternals is scheduled to premiere on November 5th, 2021.    Hawkeye is scheduled to premiere on November 24th, 2021. There will be 6 episodes … I think.    Ms Marvel is supposed to premiere late in 2021 on Disney+ but no date has been announced.    Spider-Man: No Way Home is scheduled to premiere on December 17th, 2021.   Moon Knight is supposed to premiere late in 2022 on Disney+ but no date has been announced.    She-Hulk is supposed to premiere late in 2022 on Disney+ but no date has been announced.    Doctor Strange in the Multiverse of Madness (Mar 25th 2022?)   Secret Invasion is in development for release on Disney+ but no date has been announced.    Ironheart is in development for release on Disney+ but no date has been announced.    Thor: Love and Thunder (May 6th, 2022)   Armor Wars  is in development for release on Disney+ but no date has been announced.    I Am Groot is in development for release on Disney+ but no date has been announced. I've heard this will be a holiday special.   Black Panther: Wakanda Forever (July 8th, 2022)   Echo is in development for release on Disney+ but no date has been announced.    An untitled Wakanda series is in development for release on Disney+ but no date has been announced.    The Marvels (November 11th, 2022)   Also, we know there will be a Loki season two at some point.   Ant-Man and the Wasp: Quantumania (February 17th, 2023)   Guardians of the Galaxy Vol. 3 (May 5th, 2023)   Fantastic Four  (???)   MCU – MARVEL STUDIOS   Box Office: ‘Shang-Chi' Dazzles With Mighty $71.4 Million Opening Weekend https://variety.com/2021/film/news/shang-chi-marvel-box-office-opening-weekend-simu-liu-1235056782/     Natalie Portman on Summer Reading, Britney Spears, and the Scent of Love https://www.vanityfair.com/style/2021/08/natalie-portman-miss-dior-eau-de-parfum   Some behind-the-scenes glimpses of Thor have made the rounds online. What kind of training have you undergone for the role?    It was really fun. I worked with a trainer, Naomi Pendergast, for, I think it was, four months before shooting, and then obviously all the way through filming. We did a lot of weight training and a lot of protein shakes—heavyweight training that I haven't ever done before. Of course, I've never really aimed to get bulky. It was very physical, so it was a lot of both agility work and also strength work.   How Disney and Scarlett Johansson Reached the Point of No Return https://www.wsj.com/articles/how-disney-and-scarlett-johansson-reached-the-point-of-no-return-11630688765   The Disney/Johansson Schism Reportedly Soured a New Russo Bros/Marvel Deal https://www.cbr.com/disney-johansson-soured-russo-bros-marvel-movie-deal/   According to The Wall Street Journal, Anthony and Joe Russo "hit an impasse" in their negotiations to helm another MCU film after word broke that Johansson is suing Disney for releasing Black Widow day and date in theaters and on Disney+ Premier Access without re-negotiating her original contract, which stipulated the film would open exclusively in theaters. The Russo Bros. are now said to be wary of signing a new deal until they have a clear idea of how their next MCU movie would be distributed, as well as how the duo's payment would be handled.   The Russo Brothers have directed four Marvel Studios films so far, beginning with 2014's Captain America: The Winter Soldier and continuing on to Captain America: Civil War in 2016, Avengers: Infinity War in 2018 and Avengers: Endgame in 2019. All four movies were critical and box office hits, with Endgame becoming the highest-grossing film of all time (not adjusted for inflation in ticket prices) until Avatar's re-release in China in March. The Russos have since turned their attention to directing the Apple TV+ drama Cherry and Netflix's action movie The Gray Man while leaving the door open for their return to the MCU in the future.   ‘Blade' Director Bassam Tariq Teases MCU Vision: ‘We Can't Deny What Wesley Snipes Did' https://www.indiewire.com/2021/09/blade-director-bassam-tariq-mahershala-ali-mcu-1234662337/   “What's exciting about the film that we're making is [there] hasn't been a canon for ‘Blade,' as we're reading through the comics and everything,” said Tariq. “Him being a daywalker is the one thing that's been established, and you know we can't deny what Wesley Snipes did, which was he basically got this whole ball rolling. A Black man created the superhero world that we're in, that's just the truth. For me to now be working with somebody as talented and a juggernaut as Mahershala Ali, and the writer Stacy Osei-Kuffour, I'm just so — I'm so honored to be working with real Black juggernauts and Black talent. For me to just be with them in this room and listen and learn as I build this out, it's really an honor.”   Disney+   How Egyptian Filmmaker Mohamed Diab Went From Cairo to Marvel (Via Palestine) https://www.hollywoodreporter.com/movies/movie-features/egyptian-helmer-mohamed-diab-marvel-moon-knight-series-1235007788/   “Definitely, when you see this you will not recognize that it's me directing it,” he says. “But I'm so proud of it. I always love to have a new challenge.”   “My movies are hard, serious and about big topics, and I feel strongly that Moon Knight is going to be like that — it's going to be entertainment but also heavy,” he says. “At the same time, we're being so creative with the jokes and with the action. As I keep saying to my wife: I can't believe I'm funny in another language!”   HULU Series   ‘Star Trek: Picard': Annie Wersching To Recur As Borg Queen For Season 2 Of Paramount+ Series https://deadline.com/2021/09/star-trek-picard-annie-wersching-recurring-for-season-2-1234826556/   Runaways alum Annie Wersching will join the Season 2 cast of Paramount+'s and CBS Studios' Star Trek: Picard.    Wersching will recur as the Borg Queen. Alice Krige played the Borg Queen in Star Trek: First Contact and VOY: Endgame. Susanna Thompson also took on the character in Star Trek: Voyager.   In addition to Bosch and Runaways, Wersching's credits include The Rookie, Timeless, The Vampire Diaries, Castle, Dallas and 24. She is repped by Innovative Artists.   OUTRO [57:44]   We would love to hear back from you! Call the voicemail line at 1-844-THE-BUS1 or 844-843-2871.                    Join Legends Of S.H.I.E.L.D. next time as the hosts discuss the SIXTH episode of What If…? You can listen in live when we record Thursday Evenings at 8:00 PM Eastern time at Geeks.live. Contact Info: Please see http://www.legendsofshield.com for all of our contact information or call our voicemail line at 1-844-THE-BUS1 or 844-843-2871   Legends Of S.H.I.E.L.D. Is a Proud Member Of The GonnaGeek Network (gonnageek.com).   This podcast was recorded on Thursday September 9th, 2021.   Standby for your S.H.I.E.L.D. debriefing ---   Audio and Video Production by Stargate Pioneer of GonnaGeek.com.

Brian and I originally chatted on my other podcast, Relate with Patrick McAndrew, and after that conversation I knew I wanted to have him on Actorcast. Brian is an expert on the entertainment industry and particularly on the business side of acting. In this episode,  we discuss why actors must develop a business vocabulary for their business, how to develop relationships with agents and managers, and how actors can find success through connecting with various players in the industry.Brian is the author of Acting As a Business: Strategies for Success, Fifth Edition, published by Random House, currently in its 40th printing. Acting As a Business is now considered such a vital resource that it recently won a spot on Entertainment Weekly Magazine's exclusive list of Top Ten "Show-Biz Industry Bibles." Brian is also the author of the book Actors Take Action: A Career Guide for the Competitive Actor. Brian created the advice column "Actor's Cues and A's" for Back Stage, and his books are required or recommended reading in many conservatory training programs, including Yale and Juilliard. Brian is the country's foremost lecturer on self-marketing techniques for actors. He lives in New York City and works with actors at all stages of their careers. Since 2010 alone, actors who have worked with Brian have become the stars of major motion pictures (Star Wars: The Last Jedi, Inside Llewyn Davis, Robin Hood, Drive, and the Columbia Pictures release Great Hope Springs with Meryl Streep); been the recipients of Emmys and a Golden Globe (The Big Bang Theory); have become the stars of such television series as: Netflix's Sense8, Orange Is The New Black, HBO's True Blood, Charlie Sheen's Anger Management, Stargate Universe, and Outsourced. Also in the recent past, Brian's clients have landed leading and supporting roles in such Broadway productions as Frozen, the eight-time Tony Award winning Once, the five-time Tony winner Peter and the Starcatcher, Ching-lish, Al Pacino's The Merchant of Venice, Robin Williams's Bengal Tiger, American Idiot, Enron and Next Fall. Actors who have worked with Brian have later signed with agencies including: Creative Artists Agency (CAA), William Morris/Endeavor, ICM, Paradigm, Gersh, Innovative Artists, Abrams Artists, Don Buchwald & Associates and many others.To learn more about Brian, head to http://www.actingasabusiness.comSign up for the Actorcast Newsletter at Actorcast and join our membership to gain access to exclusive content at Become an Actorcast Premium Member | Actorcast. 

Dustin Plantholt’s “Life’s Tough—YOU CAN BE TOUGHER!” podcast this week features Stephen Shamus, President and co-founder of ACE Universe—foremost producers of immersive and experiential events that bring together top-name Film and TV celebrity talent, professional Illustrators & Writers, Award-Winning Designers, Gaming, Cosplay, Comic Books and top-notch daytime & evening Q&A and instructional Programming. Collecting has always been in Stephen’s blood. From a young age, he would store and treasure anything he could get his hands on—comic books, sports collector/trading cards, comic art, and memorabilia. His passion is infectious, and his expertise and understanding of the material is extensive and widely respected. In the early 1990’s, Stephen was CMO of Wizard, co-founded the world’s leading magazine covering comic books, toys, games, and animation, along with many specialty books. By the mid-90’s Wizard then acquired and launched its first of many live events including the Chicago Comic Con. This began Stephen’s 20+ year career of producing over 175 Comic Con festivals across North America—booking over 3,000 celebrities, tens of thousands of artists, and playing host to millions of ecstatic and satisfied fans. Stephen co-founded ACE Universe in Sept 2017 and has spearheaded the company’s growth and influence, reaching premier status in the comic-based experiential events production industry. Stephen works with all the major talent agencies and managers, including WME, CAA, UTA, ICM, APA, Innovative Artists, and Gersh. He is the premier talent booker of the biggest and most significant celebrities in the industry, including what is considered the greatest Comic Con lineup ever, which saw nine of Marvels’ The Avengers. His most recent celebrity bookings include Gal Gadot, Brie Larson, Henry Cavill, Chris Evans, Chris Hemsworth, Tom Holland, Jake Gyllenhaal, Zoe Saldana, Elizabeth Olsen, Tom Hiddleston, Tessa Thompson, Kit Harington, Don Cheadle, Josh Brolin, Michael Fassbender, Anthony Mackie, Sebastian Stan, Zazie Beetz, Tye Sheridan, Tom Ellis, Lee Pace and more!! Stephen recently created a talk-show style podcast called “Take a Break with Stephen” that features collectibles and airs on the ACE Universe podcast network. He is also the co-creator of several ingenious and ubiquitous collectible products, including those related to Autographed Comic Books, Lithographs and Photographs. These products are used on most occasions where special handling is required when comic books are being signed by the illustrators, writers, or celebrities. Join Dustin and Stephen for a delightful and lighthearted conversation to hear about his fun and unique universe and what makes “Superheroes Tougher!” and the legions of fans that adore them.

Brian O'Neil, acting coach and author of "Acting as a Business: Strategies for Success," joins us for episode 128 of Relate! In this podcast, we discuss the importance of developing a personal career and why it's crucial to show the world your credibility. Brian shares his experience working in the entertainment industry and why we must take a long-term view and see the big picture. He also talks about why we must study with good people in order to elevate our careers. Be sure to check out Brian's work at http://www.actingasabusiness.com/ Brian is the author of Acting As a Business: Strategies for Success, Fifth Edition, published by Random House, currently in its 40th printing. Acting As a Business is now considered such a vital resource that it recently won a spot on Entertainment Weekly Magazine's exclusive list of Top Ten "Show-Biz Industry Bibles." Brian is also the author of the book Actors Take Action: A Career Guide for the Competitive Actor. Brian created the advice column "Actor's Cues and A's" for Back Stage, and his books are required or recommended reading in many conservatory training programs, including Yale and Juilliard. Brian is the country's foremost lecturer on self-marketing techniques for actors. He lives in New York City and works with actors at all stages of their careers. Since 2010 alone, actors who have worked with Brian have become the stars of major motion pictures (Star Wars: The Last Jedi, Inside Llewyn Davis, Robin Hood, Drive, and the Columbia Pictures release Great Hope Springs with Meryl Streep); been the recipients of Emmys and a Golden Globe (The Big Bang Theory); have become the stars of such television series as: Netflix's Sense8, Orange Is The New Black, HBO's True Blood, Charlie Sheen's Anger Management, Stargate Universe, and Outsourced. Also in the recent past, Brian's clients have landed leading and supporting roles in such Broadway productions as Frozen, the eight-time Tony Award winning Once, the five-time Tony winner Peter and the Starcatcher, Ching-lish, Al Pacino's The Merchant of Venice, Robin Williams's Bengal Tiger, American Idiot, Enron and Next Fall. Actors who have worked with Brian have later signed with agencies including: Creative Artists Agency (CAA), William Morris/Endeavor, ICM, Paradigm, Gersh, Innovative Artists, Abrams Artists, Don Buchwald & Associates and many others. --- Send in a voice message: https://anchor.fm/relate-patrick-mcandrew/message Support this podcast: https://anchor.fm/relate-patrick-mcandrew/support

Join my conversation with Emily Rabinowitz! In her long career in the entertainment industry, she has worked as an agent for power houses of the business such as William Morris and Innovative Artists. She also ran her own agency, Rabinowitz Talent Agency, before starting her own acting school and working as a District Supervisor to help fine arts students become professionals in the entertainment industry. What does an agent do? What do they look for in talent? When should performers get representation? How do you maintain a good relationship with your reps? Let’s dive into today’s episode to find out … ROLL SOUND!...ENTER TO WIN! For a chance to win the book How to Book Acting Jobs in TV and Film the 3rd Edition by Cathy Reinking, email your questions regarding career advice or whatever has popped into your brain to: stealingcenterstage@gmail.comMy favorite questions will be answered in the Q&A finale and my absolute favorite will take home the prize! ...Podcast Instagram: @stealing_center_stageMaisie’s Instagram: @maisie_merlock

LEO ASH EVENS is a Pittsburgh born and bred actor with a BFA from Carnegie Mellon University. Upon signing with his legit agents, CGF Talent defined him as "an enigma". A dynamic song and dance man as well as voice-over artist, signing with Innovative Artists in 2012, Leo enagages his sexy rasp for both rock ’n roll and commercial voice-overs. Currently, he is the voice of Siemens Technology. In his 10th year with MTCA (Musical Theatre College Auditions), Leo has evolved from monologue coach to Assistant Director and is now a proud Co-Director and Co-Owner of the team with partners Ellen Lettrich (Founder), and Charlie Murphy. Leo loves guiding his students to trust their own work and their process, finding the right program and positioning themselves for success in the professional world. Broadway credits: Jesus Christ Superstar (debut); Shuffle Along…(standby for Brooks Ashmanskas, and later taking over the role) directed by George C. Wolfe, choreographed by Savion Glover; and the vacation swing for School of Rock, where he channeled a touch of David Bowie, Rod Stewart, and Jem of Jem and the Holograms in his spiky blonde wig. Leo's proudest role to date is the Emcee in Cabaret, winning Best Actor in the Houston Excellence Awards while performing at Houston TUTS. Leo later reprised his role at The Arvada Center in Denver, Colorado.  It's the gritty roles that really ignite him.  And in a close second place - playing the deliciously deplorable Black Stache in Peter and the Starcatcher. Leo’s had the honor of working with theatre legends Chita Rivera, Patti LuPone, Shirley Jones, and Audra McDonald. He treasured the world premiere play, Somewhere, starring Priscilla Lopez, at The Old Globe in San Diego, in which he originated the role of Jamie McRea. Off-Broadway, Leo originated roles in two premiere plays which have since successfully been published.  Bobby in Finks by Joe Gilford and Pluto in Jasper in Deadland by Hunter Foster and Ryan Scott Oliver. Leo played Riff in West Side Story several times: for Alan Johnson (50th Anniversary Tour); Joey McNeely (London); as well as for Joshua Bergasse (Gypsy of The Year, Recording Academy Honors, Barrington Stage, and North Carolina Theatre).  He is thrilled to be part of this legacy and pass it on through educational workshops. Maybe he'll even try his hand at directing it one day... Showbiz highlight:  In 2016, Leo met his idol, The Great Lady of Comedy - Carol Burnett, after her show at The Beacon Theatre in NYC.  Inspired by her hilarious, honest, and wry characters, he always admires her compassionate way of sharing herself with her audiences. Leo is the proud son of Earl and Amy, brother of Sarah, and Uncle of Violet! (He's gonna post some Instagram duos of himself and Violet soon - she'll steal your heart!) He gleaned his green thumb from his parents, and hence, time with his house plants, the community garden, and lush walks in Central Park near his apartment on the Upper West Side are a must! Someday soon, Leo wants to adopt a Wheaten Terrier. Follow @leoashevens --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/confessionsofanactress/message Support this podcast: https://anchor.fm/confessionsofanactress/support

Topher Osborn is an LA based [local 600] cinematographer working domestically and abroad. While a large part of his work is in commercials, his most recent feature work includes Bad Hair (sundance 2020) directed by Justin Simien. Recent series work includes Flipped - season 1(Quibi), Dear White People - season 3 (Netflix) and A Black Lady Sketch Show - season 1 (HBO). Previous feature films include Dear White People (Lionsgate) which won the breakthrough talent award at Sundance 2014 and Netflix’s Candy Jar which stars Hellen Hunt and Christina Hendricks. One of the most challenging projects he has worked on to date was the documentary film An African Election for which he spent 4 months shooting in Ghana. It was a life changing experience for him, It premiered at Sundance (2011) and was nominated for best documentary at the independent spirit awards. Topher studied cinematography at ucla’s MFA film production program. He loves this medium and hopes to continue to serve the unique stories of talented filmmakers for years to come. When not on set he can be found riding a bicycle either in LA or abroad. representation: Innovative Artists commercial: lauren.zak@iala.com / 310.656.5185 feature + tv: craig.mizrahi@iala.com / 310.656.5157 feature + tv: debbie.haeusler@iala.com / 310.656.5152 or just say hi: topher.osborn@gmail.com If you liked this podcast, shoot me an e-mail at filmmakingconversations@mail.com Also, you can check out my documentary The People of Brixton, on Kwelitv here: www.kweli.tv/programs/the-peopl…xton?autoplay=true Damien Swaby Social Media Links: Instagram www.instagram.com/damien_swaby_video_producer/ Twitter twitter.com/DamienSwaby?ref_src…erp%7Ctwgr%5Eauthor Facebook www.facebook.com/Damien-Swaby-213805135363397

Topher Osborn is an LA based [local 600] cinematographer working domestically and abroad. While a large part of his work is in commercials, his most recent feature work includes Bad Hair (sundance 2020) directed by Justin Simien. Recent series work includes Flipped - season 1(Quibi), Dear White People - season 3 (Netflix) and A Black Lady Sketch Show - season 1 (HBO). Previous feature films include Dear White People (Lionsgate) which won the breakthrough talent award at Sundance 2014 and Netflix's Candy Jar which stars Hellen Hunt and Christina Hendricks. One of the most challenging projects he has worked on to date was the documentary film An African Election for which he spent 4 months shooting in Ghana. It was a life changing experience for him, It premiered at Sundance (2011) and was nominated for best documentary at the independent spirit awards. Topher studied cinematography at ucla's MFA film production program. He loves this medium and hopes to continue to serve the unique stories of talented filmmakers for years to come. When not on set he can be found riding a bicycle either in LA or abroad.representation: Innovative Artists commercial: lauren.zak@iala.com / 310.656.5185feature + tv: craig.mizrahi@iala.com / 310.656.5157feature + tv: debbie.haeusler@iala.com / 310.656.5152or just say hi: topher.osborn@gmail.comIf you liked this podcast, shoot me an e-mail at filmmakingconversations@mail.comAlso, you can check out my documentary The People of Brixton, on Kwelitv here: www.kweli.tv/programs/the-peopl…xton?autoplay=trueDamien Swaby Social Media Links:Instagram www.instagram.com/damien_swaby_video_producer/Twittertwitter.com/DamienSwaby?ref_src…erp%7Ctwgr%5EauthorFacebookwww.facebook.com/Damien-Swaby-213805135363397

In our recent BGB class, “The Business of Acting,” Risa had the opportunity to sit down with Josiah Akinyele, an agent at Innovative Artists. Listen in as they discuss the agent/client relationship, how to “make it,”along with Josiah's unique journey from a challenging upbringing in Africa and the U.S.- to working at Banana Republic- to discovering his path and passion as a Hollywood agent. Josiah talks about what he needs from his clients (and potential clients), why the Industry is more competitive than ever right now, and what it takes for actors to be seen and find real success in our business.Explore these related BGB resources and take your craft and career to the next level!Episode 7: How To Get An AgentEpisode 3: Getting Right With Self-TapesBlog: In Defense Of Your AgentBlog: Your Agent Isn't Your MotherDo the work necessary to move your career and craft to the next level. Jump into one of our career-changing CLASSES!----We are offering CAREER + LIFE DESIGN COACHING (find out more + add promo code PODCAST in your APPLICATION for a 10% discount!)----MORE ON RISA        MORE ON STEVEFor more episodes and info, visit us online at bramongarciabraun.com/the-acting-podcast. And meet us on Instagram and other social spaces where we hang out — with tons more great advice, inspiration, and Industry intel. @BGBStudio on IG + Twitter. @theBGBStudio on FB.

This week on the Pike Place Podcast , Jerry and Bob CELEBRATE a  MARKET COMMUNITY as DIVERSE as the COUNTRY we LIVE IN! Look Back on the 1ST Year of the PIKE PLACE PODCAST with SEATTLE ICONS , MARKET LEGENDS, INNOVATIVE ARTISTS, a couple of PASSIONATE MARKET CHARACTERS and a BIRD BRAIN BUSKER! KOOKY MAN! HAPPY FOURTH of JULY………………………………………. LETS LISTEN . . . . . Listen to the show on iTunes! - https://itunes.apple.com/…/podcast/pike-place…/id1409485412… Listen to the show on Spotify!https://open.spotify.com/show/4nFeamWZL6UVloCgxuSCxi… If you enjoy the show, please consider supporting us on Patreon! https://www.patreon.com/pikeplacepodcast Pike Place Podcast would like to thank our Sponsors! Pike Place Chowder www.pikeplacechowder.com Honest Biscuits www.honestbiscuits.com The “Truffle Queen”, La Buona Tavola www.trufflequeen.com Sosio's FRUIT and PRODUCE, Inc. www.sosiosproduce.com Friends of The Market www.friendsofthemarket.net And a big shout out to The Market Foundation and The Market Commons for continuing support and inspiration http://pikeplacemarketfoundation.org/

Nancy Nigrosh, former head of the Gersh Agency's literary department and team member at Innovative Artists has worked in Hollywood since the 70s, and has re-defined her self many times over the course of her incredible career. She discusses working with Martin Scorsese on Mean Streets, re-building after a divorce, and spending her 40th Birthday celebrating the Million dollar sale of a script. She graciously discusses her goal of experiencing aging using the philosophy behind Wabi-Sabi, the Japanese aesthetic centered on transience and imperfection. 

Tamra Goins is one of comedy's most powerful players titled the Head of Comedy at Innovative Artists in LA. This is her first podcast and she holds nothing back in this business masterclass all comics should hear. Takes notes and share the knowledge. **Must Hear Moments:** * Top comic business mistakes * Getting a business LLC * Why or why not you need an agent * When it's time to get an agent * The difference between agents and managers * How to tape a TV reel * Creating your goals in comedy * The value of social media followers * The value of living in LA instead of your hometown * Being more than just funny in show business **Quotable Quotes:** "The agent relationship is very transactional. A manager's relationship is more strategy" (7.30) "It's not just about how many followers you have but how much engagement does each post get?" (11.20) "Living in LA provides more valuable networking opportunities to happen that your hometown cant's provide." (12.50) "Make sure if you don't have a website, your facebook page has all your information." (20.25) "There's more things to just being funny. You have to bring the business too. It's show business." (22.05) **_** **IF YOU'RE INTERESTED IN STARTING YOUR OWN PODCAST WITH JOEL ONLINE, JOIN HIS ONLINE PODCASTING COURSE HERE:** [https://www.udemy.com/howtostartapodcast/](https://www.udemy.com/howtostartapodcast/) **GET $10 OFF WITH COUPON CODE: HOTBREATHPOD** * * * Joel's Website: [http://www.JoelByarsComedy.com/](http://www.JoelByarsComedy.com/) Get Joel's Comedy Writing Book: [https://ComicsPlaybook.com/product/finding-your-funny/](https://ComicsPlaybook.com/product/finding-your-funny/) Joel's Comedy Class: [https://www.highwirecomedy.com/classes/stand-up/](https://www.highwirecomedy.com/classes/stand-up/) Join Joel's Email List: [http://eepurl.com/bRcmHr](http://eepurl.com/bRcmHr) * * * If you haven’t done so already, please take a minute and leave a quick rating and review of the show on Apple Podcast by clicking on the link below. It will help us to keep sharing comedy mastery to you every week! [Click Here to Subscribe via Apple Podcast](https://itunes.apple.com/us/podcast/hot-breath-podcast/id1023241336?mt=2) [Click Here to Subscribe via Spotify](https://open.spotify.com/show/4bHWj6UDCdywTnDdmMtECl) Innovative Comedy Website: [http://www.innovativecomedy.com/](http://www.innovativecomedy.com/)

In this episode of live coaching, I had the wonderful opportunity to sit down with someone who has had massive success in her career. I’ve had the surprise of my life discovering that her niche actually really does exist. I assure you guys that you’d be amazed by the discovery as you listen through today’s episode as well.   Now, our guest was in on an exciting discovery as well by the success of something that she just started doing and just seeing if it would work. She’s been astounded with the amount of success she’s had and so quickly. However, having that success so quickly, while it’s a feat for most entrepreneurs, it can also be a source of stress. Our guest is used to just doing thing on her own so she struggles with things from how to build a team, to scaling her business, finding the right person for the job, and the list goes on. We’re going to narrow it down for her into actionable bits and pieces for an effective execution all the while ensuring that she stays at the top of it all, and at the same time, focused on what she does best.   About Carolyn Carpenter Carolyn J Carpenter is the host and cofounder of Hollywood Gatekeepers, an online system to educate and create quality readers for Hollywood. She is the host of the Hollywood Gatekeepers Podcast as well as the coauthor of What a Reader Writes available soon on Amazon. Carolyn has served as a Story Analyst for people and companies such as James Cameron (AVATAR), Richard Dreyfuss (MR. HOLLAND’S OPUS), Village Roadshow (AMERICAN SNIPER, SULLY), Phoenix Pictures (ZODIAC, BLACK SWAN), Inferno Films (YOUNG GUNS), Constantin Films (SE7EN, TRAFFIC), Rhythm and Hues (X-MEN, BABE), agencies such as Innovative Artists, as well as the Sundance Institute, the CBS Diversity Program, and the Academy of Motion Pictures Nicholl Fellowship. She has served as a guest speaker on panels with the Newport Beach Film Festival, Writers Association and Writer’s Network among others. Carolyn is also an entrepreneur, producer, writer and actor. She is the Executive Director and founding partner of Neo Ensemble Theatre, the co-founder/creator of the award winning mega hit MABLE’S 6 Feet Under Haunted House recently featured on NBC’s FIRST LOOK. She co-wrote, directed and produced instructional line dance videos, selling over a million copies. She co-wrote, produced and co-directed two short films starring Oscar winner JK Simmons (WHIPLASH). Her plays RANDOM WOMEN, MUTE, THREE LITTLE WORDS, ILLUSIONS, WRETCHED, ENIGMA, HUES, and MISNOMER have been produced multiple times in and around Hollywood. Her book of scenes and monologues, RANDOM WOMEN is now available on Amazon. She has acted in projects and produced events with JK Simmons (WHIPLASH), Patrick Warburton (GET SMART) Anthony Geary (GENERAL HOSPITAL) Shirley Jones (PARTRIDGE FAMILY), Florence Henderson (BRADY BUNCH), Gavin Macleod (LOVE BOAT), and Lily Tomlin, among others. Carolyn received a “Most Inspirational” award in high school and never turned back. All of her projects are part of a bigger picture to inspire passion and play in people’s lives. Carolyn’s Top 5 StrengthsFinder Themes:   Strategic Achiever Maximizer Ideation Futuristic     Key Takeaways Having people that both lift me and rein me in, that’s really important. There are skills that we do and that we excel at but what we excel at, skillswise, isn’t necessarily what drives our energy. When you have something that you love and then you make a business out  of it, sometimes that can destroy the love part. Your education, skills, and life experiences are never, ever wasted. The question is how can you use that to move forward? Time-Stamped Show Highlights [01:03] An impressive intro for an even more impressive person. [03:39] How did Carolyn find herself in the midst of Hollywood? [07:03] Discovering that thing called ‘reader’ and what it’s about.“I discovered this was a thing and immediately was drawn to it.” [12:28] Carolyn shares how she keeps her focus while juggling multiple other things.“It’s definitely a challenge. I talk to myself a lot, maybe that’s the key.” [14:11] Carolyn’s top five StrengthsFinder themes. [22:10] One of the things that Hollywood Gatekeepers focus on.“We’re trying to really get people to look at their whole picture as a whole person, not just as this part of their job.” [25:44] Shifting the conversation to the challenge Carolyn is facing.“I want people to flourish on their own.” [28:30] Point-by-point, funneling down how Carolyn’s challenges can be dealt with. [34:00] Alissa lays out further options to resolve our guest’s business challenges.“If you look at it that way, it doesn’t feel like we're pushing task off on to minions.” [40:21] Podcast recommendation of the week! Selected Links for This Episode Hollywood Gatekeepers Hollywood Gatekeepers Facebook Page Hollywood Gatekeepers Facebook Group Connect with Carolyn on LinkedIn The 5 Love Languages by Gary Chapman Podcast of the Week: EOFire with JLD Frickin’ Awesome Resources Frickin’ Awesome Entrepreneurs Facebook Community From Frustrated to Frickin’ Awesome by Alissa Daire Nelson Daire Success Coaching website StrengthsFinder 2.0 test StrengthsFinder 2.0 by Tom Rath

In the business of sport, survival is sometimes just as good as winning. For Magma Global's CEO Mark Rothman, survival meant summers at the DA's office wheeling a TV across the street from courthouse to courthouse - all at the age of 14. Being creative, humble, and hungry got Mark his foot in the door with very heavy industry power brokers like Innovative Artists, Scott Rudin Productions, and Platinum Rye Entertainment where he mastered many unique business and relationship building skills. Mark is one of the smartest people in the game who comes with an unparalleled network of access - along with having the best holiday card year after year. shout out to family, shout out to the printer, shout out to handsome Pete, shout out to entertainmentcareers.net https://www.linkedin.com/in/mark-rothman-magma-global/ Recorded on 10/20/17

Devin Mann is an agent at William Morris Endeavor Entertainment, but isn’t your typical talent agent. His personal life has thrown him curve balls that would crush anyone. Having disabled twins, the grief of losing one at age 2, and divorcing his alcoholic wife were all devastating, yet Devin still learns, adapts, and shines. Devin comes from a family of writers and grew up surrounded by politics in Washington, DC. As a student at Columbia University, he was influenced by music and got into the art scene. In 1992, Devin moved to Los Angeles to get into the film business. With no connections, he struggled and took a job selling children’s books (which he admits to being terrible at). He got his break when he was hired at Island Records, then moved on to a commercial production company, then eventually to freelance work. After considering his options, he took an inventory of his skills and decided that he was best at speaking for people who didn’t have a voice. He applied to 100 agencies landing a job as an agent in training at a small firm in West LA. Two years later, Smith, Gosnell, Nicholson & Associates hired him away as did Innovative Artists a couple of years later. At the end of his 7-year contract, he was approached by Endeavor and has been there for 12 years. Now, he is a co-chair of his department with 9 agents and 9 assistants representing over 300 people. Devin met the love of his life via Yahoo Dating and lives in Los Angeles. They have 2 children from previous marriages.

On this podcast we like entrepreneurs who are in unique industries, and today may be the most unique. Carolyn J Carpenter runs Mable's 6 Feet Under, the official haunted house of the city of Anaheim, California. This interview is awesome. You can't miss her story. And she went to San Diego State University (same as Thom Singer).... so "GO AZTECS" Carolyn is an entrepreneur, producer, writer and actor. She is the Executive Director and founding partner of Neo Ensemble Theatre, the founder and creator of the award winning mega hit MABLE's 6 Feet Under Haunted House, the founder and CEO of Midnight Table Talks, and the founder of Hi Tech Haunts. She has produced hundreds of events and theatrical productions. She wrote, directed and produced instructional line dance videos, selling over a million copies. She wrote, produced and codirected two short films starring Oscar winner JK Simmons (WHIPLASH). Her plays RANDOM WOMEN, MUTE, THREE LITTLE WORDS, ILLUSIONS, WRETCHED, ENIGMA, HUES, and MISNOMER have been produced multiple times in and around Hollywood. She has written a book of scenes and monologues now available on Amazon. She has acted in projects and produced events with JK Simmons (WHIPLASH), Patrick Warburton (GET SMART) Anthony Geary (GENERAL HOSPITAL) Shirley Jones (PATRIDGE FAMILY), Florence Henderson (BRADY BUNCH), Gavin Macleod (LOVE BOAT), and Lily Tomlin, among others. Carolyn has served as a Story Analyst for people and companies such as James Cameron (AVATAR), Richard Dreyfuss (MR. HOLLAND’S OPUS), Village Road Show (AMERICAN SNIPER), Phoenix Pictures (BLACK SWAN), Inferno Films (YOUNG GUNS), Constantin Films (TRAFFIC), Rhythm and Hues (TAMMY), agencies such as Innovative Artists, as well as the Sundance Institute, the Scriptwriter’s Network and the CBS Diversity Program. She has served as a guest speaker on panels with the Newport Beach Film Festival, the American Scriptwriters Association and Writer’s Network among others. http://www.mables6feetunder.org

It’s a Family Affair! Meet the Asztalos Family Amy, Gyula and Owen Asztalos. They share their journey with their son Owen. Amy says, “He literally came into the world dancing and impersonating Elvis”. How do you know if your child has that ‘special spark’? Gyula recalls being told, “Your son is very talented, he is like a diamond in the rough” yet he was still skeptical! Tune in to hear the journey that includes Owen impersonating characters at 2 years old and the defining moment witnessed on stage at the Santander Arena. There have been guides along the way that included Joel Gori, the Artistic Director of Metamorphosis Performing Company. Now there is AU, a management company in West Reading and Innovative Artists, Owen’s agent in New York. In a short time span Own found himself in the movie, ‘Diary Of A Wimpy Kid’ and in the Marco Polo Geico TV commercial. What does it take to help your child realize his acting dream? 100% commitment! Amy says, “You are either all in or all out…it’s a huge sacrifice and it costs a lot of money”

Joan Baker, author of Secrets of Voice-Over Success, has performed hundreds of promos and commercials for TV, film and radio throughout her highly regarded career. ABC News, American Express, Other clients include: King World, ESPN, BLOOMBERG TV and radio, SHOWTIME, HBO, NBA Entertainment, COURT TV, Imus in the Morning, Olay, Lens Express, Sony Music, JP Morgan Chase, American Express, Costco, and The New York Times Classified represents just a few of the numerous clients who regularly call upon her unique sound. You could even say that Joan’s talents reach the highest levels of American royalty and deep into the political power structure: She voiced a TV ad campaign for The Muhammad Ali Center and narrated a documentary about the founding of the William Jefferson Clinton Library, now a part of the library’s permanent display. And Joan also has it going on live! She provided the live voice announcements for the “Museum of the Moving Image Salutes Will Smith” which aired on Bravo TV. Prior to authoring Secrets Of Voice-Over Success Joan built a lucrative following among people (actors & corporate executives) seeking training in the art of voice-over acting. Nancy Grace and the late Johnnie Cochran are counted among her high profile students. Today she travels the country as a lecturer and seminar leader through a variety of arts institutions. She’s the creator of the powerful “Make Millions With Your Voice” seminars through the Learning Annex. She has been featured in numerous publications and TV segments: Interview Magazine, Adweek, Backstage, The NY Post, Media Week, Broadcasting & Cable, Cable World, NY Daily News, Radio World and Black Enterprise. Also on television’s Weekend Vibe, SHOWBIZ Today on CNN, Fox 5 NY, ABC News Now and E! News. She is represented exclusively by Innovative Artists. In honor of her late father, James P. Baker, who past away from complications of Alzheimer’s disease, Joan contributes all royalties from the sales of Secrets of Voice-Over Success to the Alzheimer’s Association of which she has become a steady patron and advocate for a cure. For more information about this and other episodes head over to mikelenzvoice.com

    James Lee Taylor is an English-born, Los Angeles-based actor and writer, born and raised on the beaches of Canvey Island in Essex. His father a comedian and his mother a successful model, James was born with entertainment in his blood.  He started modelling at age 15, working with Nivea, Valentino and the coveted Calvin Klein to name just a few, and signed with IMG and Select Model Management.  After a decade of modelling, James was introduced to the world of the stage and immediately discovered that acting was his true passion. After honing his craft with the world famous Lee Strasberg Theatre and Film Institute in New York, James went on to land the lead roles in two major off-Broadway shows, The Tiger and Tesla.  Testing his skills on short film Deep Water, James realised he was most at home on camera. In January 2014, James made the jump out to Los Angeles and signed with Innovative Artists, Schumacher Management and Core MGMT.  His commitment to his new path was immediately rewarded when he became the face of the Three Olives Vodka, taking over from brand ambassador Clive Owen.  The mesmerising ‘Werewolf of London’ campaign earned James his heartthrob status, which then led to him being cast in BET Network’s Being Mary Jane.  His recurring role as Gabrielle Union’s love interest is an exciting and developing story which we look forward to exploring...

Enhance your understanding and appreciation of ten of the most innovative artists in the Crystal Bridges collection. Many of these artists were key leaders in sparking new styles in the art world.

Enhance your understanding and appreciation of ten of the most innovative artists in the Crystal Bridges collection. Many of these artists were key leaders in sparking new styles in the art world.

Enhance your understanding and appreciation of ten of the most innovative artists in the Crystal Bridges collection. Many of these artists were key leaders in sparking new styles in the art world.