1 00:00:01,720 --> 00:00:04,360 Speaker 1: And that's what you really missed with Jenna. 2 00:00:04,440 --> 00:00:07,080 Speaker 2: And Kevin an iHeartRadio podcast. 3 00:00:09,080 --> 00:00:11,320 Speaker 3: Welcome to you, and that's what you're really in this podcast. 4 00:00:11,880 --> 00:00:15,200 Speaker 3: Hello Kevin, Welcome back for another Tarty Take episode. 5 00:00:16,680 --> 00:00:18,200 Speaker 4: Welcome everyone. 6 00:00:18,480 --> 00:00:24,239 Speaker 3: I would like to talk about something today, great, something 7 00:00:24,280 --> 00:00:26,920 Speaker 3: that has I've had a love hate relationship for a 8 00:00:27,040 --> 00:00:27,840 Speaker 3: really long time. 9 00:00:28,720 --> 00:00:32,159 Speaker 4: Oh it's a hate hate relationship for me. Yeah. 10 00:00:32,280 --> 00:00:34,320 Speaker 3: I think it's hate hate for me, and I think 11 00:00:34,320 --> 00:00:36,960 Speaker 3: it's almost there's some love in there, more love and 12 00:00:36,960 --> 00:00:37,319 Speaker 3: there for. 13 00:00:37,320 --> 00:00:38,400 Speaker 1: You than there is for me. 14 00:00:39,080 --> 00:00:44,920 Speaker 3: Oh really yeah, yeah, what are you talking about, Jenna? 15 00:00:45,000 --> 00:00:51,320 Speaker 3: We're talking about auditioning, just the word. As an actor, 16 00:00:52,720 --> 00:00:56,640 Speaker 3: we are perpetual and forever auditioners. 17 00:00:56,680 --> 00:00:57,400 Speaker 1: That is our job. 18 00:00:58,360 --> 00:01:01,160 Speaker 3: We have to get really good at here no a 19 00:01:01,280 --> 00:01:04,760 Speaker 3: thousand times and not taking it personal or taking it 20 00:01:04,800 --> 00:01:09,160 Speaker 3: personal and moving on. Auditioning looks like a lot of 21 00:01:09,160 --> 00:01:11,399 Speaker 3: different things for a lot of different projects, a lot 22 00:01:11,560 --> 00:01:12,959 Speaker 3: on a lot of different mediums. 23 00:01:13,040 --> 00:01:13,160 Speaker 4: Right. 24 00:01:13,280 --> 00:01:18,039 Speaker 3: Theater is different from film and TV, and I think 25 00:01:18,040 --> 00:01:20,839 Speaker 3: we should just talk about like what it's like from 26 00:01:20,920 --> 00:01:23,840 Speaker 3: the moment it pops up and how it's changed over time, 27 00:01:24,000 --> 00:01:26,639 Speaker 3: because I think it's such an interesting thing that people 28 00:01:26,720 --> 00:01:27,959 Speaker 3: hear you talk about, but they. 29 00:01:27,840 --> 00:01:29,319 Speaker 1: Don't actually know what goes into it. 30 00:01:29,560 --> 00:01:31,160 Speaker 4: So the whole process. 31 00:01:31,520 --> 00:01:37,000 Speaker 2: I also think there's differences between like the type of project, 32 00:01:37,080 --> 00:01:40,959 Speaker 2: even if it's TV. Even within TV, there's different types 33 00:01:41,000 --> 00:01:49,000 Speaker 2: of auditioning commercials, like it's a whole voiceovers. Yeah, so Jenna, 34 00:01:49,120 --> 00:01:53,360 Speaker 2: when you receive how does the audition process start? 35 00:01:53,880 --> 00:01:57,080 Speaker 4: Okay, general, and let's talk about TV film. 36 00:01:56,760 --> 00:02:01,480 Speaker 3: Okay, right now, TV film oftentimes most major, majorly, I 37 00:02:01,520 --> 00:02:04,520 Speaker 3: will get an email in my inbox. Every once in 38 00:02:04,560 --> 00:02:06,160 Speaker 3: a while I'll get a call from my manager and 39 00:02:06,240 --> 00:02:08,320 Speaker 3: my agent and be like, we have this thing, you know, 40 00:02:08,400 --> 00:02:10,720 Speaker 3: and kind of vetting or there's something that we need 41 00:02:10,760 --> 00:02:12,079 Speaker 3: to talk about before it happens. 42 00:02:12,120 --> 00:02:16,080 Speaker 1: But mostly I will get an an email in my inbox. 43 00:02:16,120 --> 00:02:17,040 Speaker 1: I will say. 44 00:02:17,360 --> 00:02:22,560 Speaker 3: Audition, self tape request now back in the day before, 45 00:02:22,760 --> 00:02:26,280 Speaker 3: like around Glee time, because also it was also self 46 00:02:26,320 --> 00:02:29,440 Speaker 3: tapes for LA because I was in New York. But 47 00:02:29,760 --> 00:02:33,160 Speaker 3: oftentimes back in the day, you would go, you would 48 00:02:33,240 --> 00:02:35,399 Speaker 3: go to an audition and audition. 49 00:02:36,919 --> 00:02:39,600 Speaker 2: I mean that's how it had always been, like yeah, 50 00:02:40,200 --> 00:02:42,720 Speaker 2: nine for me at least being in LA, ninety nine 51 00:02:42,760 --> 00:02:44,720 Speaker 2: percent of the time you go in the room, you 52 00:02:44,760 --> 00:02:47,680 Speaker 2: go in the room and so like the landscape has changed, 53 00:02:48,480 --> 00:02:50,640 Speaker 2: like post COVID, which is very strange, and we have 54 00:02:50,760 --> 00:02:53,000 Speaker 2: not really gone back to help. 55 00:02:52,600 --> 00:02:54,280 Speaker 1: I don't think we will. 56 00:02:55,480 --> 00:02:58,919 Speaker 3: And there's okay. So there's a lot of different versions 57 00:02:58,960 --> 00:03:00,839 Speaker 3: of this, right, Like you could go in the room 58 00:03:00,840 --> 00:03:02,799 Speaker 3: and it could be just you and the casting director, 59 00:03:02,800 --> 00:03:05,919 Speaker 3: which is kind of like a preread where you don't 60 00:03:05,960 --> 00:03:09,000 Speaker 3: meet anybody from the team of the TV show or film. 61 00:03:09,400 --> 00:03:11,280 Speaker 3: They're putting you on tape, they're working with you, they're 62 00:03:11,320 --> 00:03:14,000 Speaker 3: seeing if you know you might be right, and the 63 00:03:14,040 --> 00:03:16,040 Speaker 3: casting director wants to put you in front of the 64 00:03:16,080 --> 00:03:20,840 Speaker 3: team as an option because it's also their job to 65 00:03:20,960 --> 00:03:24,040 Speaker 3: bring them the best viable options for this role, right, 66 00:03:24,200 --> 00:03:29,040 Speaker 3: the best of the best. So anyway, I digress, But. 67 00:03:30,800 --> 00:03:33,119 Speaker 2: Well, no, it's like if one hundred people are being 68 00:03:33,120 --> 00:03:36,440 Speaker 2: seen for a given role, then the casting director and 69 00:03:36,480 --> 00:03:40,880 Speaker 2: maybe a casting associate will then narrow it down to 70 00:03:40,960 --> 00:03:41,880 Speaker 2: let's say twenty. 71 00:03:41,640 --> 00:03:45,240 Speaker 3: Five yep, and then you go to like a callback 72 00:03:45,320 --> 00:03:49,160 Speaker 3: or a producer session sometimes the same thing, right, And 73 00:03:49,440 --> 00:03:51,720 Speaker 3: you go in and you read and there's either producers 74 00:03:51,840 --> 00:03:56,120 Speaker 3: or director or some version of the two that are 75 00:03:56,120 --> 00:03:59,240 Speaker 3: in the room with the casting and you're reading, and 76 00:03:59,760 --> 00:04:02,920 Speaker 3: you're you're trying things where you're not. Sometimes they'll ask 77 00:04:02,960 --> 00:04:06,280 Speaker 3: you to do things differently, or sometimes they'll just have 78 00:04:06,360 --> 00:04:08,560 Speaker 3: you read it and that's enough or it's not, you know, 79 00:04:08,680 --> 00:04:14,200 Speaker 3: and and that's it. So is your experience different from this? 80 00:04:14,640 --> 00:04:16,960 Speaker 3: Is that how you receive your auditions? 81 00:04:17,520 --> 00:04:19,360 Speaker 2: Yes, I mean it's pretty much the same. You get 82 00:04:19,400 --> 00:04:22,640 Speaker 2: the email you and you get sent scenes. So sometimes 83 00:04:22,680 --> 00:04:25,400 Speaker 2: it's one scene, sometimes it's four scenes. You don't, you don't, 84 00:04:26,040 --> 00:04:30,640 Speaker 2: you don't really, it's it's different. It's never it's usually 85 00:04:31,680 --> 00:04:35,520 Speaker 2: never too long now there's a new coul in place, 86 00:04:36,400 --> 00:04:38,000 Speaker 2: or it can't be over a certain amount of pages. 87 00:04:38,240 --> 00:04:42,200 Speaker 3: And it also doesn't legally or need to be memorized. 88 00:04:42,520 --> 00:04:45,440 Speaker 3: That is not a requirement. It says it on the script. 89 00:04:45,440 --> 00:04:47,480 Speaker 3: It's like, you do not need to memorize these lines. 90 00:04:47,520 --> 00:04:51,000 Speaker 3: But of course people do whatever they want to do 91 00:04:51,240 --> 00:04:52,120 Speaker 3: all their own process. 92 00:04:52,279 --> 00:04:54,440 Speaker 2: You get your scenes, say usually are watermarked with your 93 00:04:54,520 --> 00:04:56,760 Speaker 2: name on them, and then that's what you're doing. And 94 00:04:56,760 --> 00:04:59,360 Speaker 2: so sometimes when you go in for let's say a callback, 95 00:04:59,560 --> 00:05:03,159 Speaker 2: or like I would say for me and Jenna, because 96 00:05:03,160 --> 00:05:05,960 Speaker 2: we've been on TV, we get to usually skip the 97 00:05:06,000 --> 00:05:10,960 Speaker 2: first couple of rounds nowadays sometimes yeah, and so like 98 00:05:11,040 --> 00:05:13,800 Speaker 2: before you just go straight into the producer sessions, you 99 00:05:13,800 --> 00:05:15,320 Speaker 2: wouldn't be doing that first. 100 00:05:16,400 --> 00:05:17,520 Speaker 1: Read, the pre read. 101 00:05:18,360 --> 00:05:21,680 Speaker 2: But I will say the there's an advantage and disadvantage 102 00:05:21,720 --> 00:05:25,240 Speaker 2: to all of that too, where the casting director knows 103 00:05:25,279 --> 00:05:28,400 Speaker 2: exactly what the creative team is looking for. So when 104 00:05:28,440 --> 00:05:31,719 Speaker 2: you go in for that first round you're getting they're 105 00:05:31,760 --> 00:05:32,640 Speaker 2: helping you, they're. 106 00:05:32,440 --> 00:05:36,560 Speaker 3: Helping value you are getting you, They're passing on the 107 00:05:36,600 --> 00:05:37,279 Speaker 3: information to you. 108 00:05:37,360 --> 00:05:39,960 Speaker 2: So if you do get a callback, you then now 109 00:05:40,040 --> 00:05:41,960 Speaker 2: have that. Now, if you're going in cold for the 110 00:05:42,000 --> 00:05:45,000 Speaker 2: first time and it's a producer session, you're starting at 111 00:05:45,000 --> 00:05:49,120 Speaker 2: a disadvantage in that way because you don't have the information. Yes, yes, 112 00:05:49,960 --> 00:05:52,080 Speaker 2: and so usually you go in and they'll sometimes work 113 00:05:52,120 --> 00:05:54,719 Speaker 2: with you, sometimes not. If they don't, it's usually a chop. 114 00:05:55,560 --> 00:05:58,120 Speaker 2: And then after that so this also depends, Like let's 115 00:05:58,120 --> 00:05:59,680 Speaker 2: say this is a series regular role. 116 00:06:00,920 --> 00:06:01,560 Speaker 4: You then. 117 00:06:02,920 --> 00:06:08,279 Speaker 2: Go in, Well, you usually have to test and so 118 00:06:08,400 --> 00:06:10,960 Speaker 2: that has also changed. So when we tested for Glee, 119 00:06:11,760 --> 00:06:14,200 Speaker 2: they were always in person tests. Yeah, you'd have a 120 00:06:14,240 --> 00:06:19,320 Speaker 2: studio test and a network test. For Glee, the studio 121 00:06:19,480 --> 00:06:21,640 Speaker 2: and network happened to be under the same company. But 122 00:06:21,680 --> 00:06:25,479 Speaker 2: like let's say Modern Family, the network was ABC and 123 00:06:25,560 --> 00:06:31,560 Speaker 2: the studio was twenty century Fox, so it's two different things. Yeah, 124 00:06:31,880 --> 00:06:34,880 Speaker 2: and that was so for Glee, I had four auditions. 125 00:06:35,279 --> 00:06:38,120 Speaker 1: Now what do they do now when you test? Like 126 00:06:38,160 --> 00:06:38,760 Speaker 1: what's the difference? 127 00:06:38,839 --> 00:06:41,880 Speaker 3: So you tape and they test off a tape and 128 00:06:42,000 --> 00:06:44,320 Speaker 3: everything is tape now right, So like now we're in 129 00:06:44,360 --> 00:06:47,120 Speaker 3: self tape mode where you get the audition in your inbox. 130 00:06:47,720 --> 00:06:51,440 Speaker 3: We'll talk about the preparation between that and then you 131 00:06:52,080 --> 00:06:55,160 Speaker 3: are putting yourself on tape. When that what that means 132 00:06:55,320 --> 00:06:57,919 Speaker 3: is you are either setting up something in your home. 133 00:06:58,320 --> 00:07:01,480 Speaker 3: You either some people have studios things in their back 134 00:07:01,720 --> 00:07:04,160 Speaker 3: house that they set up with a backdrop and lighting. 135 00:07:04,640 --> 00:07:06,880 Speaker 3: Some people do it on their couch or whatever. And 136 00:07:06,920 --> 00:07:09,279 Speaker 3: then some people go into a studio where you can 137 00:07:09,320 --> 00:07:13,360 Speaker 3: pay for ten twenty thirty minutes for somebody to read 138 00:07:13,400 --> 00:07:16,880 Speaker 3: with you take the clips and then send them, you know, 139 00:07:16,920 --> 00:07:19,240 Speaker 3: off to your agent and off to the casting. So 140 00:07:19,280 --> 00:07:22,000 Speaker 3: there's different ways to do this now and options, but 141 00:07:22,200 --> 00:07:23,640 Speaker 3: you are doing it yourself. 142 00:07:24,040 --> 00:07:27,480 Speaker 2: And I think personally, like there's pluses and minus to 143 00:07:27,480 --> 00:07:30,920 Speaker 2: all these things. I would get terrible nerves. So I 144 00:07:31,000 --> 00:07:35,760 Speaker 2: hate auditioning and person agree. However, I'm much better in 145 00:07:35,800 --> 00:07:38,720 Speaker 2: a room with people agree because they seem necessarily just 146 00:07:38,760 --> 00:07:41,520 Speaker 2: about how you're doing the scenes. It's about you know, 147 00:07:43,360 --> 00:07:46,000 Speaker 2: and when there's a tape, it's like you have your one. 148 00:07:46,480 --> 00:07:48,520 Speaker 2: I mean, you can do as many takes as you want, obviously, 149 00:07:49,160 --> 00:07:52,320 Speaker 2: but you're going based off of whatever you feel like 150 00:07:52,400 --> 00:07:56,080 Speaker 2: doing and you're not getting any notes. And I'm someone 151 00:07:56,120 --> 00:07:59,840 Speaker 2: who loves notes. Yeah, and like I can. I liked 152 00:07:59,840 --> 00:08:02,840 Speaker 2: to get direction. I like to implement the direction. Say 153 00:08:02,840 --> 00:08:05,000 Speaker 2: that's my favorite part of acting. 154 00:08:05,320 --> 00:08:08,160 Speaker 3: Yes, give it to me, let me fix it, let 155 00:08:08,200 --> 00:08:13,320 Speaker 3: me change it, let me take a transition here. I'm curious, 156 00:08:13,360 --> 00:08:15,960 Speaker 3: like a lot of people think, like you get an 157 00:08:15,960 --> 00:08:18,320 Speaker 3: audition and you have all this time to prepare, you 158 00:08:18,360 --> 00:08:20,720 Speaker 3: get these ten pages, and you're like, you know, you 159 00:08:20,760 --> 00:08:22,679 Speaker 3: get to do it, and you send it in a week. 160 00:08:22,840 --> 00:08:25,320 Speaker 3: Oftentimes this is like you have twenty four hours to 161 00:08:25,360 --> 00:08:28,080 Speaker 3: forty eight hours to send this in, right. Sometimes it's 162 00:08:28,160 --> 00:08:30,320 Speaker 3: a little bit more. Sometimes it's over the weekend, which 163 00:08:30,360 --> 00:08:35,240 Speaker 3: is also worse. And sometimes it's like you know, sometimes 164 00:08:35,280 --> 00:08:38,760 Speaker 3: it's a really fast turnaround, so you're getting this in 165 00:08:38,800 --> 00:08:42,200 Speaker 3: your inbox and the panic that ensues inside of me 166 00:08:42,240 --> 00:08:44,160 Speaker 3: when I get a self tape request. I mean I 167 00:08:44,160 --> 00:08:47,120 Speaker 3: don't get them anymore. I've paused on auditioning altogether right now, 168 00:08:47,400 --> 00:08:50,480 Speaker 3: but I literally would get like panic because my whole 169 00:08:50,600 --> 00:08:55,959 Speaker 3: day then would be enveloped in anxiety in learning these lines. 170 00:08:56,240 --> 00:08:58,360 Speaker 1: Who's going to shoot it for me? When am I 171 00:08:58,400 --> 00:09:00,800 Speaker 1: going to prepare for it? What am I going to wear? 172 00:09:00,840 --> 00:09:02,520 Speaker 3: How am I going to look? How many times is 173 00:09:02,559 --> 00:09:05,120 Speaker 3: it going to take? And then sending it in and 174 00:09:05,280 --> 00:09:16,080 Speaker 3: just letting it go with God? How much time do 175 00:09:16,120 --> 00:09:19,640 Speaker 3: you take to prepare? Do you like to memorize your lines? 176 00:09:20,000 --> 00:09:21,200 Speaker 3: Do you panic like I do? 177 00:09:22,800 --> 00:09:23,600 Speaker 4: I don't panic. 178 00:09:23,880 --> 00:09:25,520 Speaker 1: That's great, it's great for you. 179 00:09:25,600 --> 00:09:28,920 Speaker 3: I'm really happy for you, really happy. 180 00:09:28,960 --> 00:09:31,040 Speaker 2: But I've always and we've talked about this, but I've 181 00:09:31,040 --> 00:09:35,679 Speaker 2: always found for you, it's like I feel like you 182 00:09:35,720 --> 00:09:39,080 Speaker 2: have like a really good I think instinctual understanding of scripts, 183 00:09:39,800 --> 00:09:42,680 Speaker 2: Like I think I think you read things, no, but 184 00:09:42,720 --> 00:09:45,240 Speaker 2: I think you doubt it is the thing. So I 185 00:09:45,320 --> 00:09:47,280 Speaker 2: actually think whenever I've helped you with the self tape 186 00:09:47,320 --> 00:09:49,800 Speaker 2: or anything, it's like when you're like, ugh, I don't 187 00:09:49,800 --> 00:09:51,080 Speaker 2: want to do this, I don't care about this. 188 00:09:51,160 --> 00:09:52,440 Speaker 4: I haven't even really learned it. 189 00:09:52,520 --> 00:09:55,240 Speaker 1: You're better, yeah, yeah, yeah, inskind of what we'rethinking. 190 00:09:55,360 --> 00:09:57,000 Speaker 2: Yes, like when you get out of your own way, 191 00:09:57,160 --> 00:10:00,640 Speaker 2: like instinctually, like I mean, you're great either way, but 192 00:10:00,760 --> 00:10:02,440 Speaker 2: I think you psych yourself. 193 00:10:02,080 --> 00:10:04,640 Speaker 1: Out, Yes I do. That's the anxiety. 194 00:10:05,080 --> 00:10:08,320 Speaker 2: I probably do the opposite. I have gotten better. I 195 00:10:08,360 --> 00:10:12,079 Speaker 2: put myself back into like acting class a couple of 196 00:10:12,120 --> 00:10:15,520 Speaker 2: years ago. It's great, right, And it's been because I 197 00:10:15,559 --> 00:10:17,520 Speaker 2: wanted to really take it seriously because I hadn't. 198 00:10:17,320 --> 00:10:20,480 Speaker 4: Taken acting class since I was like sixteen or something. 199 00:10:20,760 --> 00:10:27,160 Speaker 2: Yeah, and it was I love it, and it taught 200 00:10:27,200 --> 00:10:31,520 Speaker 2: me to really appreciate all of it and not be 201 00:10:31,640 --> 00:10:33,640 Speaker 2: so scared of auditions just because, like I think I 202 00:10:33,679 --> 00:10:35,240 Speaker 2: understand what I'm doing a little better now. 203 00:10:35,520 --> 00:10:36,320 Speaker 1: Yeah, for sure. 204 00:10:37,160 --> 00:10:40,480 Speaker 2: I also think like doing it doing theater has really 205 00:10:40,520 --> 00:10:41,760 Speaker 2: helped with that as well. 206 00:10:42,200 --> 00:10:42,720 Speaker 4: I don't know why. 207 00:10:42,760 --> 00:10:45,000 Speaker 2: I think I'm just more in practice. Like when you're 208 00:10:45,480 --> 00:10:47,480 Speaker 2: you don't have you don't get auditions all the time either, 209 00:10:47,480 --> 00:10:50,040 Speaker 2: by the way, you can go months or weeks without 210 00:10:50,040 --> 00:10:51,560 Speaker 2: getting auditions and so. 211 00:10:51,200 --> 00:10:55,000 Speaker 3: So out of like the muscle real right. I also 212 00:10:55,120 --> 00:10:58,319 Speaker 3: feel like, sorry to interrupt you, no good. I also 213 00:10:58,400 --> 00:11:00,840 Speaker 3: feel like I actually when I don't know and I 214 00:11:00,840 --> 00:11:03,120 Speaker 3: haven't learned it and I do it like the joy 215 00:11:03,280 --> 00:11:06,000 Speaker 3: is in actually, like I understand, auditioning is a gift 216 00:11:06,000 --> 00:11:08,280 Speaker 3: now in this like mature piece of my life where 217 00:11:08,280 --> 00:11:10,680 Speaker 3: I'm like, you know it is this is like a 218 00:11:10,760 --> 00:11:12,320 Speaker 3: chance to get in the room and get in front 219 00:11:12,360 --> 00:11:15,280 Speaker 3: of somebody, some actors who are aspiring, like don't even 220 00:11:15,360 --> 00:11:17,920 Speaker 3: get that shot right, like to be seen. So like 221 00:11:18,120 --> 00:11:22,760 Speaker 3: that in my my head, I understand it's actually it's 222 00:11:22,840 --> 00:11:26,079 Speaker 3: the logistical pieces that stress me out more than the 223 00:11:26,120 --> 00:11:31,160 Speaker 3: actual abs execution of the thing. Like I have fun 224 00:11:31,160 --> 00:11:33,160 Speaker 3: when I shoot and I do things and I laugh, 225 00:11:33,200 --> 00:11:34,880 Speaker 3: and especially like when I do it's somebody like you 226 00:11:34,960 --> 00:11:37,080 Speaker 3: that like gets it and you know, like we just 227 00:11:37,280 --> 00:11:40,959 Speaker 3: we do it. But I do have a funny story though, 228 00:11:40,960 --> 00:11:42,880 Speaker 3: So like during COVID, I was making David do all 229 00:11:42,920 --> 00:11:44,360 Speaker 3: of my tapes because like, who else is going to 230 00:11:44,440 --> 00:11:44,920 Speaker 3: do them for you? 231 00:11:45,040 --> 00:11:46,160 Speaker 1: My husband, and. 232 00:11:46,080 --> 00:11:48,480 Speaker 3: He's not an actor at all, And there were times 233 00:11:48,480 --> 00:11:51,079 Speaker 3: where he would he would do it and he would 234 00:11:51,360 --> 00:11:53,760 Speaker 3: laugh and ruin the take for me because he think, 235 00:11:53,840 --> 00:11:57,640 Speaker 3: like the script is so ridiculous, or he would he 236 00:11:57,679 --> 00:11:59,760 Speaker 3: would do it and we'd get to like the last 237 00:11:59,800 --> 00:12:02,280 Speaker 3: pay age and like the last few lines, and he'd 238 00:12:02,320 --> 00:12:03,240 Speaker 3: be like, I'm messed up. 239 00:12:03,280 --> 00:12:09,000 Speaker 1: We have to start again, and I I don't know 240 00:12:09,040 --> 00:12:13,560 Speaker 1: that there's anything that brings me more anger than that, 241 00:12:16,200 --> 00:12:17,600 Speaker 1: like that this isn't about you. 242 00:12:18,800 --> 00:12:23,920 Speaker 3: It's like, just keep going camera, nobody nobody cares. Nobody cares. 243 00:12:23,920 --> 00:12:25,880 Speaker 3: I've messed up about fifteen times in front of camera, 244 00:12:25,960 --> 00:12:28,760 Speaker 3: so don't worry about it. But I just that was 245 00:12:28,760 --> 00:12:31,360 Speaker 3: a funny story because because of COVID, we were asked 246 00:12:31,400 --> 00:12:32,719 Speaker 3: to do all of these things. We're all trying to 247 00:12:32,720 --> 00:12:37,040 Speaker 3: get jobs still, and yet we're asking like people who've 248 00:12:37,120 --> 00:12:39,800 Speaker 3: never done this in their entire life to help us 249 00:12:40,440 --> 00:12:42,640 Speaker 3: do these things like you become the casting or you 250 00:12:42,679 --> 00:12:46,360 Speaker 3: become like your own cameraman. You're lighting everything. So anyway, 251 00:12:46,520 --> 00:12:49,960 Speaker 3: that was funny. But what was I saying that? It's 252 00:12:50,000 --> 00:12:52,959 Speaker 3: the it's the logistical part. But I'm glad that you've 253 00:12:53,000 --> 00:12:55,920 Speaker 3: found a new I feel like you've really found like 254 00:12:56,000 --> 00:12:57,800 Speaker 3: a confidence that. 255 00:12:59,440 --> 00:13:02,199 Speaker 1: Has allowed you to like relax in a room that 256 00:13:02,280 --> 00:13:03,680 Speaker 1: you didn't have before. 257 00:13:04,040 --> 00:13:06,760 Speaker 4: Sure, I think also Beta Blocker's. 258 00:13:07,400 --> 00:13:09,520 Speaker 1: Well, of course we all we love those. 259 00:13:12,120 --> 00:13:15,679 Speaker 2: The other thing is you're right, I when I downplay 260 00:13:16,600 --> 00:13:19,520 Speaker 2: or like don't prep for enough. Is the setup of 261 00:13:19,600 --> 00:13:23,240 Speaker 2: it all like logistically of like finding a good place. 262 00:13:23,400 --> 00:13:25,800 Speaker 2: I see other people's self tape setups, and it's it 263 00:13:25,840 --> 00:13:29,680 Speaker 2: looks beautiful, stunning. Mine always looks like I shot it underneath, 264 00:13:29,720 --> 00:13:31,480 Speaker 2: like the stairwell we're herring. 265 00:13:31,280 --> 00:13:33,880 Speaker 1: Pottering, Yeah, exactly like it. 266 00:13:34,040 --> 00:13:36,720 Speaker 2: I don't put a lot of thought or effort into that, 267 00:13:37,360 --> 00:13:40,560 Speaker 2: which maybe I should work on. I'm just to like 268 00:13:40,600 --> 00:13:43,839 Speaker 2: circle back to like how testing works now too. I 269 00:13:43,840 --> 00:13:46,160 Speaker 2: mean it's been like that even pre COVID, which I 270 00:13:46,200 --> 00:13:47,920 Speaker 2: do think again, I was like. 271 00:13:47,880 --> 00:13:48,640 Speaker 4: Oh, that's great. 272 00:13:48,720 --> 00:13:50,840 Speaker 2: They'll just take your audition tape that they initially loved 273 00:13:50,840 --> 00:13:52,520 Speaker 2: because when you also you'd go into a room, they'll 274 00:13:52,520 --> 00:13:54,280 Speaker 2: tape it so they can look at it, send it 275 00:13:54,320 --> 00:13:57,120 Speaker 2: to whoever they need to send it to, and then 276 00:13:57,360 --> 00:14:00,960 Speaker 2: they'll show that to the studio, that to the network. 277 00:14:01,760 --> 00:14:04,560 Speaker 2: And it's happened to me before. Where as Glee was ending, 278 00:14:04,600 --> 00:14:09,000 Speaker 2: I was testing for another show, and this has happened 279 00:14:09,000 --> 00:14:12,760 Speaker 2: a couple times. Now it's down to me and like 280 00:14:12,840 --> 00:14:16,760 Speaker 2: maybe one other person, and I also just like a 281 00:14:16,840 --> 00:14:20,200 Speaker 2: side note. You know when you have friends or yourself 282 00:14:20,280 --> 00:14:23,800 Speaker 2: or an actor and people don't necessarily see you in 283 00:14:23,880 --> 00:14:29,640 Speaker 2: something doesn't mean that you are not working, because auditioning, 284 00:14:29,840 --> 00:14:31,000 Speaker 2: most of the time is the only. 285 00:14:30,880 --> 00:14:32,640 Speaker 4: Time you're ever going to get to play that character. 286 00:14:33,040 --> 00:14:36,240 Speaker 2: Yeah, and so like the amount of prep you have 287 00:14:36,280 --> 00:14:38,240 Speaker 2: to do, like Jenna says, it can be consuming. It 288 00:14:38,240 --> 00:14:40,320 Speaker 2: takes up your whole day, and if you're doing your 289 00:14:40,400 --> 00:14:42,000 Speaker 2: due diligence, it takes several days. 290 00:14:42,640 --> 00:14:42,840 Speaker 1: Yeah. 291 00:14:43,440 --> 00:14:47,320 Speaker 3: You really just memorizing, right, Like you're working through the character. 292 00:14:47,360 --> 00:14:49,080 Speaker 3: You're finding out what's going on in the scene. You're 293 00:14:49,120 --> 00:14:51,520 Speaker 3: figuring out what you want, what the other person wants, 294 00:14:51,520 --> 00:14:53,680 Speaker 3: You're figuring out where the beats are, You're figuring out 295 00:14:53,720 --> 00:14:56,400 Speaker 3: all that. You're breaking down this entire thing to try 296 00:14:56,400 --> 00:14:58,120 Speaker 3: to create this world in these. 297 00:14:58,000 --> 00:15:01,960 Speaker 1: Three pages that you get sometimes last. Right, So that 298 00:15:02,160 --> 00:15:04,560 Speaker 1: is the the in between. Sorry, keep going. 299 00:15:04,800 --> 00:15:07,000 Speaker 2: Yeah, Well, in an industry, I believe the statu is 300 00:15:07,040 --> 00:15:10,160 Speaker 2: like one percent of people in our union are working 301 00:15:10,360 --> 00:15:13,320 Speaker 2: working yep. Yeah, and so it's a lot of people 302 00:15:13,480 --> 00:15:14,920 Speaker 2: vying for all the same jobs. 303 00:15:15,240 --> 00:15:16,960 Speaker 1: We're professional auditioners. 304 00:15:17,320 --> 00:15:19,480 Speaker 2: Yes, that's what we do ninety percent of the time, 305 00:15:20,440 --> 00:15:23,680 Speaker 2: and then we actually get to, you know, do a job. 306 00:15:23,760 --> 00:15:24,240 Speaker 4: It's great. 307 00:15:24,400 --> 00:15:27,920 Speaker 2: But the thing is, it's like you know when you Also, 308 00:15:27,920 --> 00:15:30,160 Speaker 2: we talked about this if you've missed it. It's like what 309 00:15:30,280 --> 00:15:35,560 Speaker 2: happens also before you test, which becomes such a mental issue, 310 00:15:36,680 --> 00:15:41,280 Speaker 2: is that you negotiate your entire contract so before before, 311 00:15:41,880 --> 00:15:43,680 Speaker 2: so that way, if you get it, you can't all 312 00:15:43,720 --> 00:15:46,160 Speaker 2: of a sudden go back and ask for more money 313 00:15:46,320 --> 00:15:48,680 Speaker 2: or ask for whatever. You know, so it's all agreed 314 00:15:48,720 --> 00:15:52,080 Speaker 2: to beforehand. So when you're if you have to physically 315 00:15:52,160 --> 00:15:54,520 Speaker 2: go into a room to test, you know exactly how 316 00:15:54,600 --> 00:15:58,440 Speaker 2: much money you're making, you are potentially making, Yeah, what 317 00:15:58,480 --> 00:16:00,840 Speaker 2: it could be because it's really opoly money. It's not 318 00:16:00,880 --> 00:16:02,320 Speaker 2: your money because you haven't gotten. 319 00:16:02,080 --> 00:16:04,720 Speaker 3: It yet, right, and your world could just be shifted 320 00:16:04,760 --> 00:16:07,840 Speaker 3: in one with one yes, right, And so then the 321 00:16:07,920 --> 00:16:11,480 Speaker 3: stakes are so high and yeah, you have to Your 322 00:16:11,600 --> 00:16:13,960 Speaker 3: job is to drown that out as much as possible. 323 00:16:14,160 --> 00:16:17,440 Speaker 3: Do the work, go in and deliver whatever you want 324 00:16:17,480 --> 00:16:20,160 Speaker 3: to deliver from this role, and show them that you're 325 00:16:20,160 --> 00:16:20,840 Speaker 3: the best person. 326 00:16:21,480 --> 00:16:22,840 Speaker 1: I think the thing that like a. 327 00:16:22,760 --> 00:16:24,760 Speaker 3: Lot of people and a lot of young actors that 328 00:16:24,800 --> 00:16:27,760 Speaker 3: I've been, you know, they ask for advice about auditioning, 329 00:16:27,880 --> 00:16:30,920 Speaker 3: is like that they these people really are rooting for you, 330 00:16:31,000 --> 00:16:34,160 Speaker 3: most of them, right, Like these people want to you 331 00:16:34,200 --> 00:16:36,320 Speaker 3: to walk in the room and be the person that 332 00:16:36,360 --> 00:16:39,000 Speaker 3: they're looking for. It makes their job a lot easier, right, 333 00:16:39,160 --> 00:16:41,360 Speaker 3: or at least a really good option. They're like, this 334 00:16:41,440 --> 00:16:44,240 Speaker 3: is an exciting option that we can bring to the 335 00:16:45,000 --> 00:16:47,080 Speaker 3: table and have these creatives look at and say like 336 00:16:47,200 --> 00:16:49,640 Speaker 3: this is this will help our project come to life. 337 00:16:49,800 --> 00:16:51,440 Speaker 1: I think on the other side of it, like. 338 00:16:51,480 --> 00:16:56,040 Speaker 3: Now having done this and you know, in small doses 339 00:16:56,120 --> 00:16:58,160 Speaker 3: of like been on the other side of the table, 340 00:16:58,560 --> 00:17:02,000 Speaker 3: it's so true, like you want these people to be good. 341 00:17:02,080 --> 00:17:03,640 Speaker 1: You want these people to succeed. 342 00:17:03,760 --> 00:17:07,800 Speaker 3: You want and if they're not doing if it's not 343 00:17:07,920 --> 00:17:10,720 Speaker 3: for this project, you're never forgetting that person for the 344 00:17:10,760 --> 00:17:13,320 Speaker 3: next one. If you deliver and you're you know, you're 345 00:17:13,400 --> 00:17:16,000 Speaker 3: right for something else. So I do think that there's 346 00:17:16,000 --> 00:17:18,040 Speaker 3: this like thing that people are like, oh it's you. 347 00:17:18,400 --> 00:17:20,679 Speaker 3: You're rejected. You know you're not good enough. Like you 348 00:17:20,760 --> 00:17:22,560 Speaker 3: have to walk away from that and leave it at 349 00:17:22,560 --> 00:17:24,639 Speaker 3: the door and be like, this is what I can offer, 350 00:17:25,200 --> 00:17:27,800 Speaker 3: This is who I am, this is what I can 351 00:17:27,800 --> 00:17:28,200 Speaker 3: bring to you. 352 00:17:28,520 --> 00:17:30,960 Speaker 1: I'm I'm bringing you all of my good gifts. 353 00:17:31,520 --> 00:17:33,680 Speaker 3: And if that's not enough for this one and it's 354 00:17:33,720 --> 00:17:36,320 Speaker 3: not right for this one, leave it at the door, 355 00:17:36,440 --> 00:17:37,120 Speaker 3: thanks so much. 356 00:17:37,240 --> 00:17:38,560 Speaker 1: Let's let's go on to the next. 357 00:17:38,800 --> 00:17:41,960 Speaker 2: You know, a lot of it too, is like the Intangibles, 358 00:17:42,320 --> 00:17:45,560 Speaker 2: where which is really frustrating a lot of the time because, 359 00:17:45,600 --> 00:17:49,119 Speaker 2: like you do all the work to prep for it, 360 00:17:49,160 --> 00:17:51,959 Speaker 2: you walk in the room and then sometimes it's just 361 00:17:52,000 --> 00:17:55,520 Speaker 2: like a vibe thing totally, or it's just like they're 362 00:17:55,560 --> 00:17:57,600 Speaker 2: having a bad day and you remind them of their 363 00:17:57,600 --> 00:17:58,560 Speaker 2: ex or something. 364 00:17:58,960 --> 00:18:03,080 Speaker 3: You know, really yeah, and so, or the person that 365 00:18:03,119 --> 00:18:05,200 Speaker 3: you're supposed to read with, or that person that got 366 00:18:05,240 --> 00:18:08,080 Speaker 3: cast that you're supposed to be their wife you're taller 367 00:18:08,119 --> 00:18:12,119 Speaker 3: than yes, or your hair color doesn't match the person, 368 00:18:12,240 --> 00:18:14,919 Speaker 3: you know what I mean, or the kid doesn't match you. Like, 369 00:18:14,960 --> 00:18:18,119 Speaker 3: there's so many variables that like you cannot control. I 370 00:18:18,160 --> 00:18:21,960 Speaker 3: mean probably more than just like more than you walking 371 00:18:22,000 --> 00:18:24,119 Speaker 3: in the room and being the right thing for it. Yeah, 372 00:18:24,119 --> 00:18:28,200 Speaker 3: have you ever chemistry tested before? I have chemistry testing 373 00:18:28,240 --> 00:18:30,960 Speaker 3: for people who don't know is what it sounds like. 374 00:18:31,040 --> 00:18:33,600 Speaker 3: You go in and if there's somebody you're seeing partner, 375 00:18:33,680 --> 00:18:35,280 Speaker 3: or somebody you're going to be playing with a lot 376 00:18:35,320 --> 00:18:38,080 Speaker 3: in the show or whatever, you read with them, and 377 00:18:38,640 --> 00:18:41,960 Speaker 3: it's fun and it's also so stressful. 378 00:18:42,240 --> 00:18:44,639 Speaker 4: Because it's also really important. 379 00:18:45,040 --> 00:18:48,280 Speaker 2: I think, sorry to bring up Peter rivalry again, but 380 00:18:48,320 --> 00:18:51,119 Speaker 2: I think people have brought up the two leads chemistry 381 00:18:52,040 --> 00:18:54,840 Speaker 2: and there's like a comment, you know, how they were 382 00:18:54,880 --> 00:18:58,000 Speaker 2: talking to the creator after their chemistry reads about how 383 00:18:58,040 --> 00:19:01,280 Speaker 2: they felt about one another, And it's one of those 384 00:19:01,320 --> 00:19:03,160 Speaker 2: things where like you have to walk into a room 385 00:19:04,000 --> 00:19:08,560 Speaker 2: and somehow manufacture chemistry in about five minutes. 386 00:19:09,400 --> 00:19:10,800 Speaker 1: Totally, Totally. 387 00:19:11,119 --> 00:19:13,760 Speaker 2: It's a really weird thing because you don't want to 388 00:19:13,760 --> 00:19:16,879 Speaker 2: have to force chemistry with people, and you wanted to 389 00:19:16,920 --> 00:19:19,240 Speaker 2: just happen. But like we've all seen it. You've watched 390 00:19:19,280 --> 00:19:22,640 Speaker 2: TV shows or movies where people simply don't have and 391 00:19:22,680 --> 00:19:24,760 Speaker 2: they're all doing all the right things, but there's that 392 00:19:24,880 --> 00:19:28,560 Speaker 2: thing they don't have between them. I know they're supposed 393 00:19:28,560 --> 00:19:29,840 Speaker 2: to be in love, but I don't feel it. 394 00:19:30,119 --> 00:19:34,080 Speaker 3: And we watched Rachel mcadam's you know, notebook audition on 395 00:19:34,560 --> 00:19:37,320 Speaker 3: the internet a million thousand times, right, you've seen it, 396 00:19:37,400 --> 00:19:39,639 Speaker 3: Like number one, she's talented, it's only on her, but 397 00:19:39,760 --> 00:19:41,959 Speaker 3: like there's a clearer chemistry between the two that they 398 00:19:41,960 --> 00:19:44,440 Speaker 3: were both delivering in that room that it's like electric 399 00:19:44,520 --> 00:19:49,160 Speaker 3: and you're like, that's it, right. Did you have good 400 00:19:49,160 --> 00:19:50,720 Speaker 3: experiences chemistry testing? 401 00:19:50,920 --> 00:19:52,320 Speaker 4: Did you find it both? 402 00:19:52,840 --> 00:19:56,919 Speaker 2: Like I did it one for this movie and I 403 00:19:56,960 --> 00:20:00,520 Speaker 2: got paired with this actor that I grew up loving 404 00:20:01,280 --> 00:20:04,920 Speaker 2: still do. But I was like a little throwne because 405 00:20:04,960 --> 00:20:07,240 Speaker 2: I didn't one. I didn't know it was going to 406 00:20:07,280 --> 00:20:09,639 Speaker 2: be like that. It was my first TIGN chemistry reading 407 00:20:10,480 --> 00:20:12,960 Speaker 2: and we went in together and he was like so 408 00:20:13,160 --> 00:20:17,439 Speaker 2: intense and like physically intense and like, which was great. 409 00:20:17,840 --> 00:20:21,440 Speaker 2: I just was two in my head about it. Yeah, 410 00:20:21,480 --> 00:20:24,040 Speaker 2: But then I've had other times where it's just been wonderful, 411 00:20:24,160 --> 00:20:26,719 Speaker 2: Like I didn't get in my head about it and 412 00:20:26,760 --> 00:20:36,879 Speaker 2: we had a great time. Have you had any like 413 00:20:36,960 --> 00:20:42,840 Speaker 2: really devastating Here's the other thing you sometimes hear about, 414 00:20:43,520 --> 00:20:46,359 Speaker 2: Oh this person almost got cast in this movie, Like 415 00:20:46,359 --> 00:20:47,000 Speaker 2: what would. 416 00:20:46,840 --> 00:20:47,240 Speaker 4: That have been? 417 00:20:47,359 --> 00:20:49,800 Speaker 2: Are there any things that you've auditioned for that you've 418 00:20:49,840 --> 00:20:54,040 Speaker 2: almost gotten that you're like, I wish I got it, 419 00:20:54,160 --> 00:20:55,719 Speaker 2: or like, oh it makes sense why I didn't get it, 420 00:20:56,440 --> 00:20:58,760 Speaker 2: or just or auditions that really stayed with you that 421 00:20:58,800 --> 00:21:01,160 Speaker 2: you really wanted and you never Yeah. 422 00:21:01,280 --> 00:21:03,199 Speaker 1: I mean, I'm sure I haven't thought about this in 423 00:21:03,200 --> 00:21:04,000 Speaker 1: a long time, but. 424 00:21:04,840 --> 00:21:06,600 Speaker 4: It's probably healthy to just block it up. 425 00:21:06,880 --> 00:21:08,960 Speaker 3: You know, there was I remember there was one, and 426 00:21:09,000 --> 00:21:10,879 Speaker 3: I think it's also because like the whole thing was 427 00:21:10,880 --> 00:21:14,320 Speaker 3: worked up so much, like they want you. There's there's 428 00:21:14,320 --> 00:21:16,399 Speaker 3: also this mental thing like when you get to a 429 00:21:16,440 --> 00:21:20,560 Speaker 3: certain level of like you've worked enough, they're like they 430 00:21:20,600 --> 00:21:22,760 Speaker 3: know who's coming into the room. They've seen your work 431 00:21:22,800 --> 00:21:26,120 Speaker 3: on Glee or wherever, they've seen you, and they are 432 00:21:26,200 --> 00:21:28,680 Speaker 3: like they know you, or they think they know you. 433 00:21:29,080 --> 00:21:34,199 Speaker 3: And there was one job that they're like, this is 434 00:21:34,240 --> 00:21:39,479 Speaker 3: like pretty much like it's it's probably you, right, like 435 00:21:39,520 --> 00:21:42,840 Speaker 3: they want you, they want this to work, and you 436 00:21:42,880 --> 00:21:44,639 Speaker 3: go in and I go in and I worked with 437 00:21:44,720 --> 00:21:46,600 Speaker 3: an acting coach on this one. Sometimes you work with 438 00:21:46,640 --> 00:21:48,720 Speaker 3: coaches sometimes you don't like whatever enough you have time 439 00:21:48,840 --> 00:21:52,840 Speaker 3: or don't. I worked with a coach. I went in, 440 00:21:53,280 --> 00:21:59,159 Speaker 3: I nailed the audition. There was no country read. I 441 00:21:59,200 --> 00:22:01,479 Speaker 3: really like folks about it. I thought I was going 442 00:22:01,560 --> 00:22:02,080 Speaker 3: to get it. 443 00:22:03,119 --> 00:22:07,520 Speaker 1: I didn't get it. This is like two there's actually 444 00:22:07,520 --> 00:22:08,400 Speaker 1: two auditions like this. 445 00:22:08,400 --> 00:22:11,840 Speaker 3: There is Gossip Girl and the other one, the one 446 00:22:11,840 --> 00:22:15,080 Speaker 3: I'm talking about, is The Flash. It was supposed to 447 00:22:15,080 --> 00:22:19,440 Speaker 3: be Barry's love interest, and I remember being like, I know. 448 00:22:19,480 --> 00:22:22,760 Speaker 1: Grant this is great like blah blah, and then. 449 00:22:22,600 --> 00:22:25,159 Speaker 3: They were like it's too gleig close, like we just 450 00:22:25,240 --> 00:22:27,320 Speaker 3: can't do it, And I was like, is that the 451 00:22:27,400 --> 00:22:27,800 Speaker 3: reason er? 452 00:22:27,880 --> 00:22:28,720 Speaker 1: Is that your excuse? 453 00:22:29,080 --> 00:22:31,439 Speaker 3: So then there's all this mental games you're playing with 454 00:22:31,480 --> 00:22:32,920 Speaker 3: yourself as an actor. 455 00:22:32,720 --> 00:22:34,600 Speaker 1: Like was it just because I was bad? Like did 456 00:22:34,600 --> 00:22:35,720 Speaker 1: they not like me at all? 457 00:22:35,920 --> 00:22:36,000 Speaker 3: Like? 458 00:22:36,560 --> 00:22:38,320 Speaker 1: Or is it great? Like did it was an easy 459 00:22:38,359 --> 00:22:40,639 Speaker 1: excuse for them? So there's just all this stuff And I. 460 00:22:40,680 --> 00:22:42,760 Speaker 3: Think I remember being like so bummed about it because 461 00:22:42,960 --> 00:22:45,560 Speaker 3: number one, it was worked up in my mind that 462 00:22:45,640 --> 00:22:49,119 Speaker 3: like it was an easy get and then not feeling 463 00:22:49,119 --> 00:22:50,919 Speaker 3: like I deliver it and then being told no, Like 464 00:22:51,000 --> 00:22:54,600 Speaker 3: that's the mental gymnastics that you go through when you 465 00:22:54,640 --> 00:22:56,879 Speaker 3: go through stuff like this, Right, There's been like so 466 00:22:57,000 --> 00:23:00,679 Speaker 3: many times where I've like Gossip Girl, I was going 467 00:23:00,760 --> 00:23:03,720 Speaker 3: to be in Blair's like crew, the role was supposed 468 00:23:03,720 --> 00:23:05,159 Speaker 3: to be bigger than it ended up being. 469 00:23:05,680 --> 00:23:07,760 Speaker 1: I wouldn't have been able to do Glee so it 470 00:23:07,800 --> 00:23:10,720 Speaker 1: worked out. So there's just like things like that, And 471 00:23:10,760 --> 00:23:11,720 Speaker 1: then there's also like. 472 00:23:13,280 --> 00:23:15,640 Speaker 3: I mean, I'm trying to think, I'm sure there's other 473 00:23:15,680 --> 00:23:18,520 Speaker 3: ones that I was like holding on. I remember there 474 00:23:18,640 --> 00:23:21,600 Speaker 3: was one that I was like, I need this, I 475 00:23:21,640 --> 00:23:22,760 Speaker 3: want this so bad, and I didn't get it. 476 00:23:22,800 --> 00:23:24,879 Speaker 1: I can't remember what it was. Do you have stories 477 00:23:24,920 --> 00:23:28,240 Speaker 1: like that? Do you have like one or like a few? 478 00:23:28,520 --> 00:23:32,199 Speaker 3: Yeah, I remember a few for you. You've tested more than 479 00:23:32,240 --> 00:23:32,520 Speaker 3: I have. 480 00:23:33,280 --> 00:23:36,280 Speaker 4: Yeah, it's really like random. 481 00:23:36,880 --> 00:23:40,399 Speaker 2: Well, the most recent one, it was a couple of 482 00:23:40,520 --> 00:23:46,280 Speaker 2: years ago and I tested for TV shows between me 483 00:23:46,320 --> 00:23:48,520 Speaker 2: and one other guy, and it was one of those 484 00:23:48,560 --> 00:23:51,000 Speaker 2: things where they were just using my audition tape from 485 00:23:51,040 --> 00:23:54,200 Speaker 2: the initial audition, so it almost felt like it wasn't 486 00:23:54,200 --> 00:23:54,800 Speaker 2: even happening. 487 00:23:55,160 --> 00:23:57,000 Speaker 1: Yeah, just you're being told about it. 488 00:23:57,200 --> 00:24:00,320 Speaker 2: Yes, But then again it's like, well, this is how 489 00:24:00,359 --> 00:24:01,320 Speaker 2: much money you're going to make. 490 00:24:01,320 --> 00:24:02,960 Speaker 4: I'm like, oh no, I want it. 491 00:24:03,080 --> 00:24:07,480 Speaker 2: Yeah, and I didn't get it. But when that happens, 492 00:24:07,560 --> 00:24:10,560 Speaker 2: then I'm like, Okay, who's the other guy? And we 493 00:24:10,560 --> 00:24:15,320 Speaker 2: were so different. I'm like, okay, they're looking for somebody 494 00:24:15,640 --> 00:24:18,400 Speaker 2: very different. Fine, And then you know there's that little 495 00:24:18,440 --> 00:24:22,400 Speaker 2: thing of like I didn't get picked up so that it 496 00:24:22,359 --> 00:24:23,080 Speaker 2: always happened. 497 00:24:23,640 --> 00:24:27,120 Speaker 4: But at the end of Glee they were making that show. 498 00:24:27,000 --> 00:24:28,080 Speaker 1: Magicians, Magicians. 499 00:24:28,119 --> 00:24:31,600 Speaker 3: I remember, I remember this one for you. I actually 500 00:24:31,680 --> 00:24:32,800 Speaker 3: I'll never forget this one. 501 00:24:32,840 --> 00:24:36,480 Speaker 2: And I was obsessed with that book and I heard 502 00:24:36,960 --> 00:24:38,920 Speaker 2: they were making that a TV show, and I hit 503 00:24:39,000 --> 00:24:42,600 Speaker 2: up my people and I was like, Hey, what's going 504 00:24:42,600 --> 00:24:46,640 Speaker 2: on with this? And so they're like, look, they're struggling 505 00:24:46,680 --> 00:24:49,600 Speaker 2: to find somebody. They've been looking for months. They had 506 00:24:49,640 --> 00:24:54,000 Speaker 2: someone that they thought they wanted, which was Kiaren Colkin, 507 00:24:54,240 --> 00:25:00,520 Speaker 2: and then the network wouldn't approve them. Ah, and like, okay, 508 00:25:01,240 --> 00:25:03,879 Speaker 2: we got you an audition and it was on the 509 00:25:03,880 --> 00:25:08,800 Speaker 2: Paramount lot. It was yes, it was, it was not. 510 00:25:10,680 --> 00:25:13,160 Speaker 2: It was one building down from our production offices. 511 00:25:13,880 --> 00:25:15,920 Speaker 1: Okay, I remember that, okay, And. 512 00:25:15,840 --> 00:25:18,439 Speaker 2: I worked with Telly right before. I like did it 513 00:25:18,480 --> 00:25:21,360 Speaker 2: with Telly, And I'm like, I know this character. And 514 00:25:21,400 --> 00:25:25,120 Speaker 2: I go in and I meet like the executive producer 515 00:25:25,200 --> 00:25:28,280 Speaker 2: blah blah, and it was you know me, I always 516 00:25:28,280 --> 00:25:29,560 Speaker 2: think I suck. And I was like, it was a 517 00:25:29,560 --> 00:25:30,399 Speaker 2: really great audition. 518 00:25:30,560 --> 00:25:33,480 Speaker 3: Yeah, yeah, yeah, and you're one really great Yeah. 519 00:25:33,480 --> 00:25:35,160 Speaker 4: It was like one. It was a great audition. 520 00:25:35,680 --> 00:25:38,119 Speaker 2: And they were like, okay, we want him to test 521 00:25:39,400 --> 00:25:42,640 Speaker 2: and it was like me, I think in five other 522 00:25:43,160 --> 00:25:48,159 Speaker 2: guys and then we go to the NBC Universal building 523 00:25:49,520 --> 00:25:52,720 Speaker 2: and I go in and by the time I get there, 524 00:25:52,720 --> 00:25:56,640 Speaker 2: like Okay, well we've cut. We're not having three of them. 525 00:25:56,680 --> 00:25:59,479 Speaker 2: We're only having three people test. Now, it's like, okay, 526 00:25:59,560 --> 00:26:04,920 Speaker 2: from six to three, like those odds go into the room. 527 00:26:04,960 --> 00:26:05,960 Speaker 4: Not a great audition. 528 00:26:06,720 --> 00:26:09,440 Speaker 2: And so this audition, knowing as well is that this 529 00:26:09,520 --> 00:26:11,399 Speaker 2: is going to be taped and this is what's going 530 00:26:11,480 --> 00:26:15,160 Speaker 2: to be shown to the yes. 531 00:26:16,680 --> 00:26:18,399 Speaker 4: And it just wasn't you know, I felt it. I'm like, 532 00:26:18,400 --> 00:26:19,600 Speaker 4: it's just as good. 533 00:26:20,280 --> 00:26:22,439 Speaker 2: And then they come back like that day or the 534 00:26:22,440 --> 00:26:24,520 Speaker 2: next day and like, Okay, it's only down to Kevin. 535 00:26:24,560 --> 00:26:29,000 Speaker 2: We've gotten rid of everybody else. And I'm like, okay, Drake. 536 00:26:29,160 --> 00:26:31,800 Speaker 2: But the network has the same issue with him that 537 00:26:31,800 --> 00:26:36,560 Speaker 2: they had with Karen, so we'd like to have him 538 00:26:36,600 --> 00:26:40,320 Speaker 2: the like and like you said, this happens all the time, 539 00:26:41,200 --> 00:26:44,560 Speaker 2: Like the creative team wants him, everybody wants him. And 540 00:26:44,640 --> 00:26:46,520 Speaker 2: my manager has always been like, don't tell me that 541 00:26:46,520 --> 00:26:50,000 Speaker 2: because it's always a bad omen. But we want to 542 00:26:50,000 --> 00:26:53,240 Speaker 2: work on him, work on it with because this character 543 00:26:53,320 --> 00:26:54,639 Speaker 2: changes over the course of the series. 544 00:26:54,720 --> 00:26:56,360 Speaker 4: Right, So they were making sure. 545 00:26:56,560 --> 00:26:58,639 Speaker 2: They know I could do a They're making sure I 546 00:26:58,680 --> 00:27:01,919 Speaker 2: could get to by and I'm like, okay, totally got it. 547 00:27:02,840 --> 00:27:04,560 Speaker 2: And so we're working out with the Glee schedule and 548 00:27:04,600 --> 00:27:07,040 Speaker 2: also how this would work out. For me to even 549 00:27:07,040 --> 00:27:08,399 Speaker 2: get approved to do this, I had to go to 550 00:27:08,480 --> 00:27:11,080 Speaker 2: Ryan to be like, look, if I get this, I'm 551 00:27:11,080 --> 00:27:12,960 Speaker 2: going to need to be off for like two episodes 552 00:27:12,960 --> 00:27:15,280 Speaker 2: to shoot this pilot. But it would be such a 553 00:27:15,320 --> 00:27:17,560 Speaker 2: gift because if it gets picked up, I'd go straight 554 00:27:17,560 --> 00:27:19,720 Speaker 2: from shooting Glee into shooting Maticians. 555 00:27:19,760 --> 00:27:20,480 Speaker 4: I would have a job. 556 00:27:20,840 --> 00:27:21,199 Speaker 1: Oh. 557 00:27:21,240 --> 00:27:23,760 Speaker 2: And he was like, He's like, I fully support you 558 00:27:24,200 --> 00:27:26,960 Speaker 2: whatever you need. I'm like, okay, great. But then to 559 00:27:27,000 --> 00:27:28,600 Speaker 2: have me come back in to work on it was, 560 00:27:28,680 --> 00:27:33,120 Speaker 2: you know, scheduling anything outside the Glee schedule was damn 561 00:27:33,119 --> 00:27:37,680 Speaker 2: near impossible. Yeah, we finally got it worked out, right, 562 00:27:37,720 --> 00:27:40,280 Speaker 2: I'm going back and forth. I'm working at Glee and 563 00:27:40,320 --> 00:27:42,399 Speaker 2: I'm at home and I'm like, what's going on. It 564 00:27:42,440 --> 00:27:45,160 Speaker 2: takes like three or four days, and we finally get 565 00:27:45,200 --> 00:27:47,160 Speaker 2: it set. Okay, Kevin can come in for like these 566 00:27:47,240 --> 00:27:51,280 Speaker 2: three hours on like a Friday before we even start shooting, 567 00:27:51,400 --> 00:27:56,959 Speaker 2: you know, like yeah, and then that night after it 568 00:27:57,000 --> 00:27:58,840 Speaker 2: was like a week of going back and forth and 569 00:27:58,880 --> 00:28:00,840 Speaker 2: I was literally got rid of everybody else. 570 00:28:00,880 --> 00:28:04,040 Speaker 4: It was just down to me. They come back and 571 00:28:04,080 --> 00:28:06,399 Speaker 4: they go we're going to pass on Kevin. 572 00:28:06,840 --> 00:28:11,879 Speaker 1: No, no, Kevin, I no, Kevin, that's the worst. 573 00:28:12,119 --> 00:28:14,360 Speaker 2: We're going to go back to somebody. We auditioned months 574 00:28:14,400 --> 00:28:17,359 Speaker 2: ago and they offered it to Jason Ralpho ended up 575 00:28:17,400 --> 00:28:18,520 Speaker 2: doing it. It was obviously great. 576 00:28:19,240 --> 00:28:21,119 Speaker 1: Yeah, how did the show? Did it get made? 577 00:28:21,480 --> 00:28:21,720 Speaker 3: Yeah? 578 00:28:21,760 --> 00:28:25,879 Speaker 1: It was known for like six seasons. Oh no, no, no, no, no. Oh. 579 00:28:25,920 --> 00:28:27,760 Speaker 3: I remember the one that I wanted. It was a 580 00:28:27,840 --> 00:28:31,120 Speaker 3: pachinko on Apple TV. Oh. Yes, it was a role 581 00:28:31,160 --> 00:28:33,159 Speaker 3: that was like quintessentially me and I. 582 00:28:33,680 --> 00:28:35,120 Speaker 1: Got to the director. 583 00:28:35,320 --> 00:28:37,520 Speaker 3: They worked with me, and then they were like, oh, 584 00:28:37,560 --> 00:28:40,880 Speaker 3: we're rewriting the role. We're not going to add it 585 00:28:40,920 --> 00:28:43,680 Speaker 3: until season two or three. 586 00:28:45,000 --> 00:28:48,560 Speaker 1: Oh, Kevin, this is like the stuff that like, though. 587 00:28:50,400 --> 00:28:53,680 Speaker 3: I always I bet, I think that those are the 588 00:28:53,720 --> 00:28:57,200 Speaker 3: ones that really make you question, like, this is the 589 00:28:57,400 --> 00:29:00,960 Speaker 3: stuff is what like you persevere and you continue to 590 00:29:01,000 --> 00:29:03,760 Speaker 3: act or you don't like this is the crap. 591 00:29:03,480 --> 00:29:07,600 Speaker 1: That like, I think you have to. 592 00:29:07,760 --> 00:29:11,640 Speaker 3: Like any advice that I've heard from like older actors 593 00:29:11,640 --> 00:29:13,680 Speaker 3: who have been through it, seeing it, left the business, 594 00:29:13,680 --> 00:29:16,720 Speaker 3: come back done. The whole thing is like keep going 595 00:29:16,920 --> 00:29:19,040 Speaker 3: making art if you don't love it. When you're not 596 00:29:19,160 --> 00:29:22,440 Speaker 3: making it like do something, you know, find something else, 597 00:29:22,440 --> 00:29:25,440 Speaker 3: because like it's so tough, it's so tough. 598 00:29:26,000 --> 00:29:28,080 Speaker 2: I think the biggest thing is like and like you said, 599 00:29:28,120 --> 00:29:30,120 Speaker 2: the biggest piece of advice I give to people too, 600 00:29:30,400 --> 00:29:33,920 Speaker 2: is like, you cannot take this personally because like what 601 00:29:34,040 --> 00:29:37,040 Speaker 2: I found out about the magicians, for example, it was 602 00:29:37,120 --> 00:29:40,920 Speaker 2: one person at the network. It's one person and for 603 00:29:40,960 --> 00:29:45,120 Speaker 2: whatever reason, they didn't with me. No, no, and you 604 00:29:45,120 --> 00:29:48,040 Speaker 2: can't do anything about that. You show up, you do 605 00:29:48,080 --> 00:29:52,840 Speaker 2: the best you can, and then all right, yeah, I know, 606 00:29:53,720 --> 00:29:57,440 Speaker 2: but I mean it happens all the time, like Austin 607 00:29:57,520 --> 00:30:01,120 Speaker 2: had some really rough It's also crazy because you know, 608 00:30:01,200 --> 00:30:04,720 Speaker 2: you audition, You can audition all. You can go for 609 00:30:04,800 --> 00:30:08,400 Speaker 2: a year, two years without working, and you're auditioning and 610 00:30:08,440 --> 00:30:11,120 Speaker 2: you get close several times. Or like the weird thing 611 00:30:11,200 --> 00:30:13,280 Speaker 2: is like what happened to Austin. I won't bore you 612 00:30:13,320 --> 00:30:16,320 Speaker 2: with this whole thing, but like you know, it was 613 00:30:16,320 --> 00:30:18,640 Speaker 2: like a slow year and then all of a sudden, 614 00:30:18,640 --> 00:30:23,960 Speaker 2: within two weeks how many others was up for three things, 615 00:30:24,920 --> 00:30:28,760 Speaker 2: casting for two of them, and then a movie yes, 616 00:30:29,080 --> 00:30:31,880 Speaker 2: and then he got drawn on one of them. Same 617 00:30:31,880 --> 00:30:33,480 Speaker 2: thing that sort of happened with me. It was one 618 00:30:33,520 --> 00:30:36,160 Speaker 2: person that wasn't sure everybody else because when you have 619 00:30:36,360 --> 00:30:39,520 Speaker 2: you know, a hard time finding someone. Yeah, they're like, okay, yes, 620 00:30:39,560 --> 00:30:42,400 Speaker 2: this is good enough, we'll do it. And then and 621 00:30:42,440 --> 00:30:43,640 Speaker 2: then the writer's strike happened, so. 622 00:30:43,600 --> 00:30:44,320 Speaker 4: It all went away. 623 00:30:44,720 --> 00:30:49,520 Speaker 1: Oh no, it's so hard, it hurts so bad. 624 00:30:50,240 --> 00:30:54,320 Speaker 4: Yeah, well, that's not even talking about theater, Jenna. 625 00:30:54,520 --> 00:30:54,960 Speaker 1: I know. 626 00:30:55,080 --> 00:30:58,440 Speaker 3: I think we leave that for another session, because theater 627 00:30:58,600 --> 00:31:03,600 Speaker 3: is a beast of an audition process. It's similar, though 628 00:31:03,600 --> 00:31:06,120 Speaker 3: there's but it's a very standard like one, two three. 629 00:31:06,280 --> 00:31:07,880 Speaker 3: You go in for the casting, you go in for 630 00:31:07,960 --> 00:31:10,280 Speaker 3: casting and creatives, and then you go in for a. 631 00:31:10,240 --> 00:31:11,719 Speaker 1: Final callback is what they call it. 632 00:31:11,760 --> 00:31:15,840 Speaker 3: And you know, there's a million stories of people being 633 00:31:15,880 --> 00:31:18,640 Speaker 3: pulled around like us and Genian Film and you know, 634 00:31:18,960 --> 00:31:21,840 Speaker 3: doing workshops and getting through to the end and then 635 00:31:21,880 --> 00:31:22,920 Speaker 3: being replaced. 636 00:31:22,600 --> 00:31:25,040 Speaker 1: Right away or the role gets rewritten out. 637 00:31:25,080 --> 00:31:28,840 Speaker 3: But it's even more stressable because like it never well, 638 00:31:28,880 --> 00:31:31,160 Speaker 3: not more stressable, but it was always in person, and 639 00:31:31,200 --> 00:31:35,200 Speaker 3: then they're singing involved most of the time, and then 640 00:31:35,640 --> 00:31:36,200 Speaker 3: there's like. 641 00:31:36,120 --> 00:31:37,880 Speaker 1: You gotta do it again, and you gotta do it again, 642 00:31:37,960 --> 00:31:38,360 Speaker 1: you gotta do. 643 00:31:38,360 --> 00:31:41,080 Speaker 3: It three times, and then now it's like self tapes 644 00:31:41,120 --> 00:31:43,160 Speaker 3: as well, which makes it even harder is like you're 645 00:31:43,200 --> 00:31:46,080 Speaker 3: singing to in auditions, you were singing with a pianist 646 00:31:46,200 --> 00:31:48,640 Speaker 3: or kind of a companist, and now it's like self 647 00:31:48,680 --> 00:31:51,600 Speaker 3: tapes too, where you're like singing to a drop ucks, 648 00:31:51,960 --> 00:31:55,600 Speaker 3: you know, accompaniment that's like at the tempest set tempo, 649 00:31:55,680 --> 00:31:59,640 Speaker 3: there's no room for anything, and like it sounds terrible, You're. 650 00:31:59,480 --> 00:32:00,560 Speaker 1: Like, what you kidding? 651 00:32:01,280 --> 00:32:03,200 Speaker 3: So anyway, we can leave that for another time. But 652 00:32:03,360 --> 00:32:06,280 Speaker 3: thanks for sharing some of these vulnerable moments, because auditioning 653 00:32:06,400 --> 00:32:10,560 Speaker 3: really is so vulnerable and I hate it, but oh 654 00:32:10,600 --> 00:32:11,200 Speaker 3: it sucks. 655 00:32:11,600 --> 00:32:15,800 Speaker 2: And every now and then you run into like really 656 00:32:15,960 --> 00:32:20,400 Speaker 2: wonderful casting directors who really understand how horrible it is 657 00:32:20,440 --> 00:32:21,360 Speaker 2: for an actor. 658 00:32:21,480 --> 00:32:24,400 Speaker 3: Make it really easy for you, and just are there 659 00:32:24,480 --> 00:32:26,680 Speaker 3: to champion you and make you want to win. 660 00:32:28,240 --> 00:32:28,760 Speaker 1: Exactly. 661 00:32:29,160 --> 00:32:32,960 Speaker 2: Alison Jones who casts like The Office and Jeed Apatow 662 00:32:33,000 --> 00:32:37,880 Speaker 2: stuff like a lot of comedy stuff. Alison Jones is 663 00:32:37,920 --> 00:32:41,640 Speaker 2: a hero and like gave me a chance pre Glee 664 00:32:41,640 --> 00:32:43,640 Speaker 2: before anybody else would for no reason. 665 00:32:45,080 --> 00:32:47,720 Speaker 4: But you hear that about. 666 00:32:47,400 --> 00:32:49,760 Speaker 2: Her a lot, and there's a lot of casting directors 667 00:32:49,800 --> 00:32:52,080 Speaker 2: like that out there, and it's that's why I'm like, 668 00:32:52,480 --> 00:32:55,560 Speaker 2: you should be getting an oscar for casting. It's it's 669 00:32:55,560 --> 00:32:59,440 Speaker 2: such a skill, it's such a talent. Yep, and it 670 00:32:59,560 --> 00:33:01,880 Speaker 2: just means a lot to an actor who's showing up 671 00:33:01,880 --> 00:33:02,680 Speaker 2: and being coulnortable. 672 00:33:03,200 --> 00:33:05,080 Speaker 1: Agreed. Yeah, you guys. 673 00:33:05,080 --> 00:33:06,920 Speaker 3: We have any email addressed if anyone wants to send 674 00:33:07,040 --> 00:33:09,520 Speaker 3: questions or thoughts in for these new tarty take you know, 675 00:33:09,600 --> 00:33:12,120 Speaker 3: episodes and if you have any ideas and that's what 676 00:33:12,160 --> 00:33:15,120 Speaker 3: you really miss pod at gmail dot com. You also 677 00:33:15,120 --> 00:33:18,800 Speaker 3: can always dm us or you know, comment on Instagram. 678 00:33:18,920 --> 00:33:21,400 Speaker 3: Later this week, we're going to talk about when you 679 00:33:21,440 --> 00:33:24,400 Speaker 3: get the job and money's involved. 680 00:33:25,600 --> 00:33:29,080 Speaker 1: What is that? What is that? Well, come back next time. 681 00:33:29,160 --> 00:33:32,520 Speaker 2: And that's a truly missed Thanks for listening and follow 682 00:33:32,600 --> 00:33:35,400 Speaker 2: us on Instagram at and that's what you really miss pod. 683 00:33:35,720 --> 00:33:37,560 Speaker 2: Make sure to write us a review and leave us 684 00:33:37,560 --> 00:33:39,080 Speaker 2: five stars. See you next time.