Interview with Actress-Filmmaker Margaret Sanchez

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[00:00:58] Welcoming to the show, we got actress and director Margaret Sanchez, another fellow Dallas native, much like myself. You can see her in so many different projects. Miss Juneteenth, she had a big key part in that is currently airing on Starz. She's coming out with all kinds of different short films, including Pieces of Life and Rounded, amongst many other upcoming projects.

[00:01:23] But man, we have met at a few different networking events and a few other things. It's a small world. It's a very small world. It's a great community. Dallas has an amazing film community. I love it. It's just great. I'm taking some acting lessons right now with Nikki Dixon. She's a legend here. I love Nikki. And before that, I was also turning with Nancy Chartier, also a local legend. So just beautiful, wonderful people.

[00:01:50] The community is just, it gives so much. The people are the biggest hearts in the film community. For sure. Hey, so I got to say something else that I, another project I was in, Queen of the South. Mm-hmm. Yep. I was in Queen of the South. That was, at one point, that was USA Network's like big, the big, most famous, best show on USA Network at one time. Yep.

[00:02:17] So it was filmed here. A lot of that was filmed here in Dallas. I got to work with Veronica Falcon, who was, Carmela. Yeah, she's doing all kinds of other big American projects. I did extra work on it. How was your experience? Oh, she was amazing. But we, I tell you, we had a long day. We started, I get there about like eight o'clock, right? Mm-hmm. And you're in the makeup trailer, and she walks in, and she's, oh, well, you're my dance instructor, because I played her dance instructor. Right.

[00:02:43] So gracious and kind. And so it was a dance scene. We worked at this house all day, literally all day. Uh, and she was developing blisters on her feet. Oh, dear. And both of them talked to her and said, hey, you know, I just want you to know I love what you're doing and see you're in pain. And so we just connected. And so after we shot, I sent her a care package of little blisters for her feet. Mm-hmm.

[00:03:08] I sent her a Neiman Marcus gift card, Uber card, because she says she doesn't drive. And she's brought me back thanking me for all that. She was so sweet. That's the kind of thing I like to do when I work on big projects. I like to send out thank you cards to, you know, the people I work with and directors, because it's, it's just important to show that, I think, to show how grateful you are for being picked up on the projects like that.

[00:03:33] So, well, and more importantly, it's kind of like a token, you know, it's like, I did that to a Hungarian professor who I'm still speak with in college. I don't know. I'm sure you know, having been behind the camera, the light meter. Right. I gave that to him since he was a cinematographer from Italy. It was dumb. It was office politics. And they take a list of which teachers to cut. But they're like, oh, well, the guy who does programming at PBS and the other guy who's never done anything, they can stay.

[00:04:03] This guy, he's done a lot, but he pisses us off. And we were just like about to have a mutiny. It's like, really? This dude worked with Franco Nero, Italian legend. You're going to fire him? Oh, well, he's got hot takes, doesn't like many of today's movies. It's free country. Right. He doesn't like movies with giant effects. He can't do it. He wants coming of age stories. Sorry. It's a little opinions are opinions.

[00:04:31] But we learned so much from them. And have you ever had any mentors who we were just like, I'm never that's a lightning in a bottle. I'm never going to get anyone who's that wonderful again. That's one special teacher, one special guy. It doesn't have to be film related, but just anyone who you're like, that's that's my kick in the door. That's well, I'm gonna tell you something. When I first got into acting about 20 years ago, I remember thinking, man, if I can just get to a film that makes it to Sundance.

[00:05:01] Something. I will be happy. And I did. Miss Juneteenth made it to Sundance. It was January 2020. 2020, it turned out to be a spreader event. So, I mean, that was my bucket list item. I mean, how it's like, it was like, you know, it was grateful, grateful. It got in one way or the other. Yeah, it's good. Yeah, there's so many people, so many people, actors here we'd love to work with. I mean, just, just, just countless.

[00:05:32] But, you know, I am again, and I started out talking about the film community here in Dallas. It's a wonderful, generous community, really. I mean, you know, there are some egos. Can't get away from that. But overall, solid good people. And I consider them many my good friends. Totally. So, I've had so many casting crew go back and forth on why Dallas isn't always a big creative outlet. Some said it was politics, different atmosphere.

[00:06:00] What is your take on that, do you think, personally? I think it's changing now, especially with Taylor Sheridan. Right. Right? But prior to that, why did you think it was only like here and there, a CBS or Fox show would come into town, do tax cuts? You know, I think it's, I think it's changing with more incentives, thankfully. What, it is extremely competitive since, since COVID.

[00:06:23] What's happening now is you have actors, you know, they'll, they'll cast here, there's a project here, and they'll do auditions here in Dallas or Austin. And because of COVID now, you know, people are virtually doing the auditions from all over the, everywhere. Right? Everywhere. Even for ADR or just uncredited, you know. It is very competitive. You know, so competitive. In fact, I attended, I'm SAG-AFTRA. We had a SAG-AFTRA party at December 2024. The very lovely Beth Sepko, who cast me in Queen of the Cell.

[00:06:53] She spoke and she told us. It is very competitive, these auditions, because they've got people from New York. I mean, they do things so creative, you know. So, as actors, I think, I think we're learning to be more creative in our auditions, in our self-tape auditions. It's a craft. I've heard a few entertainment podcasts about that, how it was like, especially in the 90s, it was like, are you New York or LA or anywhere else? And now people fly in even for one day. They can afford it now.

[00:07:22] You know, there's other ways around. It's like, okay, just spend the night at a friend's couch, you know, or trailer park, anything. And make every scene count. You know, it's changing. And you have to be on top of it. And I think it keeps older actresses like me, you know, it keeps you alert. It keeps you engaged, you know. I love that it's a challenge. It's kind of the motivation also.

[00:07:51] It's like, okay, so not going to have as much ageism. There's always going to be someone, a role for anyone, regardless of who this is. Right. So ageism, but also with me, I'm slight in height. I'm 5'2". And I can't tell you how many people who meet me, they would say, oh my gosh, you could play detective. Oh my gosh, you could do this.

[00:08:13] In fact, the local director, Michael Legick, Big Mike, back in 2018, or no, 2008, he sees me on a project, comes up to me and says, oh my gosh, you were so detective material. I want you to do this. I went for an audition. One of the co-producers was there. They liked what I did. I said, what? Just a little slight. So that's a struggle. But you know, at the end of the day, I think, well, you know what? It's your struggle. It's not my struggle.

[00:08:39] If I do you ever find the auditions taxing without I mean, I get it. But there are times where it's like, well, if you don't know now, will you ever? You know, it seems like there are some people in casting or directors who is like they're just asking for a reshoot.

[00:08:53] It's like if you didn't make use of your afternoon and saw all these other people, you know, it's like I would like to think that even then someone would be courteous and say, OK, so you're not who I want for this specific role, but I'll still have you be computer tech number five or, you know, secret service agent two or. You know, as a matter of fact, I got one of the first projects I did. I auditioned for the role of a professor. Nice.

[00:09:21] They didn't want me for that, but we want you for this other role. So that was nice. So, you know, there are many times I auditioned for a particular role and I think I know I don't fit this, but you know what? Maybe I'll fit something else. So can't hurt. I mean, yeah. What's on your bucket list of roles to do? What do you say? Oh, serial killer. Oh, I can do I can do I can do creepy. I can do creepy.

[00:09:48] So when I did my first film pieces of lives, I did that five years ago. I wanted to do something very heartfelt, something that I thought the audience could could could really walk away feeling. Some bittersweet sorrow, also some joy is a really it was a very, very heartfelt story. I knew I wanted to do something about a woman. First, actually, the story is about a couple recovering from addictions.

[00:10:16] And there was always a child in the background in the initial story. But that changed. I thought, no, I'm gonna do a couple that they've gone over. They've recovered from addictions. And now this woman who had to give up a baby from years ago, the baby, the young man. Now he is wants to meet her. And she's she's afraid. So it has a beautiful ending. And you were fortunate enough to link the short to me. And it did kind of I didn't know where it was going to go. I was like, oh, it's going to be a coming of age short. It's like, no, no, it's well.

[00:10:45] I was surprised how many men love that show, that film. They would tell, oh, my God, reminds me of me and my mother. I mean, it just was so beautiful. And actually the staging you did. A lot of it just felt like it's like, OK, but we're this is more than just reflecting outside at the pool. And, you know, all of it was from here at my house. Oh, see, that's all there at my house. So but the story, I got to tell you this real quick.

[00:11:12] I didn't think at the time that what was driving me. But I had an older brother who was an addict. And he had his phone that CPS had to take care, take the son away from them. And my brother always wanted to connect with him. And my brother died and he never got to. So it's kind of I think that did inspire me to do that first film. And of course, the second film bounded. I went a totally different direction. Totally different. It's like I want to.

[00:11:40] Van Quatro plays this the lead in this my second film. And Van is a marvelous actor, well known regionally. He did some stuff in the 90s with Brad Pitt. I was lucky to have him. So it's basically about two women who are being kind of manipulated by this man, Van Quatro. And then tables kind of turn on him. So it's it's not out yet on YouTube, but I plan to drop it hopefully in the next week or two. Man.

[00:12:10] So timing. You're going to hate me for this. Here's a role I think you'd be perfect at. You ready? Soccer coach. I think you could pull it out. I could see you just being like, all right. Teamwork. You know, practice now. You say a coach? Soccer coach. Soccer coach. Whoa. OK. You know, I like I like American football when I was a kid.

[00:12:39] I was a tomboy. Oh, there you go. I was. I love football. Loved it. So I can see that. There you go. Football coach. Work too. Exactly. Is there any talents you just are one way or another? You're like, I'm going to work with them one way or another. I don't know who I have to talk to. I will make it out. You mean actors? I mean, like well-known actors.

[00:13:06] Even just filmmaking talents is like, yeah, they're pretty indie friendly, I think. Oh, gosh. His name escapes me. But he just received a, he just did a film in Khan, Mexican actor Bernal. Bernal. You know who I'm talking about? I'd love, I'd love to. Yeah. He's, he was in. And, um. Oh, Gael Garcia Bernal. No, not Gael Garcia.

[00:13:36] It's a buddy of his. They did films together, though. Oh, okay. Sweet. Hang on. I got, I got to look this up. There's Pedro Motivar. He'd be amazing. Oh, yeah. No, it's not Gart's. Jeez. No. Oh, hang on. I got it. I think I got it. Diego Luna? No, it's not Diego Luna. Yeah. Diego Luna. That's it. You do one day.

[00:14:06] Okay. Diego. Yes. I'd love to do something with him. Sure. So my, uh, I'm first generation Mexican American. My mother is from Mexico. Uh, my father's family from Chihuahua. So I have, uh, actually have cousins in Mexico. One of them is a filmmaker. We've talked about doing something together. So sweet. Yeah. Yeah. So that's, and of course, you know, gosh, so many others, uh, Sally fields.

[00:14:36] There you go. Yeah. I just saw her film. Um, yeah. The Netflix movie. Remarkably bright creatures. I read the book a few months ago and I just saw the film. So, so lovely. It's really lovely. Very nice. Yeah. And how, well, what, what really got you into acting at just from that point on? Like, what was it in your teens or was it later? I was, no, I was like five or six years old.

[00:15:07] From day one. My parents would take us kids, uh, to the film cinema in Fort Worth. So I grew up and mom didn't speak English. So we'd go to these Mexican films. I didn't always understand Spanish for a while. Cause I broke, uh, grew up speaking English, but I was drawn to the emotions of the eyes. I was like, what? Oh my gosh. Look at that. You know, you could just, it was so much that was said without the dialogue. And I was just like, I want to do that. Right.

[00:15:37] And then, you know, in high school, my parents, they weren't going to support that. So, you know, got a real job. But years later, you know, this would have been 20, 2005. I said, no, I'm going to do it. So I got into it. I submitted resumes to a few little agents and one picked me up right away without much of a resume. I mean, I did little projects for employer, but you know, it was, that was with a core talent. Then I was with Kim Dawson. Now I'm in Klut with Klut. And many pals have used her. That's great.

[00:16:08] So, um, yes, since I was a little bit kid. Sweet. We'll return after these messages. Hi folks, pal. Back here, we got a 90 minute weekly Shack Stop. It's growing all over the world. Find it at 2 p.m. and 10 p.m. Eastern Time on Mondays. Then 3 p.m. on Wednesdays. Then 7 p.m. on Thursdays. You can catch it on many more radio stations. 99.9 KERV.

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[00:18:00] Do you ever find yourself thinking about who would win in a fight between Goku and Superman? Hi, I'm James Gavsey, and on the Who Would Win show, me and my co-host Ray ignore anything important happening in the outside world and debate fictional battles between characters from comics, movies, and video games. We got a new show every week, and almost always am I the winner. Yeah, not true, Ray. In the past, we've discussed such matches as Captain America versus Darth Vader, Solid

[00:18:25] Snake versus the Iron Giant, classic matchups like Robocop versus Terminator, and even the Muppets versus Sesame Street. That one was crazy. So if you're a fan of geek culture and love a spirited debate, check out the Who Would Win show wherever you get your podcasts, or check us out at whowouldwinshow.com. Well, how would you describe your method when it comes to preparing for a role? Depends on the role. If it's a drama, a film.

[00:18:55] Well, aspects to the role or something. For me, what I've learned is I've got to get the lines down flat. I work on getting the lines flat. And while I'm doing that, I'm developing some sort of a background. Right. And I'll memorize the other person's lines and my lines. And I'll flat.

[00:19:22] And it's kind of like I let the script or the scene speak to me in a way. It's kind of crazy saying that, but it is. It's because if you just do the lines, listen to the lines. And I also put myself on audio. Nice. Feedback. So I can just get the dialogue down.

[00:19:47] But as I am getting it down, you can pick up clues on what's happening in the story or in the scene. You ever do scene partners or anything? Oh, yeah. Oh, yeah. We do a lot of scene work in my class with Nikki Dixon. Just amazing, amazing scene work. So, you know, that works for me right now. You know, it's an evolving process, too, I think. Nice. I think it is. So it's smart. It is an art.

[00:20:17] You know, it's. And it's really, you know, after you get the lines down and develop some sort of a background. You have to find yourself in that person you're playing. You've got to find something in that life that is you. Right. You can get somebody else go for the same role. They're going to do it differently than me.

[00:20:43] I would, you know, I know if the scenes I did in my two films, if I were to do them again now, reshoot, it'd be a different person. I'd be different, you know, so. For sure. Very, you know, take some use the word organic, but it is a very organic process, evolving process. Oh, but that's neat that you I do think that's an underrated skill, kind of like if you were

[00:21:07] a joke teller, you want to, yes, do a dry run and then find the different personas and fluctuations, everything else, you know, it's instead of just. Pick only one style and say that's the only way it's going to work. It's like, well, I don't know that I get the set. I don't think you can, you know, I'm finding something I think that finally works for me. I could be wrong. Script writer producer might want a different kind of delivery.

[00:21:37] The director might make a difference. And when I get in front of a director and if they want me to do something, I am always going to do something different. You have to be able to show them that you do something different. You know, if they give you a direction, give them something else. They want to take a direction. So that's very important. So, but of course, right now we're not doing really any impersonal auditions. Right. Right.

[00:22:02] But I was fortunate enough to avoid this one unprofessional indie filmmaker, or shall I say non-budget filmmaker? And I was telling them of the cannot, you know, cannot eliminate rule, which is, you know, actors don't tell directors how to drag. Directors don't tell actors how to act. And he's like, oh, I'm not sure you're right. I'm like, well, then we just have nothing in common because that's just like filmmaking one on one. And there's no ifs or buts about it.

[00:22:31] That's just like a boss doesn't micromanage and just like a coworker doesn't tell the supervisors, you know, what they should be doing is like, oh, hold on, make a recommendation, stress problems, but don't be a problem. You know, it's just like, come on. Never think about doing a director's job. You know, I'm going to tell me what you want. Let's talk about what you want. What's, you know, what's, you know, just there's some dialogue. I think there needs to be some dialogue, but I would never.

[00:23:01] Oh, heck no. I mean, just ask to approach and then go from there. If I can speak to someone who's in character or speaking as the character, but not necessarily in character, you know, whatever everyone's preference. You know, if the director wants to send their, you know, assistant director over to talk while they're setting up their own shot, you know, whatever, just don't, again, don't make dents in the road for everybody. You know? You don't want to do that.

[00:23:31] It's like, come on. So that's neat that there's a few different acting classes. I always wanted to take Glenn Moore showers and a few other acting classes. Did you take Glenn's workshop? I did it, but I had many friends who did, and I was like, I should take that one day. But life changes happen. Different day job happen. How do you recommend others who are trying to balance out day jobs with entertainment

[00:23:59] side gigs who want to kind of go to the next level and make that be the full time? You know, you have to commit to the craft. You have to, because that's what's in your heart. You have to commit to that. Of course, you have to pay bills too, right? Yeah. It's hard. It's a balance. You know, when I'm, when I have a big scene to doing class on Monday nights, weekends,

[00:24:27] I'm memorizing, I spend my weekends memorizing the lines. Oh, man. It's what you, you end up giving up a lot of your own social time. Yeah. To work on your craft or, you know, do a project. Mm-hmm. You know, and it's worth it. I mean, you know, it's, I don't think it's a sacrifice from any actors. Right. You just have to manage it, you know. Make it matter. Yeah. Exactly.

[00:24:56] Oh, man. Did you ever see the one documentary, That Gal Who Was In That Thing? What documentary was that? That Gal Who Was In That Thing. Yeah. Oh, that's the name of the documentary? No, I didn't see that. There was that guy who was in that thing, and then they did Showtime did a follow-up. What did they do? Well, they just summed up how there's going to be just so many days where it's like, can't make time to deal with family, you know, I'm busy working, you know, even though they have

[00:25:25] changed up so much stuff to where it's like, okay, you're going to be wrapped in six hours. It's like, you don't know going in, you know, what's going to be demanding. Oh, yeah. That's right. That's what it is. Oh, well, so some people struggle from this. How do you recommend people catch cat naps or who struggle with sleep but are trying to do all kinds of entertainment schedules with different kinds of stuff?

[00:25:51] You know, there are people that have struggles with that. I know people that take some, you know, supplements. I'm lucky. I can sleep anywhere. I don't have that. I mean, I just don't. Oh, it's fine. I'm fortunate. I can sleep literally anywhere. I can sleep on an airplane with turbulence. So I don't just, you know, thankfully there are supplements, safe supplements. You know, there's techniques. That's great.

[00:26:20] You can do breathing techniques that can help. Just go out and stretch for a minute. Yeah. You have to manage that. You have to find a way to get your rest. Yeah. I love it. That is to the point. And what are some of your favorite networking events that you've been to either here or in other states? I love Women in Film. Women in Film always do some great mixers here. It's a nationwide deal, and I think they're doing good stuff. Yeah.

[00:26:50] In fact, I went to, had the opportunity to go to a big Women in Film event in New Orleans a few years ago. Very nice event. Yeah, they have different chapters all over the United States. L.A., New York, New Orleans. Dallas is a really big active one. Sweet. They do a great job. They really do. Great people on the board. I know Deep in the Heart is a big one. A few of those other festivals.

[00:27:23] Of course, I'm SAG, so we do. We have a couple of events. There's always a big Christmas event, so that's nice. Good. I mean, there's so many opportunities, networking opportunities here. Many. Here's the thing that's always a deal for any kind of job, just making sure it's legit and everything. Now, everything's digital.

[00:27:46] Anyone can have any kind of project, any kind of set, any kind of lighting or visual effect that they're looking for. What are some other just like do's and don'ts when you're looking for an indie film gig and you're just trying to make sure this is legit? So, several years ago, I was on this particular site where you could find that their local

[00:28:15] project, Indie Maker, was doing a little film. You could submit for an audition. If there was a row you liked, say, yeah, I might send them a link or email. So, I got an email back from this. Yeah, we'd like for you to audition. Here's the location. So, I looked up the location. It turned out to be like a warehouse in Garland. So, I didn't go. Wow. So, yeah, you have to do your due diligence.

[00:28:45] You know, trust your gut. Trust your gut. Yeah, I've had a few pals who were like, they were trying to do. And this was, by the way, this was before COVID. So, this is when we were still doing. So, I saw the address and thought, that's something odd. So, I did further research and I didn't go. Yeah, I had pals who were like on a music video set and people were bringing real guns and they were like, I'm out of here.

[00:29:15] No, thank you. Make sure to blacklist. I've been fortunate to have some really credible, decent projects. Yeah. I wasted my time doing a war movie in the middle of the woods. Got all kinds of sugar bites and I said, life is too short. Goodbye. And, you know, if people are talking smack and everything and just not being helpful, you can only handle so much cynicism.

[00:29:42] You know, this is like, if nothing's getting done within three hours. Right. I agree. Flip down. It's time to leave. It's time to leave the set. I did so many short films where I should have said something and said, so by the way, what are we getting fed? Besides donuts. Yeah. It is amazing how many people are kind of have a zombie appetite. They don't need any food or nourishment at all.

[00:30:10] Like, well, it's been, it's going to be 72 hours, you know, it's like back and forth doing this film set plus breaks and sleep and all that. But we, we got it. There is something, you know, for the new person that you can learn from sometimes those situations. You can't. Yeah. Yeah. It's funny. You mentioned Taylor Sheridan. He's had to kind of take control of a bunch of projects that weren't going the way he had asked, like Tulsa King.

[00:30:40] He had to fire a showrunner who was disobeying all his instructions. And then. Yeah. Yeah. It was, what's his name? Terrence Winter of the Sopranos was basically giving him duly noted notes. He's like, you're doing exactly what I'm asking you to not do. That's not the style of the show. So I'm going to fire you and then bring you back as a consultant. That's a compromise. And I know that's why he's replacing Stallone with Sam Jackson with his spinoff because Stallone's just being over the top.

[00:31:08] But I did hear about, I have a few friends who were on a land man and they weren't really practicing the best COVID and distancing. What's a good way to just report when there's foul play on a movie set? And when people just. If it's a SAG project, SAG has protocols. And I would be surprised if a project like that didn't follow protocols. Right. And you never know, man.

[00:31:36] You know, people say all kinds of stories and you don't know if it's out of context or what the full deal is. And it's like, well, I hope it was just one day and they got it fixed. I can say SAG. I don't think it's, I think it's fair to find any issues with SAG, a SAG project. They, they are very, they follow protocol. Right. They take care of the actors. They take care of the people on set.

[00:32:00] So, yeah, I can't imagine anything, anything happening that would be out of compliance with SAG. Yeah, that's good. And I also just like to just hear inspiration on how people are ahead of schedule. It was like, those are the best stories to listen to. It's like, okay, yeah, here's how this person got ahead of the curb and what was expected to be five days ended up just being a day and a half.

[00:32:31] Oh yeah. That's like, that's a line producer in the making. That's someone who's. Should go from being unit production manager to head producer. Something like that. Yeah. Kudos to them. You know, it's like. It seems like it's also so easy for people to want to film different things and then realize we didn't need half this material, you know, and even though Netflix buys all kinds of different

[00:33:01] projects, you like to think after a while is like, you know, we don't even need eight episodes. How about free? Yeah, I. There's some great stuff on Netflix. I'm sure they. They're probably very efficient and very on top of how they manage. Their. Their. Their shows. They know what they want. What happens.

[00:33:25] Well, and so do you have any other friends or family who are trying to get into the industry as well? No. Not right now. I mean, I've got little baby nieces that might change a few years. You're like sooner or later. It's happening. Yeah. Oh, and. It seems like, again, like you were saying before, is like didn't have.

[00:33:54] It wasn't going to be my your main job growing up, but then after a while, you put your foot down and just like, OK, I'm going to make this be my. Yeah. I wanted to discover what it was about. What is that? You know, and I remember when I first started taking acting lessons with with Nancy. 30, Nancy Chardee. It's 2005. I would. I was so scared. I drive to her studio. Scared. Why am I?

[00:34:24] I was asked, well, why am I doing this? Why am I doing? Well, obviously, there's a reason you're doing this. And I conquered that fear. And I'm glad I kept with it. Yeah. And I can't explain it. I can't. What makes people want to pursue this? I don't know. And it's not because I know some of the younger actors say, oh, I want to be famous. I don't want to be famous. Right. I have skeletons in my closet. We all do.

[00:34:51] You know, I don't want to be famous, but it comes with the territory. Right. It's not about fame. It's not about making a lot of money. It's just about making. It's just it sounds corny, but it's about making art, creating something. You know, people come in to see you. You know, like when I did my first film piece, I had I did many film festivals. And they would guys would come up to me and say, oh, my God, I love that story. Some people were crying. So it's just something magical when you can do something like that.

[00:35:18] I was a percent touch people in that way. So it's kind of almost a borderline just kind of like saying, hey, you know, like. Nothing's going to stop me. And this isn't any kind of project or any kind of job like this is pretty much. It defies the normal expectations of a nine to five job. And it's also is like not just anyone can do it. I want to show I can do it, you know. Exactly.

[00:35:49] Yeah. And I would say, again, so many youngsters, they want to do this because of the fame. I'm like, no. No, not tonight. But yet it's hard to. To communicate that to some of the younger actors, because that's what they want. Well, I'm glad that you kind of hit on that. There were so many times where I would have friends and family, even cousins say, so what do you do exactly? I'm like, how long you got to listen?

[00:36:22] And it's just you never know what they will or won't just find interesting. And it's like, well, explaining this, there's no one paragraph. Like there's so many different ways. You know, it's so funny when people at my day job and they find out what I do. Oh, my God. They're like, oh, wow. Wow. How did you get to that? I mean, there's just it's just like they can't you know, they're just all over. They just find it so crazy. They're like, you're joking.

[00:36:50] No, it's not that glamorous, but it is fun. Yeah, it's fun. And there's times where it comes in small doses. It's like, OK, this will happen here. You have dry spells with auditions and sometimes we're like back to back. It's crazy. It's something it's. It's something you got to want to do in your heart. You know, you don't want to do it.

[00:37:17] You also got to just tell them, hey, like the fun will happen later or it might not happen for five projects. You know, like that's true, too. It's like it goes in stages instead of instant reaction. That's kind of why you see many who are like, I prefer to do theater or stand up. It's like there's an instant. Theater. Theater. That's a commitment. That is a huge commitment. Totally.

[00:37:45] But I think some of the best actors started in stage. The UK actors. That's a whole different level. Yeah. They are amazing. We can't. I don't see how. Well, they come here to the United States and play Americans. You know, they get our accents down. Right. Brilliant. You know, and they stage from their, I guess, from infancy. I don't know. But they're amazing. A thousand percent. And yeah, some of our favorite actors have done theater.

[00:38:16] Ernie Hudson, Stacey Keach, kinds of people. Denzel Washington. Denzel. Yes. It's cliche to say, but amazing, man. Oh, I just, I just drew a blank on. That guy. The strong. What's her name? Strong African-American actress that played in The Help. You know what I'm talking about? Oh, Viola Davis. Oh, how could I forget her name? I read her book.

[00:38:45] It's a wonderful book. I need to read her book. Yeah. She's. She's probably one of my favorite actors. Yeah. She's. She's. She's kind of. She's kind of. Put. Rolled fearlessness on its side. It's just like. It's a powerhouse. It is fun, though, when you just kind of see all these different personas and they say

[00:39:11] the famous line where they're like, did not expect to be doing this in a million years, but I'm here now. Right. Exactly. The best part, I think, of any creative process is when everybody just gets together and just has that grin where they're in the editing room or they're at the premiere and they're like, oh, yes. Oh, yeah. Yeah. You have that moment. Oh, my God. This is something magical. That inertia.

[00:39:41] Wow. And. And that happens in class. I mean, when I'm with my classmates, you know, we look, I'm saying, whoa. Right. We hug each other, you know, so it's like. And then sometimes, you know, we're a little off. But when you hit that mark. Oh, that's pretty cool. Even if the character name is deleted, even if the scene isn't edited towards great for

[00:40:08] the demo reel, even if there's just other factors one might say, I don't care for that. Would you say you're at the point where it's like, I know when to step away from it? I'm too close to this project. I haven't got there yet. I don't know. OK, well, it is always fun when you talk to some talents and they're like, I've, you know, it's like that that movie. Glad you saw me in it. I consider that a credit versus, you know, a big role for me.

[00:40:34] You know, especially if you're a talent is like half the time people just see the titles on your resume versus looking at the real. It's how we want you to do that is like now we just want to work with someone of your caliber because we click clearly, you know, what do you have to do? You don't have to coach you. Yeah. When you use it, when you when you use the word talent, I know some actors that don't like that word. They I think that's a good point. Thank you for catching me on that. I should probably just refer to just.

[00:41:05] However, that's casting directors see us talent, but it's issues, you know, I think it diminishes really with what that particular actor can do. It is wild, though. It is kind of like what politically correct term to use for someone or certain stature, even kind of like how there's disability support. But some are like, don't use any word but disability is like, yeah, just whatever title will suit the meaning and gets the point across.

[00:41:32] You know, if it takes five other alternate titles, you could be a good HR. That'd be great. It's like here. Use this word. This makes everyone warm up to you more because. Whatever they associate with that word, there's no negative connotation they can add. You have to be aware of that. Correct. Then there's other days where you just have to say, hey, let bygones be bygones. Yeah, exactly. There's some days just don't get wrapped around the axle on some stuff. It's just not worth it.

[00:42:00] I want to thank you for the opportunity. I really appreciate this dialogue. That was a good way to conclude it. Great discussion. Follow us on the web on Facebook, Twitter, and Instagram. The podcast is available on Podbean, Spotify, iHeartRadio, Anchor, Apple, and anywhere else. Podcasts are available. Feel free to review our show and leave comments on any of those sites.

[00:42:29] Thanks a million for listening.