Latest / The Demia Avery Show / Inside the Mind of a Top LA Talent Manager | Lynne Marks | PKM Talent

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Inside the Mind of a Top LA Talent Manager | Lynne Marks | PKM Talent · The Demia Avery Show

0:00
If you got a dream, come closer. [music]
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If you want to shine, come over. We're
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breaking all the rules tonight.
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Yeah, we stepping [music]
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in the spotlight. This the industry
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[music]
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where everybody trying to be
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[music] lights.
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Living out the movie. [music]
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>> Hello. Hello everyone. This is Deia
0:33
Avery with the Demia Avery Show, the
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industry. And we have yet another
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special guest with us today. Today we're
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talking all about the business of
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building a career in entertainment. And
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I have a powerhouse in the industry
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joining me. She started her career as an
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actress in the UK after graduating from
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Mountain View Theater School. She moved
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to LA and eventually became the VP and
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founder of PKM Talent Management, one of
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LA's highly respected talent management
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companies. Now, her clients have worked
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on Broadway productions like Hamilton,
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Dear Evan Hansen, The Lion King, The
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Book of Mormon, and major film and
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television uh television projects
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including Sons of Anarchy, The Flash,
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Obi-Wan, and Five Nights at Freddy's.
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She's also worked with talent in
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recording and gaming, commercials, and
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endorsements. She has done it all.
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Please welcome to the show, the Demia
1:28
Avery Show, The Industry, Lynn Marx.
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Welcome. Nice to meet you.
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>> Oh, you're so welcome. We're so glad to
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to talk with you today. Now,
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>> let's get right into it. Let's go back.
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>> Okay.
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>> You actually started out as an actress,
1:44
if I'm if I'm speaking correctly, in the
1:47
UK.
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>> So, take me back to the young man. What
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What made you say, "Yep, acting is what
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I want to do?"
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Um, I was quite academic at school
1:58
actually, but I I felt that acting would
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be much more fun and a lot easier than
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than going to university like my sister
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did. I think I I think I maybe maybe
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that wasn't the right choice back then.
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But anyway, so I got into it took me a
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while. I I didn't really know how to
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audition. And that's maybe something a
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lot of your your listeners have that I
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didn't know how to audition. And I was
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just from a small village in England.
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And so the first time I tried, I didn't
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get into drama school. And so I spent a
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year training myself. You know, I didn't
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have a lot of money. So I, you know, had
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a part-time job. And I took singing
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lessons and acting lessons. And then I
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learned how to audition because I
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realized that's what it was all about.
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It was the audition. And then I got into
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one of the top drama schools. Went there
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for three years and um, you know,
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started working in in mainly in theater,
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a little bit of television. And then I
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was actually touring in the far east in
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Asia on an amazing tour. I was in a
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comedy. I played the sexy secretary. It
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was, you know, typical British kind of
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farical stuff.
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>> And that's where I met a young attorney
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who was American. Okay.
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>> On the island of Guam and the rest is
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history. I ended up in the US.
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>> Wow. Now, what made you like maybe I'm
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actually better at helping other people
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build their careers than than I was at
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building my own? And what made you want
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to get into management?
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>> Uh, the honest truth is that I wasn't
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very good at an American accent.
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>> I I don't know. I was I was doing a lot
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of theater in the US and my husband at
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the time said, "Lynn, you know, is this
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do you want to struggle? I mean, I know
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you're very talented and he was very
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supportive, but he said, you know, maybe
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you want to look at other parts of the
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industry just in case this doesn't work
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out." So, I went to a couple of seminars
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back in the day on how to be an agent,
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how to be a manager, and one of the
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people at the seminars stood up and
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said, "I'm looking for people to kind of
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intern and work at a children's
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management company." And I thought,
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"What the heck?" And I actually started
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working there and became head of talent
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development. And that sort of started it
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all. And then when I got pregnant with
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my first child, I didn't want to be in
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that kind of crazy 7:00 a.m. to 9:00 at
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night on a headphone all the time. It
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was a very busy busy job. So I decided
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to uh join with my partners and form
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what we have today.
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>> Love it. Love it. Now, okay.
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So I would imagine moving from the UK to
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Did you go directly to LA when you
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>> No. No, we went a lot of different
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places. Um, we moved around. We were in
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Miami and Sacramento, a a lot of
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different places, but we ended up in LA
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because I felt that that's where I
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needed to be at the time because I was
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pursuing acting and my husband also was
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able to to work here.
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>> Was that a big for you for you guys?
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>> Um, well, [clears throat] for me, coming
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to America was a big change. I really
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loved England and didn't particularly
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want to leave.
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>> [laughter]
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>> But uh you know I wasn't really making
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the money so I had to go where you know
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but as it is now I'm I'm glad. But um I
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really I really appreciated how in
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England the craft of acting was really
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really sort of um respected.
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>> Yeah.
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>> You went to drama school and you studied
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and you wouldn't even dream of
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auditioning before you did that. And so
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over here was a little tricky for me at
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first because had to get used to the
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fact that people would they just want
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[snorts] to be actors so they just start
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acting and I was like there's a craft
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you've got to study you've got to learn
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and I still
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now I bring that into my clients you
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know I expect you to to study this as a
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craft
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>> but you know what a lot of actors they
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don't a lot of actors uh beginner actors
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I should say
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>> they do exactly what you said a lot of
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them just know that they're you know
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they have this personality ities and and
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people have told people told me that I
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know how to act, you know, that kind of
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thing. But I'm glad to hear you say that
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you respect the fact that they actually
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go in to classes and take classes and
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and actually learn how to hone that
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skill. So, I'm very glad to hear you say
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that.
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>> Yeah. I mean, it's a craft. Now, if you
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can't, like I say to clients, if you
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can't afford to go to an acting class,
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I'm not going to say you have to go
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spend hundreds of dollars on an acting
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class. If you can't do that, then, you
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know, study film and television. Um,
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there's like now we have the internet,
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print out scripts, record yourself. Um,
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try out different characters because
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it's a craft. We basically actors are
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studying human behavior. They're
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bringing it to life, you know, they're
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mirroring back. Um and we have to as the
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audience believe there's a truth and as
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much as there are sometimes you know
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overnight successes most of the time the
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really good actors have studied as I say
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there are exceptions but most of the
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time you'll find out the stars that we
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see um they they take it very seriously
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they work on their craft.
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>> Yeah. I'm glad to hear you also say that
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that you you gave a good nugget for
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everyone for those who can't actually
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afford the acting classes because you
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know sometimes they can be
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>> you know and and but you also gave
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different ways on and things that they
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can do to hone their skill. But if you
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can't afford it and you have to do it on
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your own, really do it on your own.
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Don't just look at a couple of of films
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and be like, "Okay, I'm good now. Oh, I
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can I can go do that. So, I really love
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that you touched on that. Now,
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>> I've heard through the great round
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people say you have a really good eye
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for talent.
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>> So, what is the thing that you see in an
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actor that makes you think, "Oh, you
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know what? There's something there's
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something about here. There's something
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here." What is it that you look for?
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>> So, I look for what we all look for when
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we're watching a television show or a
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series. I look to be transported away
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from thinking I'm watching an actor in a
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show to thinking I'm watching a person
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going through something. Like even
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yesterday I was watching a tape of a
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brand new client. She's only young.
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She's only 11.
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>> Okay.
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>> And it's the first tape that I first
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audition tape she'd sent me. And that's
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always very nerve-wracking for me
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because they can be great at a showcase
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or in an interview, but when they start
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to do the self tapes and this little
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girl, her reactions were so they weren't
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thought out. They were so instinct
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instinctive. Just like a human being, as
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you know, when something upsets, we we
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react, we pause, we I always say to my
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clients, human beings are messy.
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>> Play a messy human. We're not we don't
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speak in a in a in a mannered tone. We
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don't we're we're we're we breathe in
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weird places. We we get confused. We
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sniff. We wipe our face. That's okay.
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Cuz And this little girl, I was like,
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"Wow, I really feel like I'm watching a
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little girl who's embarrassed by Yeah,
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>> great.
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>> You got it." Mhm.
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>> You know, and I think that's what I look
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for in talent. Somebody who's able to
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just allow the experience to come
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through them and to react as if they
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would in that situation. That's not
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easy.
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>> That's true. And I guess you um you can
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also say you believe them.
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>> So So you know what I mean? You believe
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them. Now, is it possible that an actor
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you you find an actor that you you're
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crazy about, they have all this talent,
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but still may not be somebody you would
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manage.
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>> I don't manage people in my own
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neighborhood
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>> or close to where I live.
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>> Okay.
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>> Um and I'm lucky because I live in a
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mountain community just outside LA. So,
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that makes that quite convenient.
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>> Okay. Um,
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I don't manage a child if the parent
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gives me the indication that they're
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going to be somebody who
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now I'm a this is hard to say. I'm a
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great advocate for parents. I'm a parent
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myself.
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>> So, I have so much respect for my
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parents.
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>> Yeah. But there are some parents who
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maybe they don't trust me or they don't
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believe what I'm saying or they'll doubt
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me all the time or they'll don't think
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I'm trying hard enough or if if I get
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the vibe that a parent of a child client
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>> might not be great to work with.
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>> Yeah,
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>> I probably wouldn't work with the child.
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Not there's nothing against the child.
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It's just I don't have enough time in my
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day. And that doesn't mean I I I invite
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questions. I invite concerns from
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parents all the time.
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>> It's just there's a slight difference.
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>> Yeah.
11:12
>> Um maybe a little demanding or not
11:15
respectful or um Yeah. So
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>> I get it. And they have to they have to
11:21
as their management if you're going to
11:23
take them on, they have to have trust in
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you. So you can't have that in back of
11:30
your head all the time. Okay. either
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they don't trust me or I'm going to have
11:34
to combat them with something because no
11:37
matter what I do, they're going to
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always come back with something else or
11:40
either say that something might be
11:42
better or something, you know. So, they
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have to have some trust in your
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capabilities as a manager to do the very
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best for their child. Would you agree?
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>> Yeah. And I also sort of say to actors
11:55
like there's a lot that I do that you
11:57
don't see. So I respect that that can be
11:59
difficult and and if you are concerned
12:02
you always you know ask but as much as
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you're asking me what I'm doing you need
12:08
to look at yourself and say what I'm
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doing as an actor.
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Excuse me. Have I looked at my materials
12:17
lately online?
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>> Are my head shot dynamic? Is my resume
12:22
up to date? Are the reels that I've got
12:24
on there are they going to jump out?
12:26
because it's so competitive. I wish it
12:28
wasn't, but it is. And so, you can be
12:31
the greatest actor in the world, but if
12:33
your tools and materials that your reps
12:35
have to work with are subpar.
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>> Mhm.
12:39
>> And also, if your tapes if your tapes
12:41
are not if if I give you an audition
12:43
tape and you ask repeatedly for
12:45
extensions
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>> or your tapes are late, you know,
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they're going to move on. It's not my
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fault. I'll do my best. I'll try.
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>> Yeah. Um, if you don't have a lot of
12:56
credits, it I can't pitch you for every
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single thing. Casting directors would
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get annoyed at me.
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>> I get that. I totally get that. I
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totally get that.
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>> Um, so there's an expectation, but if
13:10
you the ones I always say to my actors,
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be a squeaky wheel.
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>> Send me your tapes. Show me something
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you're working on in class.
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>> Remind me. Be fresh. you know, um, if
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you hear about something on the, you
13:24
know, from a friend, let me know. I'll
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find out. If I don't know about it
13:28
already, I'll find out. It's a team and
13:30
a lot of actors just sit back.
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>> I agree with you. I agree with you. And
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it's kind of like, you know, I may hear
13:36
from you one month and then maybe three
13:40
or four months down the line that
13:42
sometimes I know and I hear that a lot
13:44
of agents and and managers, they'll say,
13:47
you know, well, I haven't heard from
13:49
this person like in months and they kind
13:53
of expect that, you know, that you're in
13:57
the they're in the forefront of your
13:59
mind and and and things like that. So I
14:01
agree with you with keeping the
14:02
communication open and keeping it fresh
14:04
in your head. And then sometimes you
14:07
know in companies you have more you're
14:10
managing more than one person. So
14:14
sometimes I think that they're tunnel v
14:16
they have tunnel vision like it they
14:19
only manage you're only managing that
14:21
one person instead of like how many
14:23
others. So your attention is divided.
14:26
Even though you're doing the best for
14:27
that person, but the attention is also
14:30
divided.
14:31
>> You know, they've got to understand if
14:32
you're not working,
14:35
>> myself and my colleagues as managers and
14:38
agents,
14:39
>> we need to make money. So if you're not
14:41
working, we've also got to focus
14:42
attention on the ones that are working.
14:44
[laughter]
14:44
Doesn't mean we're not trying to get you
14:46
work, right? But we're not solely
14:48
focused on you because we've also got to
14:50
keep the h having the people that are
14:52
bringing in the money which is enabling
14:54
us to continue to represent you without
14:56
making any money.
14:57
>> Right. Right. Right.
14:58
>> You know, it's it's a hard it's actually
15:00
a hard business for raps. We we don't
15:03
make any money till you make money.
15:05
[snorts] Um and so, you know, there can
15:08
be years and years we work for free. You
15:10
know, it's it's it's can be it can be
15:12
rough with children because children
15:14
take a long time. Sometimes you take on
15:16
a child at 10 and they don't really
15:19
start to come into their own till
15:20
they're 16.
15:21
>> Ain't that something? And then their
15:23
their whole their their face changes,
15:25
their voice changes, their hair changes,
15:28
everything changes. So what you were
15:30
marketing before five months ago is
15:33
different from a you know a year from
15:36
now. So I totally get it. Now do you
15:39
think actors Let me ask you this. Well,
15:42
there there's one question I did want to
15:44
ask you and I think you probably touched
15:47
on it that
15:49
say for example um I've heard you say
15:53
how you appreciate when the actor um
15:57
hones their craft but also acting
16:01
understanding that acting is a business.
16:03
What do you wish more actors understood
16:06
about the business side of the industry?
16:09
the keeping keeping the um the tools or
16:15
the things that we have to market them
16:17
fresh.
16:19
>> Like I go on people's accounts sometimes
16:22
and their videos are years old.
16:24
>> Yeah.
16:25
>> Their head shot are years old. Their
16:28
resume hasn't been updated. Um you know,
16:31
or they've got a million videos on there
16:34
and I don't know. I don't have time to
16:36
go through a million videos. you know,
16:38
give me two or three strong videos. Make
16:41
it easy for me to submit you. Give me
16:43
dynamic
16:45
head shot. I'm with a lot of my clients
16:47
in the south. I actually have a
16:48
photographer called Anna Grace White who
16:51
I actually work directly with when she's
16:54
on a shoot. I had two today. And she
16:57
literally text me the pictures as she's
16:59
taking and I'll say, "I don't need a
17:03
million looks. I just need one strong
17:07
dynamic
17:09
young man or woman, young girl that's
17:12
going to jump off the page.
17:14
>> That's what I need. I don't need them to
17:16
be pissed off. I don't need them to be
17:18
pouty, you know. And so I'll be going,
17:21
"No, no, no. Yes, now we're getting it
17:24
now." Because that headsh shot can make
17:27
the difference between getting an
17:29
audition or not because cast directors
17:31
look at thousands of them.
17:32
>> Yeah. go ahead and jump off the page.
17:34
>> Yeah. Now, let's talk a quick second
17:37
about sometimes the attitude of an
17:39
actor. Meaning, say, do you think actors
17:43
sometimes put too much emphasis on I
17:46
didn't get the part instead of looking
17:48
at the bigger picture of building a
17:50
career?
17:52
>> Well, I mean, it's hard. I being having
17:54
been an actor myself that it's it feels
17:57
very personal and and it's very
17:58
disappointing especially actually some
18:01
of my actors are getting to a level
18:03
where they're getting to producers on
18:04
almost everything
18:06
>> and they're not getting it and that's
18:08
hard too like you'd think you'd love
18:09
that situation but but I think an actor
18:12
does have to think every you've heard
18:14
this a million time every audition isn't
18:16
the audition for the next job
18:19
>> you may not be right for that the odds
18:20
of you getting any job are very small if
18:23
you think there's, you know, a hundred
18:25
or 200 actors and there's one role,
18:27
right? So, the odds are not great. So,
18:30
you just have to have a great attitude,
18:33
bring your best to it, and also live a
18:37
full life so that you're not just
18:40
desperate.
18:41
>> Yeah.
18:41
>> To book something. You've got other
18:43
things
18:44
>> going on in your life.
18:45
>> Yeah, that's a good point. have have
18:47
other things happening so you don't
18:50
solely concentrate because you can get
18:52
eaten up by that the whole thing and
18:55
it's a it's a it's a game of no no no no
19:00
no no no no and finally you get a yes
19:03
but you might get a thousand nos so you
19:05
have to kind of be prepared for that and
19:08
I would rather have other things to
19:10
focus on you know so I don't focus on
19:13
the rejection part
19:14
>> keep yourself healthy happy. Connect to
19:18
your reps. Be positive. When we give you
19:20
an audition, say, "Got it. I'm on it."
19:23
That's all. Don't come back with a
19:25
million questions unless they are valid,
19:27
of course. Right? It's okay to refuse
19:30
something if you don't feel comfortable.
19:32
If it's nudity or the language or the
19:34
subject, but for the most part, try to
19:37
be I always say to my clients, all I
19:39
want to hear is got it on it.
19:42
>> Yeah.
19:42
>> Bringing it. That's it.
19:45
got to do it.
19:46
>> Yeah.
19:46
>> You know, and I always ask them to text
19:49
me their tapes before they send them in.
19:51
Let me have a look.
19:53
>> You know, I'll work with you. I'll say,
19:54
"Hey, this one's strong. This one's not
19:56
so strong." Casting directors probably
19:58
watch maybe three to five seconds for
20:00
tape.
20:01
>> So, it has to be those first few
20:02
seconds.
20:03
>> Yeah. Wow. Wow.
20:06
>> Now, this is a is a $10 million
20:10
question. who a lot of actors,
20:14
especially new actors and even some old,
20:17
they cross between
20:20
they don't quite understand the duties
20:22
of a manager versus an agent.
20:25
>> Yeah.
20:26
>> You know, so what would just to kind of
20:29
clarify in your terms, what would you
20:31
say the difference would be?
20:35
>> Um, a manager has less clients.
20:39
a manager does more handholding
20:42
it and the manager's job changes as the
20:46
client's career changes. So in the
20:48
beginning, say I'm just finding a brand
20:50
new actor. I'm teaching them how to to a
20:53
degree self tape. I'm watching their
20:55
tapes. I'm helping them get head shot
20:57
and if they're young, I'm helping their
20:59
parents get work permits and set up bank
21:02
accounts. I'm watching every audition
21:04
tape and all that kind of stuff. Then
21:07
then they start booking. Maybe they book
21:10
something like um I have a kid on Ted
21:13
Lasso. So that needed negotiation with
21:17
the agent. The agent legally negotiates.
21:19
Of course they consult with the manager
21:21
and the manager consults with the
21:22
parent. So there's a lot of negotiation.
21:24
Sometimes attorneys brought in. Then as
21:27
a client builds, we start with PR.
21:30
>> A show's coming out series regular. Do
21:33
we bring in a PR rep? We help interview
21:36
PR reps. I have done everything for
21:39
clients from, you know, working with PR,
21:42
working with press to um paying bills to
21:48
um booking security because of death
21:50
threats. Wow.
21:51
>> Um, yeah. I mean, it's as a manager,
21:56
I've worked on endorsements. I've worked
21:58
on, you know, m music videos, been there
22:00
for a client. I've got them tickets to
22:03
shows. I've ordered birthday gifts for
22:05
their spouses. I mean, it depends on the
22:08
level of the client.
22:10
>> You read scripts,
22:12
>> you you know, you talk with your client,
22:14
you talk with the um agent. Hey, they
22:17
they're willing to do this, but they're
22:19
not willing to do that. You play devil's
22:22
advocate. Sometimes you shield your
22:24
client from their bad behavior with the
22:26
agent. You kind of come across as the
22:28
bad guy to maybe make them look better.
22:31
There's a lot of things you do. You're
22:33
almost like the parent.
22:34
>> Yeah.
22:35
>> I'm like a parent to my actors.
22:37
[laughter]
22:38
I protect them in a way. And but I also
22:42
have a lot of respect for my agent. So,
22:43
we work very closely.
22:45
>> Yeah. I love it. So, okay. I have a
22:48
little game we're going to play. It was
22:50
going to be a lot of fun. But before we
22:51
get into that, I I want to make sure
22:55
that I covered this and I if in fact,
22:59
let's how do I want to phrase this? If
23:03
you could give every struggling actor
23:06
some career advice on, you know, what
23:10
can actually change the way they
23:11
approach their career, what what would
23:13
that be?
23:15
>> I think going back to what I said
23:17
before, study the craft of acting.
23:19
>> Yeah.
23:20
um be a good business person and always
23:22
know that if you're really serious about
23:25
this, you want to be one step ahead of
23:27
everybody else. You want to have tiptop
23:30
head shots. Look at them critically.
23:32
Have other people look at them. Have
23:34
people watch your tapes. Make sure your
23:37
resume is sharp and clean. We don't need
23:40
too much. We don't need a million
23:41
pictures. We just need one or two strong
23:44
ones. We don't need a million tapes. We
23:46
just need one or two strong ones. that
23:48
your tapes are in on time, if not early,
23:52
>> and they're well shot and you've done
23:54
your homework. You know, you are just
23:57
trying to be one step ahead of everyone
23:59
else.
24:00
>> Yeah. Yeah.
24:01
>> Got to work. It's hard work.
24:04
>> Yes.
24:04
>> Yes. But that's the name of the game,
24:06
right? [laughter]
24:08
>> No pain. No gain.
24:11
>> It's not an easy thing.
24:13
>> So, let's get let's have some fun. So,
24:15
we're going to play a game called I'd
24:17
rather. And I'm going to ask you some
24:20
questions. And you can't think too much
24:22
about it. You just kind of have to to
24:24
answer the questions. Okay. You ready?
24:27
>> Yes.
24:27
>> Would you rather manage the next
24:30
Scarlett Johansson or discover the next
24:32
Denzel Washington before anybody else
24:35
knows who they are?
24:37
>> Oh, definitely the next Denzel
24:38
Washington before anybody else knows who
24:40
they are. [laughter]
24:42
>> Okay. Would you rather have a client
24:46
who's amazingly talented but calls you
24:48
15 times a day or one who never calls
24:52
you but forgets to answer your emails?
24:55
>> I think I think the amazingly tal I I'll
24:58
always go for the amazingly talented.
25:00
>> Okay. [laughter]
25:02
There's hope there.
25:03
>> Right. Right. Would you ra
25:05
>> I can talk to them. All right.
25:07
>> Right. [laughter]
25:10
Would you rather watch a truly terrible
25:12
audition or listen to an actor tell you
25:15
for 10 minutes why they should have
25:16
gotten part?
25:21
>> The terrible audition.
25:24
[laughter]
25:26
>> I don't want to listen to you for
25:29
>> No, because there's no point. Like you
25:31
don't know what they're looking for. You
25:33
don't know why. It could be because you
25:34
look like that kid they they don't like
25:37
or they're I don't know. You know, we
25:39
it's it's really hard to understand why
25:41
people don't get a part. It it can be so
25:43
many things that we have no.
25:46
>> So true. Okay. Would you rather have
25:48
your client book a huge Netflix series
25:51
or star on a Broadway for two years?
25:55
>> Netflix.
25:56
>> All right. Would you rather manage an
25:58
actor who is always 30 minutes early or
26:01
one who is always 10 minutes late but
26:03
somehow keeps booking?
26:07
[snorts]
26:08
>> Oh,
26:10
[laughter]
26:13
it's a business 10 minutes late but
26:14
keeps booking.
26:15
>> But keeps booking. Okay. All right.
26:19
Would you rather have a uh would you
26:22
rather have to tell an actor you're not
26:25
ready yet or you're talented but your
26:28
attitude is the problem?
26:32
Well, I've done
26:35
the latter
26:39
because that happens a lot. A lot of
26:42
actors think that's kind of the
26:45
oldfashioned way. It used to be that if
26:47
you had an attitude like that was
26:49
respected, it's not anymore.
26:51
>> Yeah.
26:52
>> Like being I know quite a few actors
26:55
that have lost jobs because of their
26:56
attitude.
26:58
>> But I don't think I answered that
27:00
correct, but I'm just telling that's
27:02
that's a gem to share.
27:03
>> Yeah.
27:04
>> No longer being like, I want this. I
27:07
want the trailer. I people I guess it's
27:10
the advent of cell phones and
27:13
people just don't like that stuff. Yeah,
27:15
>> they won't put up with it. You'll get
27:17
fired.
27:19
>> Okay,
27:19
>> they'll find you.
27:21
>> Okay, just a couple more. Would you
27:23
rather have a client with zero so uh
27:25
social media presence but incredible
27:27
talent or two million followers and
27:31
questionable acting skills?
27:35
>> No social. Very talented.
27:37
>> Okay. Okay. All right. Would you rather
27:40
be stuck on a 12-hour flight next to an
27:43
actor who won't stop talking about their
27:46
career or a casting director who won't
27:48
tell you what they're casting?
27:53
>> The casting director. [laughter]
27:57
>> Okay. I got
28:00
>> the actor.
28:01
>> Yeah. Yeah. Okay. Fine. There's one last
28:04
question. Would you rather be able to
28:06
guarantee one actor you represent a
28:10
20-year career or have the ability
28:13
discover one completely unknown actor
28:16
who becomes a superstar?
28:20
>> The ability to discover the unknown
28:21
actor.
28:23
>> Yeah. Got it. Got it. Awesome. Awesome,
28:26
man. Thank you.
28:27
>> I love finding a new I love [laughter] I
28:30
have an absolute love for actors.
28:32
>> Yeah. in a way that I really I keep
28:34
going back to that. I really respect the
28:36
craft of it. So when I see someone who
28:38
can mimic human behavior and bring
28:41
emotions to life and show a reflection
28:43
back of us, that to me is the beauty and
28:46
the magic of movies and theater of which
28:49
I love equally by the way.
28:51
>> Love it.
28:51
>> But the TV might make more money,
28:54
[laughter]
28:56
>> but I have plenty of Broadway actors.
28:59
>> That was so much fun. But I think what I
29:01
really love about this conversation is
29:04
the behind, you know, behind everything,
29:06
there's a lot of wisdom that you gave
29:08
for our actors who are serious about
29:10
building their careers. You given us a
29:13
lot to think about today.
29:15
So before we think wrap everything up, I
29:17
just want to thank you for sitting down
29:19
with us today, sharing everything, and
29:22
come back at any any time and anything
29:26
you want to talk about, we could talk
29:27
about. I don't care if it's about cats,
29:28
dogs, puppies, whatever you want to talk
29:30
about. [laughter]
29:32
>> We'd love to. Thank you. It would be an
29:34
honor. And thank you. You are amazing to
29:36
talk to.
29:37
>> Oh, thank you so much. Thank you. Thank
29:39
you. All right, guys. We want to thank
29:41
Lin Marks for joining us today. And we
29:44
are out of here. This is Demia Avery,
29:46
the Demia Avery Show. Talk to you later.
29:49
Bye bye.