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Hi Actor! Here at Speak LA we teach actors how to move to LA and thrive. So if you're in LA, moving to LA, or want help with your acting career in LA, join the Speak LA Community. For information about our Community, go to ispeakla.com. That's ispeakla.com.
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Today's episode of Speak LA The Podcast is sponsored by Actors Connection. Before we begin, one of the things we most often hear from our listeners is how hard it is to find an agent. If this is something you are struggling with, go to ispeakla.com and download our FREE AGENT GUIDE. Now, there's no shame in not having an agent, but we want to help you get one. So go to ispeakla.com and grab your free AGENT GUIDE now!
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Stacy Beth, a former manager turned agent, started representing actors 25 years ago through her company, Beth Stein Agency, and recently merged her company with AKA. Stacey is a fierce champion and advocate of actors.
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How old were you when you moved to LA?
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I was 23 years old.
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Did you know anyone when you first moved here?
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I knew no one. I knew no one. My grandparents had friends here, but that was it.
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How much money did you have when you moved here-ish?
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I think I had maybe $2,000. Maybe. I did not have a lot of money at all.
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Where did you live in LA at all?
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Where
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Did I live? Yeah. What
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Part of LA did you live in to begin?
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Venice? Venice, but when I first drove in, I stayed in a hotel and I went to the UCLA boards to see if anyone was going to college who needed a roommate. That's how I got my first apartment.
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Wow. Yeah. What was your first job in LA?
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I can't remember if I was working at Conroy Flowers or I was working as a waitress on the Third Street Promenade, one of those two.
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What was your very first job in the industry?
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I was the stand-in on a pretty low budget movie for all five of the stars. So, I walked around with Apple boxes to be different heights.
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If you had to sum up L.A. in one word, what would that word be?
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Well, vacation land or crazy.
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Crazy vacation land. Really?
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Yeah,
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That.
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That's a good one.
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Welcome,
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Stacy. We've been so looking forward to this. Thank you for being with us today.
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I'm so thrilled. I'm so thrilled. I love what you all are doing.
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Oh, thank you. Thank you.
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Well, the feeling is mutual, so we just love to start with the first, just getting right in there. Did you always know that you wanted to be a part of the film and TV industry in some way?
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I grew up on the stage. I was always doing plays as a young child, but I never really thought about it in terms of becoming an actor or being in the business in any way. So no, that's not how I grew up. Although I remember sitting and watching the award shows and thinking about that because I was on stage quite a bit, but it just wasn't in my purview at all.
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May I ask where you grew up?
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In Louisville, Kentucky. Oh
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Wow. Wow. A long way from Hollywood,
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A long way from Hollywood, although my entire family was from Brooklyn and Queens, so I was going quite a bit to New York and I was always going to the plays there, going on Broadway and watching the plays.
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Right.
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So I think what's really fun about you, and I'd love to hear more about it, is that you have kind of this unique perspective because you actually, like you were saying, you did plays when you were little. You started as an actor and then you became an agent. So how did that happen for you? When did you decide to become an agent?
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Well, I had been acting for a little bit while I was out here, I think maybe for a few years. And I had had several agents and none of them really had done much for me. I had gotten a nice guest star from a play that I had done, and I had interned with casting directors. I had interned at my agent's office and I was at a theater company with really talented people and people who either had a shitty agent or couldn't get an agent, and I was like, I could do this. And I started in somebody else's living room because they had a fax machine and I didn't have a fax machine, and I got a messenger service and I knew what the packages needed to look like because I had interned at the casting director and I'm like, I could totally do this.
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And that's how I transitioned into being a manager. I started a management company and then what I really loved was negotiating because I was an actor. I was so passionate about getting actors more money, and I just fought and fought. I found out that I really loved it. It was like a psychological game of chess, and when LA casting came on the scene, they didn't allow managers to be on there and commercials was a huge part of my business. So then I became an agent, which is a whole lot of paperwork, a whole lot of things you have to do, but that's how I became an agent. That was the whole deal.
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I'd love to go back a little bit to when you came to LA because you said at the top that you didn't know anybody when you arrived, and a lot of our listeners are actors who are contemplating the move to LA or maybe New York, but many are thinking about LA since there's so much film and TV work here as we know. What do you think gave you the guts to say, I don't know anybody there, but I'm going to pick up and go. Was it scary? Was it exciting?
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It was so scary. I do remember because I drove here in my grandfather's Buick Regal with a CB radio, and I remember hitting where the 405 meets the 10, and I started crying. Everything was so big,
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But I was in a Bachelor of Fine Arts program in Louisville, and it was the summer, and I was like, I want to go out to Los Angeles. I want to see what that's like. I was just drawn here instead of to New York because everybody thought I would be going to New York. I was in theater and I came out here and I started studying with Sanford Meisner who was teaching here at that time, and I went to Playhouse West and I was steeped in these classes with these actors who were unbelievable, and I was supposed to go back home. I was only supposed to be here for the summer, and there's a whole story about why I stayed, but I ended up not being able to leave because when you come here, you're just steeped with all these people who are all part of a community, who are all really wanting the same thing, and it really is a beautiful, beautiful thing.
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It's funny because if somebody
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Was,
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Oh, go ahead.
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Sorry. I don't want to No,
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You go. No,
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You go.
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I was just going to say that people are so generous and I found that people are so generous in LA and it's weird because we don't have that reputation necessarily, but I think because a lot of people come here knowing nobody working their way up from the ground. They're ready to lend a hand, they're ready to open up. They're ready to help you when you're trying to figure out what to do. And I just found that so inspiring about Los Angeles,
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It really is. I mean, I say that now. Sometimes I mentor other agents and I do consultations with them, and one of the things I say is everybody wants to help you. So if you approach negotiations in that way, I ended up hearing about things I shouldn't hear about from the people who I was negotiating with because I became an ally for them and it's because people want to help. When I became an agent, I had other agents helping me rise, and I think that if you get in with the right group of actors when you first come, everyone rises together. Everyone helps each other. And so I think the biggest thing that happened for me was when I got here, I got myself into a really good class and immediately you are surrounded by people of all different levels, some who are working, some who are not, and they will in a sense show you the ropes instead of trying to figure it all out on your own instead of going, I need to get an agent right away. It's like, no, find your community first.
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I love that advice of find your community first. I think the agent question is so hard and so big because I think it makes actors, I mean, I know I felt this way. It feels like it kind of legitimizes you as an actor, and it's the thing that our family and friends, well-meaning ask us back at home, did you get an agent? Do you have an agent? Kind of the thing that they know is maybe important, but I love the advice to first find your community. That's really good advice. We hear so much, and you mentioned it, you talked about friends that either had a shitty agent or didn't have an agent at all. We hear a lot about that. I remember feeling that way. There's a lot of frustration and not to talk badly about agents because I think most of them are well-meaning, but what is sort of the trick for an actor that maybe is listening and is just feeling so frustrated and either has an agent that maybe doesn't call them very much or doesn't have an agent at all. What would you say to that actor?
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Well, first I would say, how long have you been here? How long have you been studying? The one thing I always preface my answers with when I start talking to someone is there is no one answer that fits everyone. I would tailor my answers to each person I was talking to based on how long they've been in the business, how long they've been acting, what their resume looks like, so it's hard to just say one thing. I will say that in this day and age, you can do this career without an agent. You can start without one and almost everyone, unless you're really lucky and you come out of an MFA program or a BFA program and you got snatched up right away, that does happen sometimes. Or you have a father or a mother in this business and you're lucky, otherwise you're like 95% of all the other actors.
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And I think when you come out here, you have to remember that finding the right agent is like finding the right partner. It happens exactly when it's supposed to happen, so getting frustrated it hasn't happened yet, doesn't really do you any good. That doesn't fill your soul. You're actually bringing yourself down, so reminding yourself that the right person is going to come along exactly when you're ready and that's when it's going to mesh. Right. I always say it's like these apps now where you're like left, right, left, right, scroll left, scroll right. It's like that's what it's like for an agent. When we're looking through submissions, it's very quick. You either get the hit or you don't. It is not personal at all. You feel something inside that says, oh, I have to meet that person, and that's the person that you want. So if you're not hearing back from agents, you just haven't met your person yet.
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That's a good answer. It's a great way to reframe it. It's a great way to reframe it. If you've been out here for a while and you have an agent that isn't working for you, I don't believe in having an agent is better than no agent. I don't believe that. I do believe that actors think that their agent isn't doing anything when they really are, and so I find that actors like to leave agents way too soon because they haven't actually communicated with the agent and said, Hey, something's not working. Can we figure out how to rejigger this or what are your thoughts? It's a very easy email. I find that a lot of actors are passive aggressive. They write and they're like, hi, how are you doing? Blah, blah, blah. And they're like talking around it when really agents are busy and if you just talk to them like a normal person or like you would with a spouse, if you said to your spouse, we're not having sex, can we talk about that? Then maybe you would start having sex again. And so I say the same for actors. It's like if you think you're the only one in the relationship who knows what's going on, you're wrong. The agent also knows they're not making money off of you. Everyone knows. So just break the ice and say, Hey, let's talk about this. Let's figure it out together. That is what a collaboration between an agent and an actor is. It's a collaboration.
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That's such good advice. I wish that someone had told me this when I first moved to LA because
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I Me too,
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Me too. I actually had an agent. I was lucky enough, I got my master's and I got an agent right away, but I had no idea how to communicate with my agent. I had no idea what the expectations were in terms of when I would even get an audition. I didn't understand the time that exists in LA. I didn't understand what I needed to do on my end. It was really, really frustrating for me. And I'd love to hear a little bit about that. If you're a newer actor, you have an agent, you're ready to go, you've done the training, but what are the expectations time-wise, for getting into that first audition? And I know it varies for everybody, but a general kind of rule of thumb,
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It's so different. There is no general rule of thumb because I can tell you I've taken somebody on who I was iffy about and had them on a TV show in two weeks. I brought someone in who only had a few movies they had done with their friends before, but really well-trained, and I had her on a series regular job. That was her first job with me within a month. And then I've had people where it's a slow burn and they have to grow into who they are. They have to grow into how the business sees them because you have to listen to the feedback of what you're getting called in for. And if in terms of me, I didn't work in my twenties, I worked in my thirties because of my look. And so if I had been frustrated that I wasn't getting into the room, then I would've quit right away.
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But I waited and then I was on CSI and Without A Trace and Charm, you know what I mean? I got all my TV shows basically in my thirties. So it's all about being self-aware, I think, and also realizing that you're in it for the long haul. You're not in it so that you start making money right away. You're in this because you love the craft of it and realizing that what is for you cannot be taken away from you. If you are doing the work and you are putting in the time, what is for you will be there for you. So if you're going out an audition, you don't get it. It was the other actor's job
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It, they wanted cherry pie that day instead of apricot pie. And I find that a lot of times actors feel like when they get an agent, everything's going to happen gangbusters. And sometimes it does and sometimes it doesn't. I will say that if you are, I get a lot of very sad stories of actors who have been with an agent for six months a year. I had someone tell me that they had been with an agent for three years and had only gotten four auditions. To me, if you're waiting that long, then it is your fault for not communicating and getting yourself out of a bad situation and saying you might be a good agent for somebody else but weren't a good agent for you. And I think that that's about, if you've been waiting for four or five months and nothing has happened, that's when you've got to say, Hey, is there anything I can do to help you?
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Should I get new pictures? Is there something about my package that you think isn't attractive to casting directors? What can I do? And hopefully they will walk you through that. Another thing is it's good to get a manager because a manager can help you with that as well. I find that actors sometimes have big expectations of their agents too soon, so then they start to get down on their agent, and that energy does not help the agent. Even if you don't tell the agent doesn't help the agent. And also I find that actors hold on for too long. So there's two different kinds. Some that leave and we call them jumpers. Agents call them jumpers, they jump agent jumping, and then some that I'm like, I say to my friends who are agents, I'm like, you've got to let that actor go. You have to let them go, fly somewhere else. They aren't flourishing with you and they could flourish with someone else, so let them go.
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You mentioned feeling an immediate reaction sometimes to certain headshots. You get something in the mail and you or email or whatever, and you say, yes, this is my person. What would you say is a style of reach out? And maybe it just is the headshot, but is there something that somebody might write in a note to an agent that you might find compelling? Like, oh, I'm going to call that person and I want to meet that person.
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Okay, I'm just going to be brutally honest. When you were on those dating sites, it is about the picture. It just is. There isn't really, now, I won't say that. There wasn't a couple of times where somebody sent me something like a video where they're actually talking to me and telling me why they really want, they think that I'm their agent. There was one or two times where I was like, I have to meet this person. Or there was a time when this one guy, he was pretty persistent, and the film that he had done with his friend impressed me so much that I had to meet him. But in general, it's usually the picture. I pride myself. I can almost tell if an actor is a good actor just by what's going on in their face, in their photo. And then I watch the reel, right?
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Because then it becomes about the work. And then I look at the resume and then I have to meet them. Once I meet an actor, it's because I want to work with them. I won't meet with someone, and I get people asking me all the time through the years, will you meet them as a favor? And I'm like, that's as a favor to you. Not to them. They don't know that it's a favor and that's taking up their time. They don't want to do that. So if I was meeting with someone, it was because I'm trying to make sure they're not crazy to make sure and to make sure that we vibe that there's this simpatico going on that they don't have expectations, that they don't have a chip on their shoulder. You can tell that in a meeting when someone is angry about the business or they hated their last agent and they're going to bring that into the new relationship.
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There's all kinds of things you can find out, but always it's about seeing a photo and going, oh my God, please let this person be a good actor. And then you go to the reel, please, please, please. Right? Because there's something in there that fits a hole in my roster or something unique that I'm like, Ooh, that's interesting. And then you go to the real and pray to the gods that they can act. That's the submission process to me, this whole thing of what can I put in the tagline to make me stand out? I think actors need to stop thinking about how you stand out. I do think it's important to stand out, but if you come with it in that direction, it's not authentic. For me, I find that actors are trying to be someone, and the actors that I always loved were the actors who were sunk into who they are as a human. They know what they want to do in this business. There's just an ease and a grounding to them that I'm like, yeah, I want to work with that person.
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I love that you said that because this is actually, two people have said something recently. We interviewed someone, Warner Laughlin, the acting teacher, and she said, there is no such thing as competition. It just doesn't exist because there's just nobody who is you. And that really just was something I was like, God, that's such good advice. And then Connie Britton said, she said when she started realizing she needed to go into an audition, bringing herself to the role, and that was the thing that I think for me was the most confusing. I think that's confusing for a lot of actors. I need to be something for this person to sign me to cast me for whatever thing I need to morph into without realizing you are it. It is you. That is what is special. And you just said that, so it's so good to hear you say that.
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It's so true. It's so true. There's a sense of self and a presence of being that is so palpable when you meet someone, they just get who they are, and there's this presence of being. And even if they're nervous for the meeting, everybody gets nervous for meetings that can be felt, that energy can be felt. And even if I need to guide that person, I'm not saying that these people have it all figured out. They don't. That's why they need an agent. And a lot of times we change a lot of things, but there is just this ease and not feeling like they need to please not feeling like they need to be anything else but who they are.
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I find that answer so liberating, and I find it, I find so great for actors. I mean, I'm so excited for actors to get to hear this because what it says to me is that the real work is working on ourselves. So I love that. I love that answer so much. And working on authenticity or just discovering who we are, which to me is so much less intimidating than what I think we tend to do as actors, which is to say, what do they want? What do they want? Let me try to figure out what they want and be what they want. And one of the great joys of doing so many episodes of this podcast is that we find the common denominators. And what you just said is something that many have said in different ways, which is stop trying to figure out what they want and come in and be you. They want to see you, and I appreciate you saying that in a different way. It's like, I can't hear it enough. Every time somebody says it, I'm like, oh, light bulb. Even though I've heard it before, so I appreciate it.
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Yeah, I mean, again, it's like you always have to come back to, I really like the analogy of using a relationship, right? Because if you went on a date with someone and they were just going, well, what do you want me to do? If somebody said, well, what's your favorite, blah, blah, blah, and you're like, well, what would you like it to be? Or you portray yourself as someone, and then you get to know 'em and you're like, oh, that's not who they are at all. And so there's something that happens when an actor is just ready to embrace who they are. Those are the people that sort of, even though there's ebb and flow, there's always ebb and flow in this business. They sort of glide in. You just get it. You get them, they get you, and it's just an ease to it. No. Oh, did you hear back from this audition? Can you get me feedback? No. The actor is doing their thing. They're in class, they're working on their life, they're making themselves happy. I'm doing my job. I'm getting them auditions. We're booking things. Things start to flow, flow. Nobody's questioning anyone else. It's a beautiful thing when it comes together like that.
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I would love to ask you a question because I think that you're going to, I just want to hear what you have to say, but something about a lot of my students are always worried about when they can say no to a role or say yes to a role. So what their value systems are within this industry. And I think that's something that you don't really, as an actor, can bring up a lot of fear. And I think that's a conversation you have to have with your agent. What are the roles you want to do or you don't want to do? I mean, I have some of my students who didn't want to swear that was not something they wanted to do. I have some students who, and we had to talk about what that looked like, nudity, all of that kind of stuff. I'd love to hear how an actor can delineate their values in this industry and refine them, because obviously it changes. It can change depending on the role you might make a change and how that conversation can happen with an agent or a director or somebody that they're working with closely,
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Especially in the beginning. Yes, it's going to get you further than no. And I find that actors shut things down too soon because they're taking out of the equation what an agent can do for them when they book a job. So let's say nudity, right? You don't want to do, and I have had clients who don't want to do nudity, but what I say to my actors is, let's be open. Let's stay open to all the projects because a beautiful project by Scorsese could come across our desk. And let's say that in the script, there is a love scene and you love the script, but you are deeply committed to that value. So that's when the agent comes in, and if they really love you, what happens is you do a nudity writer and you say, my client is okay with her bareback. My client is okay with side boob. My client is okay. I mean, it gets so specific. So when an actor comes to me and says, I don't want to do this or that, there's a lot more questions underneath that. And this again comes back to communication because my job is to take these two people, the people who want my actor and my actor, and mold them together so that everyone is happy. And if someone doesn't want to swear, which I've had parents who didn't want their kids to swear, that's one thing.
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I've had clients who were vegan and didn't want to eat meat. Those are all things that you communicate to your agent, and our job is to protect you. So if you have a value and your agent doesn't want to protect you, that's the wrong agent for you. You automatically know that's not the right agent for you. Now, where I would come in and say, okay, I understand that this is what you feel like, but let's stay open and discuss because I feel like a job has to either pay you a really good rate, be working with really amazing people, or be a really great role, and it has to be two of those things. I love that. So one of them can be gone. It's not going to pay you, but the people are amazing, and the role is amazing, or the role is amazing.
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You don't quite like the people, but they're paying you a lot of money, some combination of that. And then you have to also take into account these values. And I did have a client, and she worked a lot of, she was going out for series regulars. She had many, many, many recurring guest stars on her resume, and she's deeply religious, and her husband was not comfortable with her doing any kind of nudity. And there was a show that wanted her, and we had to talk to them about it. And it ended up being that they weren't going to pay her. And they were telling her that after the pilot into the next season, it was going to get bigger and bigger, but we ended up having to turn it down because they weren't going to give us the credit and the money in order to even start the talks about the nudity. So it becomes a balancing act. And what I like to say to actors is, have your values, but stay open. Stay open to what your agent and manager can do for you. If somebody falls in love with you, things can be tweaked to make you comfortable. If it's a word, if you're going to turn down a movie with Meryl Streep because you have to cuss, then I'm going to say, hold on a second, let's talk.
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Do you know what I
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Mean?
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Yeah.
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So I find that these are things that actors have to come to later in their career when they realize, oh, maybe I was too cut in the beginning. And I said, no too many times. And had I worked with these people, maybe the yeses would've gotten me further down the line. Yeah, I do not yes to, I'm going to take off all my clothes. But yes, to the conversation, I think this has to be a communication.
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And I think I love that. Also, a curiosity, right? Let me be curious to see where this is going to take me. You never know. You don't know who you're going to connect with or what's going to happen.
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Yeah. I find that actors will get a piece of paper, which when you get a piece of paper artwork, actors forget that they're being given someone's artwork and they come up with all these reasons why they're not right. Oh, well, this age rage isn't right for me, but this is not my ethnicity. But, and all of a sudden they turn into a casting director and I'm like, wait, wait, wait, wait, wait. Why don't you take the piece of paper and go, somebody's art? Oh, I just got chills. Even just thinking somebody's artwork. And then they go, let me be curious. Like you said, let me see if I can somehow bring myself to this in a way that might set off a light bulb for them. Let me show them my work. Why can't that be the answer?
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Exactly. And also, we're not supposed to cast ourselves. That is not our job. So let other people do that.
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I'd love to ask another question just since we're chatting on this. I knew you were going to say something really cool. The other thing I think that actors really struggle with is protecting their sense of self in terms of their heart in this industry. So you have to be super openhearted when you're auditioning. You have to be really present, and then it can be harsh, and we're sensitive, we're open. So can you talk a little bit about how you can tell an actor how to protect their heart in this industry? What is something they can do for that?
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I feel like, first of all, read Big Magic, right? That's a book I love, that book I recommend to everyone. So good. Yes. It's like a Bible, I think. I feel like it's very important in this industry to have other things that you love outside the industry. It's important to have a full life outside the industry so that you're not putting all of your happiness and wishes and hopes on this one thing that you might hear and know, right? Because you should be racking up those nos. Oh, I didn't get that one. Okay. I'm one closer to the Yes. Right? I'm one no closer to the Yes. And I feel like staying open is, it's hard when you get rejected, and that is why after an audition, I always say, go get ice cream. Go be with friends. Go rip up the sides and forget about it. Right? Move on to the next. It's like always be present moment, never be looking backwards, always looking forwards. And if you are in that position of
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Your heart is hurting, usually it's because you're not present, right? Because the rejection happened back there. So as much as you can be looking forward, oh, that wasn't for me. That wasn't for me. That wasn't mine, that was hers, or that was his, that was theirs. And I feel like if you can get grateful about your life and about the things in your life, and you can recognize that when you don't get a role or when you hear a rejection, that means that your fellow actor that you're walking this path with that was theirs. And so be happy for them because you want people to be happy for you when it's your turn. So I don't know if I'm answering your question. You did. And I also think having, if you are in those spaces, it's really good to have a good therapist always not bringing that kind of stuff to your agent or your manager, really making sure that you have a very good support system, that you have people around, again, being in a class where you have people around you who understand that rejection, and they'll be like, oh, yeah, I know.
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I know. And they understand you, right? It's just part of it. And again, how many nos can you get? Let's get another, no, let's get another rejection, because that's getting me closer.
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Yeah, I love that. I love that too. I heard the ding. I know. I'm sad. We're out of time. This has just been so inspiring, and I had love to just do a quick review of some of the things that I know I'm going to really take away from this, which just a few quick things, which is get yourself into a good acting class. I loved how you said you can start your career without an agent. Okay. Finding the right agent is finding the right partner. That's an amazing analogy in so many ways. I love how you said it's about the picture, meaning it's about the headshot and the headshot is all about being authentic, I think is what I took from you. Staying open reading Big Magic by Elizabeth Gilbert. Yes, definitely. I know. I think I might go read it again. I know. Me
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Too. Yeah, right.
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And just lastly, just talking about having a big full life and looking forward and being grateful and staying present. I love all of that so much. Thank you for all that wisdom. Well, and
(39:33):
Coming out to la, Los Angeles is one of the most beautiful places to be, and so if you're feeling sad about anything, you can walk out and see this beautiful nature. You can go out to the beach and walk on the sand. I mean, it's one of the most inspiring beautiful places to be if you're going to be in this industry. I believe me too, because you have the fullness of the nature all around you.
(40:04):
Yeah. Well, speaking of LA, will you close us out with what we call an LA-ism, which is maybe something that you have noticed, just some quirky thing about LA that is unique to our great city.
(40:20):
$15 Erewhon juices.
(40:26):
That's perfect.
(40:27):
That big. Yeah,
(40:28):
That big. For those of you who don't know Erewhon is, well, you can tell them a store. It's
(40:34):
A really overpriced,
(40:36):
There you go.
(40:38):
Supermarket
(40:40):
Basically. But it's also sort of like going to a museum when you go in. It's so beautiful and it's really pretty.
(40:49):
I go, my husband won't step foot in it, but I go
(40:55):
$15 juices. That's perfect. Perfect LA-ism Stacy, thank you so much for being with us today. This has been wonderful. Thank you. So inspired.
(41:05):
I loved it. I could talk to you forever. If you ever want me back, I'll be here.
(41:09):
Oh, and we
(41:11):
Do. We'll take you up on
(41:12):
That.
(41:14):
Thank you. I'll come back. I love you guys. I love what you're doing. I love this podcast. It was an honor.
(41:20):
If you enjoyed learning today from Stacy Beth, you will definitely want to check out the Speak LA Community where professional casting directors, agents, and top tier teachers come on as guest artists to work directly with our Speak LA Community.
(41:36):
This episode of Speak LA the podcast was sponsored by Actors Connection. Actors Connection offers low cost online programs for actors along with a variety of awesome free resources. Check them [email protected].
(41:50):
Our sound engineer is the very talented Dan Lenard of home voiceover studio.com. My name is Jen Jostyn. And
(41:57):
I'm Camille Thornton-Alson. And we are the founders of Speak LA. You can find us at ispeakla.com. See you next time. Thank you!
