Views From the Nest

We’re excited to welcome Views From the Nest—a smart, honest video series created by UK-based photographer and creative Roj Whitelock.

These short-form interviews are designed with actors, performers, and creatives in mind, offering quick, useful insights from a wide range of voices across the industry.

It’s not a podcast. It’s not a deep scroll. It’s real talk, straight from the source—easy to watch, thoughtful, and made to support you wherever you are in your career.

From casting to confidence, agents to authenticity, Views From the Nest gives you a front-row seat to the kind of conversations that often happen off-camera.

November 22, 2025

Episode 12 / Dwayne Brown, founder of Headshots Matter

November 22, 2025/ Dwayne Brown

In this episode of Views From The Nest actor and model Les Awuah chats with Dwayne Brown, Founder of Headshots Matter, about just why headshots matter, how to find the right headshot photographer, how to prepare for your session much more...

Note: View on YouTube for captions.

"A good photographer will balance the technical, the physics, the emotional intelligence, and still have a certain amount of headspace to be looking for details and then to not be too stiff about the approach so that you can then emote. It's a tricky dance. It's not for the faint of heart, for sure." - Dwayne Brown

Les: So today I'm with Dwayne Brown, founder of Headshots Matter. So hey, how you doing?
Dwayne: Great. How are you?
Les: Great. Yeah. Lovely to meet you.
Dwayne: Yeah. Thanks. Thanks, Les. So Les, you're an actor. So you at times require headshots?
Les: I do. I do indeed. So, it'd be great to get your perspective and I guess find out why they actually matter.
Dwayne: Well, that's that's a great question. So, maybe to get to that answer, I'll give a little bit of background on what we do and why I started it and and and how the trajectory has happened. I'm a corporate commercial photographer back in Canada. And in the earlier part of my career, the only people who ever got a headshot was a CEO or a CFO or a VP of this or that. And then as LinkedIn came on stream, then more corporate folks or just any professional needed a headshot. Actors have always needed one, and they're the only ones who really called them headshot. Like the corporate folks called it a portrait. But as LinkedIn kind of came on stream, I saw that opportunity for me as a photographer. So, I started shooting more people who weren't at a higher level in the corporate world. And I started doing LinkedIn portraits. And because of that happening, I started a the predecessor project to Headshots Matter called LinkedIn Portraits.com. And uh, and I had kind of built it up to a certain extent. And then Covid happened and that changed it and we went quiet on it. Covid seemed to kind of get figured out and we reignited it but felt that it wasn't broad enough to encompass the other types of headshots. So we flipped the name over to Headshots Matter and then really leaned in and and grew it the best that we could. And at that time when we flipped it, we had about 30 or 40 members and now we're at about 220 and we're everywhere. Maybe not everywhere, but most major cities, you know, lots in the UK, lots in Germany, Sweden, Hong Kong, a few in Africa, a lot in the United States, a bunch in Canada, and growing in South America, growing in the Middle East, and it's really fun for me. Part of it that I didn't really see coming was the community that has developed and with every community friendships as well. So it's been really cool.
Les: Yeah. Sounds it. So when you say we're talking global...
Dwayne: Yes.
Les: Lovely. So that's interesting actually. So obviously you're in loads of different markets. How do they all approach headshots? Is it all the same or do you find different markets maybe look at it in a different way or do they mean the same?
Dwayne: Yeah, so that's a great question. So from where I sit, I get to sort of see the slight differences. So America for actors, let's say, has a little bit more polish and veneer in a way. The UK has a little more grit, has a little more - the character is captured. Other parts of Europe like Germany and Sweden for sure. It's really about capturing the real character. Canada is kind of a bit of a hybrid of those. You know, Asia, I think it's a little bit more polished. So yeah, for sure each of the markets are are a bit different, but every photographer is a bit different as well. And you know I guess you know I should also mention that a very big part of what we bring to the industry is we want the photographers that we have in our community to be different. We want to celebrate them as being the unique artist that they are. We definitely don't look for people that are all shooting the same way. We love that even in the London market you know there's probably six or eight Associate Members that we have and everyone shoots a bit differently and from an actor's perspective that's great because I think every photographer is going to photograph an actor in a in a different way you know, it's part of that human connection as well. A photographer like Roj (Whitelock) would see you differently than another photographer like Chris Mann might. Both of those, you know, styles when you present them in your virtual portfolio, it just helps to show range and depth.
Les: Okay. Amazing. So, I've got two questions that's come up in my head actually. First one, what makes a good headshot?
Dwayne: Well, I I think you know, it's funny. I was talking with another photographer about this in the last couple days. As photographers, we feel that what we're doing is we're capturing imagery, but really what we're doing is we're capturing confidence. And so a good headshot, I believe, needs to sort of capture an element of confidence. And maybe it's helping that actor or corporate person to you know, feel a little more confident and to sort of present that forward. Why does it matter? Well, because you want to be seen. You want to put your best face forward.
Les: So, you spoke about building a relationship with a good with a photographer and maybe picking based on that.
Dwayne: Yeah.
Les: So, how much of a technical aspect do we kind of not necessarily ignore but not lead with?
Dwayne: It's a good question and it's hard for an actor or a corporate professional to know this part of it. But to be a good headshot photographer, we have to balance a variety of things. You need to be technically proficient so that you know how to use your equipment, camera, lighting. You need to actually even have a kind of an understanding or appreciation of the physics of lighting, of where it goes and how it can bring out the best in a face. A good headshot photographer also needs to be emotionally intelligent or at least learn emotional intelligent kind of practices so that they can engage that trust and calm the person and bring things out. So it's a hard one. I guess when you do look at a portfolio online, a website, social media, you'll get a sense of that consistency. You'll see imagery that shows difference, but also at the same time shows consistency. I think that's a good thing to be looking for and to look at the attention to detail. I'm more personally, I'm a corporate photographer back in Canada. No, I don't photograph actors, so I'm always chasing the attention to detail. So, the straightness of things, no lint, no flyaways. So, a good photographer will balance the technical, the physics, the emotional intelligence, and still have a certain amount of headspace to be looking for details and then to not be too stiff about the approach so that you can then emote. It's a tricky dance. It's not for the faint of heart, for sure.
Les: So, as someone who's quite new into their career, kind of trying new things, because I'm at a stage where I don't want to say no to anything because I don't know what I don't know. How should I be approaching photographers to kind of maybe pull something out of me that I don't even know is there myself?
Dwayne: So, you asked that question and you ask the question, I am new at this. What can I expect from the the process? actually even that concept like you want to select a photographer based on what they can come up with, an end result but you also want to have a very good process you want to have it to be respectful and kind and supportive and everybody needs to leave their egos at the door, because it's a very vulnerable, vulnerable experience being photographed whether you're an actor who might be used to being in front of a a camera or a film camera or corporate folks that might be very comfortable being in front of people, but being photographed is very vulnerable. So, you need to find a photographer who respects those concepts and that you feel a good comfort of trust. It's super important.
Les: Yeah. Okay. Interesting. And in terms of headshots themselves, how many would you think you need over say a period of two years, three years? Is it something that you should be revisiting, getting new ones done? Should you be going to the same photographer or should you be trying different photographers to try and capture different styles?
Dwayne: If I were an actor, I would want to be photographed by different photographers for sure. Every photographer is going to approach your photo, your photographs, your headshot differently. Just like, you know, if you meet six different people in a pub, you're going to have different conversations. They're going to ask you different questions. You're going to feel different sense of comfort. So, it's even okay to use a photographer who is a little new to the game because you just never know. The price point might be lower and you might be able to collaborate more with them. It's possible, but then working with a photographer that's very experienced, they're going to, you're going to be able to put yourself in their hands and they're going to help walk you through the process maybe a wee bit differently.
Les: So, we saying so, you know, normally people say you get what you pay for. Would you say that this doesn't apply to headshots?
Dwayne: You always get what you pay for. And I think that you need to make your decision based on everything involved. Never base it on price. You may have to be respectful of what your budget is for sure, but try to find who's the right fit for you. You know that's so important in all interactions, in all sorts of business sort of interactions. It's very important to have that kind of comfort. It's like getting going to someone who does hair. They might be very technically proficient but maybe you just don't really like their style and you don't feel good about it. So you might be better going somewhere else.
Les: Okay. Yeah. So, as an actor, spending hours scrolling through people's profile pictures and, you know, people's Instagram and you come across amazing images. Yeah. What should I be, what should I not be thinking? Because what I don't want to be is chasing a certain look that's not for me, but it's driven by what's either popular or, you know, trends and that kind of thing. How should I be, what should I be thinking when I'm doing that?
Dwayne: One of the things that I think is important these days is that, take the situation a little further. Think of it from a a casting director who is being asked to present a certain amount of faces for a role whether it's stage or film or commercial. You want to stand out. You want that photographer to have captured who you are and what you can bring to that equation. It's not an easy one to figure out. But the thing that I really think is important when you look at a photographer's sort of suite of imagery, you're going to get a sense of their style, but you want to be able to determine that actor, their character has sort of risen to the top beyond that photographer style because at the end of the day, it's your style that needs to be captured. Yes, the photographer, you know, over time has a certain sense of look and feel, but you don't want it to be too homogeneous to what everybody else looks like. It's very important to stand out, right?
Les: So, how important and it may sound like a silly question, but how important is wardrobe?
Dwayne: Well, again, that's going to be a conversation that you'll have with that photographer. As a photographer, as a corporate photographer, what we always say every photo tells a story. So that coincides also with an actor's headshot - every photo tells a story. So your wardrobe bring a variety because between you and your photographer you're going to decide what story is going to be told and your clothing will help tell that story. But also, you know, it's when when we have someone come in our door at the studio back in Canada, the person who we're photographing comes dressed in something, that's typically what they felt the best about. But you never know. So, if you have a variety of of clothing options, that's going to speak to the photographer and then, you know, you're going to come up - you're going to collaborate with them on what's going to work best.
Les: So, if there's one aspect that you would focus on when selecting a photographer, what would it be?
Dwayne: Yeah, again, great question. So, you're going to be attracted to a particular photographer most likely based on the aesthetic that they present, but it's important for you to have a conversation. Now, sometimes that conversation isn't always possible to have with voice, with a phone call or in person. So, even if you're corresponding, you want to use a photographer who's going to ask you the right questions because you want them to want to tell your story. They want to and that story isn't just today's story. It's a fluid story. Where have you been? Where are you? Where are you going? And so, you know, a good photographer is going to take the time to have that conversation with you. They may even may even want to research you a little bit to sort of say, well, this is what I know you've done and this is what I think we can do together. And it's again, you know, it comes back to then clothing comes into it, then approach comes into it. So, you know, everything is always about a story. Even when you're hired as an actor, like that's ultimately going to be what you're going to want to ingest from the the creative brief or from, you know, what a casting director is going to want to do. So, it's all about story. So, it comes down to even from the the headshot story, even something that's as close as a headshot, everything tells a story. So clothing, glasses, hair, expression, composition, like they all sort of will help dance around a particular way to tell that story.
Les: Yeah, that's great actually because I was just thinking when I first got into industry, I was street cast on my lunch break. So if someone had said to me, what's your story? I would be I don't have one, you know.
Dwayne: Yeah. So I guess when you say street cast, what does that mean?
Les: Scouted.
Dwayne: So someone just met you and said, "Hey, I think you should, I think you'll be great for a commercial I'm. casting for." So they were reacting to your aesthetic story that you sort of were, you know, how you dressed and how you presented yourself that day. So that's still, that's still story, right?
Les: Yeah. Yeah. Yeah. But I guess at the time I didn't realise that.
Dwayne: Yeah. So I think sometimes the fear is what's my story and then you kind of just don't do anything. But actually you are the story.
Les: Yeah. So I guess sometimes it's just, you know, I think I was always looking for this dramatic beginning, middle, and end when actually I could just be at the start of the story and that's a story within itself.
Dwayne: Yeah. So again, I think that could be a really great way for an actor to make their decision is have that conversation when you can again, however you can correspond or talk with that photographer, bring up that concept of story. How will you help bring that story out or, you know it's helpful for you to understand it as well but a photographer is going to see you and they're going to maybe bring something else. So it's a dynamic equation.
Les: Okay. Yeah. Okay. So what makes Headshots Matter different to everyone else?
Dwayne: Good question. So and it even relates to how an actor would make their decision on why they would select a different photographer. A very big part of what I always wanted to sort of do with Headshots Matter is I wanted to curate a group of photographers that were all very different and unique in their aesthetic style but with a commonality of kindness, humility and passion for what they do. And it's not that they can't bring an ego forward or a sense of confidence because as a photographer to be able to do what we do, you do need a very good sense of confidence to be able to sort of kind of, you know command and take over the situation so that you know we can calm and disarm whoever we're photographing. But but Headshots Matter is very much a global community of photographers who, whether they're in the UK or the US or Canada, Asia, Africa, South America, there's a very interesting sort of common link that they're just good folks. And you know, part of what I've always wanted to do with in my personal relationship, my professional relationships, I love connecting good folks with good folks. And so that was always kind of the core of what I wanted to to do with Headshots Matter. And so you know we're always looking for photographers that are those good folks. You know, one of the other aspects that I'll mention that we have - it's become this community now. So, you know, as a photographer, whether you're in London or Toronto or Berlin, you're on your own. You shoot with somebody, but once that person leaves, then you're doing the editing on your own, doing the marketing on your own. And so, it's a bit of a a vocation that's a bit lonely. So, we have this community that photographers can ask each other some really important questions about marketing and pricing, creative process, and they can feel they've got camaraderie without competitiveness. It's really cool. It's, you know, and the friendships that have developed because of this community, it's been, you know, very exciting for me and and humbling.
Les: Okay. So, as an actor coming to a Headshots Matter photographer, what benefits would I get from that community that you've just described?
Dwayne: You're going to work with a photographer that I guess has, they've got folks behind them that have helped that, even if it's a junior photographer, they've helped that photographer maybe sort of stand a little taller creatively and you're going to deal with someone who's a good person who's not going to be too intimidating in the process - in the creative process. They're going to be supportive and helpful to you. So yeah, that's an interesting question. I hadn't really thought about that from the actor's perspective. What do you get consistently by working with a photographer that we have sort of curated in our community? But yeah, you're going to deal with someone who's a good person.
Les: So while selecting a photographer, how important is accreditation?
Dwayne: Well, you know, I think it's quite important because you're going to dedicate some resources to the experience of being photographed. So you want to be working with someone that is going to, I guess, do a good job for you. And you know, are Headshots Matter photographers accredited? I don't know if accreditation is really the way that I would describe it, but they're definitely vetted and they're definitely part of a community and it's not just that they are technically proficient. They're going to do a very good job to collaborate. Because they're just, you know, they're, as I said earlier, we like to use, we like to have a community that are good people and kind and supportive and humble, I guess. So, if you're deciding on finding a photographer, generally finding a photographer that does have some accreditation or some relationship with an association, I think it's quite helpful. You know, you can take a risk in finding a photographer who is a little more junior or emerging as we like to call them and you might have a great experience, but you know, we all need to be careful with the money that we spend these days. So, you know, investing those resources with a photographer that you feel a little bit better about just from I guess a standard perspective, I think is helpful.
Les: Okay. So, if I did choose a Headshots Matter photographer, am I leaving with anything more than just photographs?
Dwayne: Yeah. Again, great question. I'm going to put money on the table that what you're going to leave with not just great photos, you're going to leave with a friendship. Our photographers are great people. I visited yesterday with one of our photographers, Tom Trevatt. And I knocked on his studio door just as one of his clients was leaving and I got to meet her and Tom gave me a big hug and then he introduced me to his client and then when she left he gave her a big hug and then when I asked him after she left like, you know have you worked with her before? Uh no it's just the first time. So they shot for however however long they did, but they very quickly developed this very real friendship. And so you're going to leave feeling that you've had an experience that is respectful, kind, emotionally enriching and that you're going to feel like you've got a new friend.
Les: Great. Amazing. Yeah. Because I say some some of the the best shoots I've had - I mean I've never had a bad shoot ever. And that's not to say I've always got what I wanted, but I've left with something. Whether it's something where I know I never want to do that again, then for me it's an experience worth having But the best ones are when I leave with the photos, but also inspiration or just a nugget of information that, you know, makes the next shoot easier. I just think, yeah, that's just the priceless bonus. Yeah.
Dwayne: So, you asked earlier about wardrobe. What do you bring? And I think obviously wardrobe clothing is important, but what's maybe even more important is is bringing that sort of optimistic and open-minded mindset and to be open for collaboration, open for newness, open for - just to kind of have an experience that might be a little bit different than what you what you thought you were getting yourself into. And then that will lead to inspiration. And ultimately when there's a freedom of movement and freedom of emotion and a sense of trust, you're going to get better shots, better imagery. And um again, it's this emotionally intelligent experience that is dynamic and you're never really sure where it's going to go. It's almost always going to go in a very good direction, but again it's part of the human experience. And and even talking about that, you know, all of our photographers are now talking a lot about AI and one of the things that we like to sort of think about is that there's - AI is very important. We don't have a choice. It's part of our new world in photography. It's very much a part of our world in post-production but in the actual photography the imagery creation and capturing nothing compares with emotional intelligence and the real human experience. So a photographer will sort of you know work with you and from a very human experience so that you can trust and bring yourself forward and in a way that artificial intelligence could never do. It's not just about aesthetics. It's about the truth that comes in the eyes, right? It's very important.
Les: Okay. So, aside from being open-minded, are there maybe two or three things that you would advise all actors or even corporate guys that want headshots done - what they should be bringing or yeah, not necessarily practicing, but is there something that they should be bringing to every shoot?
Dwayne: Well, I think you should be rested. You know, one of the things that you know, we tell our corporate clients back in Canada that you know, bring your bring your good mindset. Have a good sleep and be prepared, so you really understand what what you want to get out of that, what you want to bring to the shoot. It's a collaborative experience. You can't just show up and let the photographer do all the work. you are bringing a lot of that work forward as well. And you know that will swing back to how do you choose a particular photographer? You want to use a photographer that also wants to do that collaborative dance with you. It's um yeah - again you're an actor. That's what acting is as well. It's not a singular experience. It's always going to be collaborative and dynamic and having a headshot is very much the same.
Les: So, is there anything else you'd like to add to our conversation?
Dwayne: Yeah, I I think what I'd like to say is I'm very grateful that you've brought these questions forward. I've had different interviews about what we do, but never from an actor's perspective. And it's quite interesting to have, you know, your curiosity and your specific questions sort of brought forward. It helps me understand a little, even a little more about what we're all about as a community. And o anyone who's going to view this will have a better understanding of the process and what that means from an actor's perspective. So I'm very grateful. Thank you.
Les: Thanks for answering the questions. I'm definitely leaving with a lot more insight on the other side as well. So, it's great.
Dwayne: Good. All right. Thank you.
Les: Well, thank you. Cheers.tion text goes here

November 22, 2025

Episode 11 / In Conversation

November 22, 2025/ Dwayne Brown

Shawn Gann - Voice Over Artist and Actor, Texas USA
Nikki Dixon - Actor, Writer, Director and Local SAG-AFTRA President, Texas USA
Jordan Fraker - Headshot Photographer, Texas USA
Dwayne Brown - Founder Headshots Matter, Ottawa Canada

In this Episode, Views From The Nest connects with the US and Canadian market to gain insights for actors from across the Atlantic. The group discuss a wide range of topics, including how COVID-19, the writers’ strike and other key events have shaped the acting landscape in the US. The American Headshot - in a globalized world, do headshots in America differ significantly from Europe? And how is AI impacting the industry today?

Note: View on YouTube for captions.

"I don't want to sit at a desk my whole life, hammering out code and being middle management. Those are the things I did as a survival job. I was a database administrator coming up for a decade while I tried to make my way in this industry. I don't want AI to take away the thing that I strived for. Art, the expression of us being people, that should not be the thing we take away from ourselves."

DescriptionIn Conversation with:
Shawn Gann - Voice Over Artist and Actor, Texas USA
Nikki Dixon - Actor, Writer, Director and Local SAG-AFTRA President, Texas USA
Jordan Fraker - Headshot Photographer, Texas USA
Dwayne Brown - Founder Headshots Matter, Ottawa Canada
I'll start myself. My name's Roj Whitelock. I'm a headshot and portrait photographer uh and associate of of Headshots Matter. Um and uh yeah, I'm based in London in the UK. Okay. I'm Jordan Fraker. I'm also an associate photographer with Headshots Matter. I'm a Dallas headshot and portrait photographer. Um and um yeah, I'm very uh delighted to be here and to get to talk with these amazing actors. Nikki. Uh hi, I am Nikki Dixon. I am an actress, uh writer, producer, director in uh based in Dallas, Texas. I'm also the DFW local SAG-AFTRA President. Um I will be uh starting my second term uh for that in September. So thank you. Thank you. Um so yeah, I am delighted to be here as well. Thank you. Brilliant. Thank you. And Shawn, I'm Shawn Gann. I am a voice and casting director and voiceover artist and theatrical performer and performer in general based out of Dallas, Texas. Best known for works like Kaiju Number Eight and the Apothecary Diaries and I've been a theater maker and creator in DFW since 1999. Thank you. And Dwayne, do you want to just do a quick intro for the Yeah, of course. So, my name is Dwayne Brown and I'm the founder and community curator of Headshots Matter. I'm also a commercial corporate photographer in Ottawa, Canada and I've been doing that for a super long time. uh a little over 40 years and uh I um I'm very pleased to sort of uh um see what Roj has uh has going here with uh this uh engagement and uh and uh Q&A. So thank you. Brilliant. Thank you, Dwayne. So yeah, I think this content today is going to be really interesting for the UK audience. Um, there's a big crossover between, you know, acting roles in the in the US and the UK. I was talking to an agent quite recently that are based in both London and New York. Um, and I was chatting to them about, you know, how if you're a UK actor looking to break into the US market and vice versa, how does that work? So I think the the first thing to chat about that would be really interesting is what that acting landscape in the US looks like right now. You know what is the market like if you like we've had covid, we've had the the writers' strike. You know there have been these big events that have taken place. So it'd be really interesting just to understand from Shawn, Jordan and Nikki what you how would you describe that landscape if an actor in the UK or the US is looking to break into it. What does that landscape look like? I I guess I will start um the um so there was as you said covid then the writer strike and then the actor strike and I still don't think that we have recovered fully from it. Um the last few years have been very um tight with auditions and um with just productions in general. I think people are still scared. They're not sure what everything what everything even means, right? I think with the onset of all the streaming platforms and stuff like that, there's so much stuff that's out there that I mean, nobody knows where anything is going to land. Um, a lot of uh series regulars, those that used to do series regulars are now doing guest stars. So, those of us that were in guest star land are getting the push back down to co-star land. So, there's just so much stuff that's still just kind of just in the air. Um, my manager has actually said out of LA, he's like, "This is the craziest I've ever seen this industry." So, it's just tough right now. Okay. Um, Shawn, mine's a bit of a two-parter. Coming up through the industry, pre-covid, you know, the pay and access and in-person stuff obviously was on the up and up. And when covid happened, everything shut down except for in my industry of voiceover. It was actually a boon, especially in anime. We're a $30 billion a year industry. And we had a backlog of titles that we could continue to pump out and remote recording became prevalent during that period. I am sitting in the advent of covid right now. uh this was an investment I made immediately and uh during that period you know I felt obviously uh isolated and disconnected from the world but through voice over I was connected to my entire industry and it was a bit of a boon for me and a boon for the voiceover industry and then coming out of covid the voiceover industry started to kind of like close in on itself uh a lot of places are a little bit more tight want more in-person stuff I'm I'm a big advocate for remote work as far as commercial and uh on camera stuff. Uh the pay has never been the same. Uh my engagement with it has kind of gone down significantly and people that were very big in that field uh who also crossed over into voiceover uh decided not to be as much a part of that as they are now voiceover. It's just easier to audition. It's easier to record and you know I can do it in my PJs, you know, for the most part. And uh theatrically speaking, I don't think we've ever recovered and it may be many years before we recover. And things keep happening that are kind of stying the comeback of theater, especially uh in the current climate of our administration and how funding is going and where that funding is being taken from. So, it's it's up and down and it's a weird it's a weird thing. And of course the advent of like uh VTubers and a lot of like the podcasting that's been going on like uh where you're getting your entertainment from and how you're gaining income from that entertainment. It's just all over the place. And I think uh the people that really benefit the most are voiceover people and uh influencers really people who seek engagement that way. So Jordan and Nikki, you both touched on something there which has been an issue certainly in the UK industry, which is this kind of um tension I suppose between television and streaming you know kind of traditional channels and streaming channels and what we've seen in the UK is that the budgets on productions have become tighter, the number of roles available in you know traditional TV channels, TV series has reduced um and streaming is kind of sucking up a lot of that, you know, budget, viewer attention, and it's it's kind of harder to get a role in a TV production. A lot of people actually working in TV now on the production side are, they're all freelance, you know, so there are very, very few permanent jobs in TV production now. Um and it feels very kind of tenuous in the UK. And as you were saying, Shawn, you know, things haven't, they're nowhere near back to where they were um sort of prior to 2019. Do do you both feel that there is a strong parallel between what's happening in the UK and the US from what we've said so far? Yeah. I mean I think so. I think the industry is the industry, right? Like I don't I mean yeah we have a whole big ocean in between us but I think at the end of the day it's um it it's the industry overall that just really took a hit. Um and it it seems to me and what I'm seeing as well is that a lot of productions that were here are actually going out of the states and going elsewhere. So there's a lot of stuff that's filming in, you know, the UK. But I mean, you know, y'all have some really good actors! Y'all over there. Y'all y'all put in the work! You know, we over here, we we trying to skate by, you know, y'all come over here and I'm like, they're British. I'm like, are you kidding me? Yeah. They're bringing, they're bringing over British actors to do American accents a lot more often. Oh, really? These days. Yeah. More so than the other way around. I'm like, come on. I can go over there. I can do a little bit of the accent, you know? Just like I could do that, you know, but um I just, I feel like the industry is the industry. I don't know if there's really a um really a divide in as far as what's happening across the board, across the world. And I'm just hoping that at some point we do come out of it. Well, there's certainly more funding there's certainly more funding uh in the UK for the arts um than there is here. Um and you know speaking about what you know kind of Shawn was talking about with how some of the funding has dried up here based on some um odd decisions uh by our administration. Um we've, we here in Texas have recently gotten a a boost of funding. It's kind of unclear from what I can tell from my perspective as a photographer working with people in this industry. It's unclear as to how that will all get allocated, but I will say here in Dallas, we have a really unique industry and I think you know Nikki and Shawn are two perfect people to bring on because we do have a really strong um you know commercial um industry here. We also have a at one point was a little bit bigger, but it's kind of I think from what I can tell it's getting there again. Um film and television industry and the voice acting industry here. I mean this is one of the hearts of the industry is right here in Dallas and I think it is an extremely fast growing industry as far as um actors coming in, projects being made and fans. That there are so many rabid fans. Um, and from my perspective again as a photographer, I do see some struggle happening, but I also see the demand for good quality branding and headshots exploding upward because I think it's because of the online-ness of everything now. um that actors can kind of be their own, you know, brand ambassadors and not just acting. And I think a lot of people are finding um joy in representing themselves in an authentic way, whether that be the head shot that they use for auditions as well as, you know, actor branding, which is becoming a much bigger um there's more demand for actor branding. Um, and it's been a really exciting time for me personally. Um, I'm having so much fun working with these actors here in Dallas because there's such a wide variety of actors that approach me. Yeah. And I'm Jordan's biggest advocate. I don't know. I might be the biggest advocate. It's hard. I I have business. I don't know. Oh, you know, I teach I teach um acting classes um on Monday nights and I have like four people that are going to be contacting you. So, a thank you. Yeah. Um can I ask you a question based on that actor uh actors doing their own kind of brand and ambassadorship? How do agents feel about that? Do they feel that that you know they're relinquishing that kind of creative control over to actors or has it always been like that? Has in regards to how you will want to um present yourself uh creatively from a a brand perspective. Well, I will say from my perspective, again, I'll stop saying that eventually, but um, from what I can tell, yes, there. So, you have agents and then you have managers. Yeah. and they I think the layman doesn't quite know and even I really don't fully know um how different those things can be as far as what their roles are. But agents don't particularly, some agents do uh they'll throw some kind of editorial style portraits on the website on the agent profile but they're not submitting those for auditions at all. Right. Just headshots. And that's because of casting director taste more than anything. And taste, as we all know, can evolve. So that's just where we're at right now. But I do think that actors and especially in voice, they can kind of punch their own ticket as far as what they use at the during like con circuit, like what they print out and sign for their fans, um, and how they advertise themselves online is totally partitioned and separate from what their agent does. And a lot of voice actors don't even need an agent. I mean, Shawn may disagree with me, but um yeah, I'd be curious to hear what Shawn and Nikki have to say about this because I do think that actors because of this age of social media do have a little more autonomy to kind of do some things on their own outside of what their agent requires for them. Jump on what Jordan said there. I went through the majority of my career without an agent uh for voiceover. I had representation for film, camera, you know, commercial stuff, but my voiceover career was self-managed and uh I did rather well with that. And the editorial stuff is right on because we can build our personality out of that. And I think if you're at a certain point in your career where a lot of what you do is brand management and getting out and engaging with fans and you're behind a microphone the whole time. So it really doesn't matter what you look like. I mean I would say with the advent of VTubers that kind of the big thing is that they don't show their face, right? They have this image that's up that moves and it's all it's evolved almost fully animated. So, um, going out and being able to make your personality shine is a better way to connect with your audience as far as a one-on-one basis. Now, if you're starting out in your career and you are looking to connect with casting agents and you're looking to kind of be somebody people want to work with, yeah, you're going to follow uh more of the kind of old standard rules because you're going to want to break in. You want to make an impression on the people who are gatekeepers. But as far as my career and my last conversation with Jordan on my headshot, I was like, I don't really care what agents and managers think about what I want to do. I know what my brand is. I know what will get people excited about the work that I do and uh get me into the market. And my market now is more about appearances, uh more about directing, and more about education. So, it's whatever image I want to put forward. And it works really well for myself. And Shawn, you I guess because it's voice, you can be where you are now, but you could be working on gigs that are anywhere in the world, I guess, right? Oh, absolutely. Um, as far as kind of going back a little bit on the UK, US divide on acting. It's not a I think the market is what it is, but there is that ocean and there is the divide and there is that location bias and an us versus them sort of mentality, especially in a very competitive market, right? Uh during the video game strike that just just barely wrapped up, uh studios uh were heading overseas to the UK to do video game work. we were losing a lot of studios here and I doubt many of those studios come back. So, you know, the UK saw a little bit of a benefit from that, but also on our end, we're like, "Oh, the UK, why are they taking our work?" And it's like, well, it's kind of on us. You know, studios don't have to be adherent to uh especially foreign studios don't have to be adherent to our union. They just want the stuff done. So, you know, while we're sitting here bickering trying to figure out our market and how we negotiate with people, the risk is losing some business. And that's what that's exactly what happened. And when that stuff happens, that kind of muddies the water on like, you know, where the work's going, who's benefiting from it and what not. But also from the voiceover perspective, I can connect to everybody. I directed a show where I was recording um you know, uh a YouTuber uh Sea Dog out of Japan, Tokyo, and people out of North Carolina, out of Canada, uh Seattle. And mostly my connections are either within Texas, LA, or New York. But for you know the right project and what we're what we need to do I can go all over the world to make it happen. That's uh that's that's very cool. Yeah. Thanks. I think um an interesting point to pick up on which kind of leads into the the next question as well is that it's that democratization of the process. So it's it's never been easier to to get a photo taken. It's never been easier to record a a self tape at home. It's never been easier to get content out there. But I think what we're seeing is that is just now raising the bar all the time. So if anyone can take their own headshot, if anyone can record a little self tape at home, how do you stand out from that crowd? And it it's to do with the quality and having your marketing looking better, being more professional, you know, to Shawn's point, more on brand for you personally. So, I think we're seeing this kind of this, this need to to raise the bar across actors marketing to get that stand out. And to that point, how much of a difference is there do you think between, and this might be a good one, Jordan, for you to begin with? How much of a difference is there between a US headshot and a UK headshot? Or is that a completely false question? And actually is it just about who you are and what you need to project as an individual um and it boils down to you know it's a cultural thing that I think um British artistic taste is it's more sophisticated. I think it's based in it's based in an appreciation for fine art and I think American um taste is based in an appreciation for commercial art. Um, and that is I mean I'm I'm really pushing maybe a little bit by saying that. I don't think that that's applicable across the board, but I I do think, you know, fundamentally I think American headshots um American actor headshots for auditions are kind of almost photos of who the actor can be. And I and I think a British actor head shot is is a really artfully for a lot of the uh great uh actor headshots in in the UK that I follow. It's an artfully crafted um fine art portrait of the actor. It's almost like a portrait of the artist as opposed to it's almost them in a sort of one way there's very few smiles. um you know a commercial a British commercial actor headshot is kind of just a very subtle pleasant expression but here in LA and New York and Atlanta like the coastal kind of markets they're straight up going super charactery. They're getting they're wearing nurse scrubs or putting their hairs in pigtails and overalls and going like ah like in a photo. And here in our market in Dallas, we haven't quite succumbed to the kit of that. I think our agents and our casting directors still are trying to kind of hold on to some sort of maturity about that. But because there are so many actors in LA and New York and Atlanta now these actors have to stand out and that's how they stand out. And I think in in the UK they are trying the actors are trying to stand out and I think that the photographers are trying to stand out but perhaps there's just a little more artistic integrity. And I'm really like crapping all over our industry by saying all this, but I I just I think that um it it's a matter of them following what they believe works. The industry kind of dictates what works and what doesn't. And you know, everything like this just evolves. And that's just kind of where I think we're at right now as far as the difference between the two the two nations and how they do it. I I have a kind of a perspective kind of more of a a layman's perspective and not headshot photographer perspective. My wife and I, we watch a lot of programming that comes out of the UK um that's streamed on BritBox. So, lots of kind of crime drama stuff. And all of the actors that we're seeing, it feels like they're not even wearing makeup. like they're so they're such characters and they're and they're very approachable and they're very I don't know gritty and if you watch anything that kind of comes out of whether it's streamed or filmed out of the US there's a little more polish a little more I don't know polish would just be the way to say so I guess if if if each of the actors markets are pursuing each of those markets that they're kind of telling the that that best story. So, yeah, I think it's Yeah, they're they're considered different and and from our perspective with Headshots Matter, we see a dramatic difference between uh American um headshot photographers versus European, it's uh yeah, considerably different. It's it's quite exciting actually. It's uh it's pretty fun. I wonder if a photographer in the US that takes a little more of a that European kind of approach could not help their actors stand out. I wonder what what do you think Shawn and and Nikki of how the actor is presented? What what do you think? Could it be a bit different? I mean, I I mean, I will say I I have not studied enough to know the difference between a UK photographer. I'm so interested in it now, and I will I will be going to look to see um and I will be like, Jordan, hey, can we try? You know what I'm saying? Like, that's one thing I love about Jordan. He is so quick to play and he's so like just wants to try things and and just so open to just everything. But yeah, I mean if that is something that we can bring here that will yeah make us stand out more or even give us that oh well maybe they're European let call them in because they're better actors. Um you know so I I think it's just it's um I I mean I think it would be wonderful just even just look at it and and just to see the comparison myself. Nikki, do you do you agree though that um from your perspective, even just from a general sense, that um that American actors in this industry as far as like what they seek in headshot does have kind of a commercially driven polished look like Dwayne was saying cuz I I agree with that. I think I think it is like there's a polish to the to the way they should look like they shouldn't look overly gritty. I think and it's not it's not for any reason other than I think casting directors just kind of have their taste because the agent is trying to cater to the casting director, right? And they're trying to do that because they want their talent to get booked. And it's not that casting directors are, you know, uptight and stuck in their ways. It's just it's it's it's their perception of what they can see from a two-dimensional facsimile of a person, of an actor, what they can see about that actor through that image. And if if the photographer isn't speaking the language the way that reaches the casting director, then the casting director's got all these photos they're flipping through. Mhm. So, it's that's what the photographer is trying to do is we're trying to bonk them over the head and have them go. Okay, let's put that aside. Right. Touched base on it earlier, too. Uh the aesthetic choices between the two countries, and this is me coming from a perspective of not being born in the US. I actually am a Filipino and worked in Asia and Europe uh in my youth. But, uh, it's I think it's a cultural thing. Uh, in the UK, acting, art, uh, theater in general, that's an academia thing. Everyone's kind of brought up on it. There's a drive to be proficient in it. Everybody's kind of on the same page and kind of has a background in it that they can all reference. You know, they all kind of go through the same streams. in the US. Uh acting, being famous, being on camera, that's a that's an achievable dream for anybody without education, without any experience, anyone thinks they can do it and anyone and people have the dream to try it. So what they see in front of them media-wise is what they consume and what they want to be a part of. So whether they're very internet based and they see YouTubers and VTubers doing their thing or if they are watching a lot of television and seeing a lot of, you know, uh, NYPD or CSI or any of that kind of stuff, you know, the kind of procedural stuff or if they're seeing like big Marvel movies, those are the things that really influence them and there's no real educational basis for why they want to be in there. Some then choose to go to like a Meisner school or a Stannislovski school or go to get some theatrical training or some camera training, but I think that overseas a lot of that starts at a more elementary level and then builds up through, you know, primary school and stuff and then collegiate and it's just like a a stronger path. So there's a greater sense of what those shots should be or how you should present yourself and how you should go about the business. Here it's the wild west. So this last question, it's it's a big it's a big issue and I think everyone's going to have a quite a strong take on on this, but obviously it's the impact of of AI. Um, and I think there are there are two aspects to this. There's the whole question around should actors be representing themselves with AI? Should they should they be using AI generated headshot? Um, again, you know, talking about that democratization of the process, it's very easy to take a selfie on phone and then create, you know, those looks that Jordan was talking about. Here I am as a nurse, here I am as a business person. It's the kind of thing that AI, you know, can do reasonably well, let's say. So I think there's a discussion there around does AI have a place in the world of headshots. And then the second element is around the impact of AI on the the industry more widely. What is that starting to look like and how do actors need to navigate that? What kind of things should they be thinking about? So there's two aspects to it. Um, AI headshot, yes or no? And what is the impact that AI is having on the industry? How do actors need to to equip themselves to to deal with that? Um, so I'd love to start with you, Nikki, if that's okay. No. So, short answer, no, absolutely not. um on the uh AI headshot. Um it's lazy and it's um cheap and it's um it does a disservice to the artists who are photographers. It is a craft. Um it is and and it should be treated as such. So, no, I think that um you know the advent of it I mean it it's like it's just so lazy that I mean I think that's what it I mean it boils down to for me and um yeah sure you can turn yourself into a nurse or whatever but it still looks fake like it's not even you know you don't have that life in your eyes that you get from an actual photographer and you don't get that energy that that photographer pulls out of you whenever you're in session. you know, you got the music going, you got whatever going, and you know, you're posing, you're moving, you're flowing. And so, no, you just going to take a picture and be like, "Okay, let me just upload this and turn myself into a doctor or whatever." Um, lazy. So, no. Um, as far as with um how it's the the landscape right now, I don't even I don't even know. It's like we put it we tried to put in the protections that we could from a SAG-AFTRA perspective in the new contract to protect actors from AI usage, right? Because there's so much stuff that can be done like all these deep fakes. Like you take somebody's face and I mean I think Taylor Swift had something happen or or uh Scarlett Johansson, somebody had something happen to where they, you know, it was a deep fake of their face on this thing and it's just it's it's really scary to be honest. Um and again I also think it's lazy for filmmakers to to go and just use AI instead of using an actor who can actually emote um truly emote instead of having you know somebody some robotic whatever whatever um come in and do the work. Now, yes, there is a place for it in some instances where maybe, you know, there's a huge stunt that needs to be done and instead of, you know, risking the life of the actor or the stunt performer, um, which kind of sucks for stunt performers, right? But if it's something that's just hugely dangerous, I could see the desire to do it. Um, but a stunt performer is also a performer and they need to make a living too. So if they want to be the ones to jump off this cliff into this water, you know, it's on them. But if you know I but ultimately my answer is no to AI. Um, no in writing anything, right? You know there are people doing ChatGPT writing scripts. No, there are writers who need to write. They know the human experience. Be human. Let's keep it human. So that's my feeling. I think there's also that which you touched on when you you spoke about, you know, the experience of being in a shoot and actually working with the photographer and that energy in the room. And it's kind of there's almost a decision here around what kind of life do we actually want to lead? you know, do we want to just be sitting in front of a key keyboard prompting an AI or do we want to be in a room together creating with other human beings and, you know, sharing that energy and that collaboration? I think that's a huge decision, but I'm not sure if we're being given the chance to make it actually. That's it starts from a huge like philosophical point before we even get to uh photography or making anything. One, as AI stands right now, it's an environmental disaster, right? So, uh the usage of it is unethical to begin with. On paper, AI is like any other technology. It's meant to alleviate the burden of automation and the stress and work of humans doing these things. It's not meant to steal the creative aspects and the things that personally and specifically make us human. So why would I want to give that aspect of myself up? Why would I want to give any part of my art up to a machine, to an algorithm? Because it is just an algorithm. No matter how smart or intuitive or how you communicate with it or what it can produce, it is an algorithm based on all the information that's put out there. And because it can process at trillions and trillions of bytes per second and you know just mass massively hit servers and use water and you know just tear up our environment. I don't I don't see it as a feasible thing for anything as basic as art. It should I see a benefit for it in the medical field when they're trying to figure out things and trying to save lives. I understand it when they're trying to like, you know, streamline automation for manufacturing and uh pieces like that or trying to figure out like travel things and make things safer, but for it to take away the things that make us specifically human, the human experience, it's a non-starter for me, right? I don't um I don't believe in it. I don't want to sit at a desk my whole life, you know, uh hammering out code and being middle management or any of those things. Those are the things I did as a survival job. You know, I was a database uh administrator coming up for a decade while I tried to make my way in this industry. I don't want AI to take away the thing that I strived for. And I know that technology often makes jobs irrelevant. That's kind of the point. You know, as manufacturing goes up, like certain jobs disappear. But art, the expression of us being people, that should not be the thing we take away from ourselves. And uh as Nikki said, it's lazy. Um the oxymoron of an AI artist is moronic to the extreme and it just gets my blood pressure up whenever we talk about the usage of it, right? I um even from a corporate perspective on corporate headshots my wife works at Geico and they've looked at all the headshots that have come through that facility and even at the executive level people who have like who are layman to the photography field are like oh that looks awful this is obviously AI like their eye can catch it and if their eye as untrained you know um professionals can catch those things we as professionals can see it clear as day and sticks out like a sore thumb and it's even offensive. So, uh yeah, before I get too too much further on my soap box, um AI is uh is wretched and it's invaded the voiceover space as well. Uh I've seen dubbing uh where like certain Chinese uh Dongwa animation, they use AI across the board on it and it was awful. uh the video game industry was on strike for 10 plus months over the very notion of AI protections and I think the problem especially uh with representation is that there is a disingenuous approach to it. those uh a lot of our representatives in that uh space had tie-ins to AI industries and businesses and so they had a conflict of interest and it just becomes this battle when you you mentioned it earlier about like do we even have a choice in all of this you know it benefits as most things do in our uh capitalist society it benefits the 1% of us who have already made it who have a huge backlog of stuff you know uh just use Bill Murray as an example. He can sell his image and his AI and make make a living for his estate and his people for forever and ever and ever. But that still takes away jobs from people who are coming into the industry later on. You know where we need to move and grow and let things be and have the human experience and there we go. Yeah. No, that I think the environmental side as well is something which is is not talked about enough and you know every time I see someone you know publish on LinkedIn here's me as a little plastic doll in a plastic case that I've I've created with chat GPT and I just sit and think well that's you know the resources that have gone into creating that piece of ephemera which will now sit on servers for you know lord knows how many years consuming even more resources. It it just feels like a kind of vicious cycle of resource consumption for for no that's literally the only point you can make to somebody uh who doesn't understand AI in general. If you can bring up the environmental impact and actually show the statistics and what's going on. That's the only thing that gives like a casual pause, right? Not everybody is about the environment or preservation of it, but like it is astounding. Like I mean I'm not the best environmentalist in the world. I'm not out there, you know, fighting the good fight or anything like it, but I can see that it is outrageous. So my thoughts on AI are um pretty complicated um in that we have all been using AI for a while. We use a lot of different types of AI as far as if we're talking about intelligent software that helps us do the things that we want to do. Um, you know, I mean, AI powered is like the buzzword for like everything now. You know, everything is powered by AI and it's not really. It's just you updated your software to do a little more than it did before. And you know, I saw a car commercial that said, you know, AI powered blah blah blah. And it's like, but this is not that different than what it was before. To me, there are a lot of different things that are AI. I mean, we use as photographers, we use Photoshop. And I mean, this is that is an artificial intelligent, you know, software program. We use Photoshop. I we could get in there in Microsoft Paint and try to manipulate the pixels, I guess, one at a time. But yeah, we're we have a goal, right? And as artists, as as craftsman, we're trying to like get things looking the way they want. My issue is just from a fundamental standpoint, we're just the the generation the generative nature of these these AI generative images is unethical to steal the look. This look didn't just come out of a vacuum. This look, these looks were created by people that were, you know, holding cameras and making decisions and then selecting images and then showing them. Um, that's the issue to me is it's the it's the stealing of the work uh of of an unnamed faceless artist out there and then homogenising it all together for the sake of just living a frictionless life where we don't have to learn a skill and we don't you know that's I mean that's really the issue is AI is just as everything starts as our intention goes towards living a frictionless life. We just will become uninterested in learning these new skills, these artistic skills, and the and then this art will just be there for us to enjoy. And I'm just not convinced that we're going to enjoy a life like that. You know, the art will never evolve, right? Art is always evolving. And if we solely rely on AI and conjure up everything that's ever happened and put it in AI and decide to, you know, exist off of that, there is no evolution by beyond that point, right? The art is what it is and it only learns to the capacity of what it can be fed, right? So there needs to be the next, you know, Leibovitz, there needs to be the next, you know, Picasso that rolls up that changes the genre that, you know, finds another step. uh AI can only go so far as where we are already at. Um I'm going to say a couple of things from you know our perspective from uh managing uh the project Headshots Matter is um and from a photographers's perspective that's been doing this for a long time. Um I think authenticity matters greatly. um I don't know maybe greatly isn't even enough to say but um uh to a photographer needs to be part of the process whether that's a cinematographer whether that's a still photographer we as human beings who have figured out the craft of how to use this uh this box this camera and lighting but more importantly how do we react to um a person in front of us how does that person in front of us react to us. How do we calm them? How do we inspire them? The subtleties on how it's like what Nikki said, like the subtleties of how an actor or a corporate person reacts to Jordan or someone else on the other side of the camera. It's it's magical and it can be seen. You can you can identify it. So I think whether or not people want AI headshot or photography or not or whether companies want to do it or not, I think it's not going to fly as well as authenticity. I think authenticity will always win. Um maybe that's naive of me, but I do honestly believe it. Um, so I I don't really see it it impacting headshots at least. I think the film industry, yeah, that's a little scary, but how we can use AI to help us with the post-p production and how we I I love how you put it to uh Jordan about, you know, we've learned to craft using some of the tools, the post-production tools to help us with that craft is is been helpful with AI, but to create the actual base image, it's it's kind of magic. It's uh it's really hard to put your finger on. It's hard to articulate. It's hard to teach. It's hard to learn. It's just it's experiential learning. Um I really believe that we're we're going to have that uh for a long time uh and hopefully ever. No, Jordan, I mean, I think it you'd be surprised at how many um a AI generated headshots I've seen online on social media. Just Nikki, you hit it on the head. It's lazy. It is plain lazy and it's it's cheap and it's and it's a and it's not a well thought out uh um approach. It really isn't. Yeah. I mean I understand you know sometimes the artists who are they're starving. We're starving artists sometimes me is not you know the money's funny and their change is strange. So I mean they I guess make do with what they can do at that time. Sure. But you know I I feel that you know after a while you know if this is really what you want to do this is your craft you need to invest in some good shots and invest in yourself and in that you just need to start saving your money and if it takes you six months fine use what you have at the time but save that money to go get somebody to take some really good shots to get to so that you can see your essence not the essence of this generative machine. Yeah. Yeah. Yeah. Compliment people like Jordan. I was just going to say that like just going off my shots alone. I could not conjure that in my head. I could not imagine creating that dynamic and the layering and the colors and the choices that were made. I can tell AI, hey, I want a good picture and I want to look good in a suit. But what we did dramatically and what we did aesthetically, those are things and personality-wise, those are things I could not have just put into a prompt to make happen for myself, right? I needed the collaboration. I needed somebody to guide me. I needed his help, his expertise. You know, I had a vague idea of the things that I wanted to achieve and he made them, you know, a reality that I would be unable to imagine for myself. My creative partner that I work with in my studio, she she explains it to the people we're photographing, whether it's a headshot or something a little more involved that what we're doing, we're writing a poem and and part of that that writing of a poem, you need life experience. You you need to understand who you're writing it for. Uh what's the story? What's the person that's in you're collaborating with? Like it's so dynamic. So yeah, it it needs to be a human experience. I think you just described the creative process in general. I mean the creative process is a creative process through all mediums. The way it's done and executed changes from medium to medium. But I think what Shawn does is he writes a poem. And I think what Nikki does is she writes a poem. Yes. Um I you know we we're painting pictures. That is what we do is we tell stories and we paint pictures. You know, metaphorically speaking, not all of us paint pictures, but yeah, I think in the industry that we're working in as well, you know, where, you know, with headshots, an actor's portrait specifically where the intention is to show a casting director what somebody looks like and how can they have confidence in that headshot if it's been, you know, AI generated. So, it's not if it's not them, right? Yeah, it's so it's not just about, you know, I I can see authenticity becoming almost a currency in what we do and actually there's a value to that and I can see a situation in which actors are going to be asked to kind of verify that their headshot is authentic and has been photographed rather than generated because, you know, my background, I've been on the other side of the coin and I've cast a lot of people for TV and photo shoots and you know it's the worst thing when somebody walks in the room and they don't look like their headshot and you immediately feel that your time's been wasted. Um so I think there's a real fundamental requirement here um that AI actually just it can't deliver it. It can never be it can never have that the authenticity of a photograph. Well said. I think um there is, so I think that all creative industries have an obligation to gatekeep AI out and it obviously will get better and better and better and the normalisation of it being used will grow as well. like H&M just had a whole um I think campaign or maybe it was all catalog work I don't know but they used all AI models um and so they just had these AI models and they used some software where it put their clothes they had photos done of their clothes by a photographer but then those clothes were put on these AI models and they got a lot of backlash for it and that backlash will need to continue to gatekeep AI out. But as it keeps happening more and more, there will be less and less backlash, thus normalizing all of this. And it needs to be the case for casting directors. They need to there needs to be backlash when an actor has the audacity to submit an AI headshot, but it's already happening. I'm sure. I don't I don't know, but I would assume it is. And so, you know, an agent is a gatekeeper in that sense. A casting director is a gatekeeper in that sense, right? Um, and I do think that the industry is pseudo protected in that sense for photographers. Like there will still be demand for headshots to be the thing that's used that, you know, there needs to be proof positive that the actor can collaborate with someone with a camera in their hand. Um, and you know, it like I said, this is this is a good kind of gatekeeping. It's a buzzword these days, but it that is the only way to really describe it is we gatekeep AI out. Uh you Nikki you mentioned it earlier too beyond the kind of like understanding between you know uh entities in this exchange. It's also dangerous right? Uh people fake things all the time. Uh people it's like falsifying a resume but it's also like falsifying achievements that you've made. There's people that are putting things out there or taking uh other people's art or taking people and putting them into things that you know and it works for good and bad and humor and all sorts of things, but it's still dangerous. It's not regulated. Um and anything uh that has to do with technology should should have some sort of limits and regulations put on them so that you know people are kind of kept safe from uh I don't know multitude of things beyond the PTSD of being exposed online. I like the strong language, Shawn. It is uh, you know, using AI incorrectly or wrongly, it's falsifying. It's plagiarizing. It's it's it's just wrong. So, yeah, there's that uh news article of that uh student that graduated from college and he held up his like laptop that showed he had used ChatGPT to make his way through the entire process. I mean, that is so disingenuous. Like, what did you learn? It literally is making us stupider. Yeah. Yeah. Yeah. I think the, you know, the real value of education is learning how to think for yourself and how to challenge things and challenge ideas and how to ask questions and you know that there is a danger that those skills will be lost. you know that faculty for for critical thinking as well as creative thinking if you're just being the that there have been studies that show that drop off in brain activity when people are just using ChatGPT over and over and over on a regular basis that brains are actually becoming less active and less able to to think for themselves because of this kind of spoon feeding and as you said Shawn you know that they're being everyone's being spoon fed from the same bowl of porridge. Yeah. So, where's where's the new content going to come from? Where where are the new ideas that that are going to create these new recipes? You know, it's just it's just not there. So, it's it's kind of a diminishing return over over time. Overuse it. What is your passion? You know, what do you desire to do? Do you desire to be a charlatan, to be a fake the entire time? What are what are the things that you want to contribute? Like what do you want what stamp do you want to leave on the world? If you use AI and fake stuff the whole time, you left nothing. You know, find your own passion. Yeah. Yeah. In uh 50 years, my grandchildren will will find my little prompt diary. That'll be my legacy.
Okay. Brilliant. All right. Well, I think that's been a a really fantastic discussion. Um, lots of uh really interesting viewpoints there and I I think you know this is going to be hugely useful and um very interesting for for a lot of people when we when we get the content out there on on online. So, uh just want to thank everyone again for for taking part today. Really appreciate it and uh yeah, it's been great to spend some time chatting with you all. Thank you. Yeah, thanks for Yeah. Thanks. Thanks for making this happen, Roj. Yeah, no problem at all. It's a pleasure. No, it's been been absolutely great. Thank you. Really really appreciate it. text goes here

November 22, 2025

Episode 10 / Benjamin Dwyer, Global Director and Head Agent at North Artist Management

November 22, 2025/ Dwayne Brown

Benjamin Dwyer, Global Director and Head Agent at North Artist Management, talks about a contemporary approach to running an agency, how clients are selected for representation, what to consider if you're trying to break into the US market as a performer and offers some advice for influencers looking to raise their profile.

Note: View on YouTube for captions.

"We as agents are glorified marketers. We work in marketing. We work in recruitment and marketing and the the product that we're marketing and the product that we're trying to get recruited is the performer that we are representing. And individuality for us is so important because we want to be providing the right people for casting directors and producers to to employ."

DescriptWhat Does A Contemporary Agent Look Like?
I think for us at North Artist Management, we really pride ourselves on the fact that we're young and we're fun and we've as performers or other kind of creatives, we've been working in the industry in that sense very recently. And I would say that actually the making of North Artist Management and what we've been about has been since covid and the industry has changed drastically since then. So this contemporary outlook and this approach that we have to working with the industry or working within the industry now um I think is really important. There's a lot of people that have been involved in the industry for a really long time and dare I say the term industry dinosaurs is is what I like to use. And lots of these individuals and lots of these kind of work ethics and mindsets are very outdated. And we pride ourselves on not being like that and trying to learn and trying to develop and trying to learn new approaches to work in the industry especially with our clients and and to kind of give them the impetus to work in exactly the same way as well. Absolutely. Yeah. Absolutely. Being responsive to the changes is so important because it's such a rapidly evolving industry and the needs and requirements for performers and agents and casting directors and directors. Every every asset of the industry needs a different kind of approach and nowadays we there are so many different kind of approaches to be trying and we want to be involved in all of those different approaches for sure.
How Do You Choose Who To Represent?
I think for us at North Artist Management individuality is is so many different things. We as agents are glorified marketers. We work in marketing. Um we work in recruitment and marketing and the the product that we're marketing and the product that we're trying to get recruited is the performer that we are representing. And individuality for us is so important because we want to be providing the right people for casting directors and producers to to employ and and put through the process for their projects and put in put in Wicked, for example. We want to give them solid uh unique examples of the clients that we represent rather than just kind of bulk submitting and sending 50, 60 options. We want to have that one unique person where we can go to said casting director and say "Sally, our client, is perfect for your project because..." rather than Sally and James and Jack and Jill or they're all right for the project. And yes, there are instances when that is the case, but for very specific projects, we want to have very specific options to be able to provide to the casting directors and producers that we work very intensely with. Absolutely. Yeah. Absolutely. Like we want to know our clients as as as people just before before they're professionals as well. And that helps us understand their mindset and the way that they work and also helps us develop ways to specifically work with them as individuals rather than just having this blanketed approach or this blanket approach to talent management and what an agent does.
I Want To Break Into The US Market. What Do I Need To Know?
I think a performer wanting to break into the US space that's primarily based in the UK should be very aware that the energy of the industry in the US is so totally different. Um, Americans seem very intense in terms of their personality and the way that they work, but actually they are so laid back professionally and they kind of um from the uh the US industry that we've kind of experienced, it's very laid-back and it's very like yeah, we'll do it and but we have to take the right streams. Whereas I think the US, sorry, the UK is very much like now let's do it or let's not do it at all. it's very, it's very quick to the mark whereas the US is very is very much the opposite of that I would say um obviously individuals the the casting individuals the industry professionals are totally different out there there is a bit of a crossover some UK casting directors do stuff in the US for example James and Rosie Pearson there's production companies that work in the UK and also in the US for example RWS they do a lot of cruise work in the UK whereas in the US they work um for other cruise companies. They also have a casting agency um which the name has completely escaped me now. Ark is the name of the casting agency in the US. They cast the Lion King. They cast Chicago on Broadway. So there are there are there are similar connections but the industry out there is very sort of boxed off. I would say the same as it is here. And for some of the clients that we represent that are dual national or they're Americans wanting to work in the UK or the UK's work wanting to work in the industry, our best advice for them is always to immerse yourself in it as much as possible. Meet people, network, go to class. For example, a dancer in the UK should go and spend a week in New York and go to Steps on Broadway and do do as many different classes and and go to as many different networking opportunities as you possibly can to just immerse yourself in that area of the industry.
What Are The Challenges And Opportunities For Influencers?
I think influencers are also marketers and what they're marketing is themselves. So, finding a uniqueness in what you're doing publicly on social media is a really important thing. The influencer market is so saturated. Dare I say it, everybody thinks they're an influencer now, but these big short influencers that are maybe in the 1% of the top Tik Tockers have been doing this for however long. They got very lucky maybe during covid, but they all have their very specific niche that allows people to recognise that this is them. This is their branding. This is what they're about. This is what they're putting out on social media. Um, there's a fantastic influencer that did very well during covid that has now skyrocketed into the entertainment industry because she was all about posting and talking about the industry, but in a really light-hearted and fun way as someone that was a trained performer that is also now an influencer that is now channeling her influential work into or influencing work into the industry as a professional as well.ion text goes here

November 22, 2025

Episode 9 / Tara, Dan, Alfie, Liam and Zak

November 22, 2025/ Dwayne Brown

Tara, Dan, Alfie, Liam and Zak. Five new agents at North Artist Management talk about AI headshots, how performers can help their agent get them cast and how performers can develop their casting and brand.

Note: View on YouTube for captions.

"Be nice to everyone. You don't know who is in the room with you. Even if it's just an audition, you will audition with the same people. You will go to an audition in a year's time and someone will be sat on the panel that you auditioned with a year ago or someone that you worked with is now auditioning you for a job."

Headshots. AI or Authentic?
I would personally say authentic. I think that you can get a lot more variety, a lot more looks and we should also be celebrating our photographers because it's their art. It's their work. um and doing it through AI doesn't celebrate that part of the industry which is so important for the performers and also for us as agents as well. Agreed. And AI isn't you, is it? AI isn't you? No, it's so true. Absolutely. It needs to be authentically you. And is there a bit of a trust issue there as well? Do you think between? So again, can you trust the image if it's been AI generated as opposed to...Well, I actually saw an AI generated picture of you the other day and it did look pretty similar to you, I must say. Yeah, but I I feel like with AI, sorry, I feel like with AI that they're in control of what your facial expressions are doing. Whereas, if you're going to an authentic um headshot shoot, you just need a select three to five shots that show different characters and AI is not going to do that. It needs to be your true facial expressions. I feel like I also feel like there's a lot of jobs as well which require stills. So if you're going to that job and having photos taken of you, having your headshot so that the casting director can see what you look like in action on a uh photography set is really really important cuz you could have a cheeky little weird smirk that you can't get rid of, but AI just slaps it away straight away. So, I also think you can tell, even though your picture of AI looked really good, I think you could tell that it was robot generated or Yeah, just a bit too airbrush. I mean, throw it on LinkedIn, but that's about it. I do think it's losing authenticity. And as I said before, a massive thing of us performers is celebrating our art that can't be replicated by AI. There's so many different people, other people within the industry that also need to be celebrated too like this is their work. Um and headshot sessions are fun as well. It's like a fun it's a fun thing to you know do. Yeah. I saw this post and I see it all the time about AI should be able to do my laundry, do my housework, do that stuff so that I have time to do the creative stuff and I love that. Yeah. Yeah. It is going that way. Yeah, it's scary. Hopefully.
What Can Performers Do To Help You Get Them Cast?
Thank you. Um, as a performer, I think it's so important that you continue working on your craft. I think so many people, especially after training, just think, I'm done training now. I don't need to do anymore. But you can never stop learning. You can never stop getting better. Um, so go and take those dance classes, you know, keep singing, keep networking, do everything you can to help you because obviously your agent will do what they can do, but you also need to help yourself a little bit along the way as well because every year there's thousands more people coming into the industry. So yeah, I'd say that keep busy.
I would say a lot of people ask us, "How are you going to get me the job?" And we will get you in the room, the rooms that you that you should be in, but it's yourself that's going to get you the job. So, going off of that, continue the training. Um, and I would say in terms of headshots, obviously that's the first thing that we see. So those updated headshots, those headshots that show you um and show different uh characteristics that you have is really important because it is the first thing that we see. It's also the first thing that the casting directors see. Yeah, I think it's very important to have a good set of promo, whether that is headshots, that's the first thing we see down to showreel, vocal reel. Um, if you can make sure that on your side you've got the things and the tools for me to market you, I think that's perfect really. Like it is a partnership, agent and client. It's it's a partnership. You do your side and I'll do mine. There's only so much we can do in terms of like submitting for work and stuff. So, yeah. What have you got to say? I also think you just you just have to be honest with Hello. Hi, I'm here. Lovely. I also think you have to stay positive, but you also just have to be honest with yourself. Like, if I was going into a client meeting, I would never go in and say, "I want to play Gaston in Beauty and the Beast." So, I actually think I'm kind of perfect for Gaston. I'm surprised I'm actually playing Gaston. But like, you just need to be honest with yourself and like know what you're right for and really hone in on that and lean into it. Like, yeah, I'm not gonna be playing the butch person, but I know I can play a fun little side character. So, like, lean into what you know you're good at. Yeah. Was that a yes from you? That was a yes from me. That's a yes from Liam. I feel like it's not about...Don't go in, how do I say this? You can go into the industry and you can be a performer that wants to be put forward for everything and that is absolutely fine. But I think if you exactly what you said, lean into what you're good at, sit down with yourself, get a paper and pen, write, figure out your branding, what jobs you suit, what you need to do to get there. Um, I'm really into commercials, so obviously that's going to reflect in your headshot and perhaps your showreel and your and your content. Um, marketing yourself and branding is very important because you can waste lots of your time and it's a short-lived career. It can be um hard going and trying to do something that just isn't you and isn't for you and that and you're just not going to work or you can really hone in on what you're meant to be doing, what suits you and you can work consistently so I think yeah you've got to lean into your strengths, know your lane know your lane exactly. And another thing I would also say is it can be a short-lived career but also be the smart performer that is looking at the long term. How can you remain creative in the industry because that's why we all started in the first place is because we love being creative and even though at the age of 60 I might not be able to fan kick anymore, I can still keep myself in in the industry through doing other things. Um, and I think that that is also the thing that's going to keep you going throughout the industry because there is a lot of times when you're not working on a contract and that is okay. I feel like you learn a lot about yourself when you're not uh fully employed. Um, but it's remembering that you love it and thinking of ways to continue your art even if you're not on a full-time contract for it.
How Should Performers Develop Their Casting and Brand?
Yes. I think it's just going back to what you said as well. It's like knowing your lane, knowing what you're good at and just kind of sticking to that, but also, you know, I'll take this, but say you're a really strong jazz dancer, you know, go to classes at that, but then also go to contemporary classes, maybe go and take a a ballet class, go and take a technique class, go and better yourselves in other areas just so in case a dance school does come in for a commercial, you know, you can go in. You might not be the best in the room, but you're still going to have some some knowledge of of that. Yeah. But yeah, I'd definitely say stick in your lane. Like if you know that you're a strong jazz dancer, stick to that, but also do other things as well. Yeah. And I feel like the internet is accessible to majority everyone. It's just a click away on the phone. If you graduate and you know that you're a strong strong dancer with with good enough vocals to get you through the ensemble and let's say you want to be a Moulin Rouge, you can just go on the Moulin Rouge website. You can see who's in the cast right now, what their headshot looks like, how they are portraying themselves. If that's a job you want, you find out who the choreographer is. You pop into their class, you get seen. If there is something you want to do, chances are someone's already done that. So you just need to find who's doing what you want to do and see how they have established themselves within that market. I think that's the best way really. Yeah. I also think that um your headshot is step one of the process. So I think it's really important to have that main headshot that can be used for near enough everything. But when it comes to submissions, whether you're submitting yourself through Spotlight or whether your agent is submitting you for the job, we get an option of which headshot we're going to do. So, one to choose, sorry. Um, so if you were down for a panto, we'd probably choose a smiley pick compared to a really serious straight acting role is going to be a completely different headshot. So, it is going into that um headshot session with bunch of different options, bunch of different looks. Knowing what work you want to go into and saying to your photographer, I need an MT headshot. I need an actor headshot. I need something to make me look a little bit younger because I feel like I would be playing smaller like childlike roles. They come up quite a lot. So, I would say just having that versatility between all of your photos. I also will say be nice to everyone. You don't know who is in the room with you. Even if it's just an audition, you will audition with the same people. You will go to an audition in a year's time and someone will be sat on the panel that you auditioned with a year ago or someone that you worked with is now auditioning you for a job. Be nice to everyone. Yeah. There's the industry is so small. Everyone knows everyone. You don't want to be the person that people are talking about going, "Oh, she was so rude to me when I said that I didn't have a selleadooka to give her." Like, be nice to everyone because word spreads very quickly. And that is that that should be part of a performer's brand. It isn't just your promo material. It isn't just the skills you've got. It is your vibe, your how you handle yourself in a room, how you talk to people. 9 times out of 10, you can be on a panel in an audition and the dance is great, but you know immediately it's not necessarily someone you want to work with. And that unfortunately that's just how it is. We all want to enjoy our jobs. We all want to put ourselves around people that are the same. Um, so yeah, it's it's a lot more than just how you put yourself out there on spotlight or whatever casting platform.

November 22, 2025

Episode 8 / Sean Joseph Young

November 22, 2025/ Dwayne Brown

Sean Joseph Young is a hugely experienced actor, writer producer and director who has worked with Netflix, Disney, BBC, Microsoft and EA as well as household names like Mark Gatiss and Josie Lawrence. In this Episode he talks about his route into the industry, the value of ongoing learning and development, how mentorship can improve your chances of success and where he feels he's really been able to make a difference. He also talks about the importance of reputation and developing your personal brand.

Note: View on YouTube for captions.

"All the people who talk about what they want, who talk the talk and walk the walk, are worth listening to. The only way that you're going to come across as negative or bad is if you treat people wrongly. If you're nice, kind, but still ambitious, still driven, and you're not stepping on anyone's face to get what you want, then you deserve to be there."

DescriptHow Did You Get Into Acting and Directing?
Yeah. So, um I mean if we literally start from right from the beginning and you can edit out the the boring bits. Um uh my dad was a lighting straight in there. My my dad worked in the film business but as like a techie. Um and then he would work mainly with um like engines and stuff like that. Um but I wanted to be an actor. I really enjoyed it. It was the only thing that I was being praised for at school. Um along with that uh English. So I enjoyed those two aspects of creativity. Um, I then got an agent at 16 and started working quite consistently, which is fantastic and a rarity. Um, and then I admittedly started becoming quite annoyed with um the castings and the characters that I was being given. It was a lot of broody nerd. Um, I can see the nerd, but I can't see the broody. And I just felt as if the characters were really one-dimensional. Um, and I would have liked to do more comedy. Uh so I made my own web series, Two Housemates. Um and then uh made a second one and a third one. Really successful. Uh got to meet really fantastic and incredibly brilliant people. Um got Mark Gatiss in the third series, which was a huge privilege. He asked if he could be in the third series, which was a huge surprise because I wasn't planning on doing a third series and I was just showing him um this one scene in series 2. I was just asking if it works uh or is it too inappropriate which he obviously loved and um you know asked to be in it. From then on um I've gone on to make short films uh Moustache Man which was uh really successful film festival at film festivals. I made Moustache Man which was really successful at film festivals and I've recently just made another short film um which is in post-production. I've also got a film based on Two Housemates which is in post-production as well which is going to be going to film festivals. So yeah um I just love the whole process. I love um every aspect of it from behind to in front of the camera and just being able to see that you know your your dreams your um the images in your head come to light and see how much people enjoy them fills me with what can only be described as liquid gold.
Tell Me About Your Role As An Educator and Mentor For Actors and Writers
So I offer acting and writing lessons. Uh sometimes at the same time it's totally up to you what you prefer. Um and of course the acting lessons are focused on you know technique and uh you know script work and kind of just getting that character right along with you know behaviour uh behaviour on set. I think it's really important to be able to know how you should conduct yourself. Um, writing is, you know, more about the creativity, holding you accountable to your own work, which is always important, especially if you're working for yourself. If you don't have somebody giving you deadlines, along with that, it's really helpful to be able to talk about your own characters and what your goals and ambitions are. And talking about goals and ambitions, great segue. Well done, Sean. Is um I also offer mentorship lessons and uh a mentorship course. Um, and I keep that as cheap as I possibly can because in my 20s, um, I was, you know, going through this very chaotic stage in my life where I became a carer, um, while trying to maintain, you know, keeping that sort of essentially that rise up the mountain in my own career and I made choices uh, that, you know, understandably being a carer, I had to stop working on my acting. Once you leave there, you go straight down and then you have to go up again. Obviously, lots of people don't have that in their situation, but they're still having to live a life where they want to be creative, they want to be acting, they want to be writing, they want to be directing, they want to be involved in the arts industry, but they don't know how because they've left the course, they've left university, they've left college, they've left school, and they've just been told, "Go live your dream." And they nobody ever tells you this is how you might possibly live your dream with these jazz hands. Nobody ever gives you that information. And when I was in my 20s and early 30s even, I felt lost. I felt confused. I was living in a chaotic world and I had no idea how to organise things. With the mentorship lessons, it's all about taking that chaos and organising it. And I go through things like create a spreadsheet where you can, you know, look at productions you're interested in, films you're interested in, find out how, I hate this word, but it's right incestuous the um the production companies are where they work with each other. Try to meet this person, talk to this person, this is what your cover letter should look like. This is what your CV should look like. Let me look at your spotlight. And essentially advise you so you're not sitting there laying in bed at night going, "What should I be doing?" I can tell you these are the things you should be doing. And what's really important to me is that while I do these acting lessons and these writing lessons and mentorship, not once do I go, if you do all this, you'll be successful. I think a lot of, you know, certain courses and people that kind of and I understand why it's a really good selling point to go, if you do this with me, you'll become successful in that voice. Exactly. But with mine, it's very much realistic in terms of we are working together to give you the best chances. But I'm not saying that if you work with me, you'll instantly become successful. But luckily, I have had clients who have managed to make a success for themselves by applying what they learned in mentoring lessons, writing lessons, acting lessons. You know, they always apply their self technique that I taught them to give them the best chance of standing out. Because if you hit that minimum bar, that's fantastic because there's loads and loads of actors, writers, and directors not trying and essentially just waiting for their opportunity.
How Can You Improve Your Chances Of Success?
Exactly. It's it's so important to see yourself as your own brand. 10 or 15 years ago, you didn't have to do these things because an agency had your back. Now the world has expanded um with you know I understand why but with the increase of self tapes the globalisation of the industry the chances of you being chosen are lessen because the amount of people that are being looked at. So if you can hit that bar that you know um the lighting natural lighting for myself tapes I've got a neutral background uh my eye line is maybe about like five or six cm away from camera so I'm looking here but not directly into camera. I'm making sure that they can see my whole face instead of looking down at a script. All these things, you know, as soon as you start hitting that bar, then you're going to stand out to those who aren't doing it. So, obviously, loads of things are completely and utterly, especially in this industry, out of your control. But if you can put destiny into your own hands as much as possible, then not only will you be doing yourself a service, but you're also advertising yourself as a much more confident, ambitious, and stronger actor, writer, director.
Where Do You Feel You’ve Been Able To Make A Difference?
Yeah, I I it's it's seeing that motivation and that ambition actually come into fruition. Um a lot of actors talk about how much they want to do things but a lot of time they don't know how to and once they actually learn how to and start applying it by you know making their Instagram you know making an Instagram profile that's much more driven towards what they want to achieve. So like showcasing you know acting head shot scenes that they've done you know even um like head shot that they've taken themselves them looking you know good and strong and powerful and ambitious you know those things I really enjoy. Um I have, I don't know if I can mention her name. Evalina um if you're watching this I'm incredibly proud of you. So Evalina has gone on from you know doing uh you know a course with um X company which I I I shouldn't advertise. They're very good but that you know doing that course but also wanting to do these things wanting to do voice over wanting to do mo-cap. Um, and within a month after um, completing my mentor course, she's got herself an agent. She's gotten loads of voiceover stuff. She is more motivated, more ambitious, and most importantly, excited for the future. And I'm not saying that's directly because of me. Um, it's not. It's because she's applied herself. She's learned from the mentor course. These are the things that I should be doing. and not only doing that, but has gone out of her way to get in contact with people, follow the right people, use that spreadsheet that we've created together in terms of like you're seeing names attached to names attached to names. And she's gone out and applied herself and advertised herself as a successful person who's worth your time and attention. And that's exactly what she's done. And she is having her best year she's ever had. So well done, Evalina. I'm really proud of you. In the in the mentorship lessons, I've just finished one with um a very talented lady called Allora. And um you know, I hope she doesn't mind me saying this, otherwise you can bleep the the name. Um her cover letter was sheepish. All her stuff that she was putting out was like, "No, it's me." You know, with like a small whisper, "No, it's me." I was like, "No, no, no, you're talented. You look good on camera and you're ambitious. You need to showcase that without coming across as arrogant." The best way to come across as confident, not arrogant, is by going, I'm really good at my job. Here's evidence. And even if you don't have evidence, you go, I'm really good at my job and this is why. And I think a lot of actors feel as if they have to be really sheepish and tame and quiet about their career, um, about your wants and and your ambition, your drive. We're really sheepish and quiet about it because we don't want to rock the boat. We don't want people to think, "Oh, I I don't want them to think I'm I'm I'm an [ __ ] or anything like that." No, no, no. All the people who talk about what they want, who talk the talk and walk the walk, are worth listening to. The only way that you're going to come across as negative or bad is if you treat people wrongly. If you're nice, kind, but still ambitious, still driven, and you're not stepping on anyone's face to get what you want, then you deserve to be there.
How Important Is Reputation?
I was helping someone with their CV yesterday and um they're they want to be first assistant camera. They they're they're not going I want to be a DP. Like yes, they want to be a DP, but they've got those realistic expectations of what people want. So So I want to, you know, set myself up to get a first AC job. Well, first of all, think about what they want from you. Well, with first AC’ing, first assistant camera, um you're going to be doing quite a bit of work. you. It's just the nature of the beast and you're going to be listened to the DP a lot. So, you want to be kind-hearted, nice to be around. Those are the minimums. And then you want to be attentive. You want to be willing to learn. You want to be willing to do a lot of stuff. And generally, you want to be hardworking. So, in your CV, you want to be able to, you know, write that in your cover letter that I'm willing to do this, I'm willing to do that. Obviously, within the respects and boundaries of you yourself as a person, but you still want to be like, I want to be able to do this. I want to learn from these experiences really come across as someone who's willing and happy to do these things. I think that to somebody who's hiring sounds so much better than someone who goes I want to do first AC in um you know what am I getting from that? Nothing. So coming across as like okay that person is worth working with. And I think it's exactly what you said in terms of how this industry works. We're all so interconnected. Being kind to one person can easily lead you to go, Roger was really nice on that thing and you know, he was very talented and like nice to be around. We do need a photographer for this or I know somebody who needs a photographer for this. Let's get Raj over. You know, if I if I go, Roger was really talented, but he was such a pain in the ass to be around. it's highly unlikely that I'm gonna hire that person. But if I'm like, Roj knows a lot about Judge Dredd. I know he's nice to be around. You know, I'm gonna bring that person on. And that's the way that you should go about things, not just in business, not just in the arts industry, but also in life.ion text goes here

July 02, 2025

Episode 7 / Liam Tiesteel, Director of LJT Talent Management

July 02, 2025/ Dwayne Brown

Liam Tiesteel, Director of LJT Talent Management, shares LJT's open book approach and how they select performers to represent, life working as a performer and an agent and - of course - some great advice for getting headshots.

How Do You Choose Who To Represent?

Note: View on YouTube for captions.

"For us, what we're looking for in a client is individuality. Someone could be the most talented person that can be, you know, the highest kicks in the room or the best singer in the room. But if they're not an individual and they don't bring a personality, we can't work with that."

How Do You Choose Who To Represent?
Sure. Yeah. For us, it's very much we've always got open books. We've always got space for people that we need. If we have holes in our books, if we have people working for numerous amount of years, we need to find somebody to kind of fill their spot. For us, what we're looking for in a client is individuality. Someone could be the most talented person can be, you know, the highest kicks in the room or the best singer in the room, but if they're not an individual and they don't bring a personality, we can't work with that. What we like to do is take people on board that we see potential in and we like to nurture talent and really give that personal management and really help people through their careers rather than just taking them on board and being like, here's an audition. We're like, here's an audition. What are you going to sing? Do you need any help with this? Any suggestions? These sort of things are really having a sort of nurturing and safety environment so they can come to us at any point that they need. For those people that we feel maybe aren't right at the moment, we always encourage people to always come back in a few months time because maybe they just aren't right at the moment for whether it be talent or maybe we have someone that just already is similar to them and we never have two people of the same. For us, it's very important that we always keep everyone individualised. So someone could be absolutely amazing, but if we already have you on our books, we can't take you, but that doesn't mean that that person doesn't then book a show for 2 years and then we have a whole book for that person. So we always encourage people definitely to come back.
Yeah. I think the big thing for me is very much especially like when you're a graduate that first six months graduation you change so much like you will change how you look so your headshots that you get when you graduate 6 months later maybe you've got a facial hair then or you change your hair colour you know you found yourself because you finally go into the adult world - scary part of the industry - so then you kind of need to think to yourself after six months time if you apply to an agency 6 months ago are you that same person. If the answer is no reapply because then it's a fresh application. You're a fresh person, you're a fresh individual. And also ability wise if you've put so much work and ethic into this, you know, this craft, whether it be singing, dancing or acting or all three, the more you work at it, the better it gets. And obviously the industry is changing. So you need to keep up with what the industry is looking for as well.
How Does Being A Performer As Well As An Agent Help?
Yeah. I think for me it's what I enjoy is being able to balance obviously my own personal career, but also being able to nurture and help talent myself. I think because we come from a fresh, younger perspective, we understand how it is to also be in these scary rooms, to not get auditions, to get auditions, to get rejections, to get offers, you know, all these amazing things. And we enjoy that sort of thriving aspect of knowing how it still feels to be a performer. So, if a performer comes to us and says, "Hey, I'm absolutely terrified for my audition or I can't make an audition because I have to work my 9 to 5 job in London to pay my rent." We understand that as performers ourselves. So, we like to bring that sort of approach to our agency careers. Of course doing what we need to do as agents, but also bringing that personalised approach as performers as well.
What Should Performers Think About When Getting Headshots?
Yeah, I think with the way the industry is, it's so important through your Spotlight profile, through your CV to have a headshot that represents you. So, when you're picking your headshots, don't think, what do I look the best in or what do I look the best in this angle? It's about castability. You need to see a headshot and think, if you want to be in this certain show in the West End that looks like this character that you think that you could be. So, it's very important to be very representative of what you want your career to go down rather than thinking what do I look best in. Asking for people's advice, asking your agent, friends, friends and family, all these people, they're going to give the realistic opinion of this looks correct for your castability. I think choosing your own headshot can be good. It's great. But I think having an outside opinion is really important.
How Should The Talent/Agent Relationship Work?
Yeah, I think it's so individualised. I think every agency works very differently. For us personally, as we, you know, we are a nurturing personalised management, we love it when our clients message. So, if you see a casting that you're like, I really want to be in the room for this. So, you really want to have an audition or do the job, send me a text and I will get back to you. I will always talk to you and tell you how we can achieve that together to get you in those rooms to make sure the audition goes well. And also, I just like to know what's happening with my clients. You know, at the end of the day, this is a professional relationship. It's about nurturing you and, you know, working together to get to where we need to be at the end point. But also, I need to know who you are to actually tell teams about you. So, if I don't know your real personality, I can't sell you to a team. So, I really want to get to know who you are as an individual. You know, I love to have catch up with with my clients, whether that be over the phone, in person, via Zoom, whatever it is, to kind of make sure that we're on that level playing field of if you are getting rejections, you never feel scared to come to me as your agent. I'm just Liam. I'm just a normal person in this industry, but I'm here to support you and really nurture you through all that.ext goes here

July 02, 2025

Episode 6 / Richard Leavey, an agent with Collective Agents

July 02, 2025/ Dwayne Brown

Richard Leavey, an agent with Collective Agents, describes how a collective of agencies works, the advantages of a collective representing not just actors but creatives across the whole entertainment industry, the state of play in the industry today and how actors should approach their headshots.

How Does Being A Collective Work?

Note: View on YouTube for captions.

"Own your insecurities. I knew that my biggest insecurity back then became my biggest selling point, my strength."

How Does Being A Collective Work?
So the best thing that I love the most about Collective Agents is we are many agents under one umbrella. But we all have our separate lists. So if you would never speak to any other agent other than the one that you signed up with. So, it's that boutique feeling of having one-on-one connections, relationships with your agent, but you do have the power of everyone in that office behind you. I can help somebody with their contracts, they can help me with my contracts. I like that we always know what's going on. We have a very good creative agent within the within the umbrella and they look after musical directors and set designers and, you know, these people are being AV checked months before breakdowns are going out for actors. So I'm there listening and being told this information which you know if I was Richard Leavey Associates on my own I wouldn't have that power. So I love Collective for that reason.
Is There A Strength In Representing Creatives Across The Industry?
But it's nice to have it to have that within Collective Agents because it just means I'm always hearing what's going on and like I said before if I was on my own, if I was my own entity, I wouldn't know that information. So it means that I can start sort of having conversations with people before breakdowns might have come out in Spotlight, that kind of thing. So I find that really handy and it's we're a close-knit company. We really get on. We've really got each other's back. So I love that about Collective. I feel I have power. We're power in numbers, but I still have that direct relationship with my client list. Yeah. Australia, we have agents. We have connections in Australia, New York. Again, it's just always nice if we have a client going to New York, things might differ slightly to how we work here, so we can get that advice knowing that our client is safe and and we're positive that they're going out there with a clear view.
What Is The State Of Play In The Industry Today?
So, I think, you know, it's always been a really difficult industry. You've always had to really fight. Very little comes easy. So you know, I think actors need to really ask themselves questions before they go in for meetings with an agent. For instance, you know, what do I need? What am I looking for? What am I wanting to achieve? How how do I want my agent to work? There's no - I always say there's no schooling to be an agent. You kind of learn your way as you go. I had a couple of agents as an actor and I found my person. So, I like to think I agent close to how he did with me because that's when I thrived. That's when I understood myself more. I believed in myself more. But you know, some people might not want that kind of relationship. Some people want to be told where to go, what to do. I believe it is a relationship and there is a conversation to be had. The more I know about my client, the better I can do my job. And you know, every client is different. So, some peoplewill really push for that relationship and others prefer to keep it separate. You know, and we have a lovely time and we meet up for our meetings or a coffee or I see them at a press night. But some people do need a bit more nurturing, especially the early side of their career. I think choosing an agent right now is is really important. What do you want to do? Do I want to go and travel the world? Do I want to stay in London? Do I want to be on screen? Do I want to be on stage? You've got to really understand these questions. I get a lot of young grads come in and they have their their list of questions. Yeah. They come in with a list of questions from their faculty that they've been advised to ask and some of the questions they're just not needed. It's got to be personal. What is your journey going to be? And that might change within 5 years. But you know we're lucky. We've built we've built a brand at Collective Agents. We've worked really really hard and we are lucky. You know we - our success rate of getting people in the room is so high. It's very rare that we really struggle but that's because we work really hard. We understand our clients. We don't just put everyone up for everything. We try and really nitpick and make sure everyone's getting put in for the right thing, not just for the sake of it. And you know, I speak to casting directors nearly every day of my life. And you know, not everyone works like that. People are just, you know, put them in, put them in, put them in. But actually trust your agents process. You might not be in for 10 auditions in one week. You might be in for three auditions in two weeks. But they'll be the right one for the artist as opposed to being in the room for the sake of being in the room.
What Should Actors Think About When It Comes To Headshots?
Headshots are the first thing a cast and director sees before you even walk into a room. They are vital. And there are some bad choices out there. I can't stress enough, especially maybe slightly younger people. It's so simple. It's like people overthink it and they need to look a certain way. We all know what you look like. Anyone can see my face as what it looks like, not what I maybe see in the mirror or what I might post on Instagram. You know, everyone can see me fully and headshots need to represent that. They shouldn't be overly made up. I don't want fake eyelashes. I don't want contoured cheekbones. I want to see the person. Because that - you are the person that they're going to meet. So, I think less is more. If you are a really friendly young person with balls of personality, I want to see that in your photo. I don't need you looking at, you know, I want it to be authentic always. And unfortunately, I see a lot of people spending money on these headshots and when they have their final edit that they haven't asked my opinion on, and I know I'm going to struggle getting them into the room. So, it is absolutely vital. Your headshot is the key to your door, if you like. But again, just know your brand. I wish I'd known my brand 25 years ago when I was graduating because I was told what to do and I didn't listen. I thought I knew me better. So I was walking into rooms not really fully understanding myself as a full-rounded performer and I tried to blend in and I tried to be a lad and I tried to, just yeah, I was acting but in the wrong sense of the word and as soon as I got my brand everything clicked and I started to work. Oh, I owned my queerness. I owned my my figure. I owned that I wasn't going to be a big muscle man in Chicago. But what could I do? I could do the shows like Priscilla and La Cage and you know that kind of vibe. So as soon as you know your brand, don't overthink it. You will be fine. But own your insecurities. I knew that my biggest insecurity back then became my biggest selling point, my strength. So you know, again don't get overly edited photos. That's your face. If you have a dimple, if you if you have something slightly quirky, use that to your advantage. that might book you the biggest commercial going and you get a huge buyout. So I say know your brand, own it, don't overthink it, and that is your selling point.
How Do You Find The Right Headshot Photographer?
So finding your perfect headshot photographer isn't that difficult. We have the internet everywhere now on our phones. So look at actors that you aspire to be or what careers they've had. Look at where they've had their headshots done. It's very easy to find. You just type it into Spotlight. And then go and stalk a few websites of, you know, your top three or four photographers. What draws you to to that person. Do you like the lighting? Do you like the way it's photographed? I don't think again you need to overthink it. And ask your agent. Always ask your agent because we will have a list of good, wonderful photographers that will make you feel comfortable in the room I've got three to four headshot photographers that I know as soon as they land in my inbox, they're all going to be amazing and there's going to be a guaranteed top two or three, four, five, however many they want to pay for. But again, just don't overthink it.
And also my personal opinion, I know it's hard for some people, but try not to think about saving money too much because sometimes the difference between £20 or £30 can be a huge difference in the package that you receive at the end of it.

July 02, 2025

Episode 5 / Lauren Shannon, Co-Director of agency Shannon & Bloom

July 02, 2025/ Dwayne Brown

Lauren Shannon, Co-Director of agency Shannon & Bloom, talks about setting up an agency, working with children and nurturing young talent and provides some great advice for young, aspiring actors.

How Did Shannon & Bloom Get Started?

Note: View on YouTube for captions.

"I don't want to be catfished. I want to see how you look and your headshot has to be an impact to me. I don't want a flawless, airbrushed representation of you. I want those unique features, I want you to embrace what you look like and celebrate it."

How Did Shannon & Bloom Get Started?
I have a background in TV and film from doing castings, working behind the scenes as an acting tutor and just being on set mainly with children. I've had a school for 25 years. I met Rosemary, was absolutely bowled over, fell in love, saw that we were like ying and yang and had such core, different strengths, that we decided to make this amazing Shannon & Bloom family and become an agent.
What Are The Key Considerations For Nurturing Young Talent?
I feel children are a complete, different kettle of fish because parents need guidance, they need help with set up, how to tape, their headshots - literally every component with children really needs that nurturing vibe. So, with our actors we always give feedback. Because we're both trained actors we really do re-direct, because, obviously, a partnership together will really be able to build success and create a vision. And with children you really do need to, in some ways, tutor their self tapes so that they really shine in the way that you know their characters are really coming across, transferring onto the screen and being able to really embody the character. Showing that emotional range. With children, that needs nurturing. That needs guidance. So it is a completely different kettle of fish with children, to be honest, in my opinion. And it's also very hard when you have a child who's invested so much time in a self tape. Or they've got through to the screen test and it's just between them and another child. It's really heartbreaking to tell them. So it's a different component that Rosemary and I have - we have to be the child's biggest cheerleader. We have to be really reassuring that, you know, this is the business, it's harsh, but you need to celebrate even having a self tape. You need to really embrace the process, learn from it and then you know normally when the film or the advert comes out and they weren't chosen you can always see what was the difference. And then you learn from that process, really. It's character building and also you have to really support a child. that they then have the believe to keep on going. And that's where I found that I didn't have that as a young performer. I need - we really believe in our clients, we're so close with them, that we can really work and create magic, you know. And every opportunity, look back at your self tape and learn from it and grow and to have that correction is just fantastic. Just celebrate every opportunity to be seen by a casting director because if you don't get it and you're memorable it's amazing - you've won anyway.
What Do Young, Aspiring Actors Need To Think About?
Personally for me, it's a strong headshot and I don't want to be catfished. I want to see how you look and your headshot has to be an impact to me. I don't want a flawless, airbrushed representation of you. I want those unique features, I want you to embrace what you look like and celebrate it. Absolutely document it in a headshot and have that star quality that we're looking for. Because we are sent hundreds a week and if you've got somebody that shows real magic on a headshot, you see that actually they're unique, they're mouldable and then it transfers into their showreel. That's what I'm saying as I don't want to be catfished with a headshot that when I come to a meeting with you on Zoom you don't look like the headshot. So just embrace what you look like, look at your features, look at your selling points and just totally believe in yourself. Because everybody is unique and beautiful and that' got to be celebrated and that's what we're looking for. We're looking for that different, special star quality.

July 02, 2025

Episode 4 / Rosemary Bashford, Co-Director of Agency Shannon & Bloom

July 02, 2025/ Dwayne Brown

Rosemary Bashford, Co-Director of agency Shannon & Bloom, talks about setting up an agency, advice for her younger self starting out in the industry and navigating tough times as an actor.

How Did Shannon & Bloom Get Started?

Note: View on YouTube for captions.

"I really wish that when I graduated I thought about being confident enough to communicate with my agent. I think that's just really important. I let myself feel small when I should have known what I wanted and who I was."

How Did Shannon & Bloom Get Started?
We met, Lauren and I and we are very different. We're really different, but it works beautifully because we're like professional soul mates - that's what we always say. So we knew that we both had really different skill sets and if we put them together it would be - magical. And it has been, we absolutely love it! So we created the business, we created Shannon and Bloom and we've been really lucky to work with some absolutely glorious people and still do every day which we're so grateful for. But we both come from performing backgrounds, we're both trained actors and I think in so many ways that's been what's made us successful.We've really enjoyed putting what we've learnt in our training and applying that to the clients that we work with and then also having the understanding of both sides as well. But you know, we started the business, every single day is just unbelievable, we love our job, we just say - Lauren, don't we say all the time how much we love - Absolutely we love - love my life! We love it. We love it. We love our life and we always just say we're so lucky to do something that we really enjoy. But yeah, the beauty of it is that Lauren is just such a people person and she is - everyone loves her, she can really - she can sell ice to a snowman! Which is brilliant for me, I'm like can you call them and just persuade them and she's like "Yeah, no problem." Done. And then I'm more like the tech side of things so together it works really beautifully.
What Advice Would You Give Your Younger Self?
I would say, Rosie, hun, sweetheart - know what you want and know what you need from your relationship with your agent as well. I think it's really important. I was really lucky, I was signed to a fantastic agency and then when I created Shannon and Bloom with Lauren we spoke about what was really important for us and communication id the main thing for us. We want people to be able to, if they need to, pick up the phone to have a chat to us, we want them too...we have WhatsApp groups with everyone, every single client has a group so if one of us is busy or in a meeting the other one can get back to them.So communication's really important to us and I really wish that when I graduated I thought about being confident enough to communicate with my agent. I think that's just really important. I let myself feel small when I should have known what I wanted and who I was. And also with that in mind casting as well. I needed to know what my casting was and - not put myself in a box - but know where I excelled. And I feel like now that I'm on the other side of things I can see it for other people. It's always hard for yourself, but that's why you need to be confident enough to say to your agent, "Where do you see me?" You know, "What do I need to work on, what skillsets do I need?" You know, if you're someone who really looks and enjoys doing kind of action films we need to work on like the stunt credits or we ned to work on just going on a combat course. Or whether you love working with accents? Really push yourself in that, get an accent coach or even do it by yourself on YouTube but really apply yourself and get that accent reel done. So basically, just applying yourself in the area in which you think you'll excel, basically.
How Should Actors Navigate Tough Times?
Yeah, it is. The bottom line is it is really tough. And there are a lot of people who want to make it. If we're talking about actors particularly, lots of people want to. There are thousands of unrepresented actors as well, so there's loads of people from different angles of the industry trying to make it. And what you really need to think about is what makes you special. That's not going anywhere. You are completely different to everyone else in, you know, whether it's your looks or your talent or your skillset or your personality - everything. No-one is you hold onto that in the rough times and excel in that in the great times. You just gotta keep going and if you feel your motivation fading on you, that's also ok. You know, no-one can be motivated all the time. But just do what you can with what you've got, basically.

July 02, 2025

Episode 3 / Alex, an Actor and Agent with 1984 Personal Management

July 02, 2025/ Dwayne Brown

In this episode, Alex, an actor and agent with 1984 Personal Management, talks about how co-operative agencies work, navigating the process as an actor and an agent at the same time, the ideal actor/agent relationship and the importance of authenticity in headshots.

1984 is a Co-Operative. How Does That Work?

Note: View on YouTube for captions.

"I would say that if you're scared to message your agent, there might be an issue there. Because it should be someone who understands what you want to do, how you want to do it, and how you want to be marketed for it..."

1984 is a Co-Operative. How Does That Work?
Of course. So, a co-operative agency, the basis of it is it's an agency full of actors who act as agents for each other. It ranges from agency to agency, but between kind of 15 and 30 actors and the idea is a few of you are in every day acting as that day's agent for the rest of the actors in the co-operative. And obviously there's some months of training and there's some bits of the industry which are harder to understand than others, but I'd say the advantages are it's hugely beneficial to be able to see what comes out. I feel like as an unrepresented actor, you get a dribble of jobs from what Spotlight gives you, and you're kind of lost in the dark about where are all these Netflix jobs going? Where are all these West End jobs going? I have no idea. And to be able to see them come out and see how they're advertised and then through being an agent for other people, seeing how the process goes from you submit someone for something, then you get a self tape, then you get an audition and a recall and a pencil and a job. That whole process. It demystifies the whole thing and it can really get rid of a lot of paranoia. The other massive plus I would say is just have the control over your career and that's so so important to be able to - I think no-one should know how to market yourself better than you and be able to come into a group of people who understand what being a jobbing actor is like and talking to them and being like this is what I'm brilliant at. This is what I'm less good at. This is the kind of work I want to be doing. And knowing and going into the office and seeing how you're being submitted for things and being able to verify that yourself. It's not only a massive weight off your shoulders, but it liberates you to be able to be like, okay, if I go and do a workshop at this, if I train in puppetry, I then know exactly how to tell the people, okay, I'm now great at puppetry and put me up for those jobs. So, I think it's a level of control over your career that other agencies might not be able to offer.
Is The Process Easier To Navigate As An Actor & Agent?
Definitely, I have to say I don't think it's for everyone because you have to give up some time. So me, like so many members of the agency, we have kind of freelance jobs that we're able to balance around it because we work night shifts or we work weekend shifts. So you know, if you've got a traditional 9 to 5, it's quite hard. And also just for some people, they like the idea of having one person who fights their corner for everything and understands them. And for some people that is perfect and I totally get that. But I think for some people who don't feel like they have that person or people who know them as artists and understand them as artists, to have a group of people who you can draw on for their experience. The stories that you hear, the anecdotes, it all builds up to kind of help your understanding of this very nefarious industry that can feel like a fog at times. It yeah, it demystifies it. It clears the fog.

How Should The Relationship Between Actors and Agents Work?
Yeah. I think it's I think it's a very interesting topic the actor agent one especially recently given news about some agents not acting in their clients' best interests and my instinct would be it's different for every actor and agent, of course it is, some people are naturally much more we fire WhatsApps back every day, some people are much more like if I need to tell you something I'll tell you something and that can work however it is but I would say that if you're scared to message your agent, there might be an issue there. Because it should be someone who understands what you want to do, how you want to do it, and how you want to be marketed for it. And if you're sat there hovering over your phone being like, "Oh, if I send this message, am I going to get dropped?" I wonder if - I'm not sure that's perfect. In the same breath, texting your agent every day, don't. Just don't. Especially agents who have you know beyond 20 or 30 towards 50 towards a 100 clients. You pestering someone like that will not endear you to them. It should be I think, you hear this from casting directors as actors, in terms of give me something that's actionable, that's targeted. It's not just being like oh any good jobs come out today because then you know the answer will be like "Yep I'm doing my job". But it's the stuff kind of every now and again if you see something come out that you're like, right I know you've seen this but I am perfect for it. Please get me in that room or like oh I'm not sure this kind of came in on the fringe but I think it could be a great fit. I think it's those marginal things of trusting your agent to do their job because they're very good at their jobs. So many agents are fantastic and I prioritise traditional agents as well. They are committed to that job and they are fantastic at it. But in the same breath it's just giving them a little nudge now and again just to be like just in case you didn't know that's me, that's a bit of me. So I think it's something you work out with every agent and every actor but just, you know, a balance of trust from both parties is very much needed
What Makes A Good Headshot?
I'd say. Don't try and be a character because when the casting director, when you walk into a room the casting director will see you. And if you've put on a face, so to speak, they will immediately see like, oh, that's not who I picked in the headshot. So, it's got to be you. And obviously, you've got space on your Spotlight to have more characterful shots and full body shots. And I think those can be very helpful because there are some jobs that need certain things and those can help. But your main headshot, just have it be you. Don't over complicate it. Just your face, your head. And it's very interesting to see when submissions come into our co-operative immediately, you can almost tell the ones who have really thought about that and have just kind of, and you see them and then you click on their showreel and it's like "That's them" for their showreel. Whereas some people you're like "That's two different people!" So yeah, just be you for the main one and then have fun with the other ones.t goes here

July 01, 2025

Episode 2 / Fran, Director at Apex Management

July 01, 2025/ Dwayne Brown

Fran, Director at Apex Management, talks about the importance of actors headshots, how to choose the right photographer for you and how to approach the industry today.

Why Do Actors Need Professional Headshots?

Note: View on YouTube for captions.

"Remember you are the artist and every room that you walk into you're going to give something to somebody there. I think that's the kind of positive attitude you have to have, to allow yourself to go through it and know that amazing things are going to come your way."

Why Do Actors Need Professional Headshots?
I mean it's a great question if you think about it the headshot is the first thing that anyone in the industry sees about you so surely you want that sort of like best foot forward for yourself. An actor is an actor, you know, a writer is a writer and a photographer is a photographer. There are just so many fantastic tools that you can you can get and that can be used in a studio to kind of help you achieve that maximum look so when a casting director or director are scrolling through, your headshot kind of jumps out and and not only visually looks fantastic but says something about you that differentiates yourself from other people. So I think it's so important to be able to work with a photographer and a headshot photographer that understands who you are and why you're in the industry
How To Choose The Right Headshot Photographer For You?
Absolutely I mean it depends you know what kind of actor and what kind of person that you want to be and I think at the end of the day it's realising that we're all just people and like yes you have to sell yourself but what makes you unique. You have to kind of find that partnership with you and a photographer and a headshot photographer, so looking through people's work and sort of thinking well what does that picture say about them and how does that make that different from other pieces of their own work that means that they understand their client and knows how to work with them and knows what their needs are and how to make them feel safe and make them feel comfortable with what they're doing. Because we're not all naturals in front of the camera, it's kind of like Ready Steady Cook where it's like you have that sort of like bag with all these ingredients in and every single person makes something different and you kind of got to see what's for you and what you like. Because everyone is so different so you have to make sure that a photographer understands like all your special ingredients and what can kind of bring it to light.
What Advice Would You Give To Actors In The Industry Today?
I think all of it is about identity and remembering why you're here in the first place. If you wanted to do a corporate job you could do that but you're here because you have a passion and a love for something and at one point in your life you believed in yourself so you have to continue to believe in yourself and know that if you work hard and surround yourself by the right people things will work out and you have to have that hope because if you don't have the hope what is there? So just remember you are the artist and every room that you walk into you're going to give something to somebody there and I think that's the kind of positive attitude you have to have to sort of allow yourself to go through it and know that amazing things are going to come your way.

July 01, 2025

Episode 1 / Gabe, Director at Apex Management

July 01, 2025/ Dwayne Brown

Gabe, Director at Apex Management, talks about the importance of headshots for actors and what makes a headshot stand out from the crowd. Apex focus on nurturing and supporting their talent and he covers both the role of an agent, well-being and why you need representation in the industry today.

Why do headshots matter?

Note: View on YouTube for captions.

"Each individual actor is an individual first and foremost. They are a human and so it's really important for me, as your agent, to create really safe spaces for you, make sure that you are equipped in every situation to feel that you can give your all without there being many barriers to entry."

Why Do Headshots Matter?
Okay, so you've got - I guess you've kind of got to imagine it from the casting director's perspective. So imagine that they're receiving thousands of submissions as they do. It's your kind of first real chance to stand out across maybe even you know 1,500 submissions. That small photo that would say a lot.
What Makes A Great Headshot?
So, I would say for me the the key thing is authenticity. So you know you should never be kind of portraying a character in your headshot. They should still be you. However with that being said I think they should have a glimmer of something a little bit I guess extra that will really pull the casting director's attention. I also think that something really important is your eyes. Your eyes tell a story and so being able to really kind of look not just look at the camera but look through the camera and try and convey some sort of story emotion is really really helpful from a casting perspective
What's The Role of An Agent?
100%. So I the way that I kind of see the relationship between an agent and an actor is that agent is almost like the portal to the industry especially during downtime we are the key to unlocking opportunities but also being able to go okay this is what's going on in the world. And so because of that something really really important to me is communication So being able to feel like I can pick up the phone and talk to you you can pick up the phone and talk to me and we can have a really open dialogue is is really important. That kind of also leads on to well-being So obviously as we all know the industry - it's a crazy industry - but being able to be open and frank and honest with your conversations really, really helps the well-being of my clients, of everyone that we kind of work with. And so that's really really important for me to be able to be open.
Why Do Actors Need An Agent?
So there are a few kind of key things I guess. Obviously you've got the logistical side. So we as agents, we spend our lives working. I always think you know we work for our our clients. We're there to unlock those opportunities and those opportunities that are sometimes harder to find and harder to come across. So that's a very key thing. On top of that as well like I say it's very very important to have almost your kind of right-hand man in the industry to be able to work together, feel like you're working with someone to achieve your goals so we can celebrate the good and the things that need to be worked on. Okay, so something that I find really really important is kind of noticing that each individual actor is an individual first and foremost. They are a human and so it's really important for me as your agent to create really safe spaces for you, make sure that you are equipped in every situation to feel that you can give your all without there being many barriers to entry.

Views From the Nest

Views From the Nest

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How Do You Choose Who To Represent?

"For us, what we're looking for in a client is individuality. Someone could be the most talented person that can be, you know, the highest kicks in the room or the best singer in the room. But if they're not an individual and they don't bring a personality, we can't work with that."

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How Does Being A Collective Work?

"Own your insecurities. I knew that my biggest insecurity back then became my biggest selling point, my strength."

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How Did Shannon & Bloom Get Started?

"I don't want to be catfished. I want to see how you look and your headshot has to be an impact to me. I don't want a flawless, airbrushed representation of you. I want those unique features, I want you to embrace what you look like and celebrate it."

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How Did Shannon & Bloom Get Started?

"I really wish that when I graduated I thought about being confident enough to communicate with my agent. I think that's just really important. I let myself feel small when I should have known what I wanted and who I was."

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1984 is a Co-Operative. How Does That Work?

"I would say that if you're scared to message your agent, there might be an issue there. Because it should be someone who understands what you want to do, how you want to do it, and how you want to be marketed for it..."

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Why Do Actors Need Professional Headshots?

"Remember you are the artist and every room that you walk into you're going to give something to somebody there. I think that's the kind of positive attitude you have to have, to allow yourself to go through it and know that amazing things are going to come your way."

READ THE FULL TRANSCRIPT

Why do headshots matter?

"Each individual actor is an individual first and foremost. They are a human and so it's really important for me, as your agent, to create really safe spaces for you, make sure that you are equipped in every situation to feel that you can give your all without there being many barriers to entry."

READ THE FULL TRANSCRIPT

Headshots Matter

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