WEBVTT 1 00:00:01.000 --> 00:00:10.000 Are we doing it? I see little red butt. I see little red light. I see little red light. I see lots of trees. We're in it. And by in it, I think you mean the wilderness. 2 00:00:10.000 --> 00:00:12.000 We are in full nature here. 3 00:00:12.000 --> 00:00:17.000 We are in elevated athleisure. Wear five minutes, post your class. 4 00:00:17.000 --> 00:00:19.000 I've been teaching, I think, six hours today. 5 00:00:19.000 --> 00:00:21.000 Oh, my God. Rachel, thank you for taking this walk. 6 00:00:21.000 --> 00:00:23.000 Oh, my gosh, I'm so happy to be here with you. 7 00:00:23.000 --> 00:00:26.000 I promise we will find a bench quickly. 8 00:00:26.000 --> 00:00:27.000 Yes. 9 00:00:26.000 --> 00:00:29.000 But I'm really excited that you are taking time to chat with me. 10 00:00:29.000 --> 00:00:30.000 Same. 11 00:00:30.000 --> 00:00:42.000 And I'm excited that we're doing it in the world because. Because it would be. Careful. There are tiny little ankle sprainers everywhere. It would be sacrilege to not be outside right now. 12 00:00:42.000 --> 00:00:43.000 It's beautiful. 13 00:00:43.000 --> 00:00:48.000 You have been. Actually, the last time you and I crossed paths at cli, it was winter time. 14 00:00:48.000 --> 00:00:52.000 It was. And you thought it was summer, but the year has been flying. 15 00:00:52.000 --> 00:01:06.000 The year has been moving really fast. It gets really cold here, so I'm actually super enjoying, like, 69 degrees and sunny right now. It's amazing. Okay, so you're officially a podcast guest now. 16 00:01:06.000 --> 00:01:08.000 We're officially so happy. 17 00:01:08.000 --> 00:01:11.000 We're officially doing it. You're gonna go that way. Good job. 18 00:01:11.000 --> 00:01:12.000 Thanks, sir. 19 00:01:11.000 --> 00:01:21.000 Good job. Can I get a high five? Oh, I love it when strangers. Yes. And each other. So tell the listener, viewer, anything you want us to know about you. 20 00:01:21.000 --> 00:01:35.000 Hello, everyone. I am Rachel Markarian. Dancer, hybrid, artist, actress, educator, choreographer, mentor. 21 00:01:35.000 --> 00:01:40.000 That man almost sprained his ankle. He didn't, though. And that's why I'm laughing. 22 00:01:40.000 --> 00:01:41.000 Oh, my gosh. 23 00:01:41.000 --> 00:01:42.000 Okay. 24 00:01:41.000 --> 00:01:42.000 He almost went down. 25 00:01:42.000 --> 00:01:43.000 Okay. 26 00:01:42.000 --> 00:01:44.000 Should we do that again? 27 00:01:44.000 --> 00:01:45.000 I think we keep going. 28 00:01:45.000 --> 00:01:46.000 Okay. 29 00:01:45.000 --> 00:01:47.000 Yeah, he's fine. 30 00:01:47.000 --> 00:01:48.000 He's fine. 31 00:01:47.000 --> 00:01:53.000 We might zoom in. I'm sorry. We don't have permission. We're gonna keep going. Okay. Go. 32 00:01:53.000 --> 00:02:00.000 Yeah. Just artists all around. Dancer, educator, choreographer, mentor, actor. 33 00:02:00.000 --> 00:02:01.000 Yes. Yes. 34 00:02:01.000 --> 00:02:04.000 Author. We just got to add to the list. We're gonna talk about that. You have a book. 35 00:02:04.000 --> 00:02:05.000 I'm so excited to talk about it. 36 00:02:05.000 --> 00:02:08.000 I try to do everything I can creatively. Yeah. 37 00:02:08.000 --> 00:02:09.000 Gorgeous. That was tight. 38 00:02:09.000 --> 00:02:10.000 Yeah. 39 00:02:09.000 --> 00:02:18.000 I feel like you're a person. Oh, my God. Segue didn't plan that, but this is the segue. You can fit a lot into a little bit of space. 40 00:02:18.000 --> 00:02:19.000 I can. 41 00:02:18.000 --> 00:02:31.000 That was a gorgeous word economy. Gorgeous example of word economy in your introduction. Listener, viewer, probably knows that I'm the daughter of an airline flight attendant. 42 00:02:31.000 --> 00:02:32.000 Are you really? 43 00:02:32.000 --> 00:02:48.000 I am. My mom was a flight Attendant for United for 104 years. She would be pissed if she heard me say that. She listens to every episode. She's so mad at me. I'm sorry, Mom. Love you. And so carry ons are the way that we fly because we fly standby. 44 00:02:48.000 --> 00:02:50.000 Yeah. Okay. 45 00:02:50.000 --> 00:03:01.000 Well, lately, everywhere I travel is on a ticket because it's for work, but we got really good at econors with the tight packing and. Rachel, you're so good at this. Tell me. 46 00:03:01.000 --> 00:03:11.000 Well, that's the reason is because, like, you have to stick with your luggage. And I'm a person that's like, if I get to the airport early and there's an earlier flight and I get on it, I'm getting on it, and 47 00:03:11.000 --> 00:03:13.000 I don't want to stop to Florence 48 00:03:13.000 --> 00:03:15.000 instead of getting on it. 49 00:03:15.000 --> 00:03:17.000 I have to be ready for those changes. 50 00:03:17.000 --> 00:03:29.000 That's right. And I just. I don't like lugging a big piece of luggage around. Yes. So I'm very strategic with what I plan. Everybody's like, there's no way. I'm like, no, I have six pairs of shoes. I have 10 days. 51 00:03:29.000 --> 00:03:30.000 You're not a size six. 52 00:03:30.000 --> 00:03:31.000 No, look at me. 53 00:03:31.000 --> 00:03:33.000 So what. How. 54 00:03:33.000 --> 00:03:34.000 Because I. 55 00:03:34.000 --> 00:03:38.000 How do six pairs of shoes without. Without compromising the integrity of their structure? 56 00:03:38.000 --> 00:03:50.000 Okay, here's the thing. You got the sneakers. You put the heels in the sneakers, and then everything is molded in. You said heels in the hole in the ankle of the sneaker. 57 00:03:50.000 --> 00:03:53.000 You know, the heel of the heel. 58 00:03:53.000 --> 00:03:55.000 And then you're going to get inserts 59 00:03:55.000 --> 00:03:57.000 of images of this. Would you take some photos for us? 60 00:03:57.000 --> 00:03:58.000 Yeah. 61 00:03:58.000 --> 00:04:00.000 Okay. We're going to be inserting some images of this. Okay. 62 00:04:00.000 --> 00:04:05.000 And then you lay the other things flat down. I also use packing cubes, which is essential. 63 00:04:05.000 --> 00:04:07.000 Game changers. Game changers. Zips that stuff right down. 64 00:04:07.000 --> 00:04:32.000 You zip it in. And I just plan everything, and everything is, like, very universal. So. And honestly, I don't wear half the stuff that I pack. There's a lot that I still don't even use, but I have everything I need. And people are like, there's no way. I'm like, come watch me. And then I did a tutorial on Instagram. People are like, I literally got a photo from somebody today. She's, like, holding her carry on, and she's boarding her plane. She's like, the only reason I'm able to do this is because of your tutorial. 65 00:04:32.000 --> 00:04:36.000 It's amazing. Okay, we're gonna link to your tutorial. That's great. It is something you should pride yourself in. 66 00:04:36.000 --> 00:04:38.000 I think I do. I do. 67 00:04:38.000 --> 00:04:40.000 Also, being. How tall are you? 68 00:04:40.000 --> 00:04:42.000 Five seven and a half. Five eight. Yeah. 69 00:04:42.000 --> 00:04:44.000 So even your leggings are quite long. 70 00:04:44.000 --> 00:04:45.000 I know, I know. But you gotta roll. 71 00:04:45.000 --> 00:04:48.000 You wear a lot of leggings, though. I don't wear a whole lot of leggings. 72 00:04:48.000 --> 00:05:08.000 That's the thing, too, is, like, I. I'm not big, baggy. I mean, I know right now, but, like, I'm really, like, fitted. Small things, especially in the summer, you can just roll everything. But it's because I don't want to stand in line to check bags. I don't want to wait for my bag to come out. I don't want to worry about it getting lost. I got it all with me. Boom, we're out. 73 00:05:08.000 --> 00:05:09.000 Wow. 74 00:05:08.000 --> 00:05:09.000 Yeah. All right. 75 00:05:09.000 --> 00:05:11.000 Thank you for that. You're inspiring. Dude. 76 00:05:11.000 --> 00:05:26.000 I did just get the vacuum seal bags because I am going to Italy next week, and I was like, it's going to be cold, so let me see what I can fit in the vacuum seal. So I tested them out on this trip. They work. And you just have, like, this little square and you plug it in and it zaps the air and it works. 77 00:05:26.000 --> 00:05:31.000 So like a sweater or like a hoodie is, like, flattened, thin as a T shirt? 78 00:05:31.000 --> 00:05:32.000 Yes. 79 00:05:31.000 --> 00:05:39.000 And when you take it out. Here's the bigger question. Do you travel with a steamer? Because after a vacuum seal, shit's going to be real. 80 00:05:39.000 --> 00:05:40.000 I wonder if there's a handheld. 81 00:05:40.000 --> 00:05:42.000 There is a handheld. 82 00:05:42.000 --> 00:05:43.000 Is there like a tiny. 83 00:05:43.000 --> 00:05:51.000 Yeah, yeah, yeah. I on Amazon had a pretty small one. It's kind of a clumsy size, but I bet it could fit in one of your sneakers. 84 00:05:51.000 --> 00:05:53.000 Do you know what I do travel with? 85 00:05:53.000 --> 00:05:54.000 Tell me. 86 00:05:53.000 --> 00:06:05.000 Only when I come here to cli. What is my pour over? Coffee? Yeah. Because sometimes, depending on the room, I love a pour over. It's an important start to my day. 87 00:06:05.000 --> 00:06:22.000 High five. Okay, I'll take it. It's okay. He said no. I like it when they yes and. But sometimes they say no. Okay. So glad you're here. Glad you're great at packing. Carry on. Let's have a seat and talk about the rest of it, because I have so many questions I want to ask you. 88 00:06:22.000 --> 00:06:24.000 Let's do it. 89 00:06:24.000 --> 00:06:27.000 Do you feel comfy getting up here? Is that a thing you're comfortable with? 90 00:06:27.000 --> 00:06:34.000 I feel pretty. I'm going to sit here where there's no, like, algae. Oh, my God. One, two, three. Here we go. 91 00:06:34.000 --> 00:06:36.000 We're in it. Okay. 92 00:06:36.000 --> 00:06:37.000 Sick. 93 00:06:37.000 --> 00:06:38.000 Yes. Okay. 94 00:06:38.000 --> 00:06:42.000 I feel good now. I'm just. To you not To Canada. 95 00:06:42.000 --> 00:07:02.000 Epic. Yeah, Probably. Yeah. Okay, so now that we're settled on a wooden bench, I have been asking people this a lot lately, how they met dance. And I feel like I'm always very inspired when the story is not the same as mine, which is my mom put me in dance class when I was three. But I think that might be your 96 00:07:02.000 --> 00:07:06.000 mom, but there's a reason. Tell me, well, why did your mom. 97 00:07:06.000 --> 00:07:08.000 She put me in dance because my sister was already in it. 98 00:07:08.000 --> 00:07:10.000 She was in it. I was like, okay. 99 00:07:10.000 --> 00:07:15.000 I was like, one drop off and it is at Center Stage Dance Academy. Have fun. 100 00:07:15.000 --> 00:08:46.000 Yeah. I started when I was three as well, but I was born with like a slight handicap, so my legs really were not even pigeon toed, but like really inverted. I wore leg braces. Yeah. As a kid. And I was painfully shy. So my mom was like, the only way I'm gonna get her to correct her hips and get comfortable even being in front of people is to put her on stage. Yeah. And I was bad and I hated it for years. I mean, I remember like screaming in the car, like, I'm gonna jump out of the car. I mean, I hated going. I just did not because it was painful. It was hard for me. And, you know, I had to work extra hard because ballet has turned out. I had a hard time going parallel. It's painful. Exactly, exactly. So it's kind of like working double time to even just catch up to where people were anatomically. Exactly, exactly. And then feeling so far behind that you're like, I have to work extra hard. Yeah. But I mean, I'm so grateful for that journey because it got me to where I am today. And I think it gave me all the things that I need for this moment and for my career. But, yeah, that was how I got into it. And. And it was kind of like, you know, dance Studios were like, Mrs. Markarian, she's really sweet, but we feel like we're taking your money. Like, she's just not getting any better. And we don't want you to waste your money here and like. Yeah. And jokes on you. I know, I know. And my mom was just like, this is good for her to just be in this space. You know, I have two older brothers, they were in sports and dance was like, she was going to make it my thing. 101 00:08:46.000 --> 00:08:48.000 Yeah. 102 00:08:48.000 --> 00:09:04.000 So I struggled with it. We changed studios, finally went to a studio where the owner was like, it's rough, but I can do something with her kind of a thing. And I think when I was like 10 or 12 it finally clicked. Yeah. So it took a minute. It really took a minute for me, you know, so there's flies outside. 103 00:09:04.000 --> 00:09:09.000 Here's another overlap for us. I cried bloody murder. Going to dance. 104 00:09:09.000 --> 00:09:10.000 My. 105 00:09:10.000 --> 00:09:13.000 My nickname was I don't want to go to dance. And I said it as one sentence. 106 00:09:13.000 --> 00:09:15.000 I don't want to go to. Man. 107 00:09:15.000 --> 00:09:18.000 Apparently I had a problem with going to Dana. 108 00:09:18.000 --> 00:09:20.000 But once you were there. 109 00:09:20.000 --> 00:09:31.000 Yes. My mom apologized for me once. I'm sorry Dana is such a hard time. I'm sorry she's such a handful. She just. I promise she's a good kid, but sometimes she just like, she's just crying. And the teacher was like, what are you talking about? 110 00:09:31.000 --> 00:09:32.000 Like when you're there. 111 00:09:32.000 --> 00:09:38.000 I was fine as soon as I was in it. Which honestly for me is still kind of a problem. The getting there is half the battle. 112 00:09:38.000 --> 00:09:42.000 And then when you're done too, you're on that high of actual dopamine. 113 00:09:42.000 --> 00:09:52.000 The actual orphans. Yeah, totally. Okay. You had another. So that's a pivot at 12, going from being a person who thought that they couldn't to being a person who very clearly can. 114 00:09:52.000 --> 00:09:53.000 Yeah. 115 00:09:53.000 --> 00:10:00.000 When. When did you make the decision to do this for money? Like, there must have been a shift that was clear enough that, yeah, you had some confidence in. 116 00:10:00.000 --> 00:10:35.000 I just, there was nothing else that interested that I was interested in, you know, And I went to Performing arts high school. So the woman that owned my dance studio ran the dance department at the high school. And she was like a second mom to. From Wearing Worcester, Mass. Yes. And went to Performing arts high school. Trained there, did dance team. You know, dance was life. Yeah. And then started going to like, NYCDA and like West Coast Dance Explosion. Started to get a taste of the convention. There weren't very many conventions back then. I'm going to age myself. But like we're talking LA undergrad time ago. 117 00:10:35.000 --> 00:10:40.000 LA dance magician. There was a handful, maybe west coast nycd. 118 00:10:40.000 --> 00:11:53.000 Yes. That's. Yeah. Yeah. And I got like this, just. Joe took a liking to me and really helped me when I was a young teen. And then I went and worked the front desk at Steps on Broadway when I was 15. Yeah. I lived in a one bedroom apartment. My mom dropped me off. I lived with this woman. Her name is Carrie. She was an older dancer at my studio and she was a Rockette at the time. And she had a studio and she let me stay there and. And I lived there for like three months in the summer. Went and took, you know, the subway and the bus on my own to steps, worked at the front desk, got to train for free. And that's when I was in those studios and I was like, oh, my God, I'm taking class with Broadway stars. They're. They're taking class and then going to their Broadway shows. And that was when I was like, this is what I want to do for the rest of my life. And it was that moment. And then, you know, went to college for a couple of years and got opportunities in la. That's how I was introduced to la, was a convention that I went to when I was in college. I always wanted to go to New York and be on Broadway. And then the convention world came into play on the west coast and I was like, oh, let me go there. Got a scholarship to edge. And then I was like, oh, west coast weather. Yeah, the whole thing. Love the people. And then I left college early and moved to LA when I was 20. 119 00:11:53.000 --> 00:11:54.000 Congratulations. 120 00:11:54.000 --> 00:11:55.000 Yeah. 121 00:11:55.000 --> 00:11:56.000 So you're a dropout. 122 00:11:55.000 --> 00:11:58.000 I am 100% proud of it. 123 00:11:58.000 --> 00:12:00.000 I am also a dropout. 124 00:12:00.000 --> 00:12:01.000 Are you? Where'd you go? 125 00:12:01.000 --> 00:12:04.000 Not of a college program. I'm a dropout of clown school. 126 00:12:04.000 --> 00:12:05.000 Oh, my God. 127 00:12:05.000 --> 00:12:08.000 I started clown school over the pandemic and never graduated. 128 00:12:08.000 --> 00:12:12.000 Did you? What is that process? How many years is it? I need to know. 129 00:12:12.000 --> 00:12:21.000 It was not even years. It was like, I think it was like a 12 week program. And it was like, go at your own pace. It was virtual at the time because everything was virtual. 130 00:12:21.000 --> 00:12:24.000 Yeah, I can't imagine a virtual. 131 00:12:24.000 --> 00:12:26.000 A virtual clown class. Yeah. 132 00:12:26.000 --> 00:12:28.000 But I'm sure you learned a lot. 133 00:12:28.000 --> 00:12:41.000 I did learn a lot. And it was really. It was really a good tool for processing at that time. The pandemic, obviously, was a lot of things for a lot of people, and I thought that clown school would really help. 134 00:12:41.000 --> 00:12:42.000 That would be it. 135 00:12:42.000 --> 00:12:49.000 That would be it. Okay, so a little bit of New York, little bit of la, which is still how it is right now. Although you live in Atlanta. 136 00:12:49.000 --> 00:12:50.000 I'm in Atlanta. I've been there for five years. 137 00:12:50.000 --> 00:13:09.000 What was the. I know you specialize in career strategizing and helping people through transitions. What were the navigating tools that you used to decide to move, to decide to act? Like, are these things that had been part of your trajectory, were they surprises? Are you. 138 00:13:09.000 --> 00:13:29.000 Yeah, kind of. I mean, I always liked the idea of acting in theater, but dance always took the forefront. But I was in la for about 10 years and people around me were in this amazing acting class. Tina Landon, Jessica Castro, Melanie Benz, they were training with this. They were training with this one acting coach. And I was like, oh, what's going on over there? 139 00:13:29.000 --> 00:13:33.000 So I. P.S. everybody's acting teacher in LA is the best acting teacher. 140 00:13:33.000 --> 00:13:34.000 Yes. 141 00:13:33.000 --> 00:13:40.000 Everyone should know that. That it's this person. And also my. Also your person. Every. They're all the best. We know this. 142 00:13:40.000 --> 00:13:42.000 I hope they are, because, you know, there's some train wrecks. 143 00:13:42.000 --> 00:13:45.000 There actually are some train wrecks. But I just said was a lie. But your guy was great. Yeah. 144 00:13:45.000 --> 00:14:12.000 Arthur Mendoza was his name. Actor Circle Theater. Yep. And he trained a lot of dancers and he was Stella Adler's protege. And I went and audited a class and I was like, oh, this is really cool. And I love dance still. But I found myself, like, looking at the clock during rehearsal, and I was never like that. Yeah, I could. I loved rehearsal. Like, I couldn't get enough. We'd be in there for nine hours. And I was like, we have to leave now. Like, I loved it. And as soon as that shifted, you 145 00:14:12.000 --> 00:14:15.000 had a finger on the pulse, you identified a shift. And you didn't make it mean that you are bad. 146 00:14:15.000 --> 00:14:16.000 No. 147 00:14:16.000 --> 00:14:19.000 Or that you should quit or be done, but you're like, oh, that's interesting. 148 00:14:19.000 --> 00:14:32.000 Yeah. And I was like, you know, I love my relationship with dance, and I don't if it's starting to change, I don't want to stay in it and then have a bad relationship with it. So then it was almost like, what'd you say? 149 00:14:32.000 --> 00:14:33.000 That's important. 150 00:14:32.000 --> 00:14:40.000 Yeah. It's almost like teaching changed my relationship with dance and made me fall in love with dance in a different way. 151 00:14:40.000 --> 00:14:41.000 I buy that. 152 00:14:41.000 --> 00:14:49.000 And I started to love acting and I started to love being able to use my voice and not just my body and all of the baggage that came with that. 153 00:14:49.000 --> 00:14:51.000 Whoa. Using your voice? 154 00:14:51.000 --> 00:14:52.000 Yes. 155 00:14:51.000 --> 00:14:52.000 Yeah. 156 00:14:52.000 --> 00:14:57.000 Like, all of it in, like, the throat and the stomach and the. You know what I mean? 157 00:14:57.000 --> 00:14:58.000 Yeah. 158 00:14:57.000 --> 00:14:59.000 It's a whole other. It's a whole other thing. 159 00:14:59.000 --> 00:15:00.000 It's a whole other thing. 160 00:15:00.000 --> 00:15:06.000 All the emotions, verbally and emotionally, is so different than physical for me. 161 00:15:06.000 --> 00:15:31.000 You know, the amount of. I. Wayno over at cli, John Wayno, the voice teacher there, specifically focuses on training the voice for when you are auditioning, for when you are nervous because it will betray you. I do think as dancers, we can conceal or we can hide nervousness relatively well. But she will betray you. 162 00:15:31.000 --> 00:15:32.000 Oh, yeah. 163 00:15:31.000 --> 00:15:34.000 She will tell the world how nervous, sad, angry you are. 164 00:15:34.000 --> 00:15:35.000 Yes. 165 00:15:35.000 --> 00:15:46.000 Like, it is such a sensitive and a. Like a tuning fork in a really big way that a small thing to begin with can really amplify and turn into something else. 166 00:15:46.000 --> 00:15:47.000 Yes. 167 00:15:47.000 --> 00:15:53.000 So in the acting class, you're learning how to use your. Your actual voice and your usual artistic voice. 168 00:15:53.000 --> 00:16:11.000 Yeah. And also just behavior and activities and how you. You're not showing, but, like, how you're embodying your characters, just completely different, you know? And I loved it. I love the community. And then I got to that space of, like, I'm going to start saying no to dance jobs if it takes me out of class because I was so committed to the training. 169 00:16:11.000 --> 00:16:12.000 Okay. 170 00:16:11.000 --> 00:16:20.000 Yeah. So that was when it started. And then, you know, I went through ebbs and flows. I thought I was like, okay, I'm done performing. Then a tour came around. I was like, okay, maybe just one more tour. 171 00:16:20.000 --> 00:16:21.000 You know what I mean? 172 00:16:21.000 --> 00:16:27.000 It was like, let me go one more time. 173 00:16:27.000 --> 00:16:29.000 To not get to flex that muscle. 174 00:16:29.000 --> 00:16:39.000 Oh, my God. Exactly. But sometimes it's like, I had somebody say this to me once. You know, you might be ready to let it go, but it's not ready to let go of you yet. 175 00:16:39.000 --> 00:16:40.000 Fair. 176 00:16:40.000 --> 00:16:45.000 You know, And I was like, I don't think, you know, I'm ready to say no to this just yet. 177 00:16:45.000 --> 00:16:49.000 You can act for your whole life. Ian McKellen has proved it. 178 00:16:49.000 --> 00:16:50.000 Oh, my God. I know. 179 00:16:50.000 --> 00:16:52.000 So, yes, you go on the store. Who is it for? 180 00:16:52.000 --> 00:16:58.000 This one was for Katy Perry. I had done Rihanna prior to in my 20s. Katy was in my 30s. Yes, sir. 181 00:16:58.000 --> 00:16:59.000 Epic. 182 00:16:59.000 --> 00:17:44.000 I love it. And did that for a couple years. Finished that out, Did a couple more bigger performances, super bowl stuff, award show stuff. And then I was like, okay, I think it's time to really pivot. I had a back injury, and that's when I was like, I think this is the universe telling me it's time because my body is starting to really reject. Yeah, yeah, totally, totally. I did two big jobs back to back, and it was like, you need surgery now. Yeah, okay. And then, honestly, that was like, 20, 18, 19. I pounded the pavement. I mean, like, my transition into acting was very difficult. I mean, I really had to advocate for myself. Cold submission, like, you name it. Like, shooting my own stuff, putting my reel together. Like, just all of that coming from 183 00:17:44.000 --> 00:17:48.000 being a person who is at the top of your field and in demand in this other discipline. 184 00:17:48.000 --> 00:17:49.000 Yes. 185 00:17:48.000 --> 00:17:50.000 That must have been humbling to. 186 00:17:50.000 --> 00:17:51.000 Oh, my God. You have no idea. Yeah. 187 00:17:51.000 --> 00:17:58.000 How did you talk to yourself when you were navigating, like, feeling that much further behind than where you're used to feeling? 188 00:17:58.000 --> 00:18:22.000 Well, you know, I went into dance, like, oh, this is gonna be. I'm gonna be successful at this because I said so and because I don't know any other way. So I went into acting like that. That's pretty strong, my friend, right? It is strong, but that was, like, the absolute belief that I had in myself. Right. And I went into acting the same way, and I was clued in very quickly that it does not work like that. So our friend Nick Drago. 189 00:18:22.000 --> 00:18:23.000 Yes. 190 00:18:22.000 --> 00:18:25.000 So I went to college with Nick. Him and I are like brothers. 191 00:18:25.000 --> 00:18:27.000 I am not shocked by this. Makes sense. 192 00:18:27.000 --> 00:18:48.000 We've known each other forever. He lived the next street over. And I said, well, if nobody's going to give me an opportunity, I'm going to create it. So I called him, I said, can I use your house for a day and film, like, four scenes in your house? I'm gonna hire my acting friends. I hired a director, a dp, some, you know, lighting guys. I wrote scripts for myself and characters that I knew I could play. 193 00:18:48.000 --> 00:18:49.000 And you acted? 194 00:18:49.000 --> 00:18:54.000 Hired my friends for a day. I did my scenes, four scenes edited together, and that was my reel. 195 00:18:54.000 --> 00:18:55.000 Amazing. 196 00:18:54.000 --> 00:18:57.000 And I shopped it around, and people thought they were from short films. 197 00:18:57.000 --> 00:18:58.000 Amazing. 198 00:18:57.000 --> 00:19:11.000 Yeah. And then I would get on the list and go and do AFI films with these amazing directors and just get footage. And I use that footage to get an agent, and those agents use that footage to get me auditions. And then we started to slowly take that footage off when I started booking. Yeah. 199 00:19:11.000 --> 00:19:12.000 Amazing. 200 00:19:11.000 --> 00:19:17.000 But it was. It was a journey. It still is. It still is. I mean. Yeah. 201 00:19:17.000 --> 00:19:25.000 So I think actors know things that dancers don't know, and I think dancers know things that actors don't know. What have you learned on the actor side that you wish all dancers knew? 202 00:19:25.000 --> 00:19:31.000 The marketing aspect on the actor side is so important. And the positioning. 203 00:19:31.000 --> 00:19:32.000 Okay. 204 00:19:32.000 --> 00:20:21.000 For acting, it's just positioning yourself in a way that where you are and where you want the industry to see you as well, and so that they can actually see you at that level. And that was something that I never really had to think about as a dancer. But actually, when we were coming up, too, social media was not really. It wasn't really there. It wasn't as important. But nowadays it really is, in a way, to say you have to show people what you're capable of and what you can do. And so I'm learning that in the. In the acting, in the acting world, for sure. And just also the consistency of it. I mean, there's been jobs, Dana, that I've booked because of auditions I did two years Prior that had nothing to do with. 205 00:20:21.000 --> 00:20:22.000 Yeah, that happens in dance way less often. 206 00:20:22.000 --> 00:20:23.000 It does. 207 00:20:23.000 --> 00:20:26.000 Cirque is good for that. Cirque will keep your table for a hundred years. 208 00:20:26.000 --> 00:20:27.000 Really? 209 00:20:26.000 --> 00:20:32.000 And call you out of the blue. Yeah, yeah. Their archive. I've seen their archives. 210 00:20:32.000 --> 00:20:33.000 Wow. 211 00:20:32.000 --> 00:20:47.000 It's a crazy, wild and amazing thing that's so cool. At their kind of mothership in Montreal. But yeah, they're good for that. But other than that. Yeah, we. We operate pretty quick turnaround and we Very rarely is somebody from two years ago still perfect. 212 00:20:47.000 --> 00:20:57.000 I mean, there's some old school. Like Tina Landon and Jason used to keep a binder like. Oh, the binder. Binder with the headshot. And they would go back like CD book. Yes. Oh, my God. 213 00:20:57.000 --> 00:20:58.000 I wonder if she still has it. 214 00:20:58.000 --> 00:21:00.000 I bet you she's. 215 00:21:00.000 --> 00:21:06.000 I'm pretty sure Tina Landon's coming to CLI for audition season, so I'm going to ask her in person. 216 00:21:06.000 --> 00:21:07.000 That's epic. 217 00:21:06.000 --> 00:21:31.000 What I'm starting to make this positioning thing mean is. Or tell me if I'm wrong. I think dancers are all too often asking the industry, please, please pick me and I'll be whatever thing you want. I'll. I'll bend and I'll change my hair and I'll break myself and I'll just like, I'll. I'll do whatever it takes to be the thing that you're looking for versus actors. Say I'm. This. 218 00:21:31.000 --> 00:21:32.000 Yeah. 219 00:21:32.000 --> 00:21:33.000 This is my position. 220 00:21:33.000 --> 00:21:34.000 Right. 221 00:21:33.000 --> 00:21:35.000 There's a certain way for the work to come. 222 00:21:35.000 --> 00:21:36.000 Is that. 223 00:21:36.000 --> 00:21:37.000 Is that crazy? 224 00:21:37.000 --> 00:21:49.000 I feel like. And this is. Listen, I'm constantly learning, but I feel like there is sort of like a wheelhouse where you live in, you know, and there's. I get the same types of women that I'm auditioning for. 225 00:21:49.000 --> 00:21:50.000 Definitely quit. 226 00:21:49.000 --> 00:22:09.000 Oh, my God. Tons of professionals. Tons of high society women. Lawyers, school doctors. Yeah. Yes. But also like, you know, very wealthy and rich women and everything. And I'm always like, I want to play the stripped down blue collared worker. And they're like, Rachel, we don't really like. You don't really give that vibe. I'm like, but I can, you know, but here's the thing. 227 00:22:09.000 --> 00:22:10.000 Give me a chance. 228 00:22:10.000 --> 00:22:22.000 Here's the thing, everyone. You know, I got. I got a whole new thing of headshots. And even like my headshots with my reps, it was like, who are the actors that I look up to? Who are the women that I see myself playing? 229 00:22:22.000 --> 00:22:25.000 Like Julia Robbins as Erin Brockovich. You would. 230 00:22:25.000 --> 00:22:34.000 Oh, my gosh. Yeah, I love. She's incredible at that. I see those clips come up on Instagram and I'm like, she's so laser sharp. Yeah, I know. 231 00:22:34.000 --> 00:22:37.000 Yo, you just can't deny someone who's good at what they do. 232 00:22:37.000 --> 00:22:38.000 She's amazing. 233 00:22:38.000 --> 00:22:39.000 My favorite thing to see it. 234 00:22:39.000 --> 00:22:41.000 That role is incredible. She's amazing in that. 235 00:22:41.000 --> 00:22:46.000 Would you say that you are as comfortable acting as you are dancing? 236 00:22:46.000 --> 00:22:50.000 Oh, no. I mean, dance just feels so second nature. 237 00:22:50.000 --> 00:22:51.000 It's your native art language. 238 00:22:51.000 --> 00:23:14.000 But I light up with acting. I love it so much. And when I can just be free and, you know, do those out of the box roles and take big swings. That's what I'm learning too, in auditions is not trying to, like, do the right thing. Yeah. Not trying to be what they want. I don't know what they want. I'm just gonna show them what I can bring to that. And if it's right on that day, that's amazing. And if it's not, it's okay too, you know? Yeah. 239 00:23:14.000 --> 00:23:16.000 What's the. What's the playvir role you played? 240 00:23:16.000 --> 00:23:18.000 The playbird. 241 00:23:18.000 --> 00:23:20.000 What is the favorite role you have played? 242 00:23:20.000 --> 00:23:37.000 Oh, my gosh. You know, there was a film I did. It was a Dennis Quaid movie, mgm, Amazon. And I got to play this. She was like a blues jazz singer. This is very fun. This is an interesting booking story. Uh huh. 243 00:23:37.000 --> 00:23:38.000 Tell me, how'd it happen? 244 00:23:38.000 --> 00:24:21.000 So I auditioned for this part and I was put on a veil, and I was on a veil for weeks. And then I'm like, I think I'm gonna get this. But I don't know, it's been so long. And sometimes films take a while, you know what I mean? TV's a little faster. And then I checked in with my agents and they're like, I'm sorry it went to somebody else. I was like, okay, that's a bummer. But, you know, we'll get the next one. That's always like, we'll get the next one. But two days before the shoot. The shoot, my agent calls. He goes, are you still as they want you to come in? I don't know if there was a mix up with the person that they had first chosen or whatever. So I said, oh my God, it's amazing. Great. Yeah. And they're like, by the way, can you learn these two songs? She's also a jazzy blues singer. I said. 245 00:24:21.000 --> 00:24:24.000 He said, let me. Let me find a cliff that I can. 246 00:24:24.000 --> 00:24:27.000 No, but Dana. Yes. 247 00:24:27.000 --> 00:24:31.000 Of the ditch that my bones are resting in and all. Yes. Yes, I can. 248 00:24:31.000 --> 00:24:34.000 The answer is yes, but the answer is always yes. 249 00:24:34.000 --> 00:24:37.000 I will have to resurrect myself. 250 00:24:37.000 --> 00:24:39.000 I'm like, well, send me the song. Are you. 251 00:24:39.000 --> 00:24:42.000 We talked about this. No, I'm not. 252 00:24:42.000 --> 00:24:48.000 I'm not fully singing, but I needed to know the lyrics of these two songs. Songs that are originals and the scene work. 253 00:24:48.000 --> 00:24:49.000 Oh, that's hard. 254 00:24:49.000 --> 00:24:50.000 Yes. 255 00:24:50.000 --> 00:24:56.000 Oh, that's hard. You guys. I struggle knowing the lyrics to, like, chart topping. 256 00:24:56.000 --> 00:24:57.000 I know. Songs I know. 257 00:24:57.000 --> 00:25:01.000 Yeah. Let alone something that 48 hour turnaround. 258 00:25:01.000 --> 00:25:02.000 Yeah. Two songs. 259 00:25:02.000 --> 00:25:05.000 How do you memorize scenes? What's your technique? Oh, hey, guy. 260 00:25:05.000 --> 00:25:21.000 Oh, yeah. I mean with scene, with sides and scenes. I read it a ton. I read it a ton. Then I voice record it. I listen to it on a walk. I listen to it while I'm doing something else in the house so I can hear. Hear story more. And. And then I. I just rehearse it quite a bit. 261 00:25:21.000 --> 00:25:22.000 Cool. 262 00:25:21.000 --> 00:25:34.000 But, yeah, but with this, with the two songs, I, you know, I got the music, I got the lyrics and everything, and I'm. I'm learning and learning, and I thought to myself, I was like, if you. I know how to do this, you 263 00:25:34.000 --> 00:25:35.000 can remember what the lyrics are. 264 00:25:35.000 --> 00:25:53.000 Well, I'm like, I've. I've. I've spent 10 years touring with artists. I got this. Yes. So I tapped into, like, the artist, you know, and I get on set and the director's like, we know this is very last minute. We'll shoot you from behind wide. We just need a little. I said, sir, you don't know who you hired. 265 00:25:53.000 --> 00:25:56.000 I'm ready for that close up. Bring it in. 266 00:25:56.000 --> 00:26:16.000 Yes. I was like, I got this. Don't worry. And he, he was like, okay, the camera guy is out. And then when I started to hit, like, word for word, I'm on the microphone and I'm like, going with the guitar. There was a whole band and I was just dancing around everything. He was like, where did you do this? I was like, well, fun fact about me. Fun fact. I am a pop star slash in 267 00:26:16.000 --> 00:26:22.000 my dream for many, many years. So you understood how to tap into that. 268 00:26:22.000 --> 00:26:26.000 I was like, oh, I. I've been doing. I've been watching these people do this for years. I can do this, you know. 269 00:26:26.000 --> 00:26:30.000 So I went in for you. 270 00:26:30.000 --> 00:26:41.000 That was a lot of fun. It was super freeing. Worked with some great people on that. And it was a. It was fast. Like, it was one of those directors that came in a couple of takes and you're moving on. So there was no, like, you know? Yeah. 271 00:26:41.000 --> 00:26:43.000 I also. I love acting. I love actors. 272 00:26:43.000 --> 00:26:45.000 I love working with them. 273 00:26:45.000 --> 00:27:46.000 We just did it in my class here at cli, an exercise that I had never done before. Really simple combo, like the feet almost don't move at all. It's very gestural. And then we play emotion roulette. I have a list of feelings that is three doc in 12 point font, three pages long. And so while group one is dancing group two, or, sorry, group two selects out of this giant list the emotional state that group one will portray. And then we flip flop and group one chooses a feeling for group two. We. It is so much fun. First of all, just an exercise in vocabulary and the difference between enraged and mad or ticked off or the nuance of that, or flirty or in love or desperate and needy. And we really were playing with some pretty advanced levels, toggling up and down of like, raising the stakes and playing the extreme choice or playing a more subtle thing. It was an acting. 274 00:27:46.000 --> 00:27:53.000 I want to take that class. It was really fun because those subtle differences can change an entire scene, can change anything. 275 00:27:53.000 --> 00:27:56.000 It is the difference between a dancer and an actor. 276 00:27:56.000 --> 00:27:59.000 Yes. Yes. I think what a great exercise to be. 277 00:27:59.000 --> 00:28:02.000 Oh, so much fun. Can we. Gentle segue. Talk about your book really fast? 278 00:28:02.000 --> 00:28:23.000 Yeah. Love it. I mean, it started as like a little baby, like kind of little baby workbook that I was for students. For students. Yeah. I love teaching. I was teaching on convention, and I was like, God, there's so much that I want these young people to know that I feel like is missing in the classroom, just even as they're training, but also as they're transitioning. 279 00:28:23.000 --> 00:28:24.000 Yes. 280 00:28:23.000 --> 00:28:44.000 And so it was like this little workbook, and I would just get into my computer when I had a thought and start typing and writing and writing. And then it turned into like 10 pages and 20 pages and 30 pages. And then I. I had that made. And I had a little binder I had that made, and I would give that to the dancers that I was mentoring. Right. And then I was like, I think I need to go deeper on this. And I was talking about it. 281 00:28:44.000 --> 00:28:45.000 One of those pages. 282 00:28:45.000 --> 00:28:46.000 Yes. 283 00:28:45.000 --> 00:28:51.000 And give the story and give the hundred percent real live application of the thing. Yeah, yeah. 284 00:28:51.000 --> 00:29:30.000 Yep. I was talking to Liana about it, and I was just like. I mean, for years I was like, this has been on my heart. It's something I think I want to do. It was sort of like the time of year where things sort of slowed down teaching wise. I was like, if there's ever A time to do it. Now is the time. So as I started writing, I was like, I want it to be interactive. I want people to be able to write down in it and not just be something that they're reading, but like, how can they apply it now? Here's writing prompts and checklists and all these things. And then I was like, well, the industry is changing so much AI the business, all these things. What I write about now could be obsolete. So what are the things that I've. 285 00:29:30.000 --> 00:29:32.000 That are really true? 286 00:29:32.000 --> 00:30:05.000 Yes. That helped me as a young dancer and that I'm still refining as a working professional that I still need to. That I'm, you know. So it, it became this book that I divided into four acts and it's mindset, auditioning, identifying your star power and your star qualities, and networking. And so I made. So I wrote that. It's called the Dancer's Edge. I had that. I got like this beautiful template. I hired somebody, I wrote the whole manuscript, I gave it to them and we designed it together. 287 00:30:05.000 --> 00:30:06.000 Nice. 288 00:30:06.000 --> 00:30:24.000 And then I self published it. We got it on Amazon and other platforms and everything made digital copies that are interactive. And then as I started mentoring more and more, I was like, oh, we need something that helps them through the transition too. So then last year I added a bunch of chapters to the book. So now there's like a second edition. 289 00:30:24.000 --> 00:30:25.000 Nice. 290 00:30:25.000 --> 00:31:06.000 Yeah. So it's. I know, I know. I was like, oh, what about like agencies and photo shoots and branding and, you know, so it's a, it's very like, it's a way for dancers to get closer to themselves. Because we can be in the classroom and teach step after step after step, but if you don't know who you are, if you don't know how to use your relationships, if you don't know how to build your resilience and work through, you know, so it's a lot of that. It's, it's what I wish. Dancers new. Yeah, It's a book I wish I had when I was younger. But I also learned in writing it and I have access to a lot of dancers. I was like, the, the mentality of like, if you build it, they will come. 291 00:31:06.000 --> 00:31:07.000 Totally. 292 00:31:06.000 --> 00:31:42.000 No, I mean, not my experience. You know what I mean? Yeah. And it wasn't until like, people started to look at it and be like, oh my God, this is so dense. Like, and I'm like, yes, it's deep work. Yes, it's deep work. And so where I'm finding that it's really helping is A lot of studio owners and a lot of directors are like, I'm gonna use this as part of the curriculum for the studio. Or a lot of dancers that are transitioning or younger students who's. Who are very hands on. But for me, I struggle with the promotion aspect of it. It's just very hard for me to, I mean, being fully transparent, it's hard for me to get on my Instagram and talk about. 293 00:31:42.000 --> 00:31:44.000 It's hard for you to take your own advice. 294 00:31:44.000 --> 00:31:57.000 Yes. It's hard for. It's hard for me to tell you why it would be so helpful. I just want you to say, hey, this is great. You should get it, you know, but that it takes more than that. And for me, it's been hard to do that. 295 00:31:57.000 --> 00:31:58.000 Understood. Yes. 296 00:31:58.000 --> 00:31:59.000 Yeah. 297 00:31:59.000 --> 00:32:06.000 Same. I think I go through ebbs and flows of feeling, oh my God, you have to care about this thing. 298 00:32:06.000 --> 00:32:07.000 Yes, yes. 299 00:32:07.000 --> 00:32:15.000 And also like, yo, take it or leave it. And both feel true to me and I ebb and flow. And I think that is totally very. Okay. 300 00:32:15.000 --> 00:32:31.000 Yes. Like the right people will find it. Yeah, yeah. And if I did a bigger push and when I do bigger pushes on it, I see, I see it in the sales, but a part of me is like, whoever's supposed to find it will find it. You know, it's available there and you know, guess what? 301 00:32:31.000 --> 00:32:42.000 Listener, viewer, it's in the show. Notes to this episode. That's for damn sure. That sounds. I love a workbook. Yeah. Listen, were you a Julia Cameron artist way person? 302 00:32:42.000 --> 00:32:44.000 No. I have so many friends that loved it. 303 00:32:44.000 --> 00:32:47.000 Dropped out of the artist way. I'm a big old dropout. 304 00:32:47.000 --> 00:32:48.000 Oh my God. 305 00:32:48.000 --> 00:32:52.000 All I ever do is start things and drop out. I'm kidding. Says the woman with 280 podcasts. 306 00:32:52.000 --> 00:32:53.000 Oh my God. 307 00:32:53.000 --> 00:32:54.000 Yeah. 308 00:32:53.000 --> 00:32:54.000 You're killing me. 309 00:32:54.000 --> 00:33:07.000 I. I quit the artist's way. It did not resonate with me, but I know that there's a huge following. If you are wondering like who your people are, anybody who's artist weighed should pick this up and see if there's anything in there that is useful for them. That's awesome. 310 00:33:07.000 --> 00:33:26.000 Yeah, I. I mean I, I love it. I'm proud of it. I loved writing it. And my brother is a film and TV writer and I would, I would text him. I'm like, this is so fulfilling. He's like, isn't it the best thing ever? I'm like, yes. And I've written scripts before, but I'm like, I want to. Like when I have a break in my schedule, I Want to get back to writing because it is so fun. It's so. I found so much fulfillment with it. 311 00:33:26.000 --> 00:33:27.000 Nice. 312 00:33:27.000 --> 00:33:28.000 Yeah. 313 00:33:27.000 --> 00:34:18.000 I just have one more question, and I'm thinking specifically of. I have a community of people that I coach, and just the other night I was coaching on the subject of. One of my coaching clients has a Pilates degree and they're creating their own Pilates program. They are afraid, although right now it is helping them pay for their dance, but they are afraid that it will become all or nothing. Because you're a person who seems very capable and able and good at balancing having two professional modes, or more like being a mentor, being an author, being all the things. How do you negotiate time and effort spent between these worlds? How. What would you say to somebody who's worried about going all in on this will burn me out for the moment when I need to be here? 314 00:34:18.000 --> 00:34:49.000 What would you say? I mean, I think everybody's different too, because I can multitask, but some people are better with just being laser focused on that one thing. So I think knowing how you get things done best is the direction you should go in. I have learned that I can multitask and put myself on a schedule. And I will be on a schedule because it's like, I wake up, I have to work out, then I have two hours to study, then I have one hour to make up this combo, then I have two hours to tape, then I gotta edit. Yes. I mean, that's how I have to do that. 315 00:34:49.000 --> 00:34:50.000 There's another overlap. 316 00:34:50.000 --> 00:34:51.000 Rachel. 317 00:34:51.000 --> 00:34:54.000 I love my Google calendar so much. 318 00:34:54.000 --> 00:34:57.000 I mean, I don't. I'm just, like, in my. It's in my brain. 319 00:34:57.000 --> 00:34:58.000 Oh, it's an internal stuff. 320 00:34:58.000 --> 00:34:59.000 Yes. 321 00:34:58.000 --> 00:34:59.000 Sorry. 322 00:34:59.000 --> 00:35:01.000 Yeah, it's in my brain. But yeah. I mean, you want to write it down. 323 00:35:01.000 --> 00:35:12.000 Yeah. I also, I like seeing that I'm having a balanced meal. Like, if, if in a day I can coach, teach, and train and perform. 324 00:35:12.000 --> 00:35:15.000 Yeah, you're hitting all the things. 325 00:35:15.000 --> 00:35:21.000 I'm immortal. I am a superhero. Get out of my way. I cannot be touched. I love days like that. 326 00:35:21.000 --> 00:35:24.000 I do, too. It can be a lot, though. 327 00:35:24.000 --> 00:35:30.000 Yeah. Mentally, I just, I, I, I, I think that if there is a will, there is a way. 328 00:35:30.000 --> 00:35:31.000 Yeah. 329 00:35:31.000 --> 00:35:41.000 If you are doing one thing solely in order to do the other, that's a different story. But if you genuinely have juice for both. 330 00:35:41.000 --> 00:35:42.000 Oh, yeah. 331 00:35:42.000 --> 00:36:15.000 I think it's the same. I think you find balance the same in business as you do in dance, which is to say, try anything. Right. You think that a forte works like this. Good. Try it. You're gonna fall out to your right. You're gonna see that on your hand. No, on your video. You're gonna film it, obviously, because that is how we learn these days. And then you're gonna correct, and you're probably gonna overcorrect. You're gonna fall out to the next. And gradually, by making these micro adjustments, you find balance in life the same way that you do in dance. Try. Take a look at what worked and what didn't adjust. Try again. 332 00:36:15.000 --> 00:36:59.000 Yeah. And that's it. And just keeping the sanity, because I do. I mean, do that. That is because, like, I am doing multiple. I am choreographing, coaching, auditioning, and rehearsing and studying every single day. I'm doing all things the majority of the time, truly. And like, this. This job that I just booked, I was. It's funny, because I was in Texas teaching. I had four classes that day. I taught two classes, ran to a TJ Maxx, got my wardrobe, went back to my hotel, taped my audition, went back to the studio and taught my two classes. But that is just the. That is like, I never. Yeah, it's. It's wild, Dana. It's crazy, but, like, years ago, I wouldn't have been able to love. 333 00:36:59.000 --> 00:37:02.000 The most about that story is the TJ Maxx of it all. 334 00:37:02.000 --> 00:37:04.000 Honey, I needed a business. 335 00:37:04.000 --> 00:37:05.000 Where am I gonna go? 336 00:37:05.000 --> 00:37:07.000 That's what I'm saying. 337 00:37:07.000 --> 00:37:09.000 And they had it. 338 00:37:09.000 --> 00:37:11.000 I was like, I'm going to the TJ. Where's the TJ Maxx? 339 00:37:11.000 --> 00:37:15.000 And it was 23.99. And it was birthday. 340 00:37:15.000 --> 00:37:21.000 The top was 16.99, and the bottom, I believe, was 12.99. And I looked exactly how I needed 341 00:37:21.000 --> 00:37:22.000 to look, exactly how you. 342 00:37:22.000 --> 00:37:25.000 Oh, my God. We are. We are balancing all the things, all 343 00:37:25.000 --> 00:37:27.000 the things all the time. And we're perfectly made for. 344 00:37:27.000 --> 00:37:41.000 Oh, my God. And here's the thing. I love teaching. And the people that I work with are so supportive of my acting career and my team that reps me, my agents, they're. They're very supportive, and they know that I'm acting. So it's like having the communication of. 345 00:37:41.000 --> 00:37:42.000 Oh, that's critical. 346 00:37:42.000 --> 00:37:53.000 Hey, guys, I'm also teaching. If I'm up for a job, I have a teaching job. Can we find out what's going on there? Can we be in communication? Hey, teaching company. I might not be able to make it. We might not need to reschedule. So there's a lot of, like, Tetris. 347 00:37:53.000 --> 00:37:56.000 Thank you for saying. But it's not all your will. 348 00:37:56.000 --> 00:37:57.000 No. 349 00:37:56.000 --> 00:38:01.000 To make that happen. It's also the will of your team and being a good communicator and making that happen. 350 00:38:01.000 --> 00:38:04.000 Yeah. And they will make it happen. This is. Yeah. 351 00:38:04.000 --> 00:38:08.000 You are an untapped although tapped well of resources. 352 00:38:08.000 --> 00:38:09.000 Oh my God. Thank you. 353 00:38:09.000 --> 00:38:17.000 Thank you for chatting with me. My butt is falling asleep on this. What is this called? What is railing, partition? 354 00:38:17.000 --> 00:38:18.000 Fence. 355 00:38:17.000 --> 00:38:18.000 Fence. 356 00:38:18.000 --> 00:38:19.000 The fence. 357 00:38:19.000 --> 00:38:21.000 Bridge. It's a bridge over there. It's not a bridge over here. 358 00:38:21.000 --> 00:38:22.000 It's beautiful here. 359 00:38:22.000 --> 00:38:29.000 Just ravine. You guys, fun fact. Riz is here with me at cli and we've been doing a little bit of off leash time every now and. 360 00:38:29.000 --> 00:38:30.000 Oh, really? He doesn't run. 361 00:38:30.000 --> 00:38:31.000 She does run. 362 00:38:31.000 --> 00:38:32.000 Oh, she doesn't run. 363 00:38:32.000 --> 00:38:40.000 But she will come back. She got a thorn in her face, in her eyebrow that I had to get out with little tweezers. 364 00:38:40.000 --> 00:38:41.000 And I just felt like such a good mom. 365 00:38:41.000 --> 00:38:44.000 Cause I was like, come here, baby. And then I watched the. Zach, leave it. 366 00:38:44.000 --> 00:38:47.000 Oh, poor thing. Was she like, what is this? 367 00:38:47.000 --> 00:38:51.000 She was like, what is this? We don't have thorns in the valley where I'm from. 368 00:38:51.000 --> 00:38:53.000 She's not in the wilderness here. 369 00:38:53.000 --> 00:38:55.000 And I think she learned she will be doing less. 370 00:38:55.000 --> 00:38:56.000 Oh my gosh. 371 00:38:56.000 --> 00:38:58.000 In the trenches, running. 372 00:38:58.000 --> 00:39:01.000 She's so cute. I saw that she was with you. I was like, I need a little snuggle. Snuggle. 373 00:39:01.000 --> 00:39:02.000 You can come by anytime. 374 00:39:02.000 --> 00:39:05.000 Yes, thank you for checking. Oh my gosh, thank you. You're amazing. 375 00:39:05.000 --> 00:40:17.000 Thank you, listener, viewer. Thank you, Johnny. Thank you, Bojan for manning the rigs while we have this gorgeous nature chat. That was really exactly where we should have had that conversation. Thank you so much. Thank you all so much. Be sure to like, Review. Subscribe. Leave a notification. Leave a Leave a review. Leave a click the. You know, it has been a long day, hasn't it? Good. Thanks for watching get out in the World. Keep it very funky. Bye. Dance plus is produced by me with the help of many big, big, big, big. Love to our executive assistant and editor, Riley Higgins. Music is by Max Winnie. Logo and brand design by Bri Reitz. Our team consists of Ori Vajadares and Sydney Richardson. And we've got extra help from LMU intern Carly Clayton. If you're digging the podcast, please leave a review or rating. Also, if you want to connect with me and the many marvelous members of the Words that Move me community, visit danceplus podcast.com if you're curious to know more about me and all the stuff I do outside of the podcast, visit the danawilson.com.