Today’s profile subject currently has three primetime animated series on the air. Because of the demands of the medium, this means that at any one time she could be producing well over 100 episodes in various stages of prep, production, and post. Still, she scoffs when people ask in disbelief how she handles overseeing 3/4 of the Fox Sunday Night Animation Block. “It’s really not that complicated. It’s people drawing funny drawings.”  Regardless of her nonchalance, here at YII, we are impressed and we think our readers will be, too…

Current position: Producer of “Family Guy,” “American Dad!,” and “The Cleveland Show.”

College & degree: Bachelor of Fine Arts from the School of Visual Arts in New York.

Pre-entertainment career: I was a bartender at a 50s-themed restaurant and then worked as an assistant to a theatrical producer for two years.

First job in the entertainment industry: My first entertainment job was at a commercial animation studio called Broadcast Arts. I was the assistant to one of the partners, a malevolent and sadistic person. I don’t deny that I learned a lot in my two years there, but it was such a traumatizing experience that I abruptly packed up and moved 3,000 miles away to LA, where I knew no one and had no contacts, no car, no real plan.

Big break: Never had a big break. I had to scratch and claw my way to the top, for every opportunity.

Career Path: Once in LA, I temped for almost a year, taking the bus to a series of increasingly bizarre and demeaning jobs. At one of these, a file clerk job at a bank in Sherman Oaks where I was once reprimanded for not wearing pantyhose (this was in August), I was reading the paper one day and I saw that Paramount was opening an animation studio (Hyperion). I called, had an interview the next day, and got a job. I was the first person hired. It was so early on in their formulation, I didn’t even have a specific position when I was hired. I eventually became the production layout supervisor on an animated feature called “BéBé’s Kids.” From there, I went to “Teenage Mutant Ninja Turtles” at Fred Wolf Films and then I worked at Hanna-Barbera, which was where I met Seth MacFarlane.

Working at Hanna-Barbera was a thrill because they had created all my favorite cartoons like “The Jetsons,” “Scooby-Doo!” and “The Flintstones.”  I was hired to produce a show for them called “Johnny Bravo.” For the first few months I worked there, it was still owned by Turner and it was a really creative and exciting place to work. They had an active and inspired development department from which great shows like “The Power Puff Girls” and “Dexter’s Laboratory” were created.

When “Family Guy” was picked up by Fox, I was committed to my job as producer on “Dilbert,” the animated version of the comic strip for Sony, with the show’s creator, Larry Charles. I moved over to producing “Family Guy” at the start of the third season.

During that season, we had a 13 episode order and were juggled around in the schedule quite a bit, so the ratings weren’t reflecting the fact that anyone was actually watching the show, and “Family Guy” was sort of quietly folded.

While “Family Guy” was dead (or so we thought), I produced a show for MTV called “3 South” with one of the writers of “Family Guy” who wanted the show to have the look and feel of a show that could air alongside “The Simpsons” on Sunday night, even though we were working on a basic cable budget. It was on for 13 episodes and cancelled.

Following ”3 South,” I produced the pilot for “Drawn Together,” which had just gotten a 13 episode pick-up from Comedy Central (I was hours away from signing a deal with them) when I got a call from our Fox executive from “Family Guy” saying that the show was being put back on the schedule. It was a surprise, but not entirely out of left field since Volume One and Two of the DVDs had sold very well (about 1 ½ million copies each), and the late night Cartoon Network reruns of the show were getting huge ratings, even beating “Leno” and “Letterman” in that key young male demographic we appeal to.

At almost the same time “Family Guy” was resurrected (actually about a week later), “American Dad!” was greenlit. We started production on the 1st season of “American Dad!” and the 4th season of “Family Guy” at the same time.

Eureka moment: After the first episode of “3 South” (which we had produced for about one-third of what an episode of “Family Guy” cost to produce) aired, I got a call from Seth and he said something like, “How come you’re the only person who understands how to produce adult primetime animated series?”

When “Family Guy” had first premiered, several networks besides Fox tried their hands at primetime animation and none of them panned out because the shows didn’t feel like the animated shows the audiences had become accustomed to watching.

Adults had to be eased into the idea of a show worth watching being animated and it only happened through the genius of “The Simpsons.” Other primetime shows, like “Mission Hill,” may have worked, but the design styles were so glaring and overbearing, they were immediate turnoffs and these shows didn’t resonate with viewers.

Since “The Simpsons” and then “King of the Hill” had gone on to become such huge hits, an aesthetic had been established which created an expectation by the audience for how an adult animated show was supposed to look and feel through the style of voice acting, design, and timing. It’s difficult to succeed in this genre, especially when your resources are so limited. “The Simpsons” set the bar very high. 

Describe a typical work day in your current position: When I get to work, I chat about last night’s ball games with the assistants for a while, then go into my office and look at news stories and lie in wait for the phone to start ringing. Between three series running concurrently, most mornings there is either a table read, an anamatic screening, or a color screening followed by basically 10 hours of decision-making.

There are 22 episodes per season for each of the three shows we have on the air and they have very long, overlapping schedules. For instance, right now we are finalizing and then airing episodes for Season 1 of “The Cleveland Show” and doing production on Season 2. We have a staff of over 300 people and at the height of the schedule, we can be juggling up to 132 episodes. 

Essentially, my job is to satisfy Seth, the fans, the studio, and the network, all separate but equally important. With their sets of priorities and agendas, I have to make sure that everyone is happy, that the shows get on the air every week, that the ratings stay strong, and that we don’t get sued along the way.

Worst day in entertainment industry: I’ve had two worst days on this job, one here and one on foreign soil. The American bad day was having to call the entire staff into the conference room and tell them the writers were on strike. It was terrible. Every week saw another 10 or 15 people get laid off. On top of that, I still had to deliver the remaining shows without having writers.

The other bad day was when I went to Korea to visit our two animation studios. One of them was having quality issues and I had a meeting with them to discuss options such as decreasing the number of episodes they would do. But they were lobbying hard for more episodes. As I was being ushered out, I looked around and realized they were quickly packing up boxes. It looked like the final days at Enron. They were going out of business right then. In other words, half of our overseas team was going out of business. It was a huge blow and until we got the other studio to pick up the slack and then got an additional studio in place, it was tough, very stressful.

Best job in entertainment industry: A few years ago, I was approached by director Jessica Wu to produce the animation sequences for a documentary called IN THE REALMS OF THE UNREAL, about the artist, Henry Darger. It was a thrill to work on a show that wasn’t targeted at teenaged boys.

Best thing about your current job: There are three things- I get to work with the most talented artists and writers in town, in my opinion. I get to work with my friend, Seth. And I get to employ 300 people during a recession.

Worst thing about your current job: Any time I have to deal with idiots. I hate arrogance and disrespect for other people. This job is by nature relentless and demanding. Having to deal with any kind of politics, gossip, abuse of power, anything like that. The worst.

Brush with greatness: Being on a successful show has opened the door to collaborating with a lot of people. My premiere brush with greatness has to be George Lucas, who we collaborated with on the STAR WARS episode of “Family Guy.” While we were working on the episode, he invited us up to stay at Skywalker Ranch. He had a screening of the new series he was working on and also screened THE EMPIRE STRIKES BACK for us in his private screening room.

Secret of your success/advice to the newbie: Some of those platitudes are true. Follow your passion and play to your strengths. But really, don’t be stupid. Read, know stuff, be informed, and have decent basic writing skills. When you get a job, just work harder than everyone else. And never ask a question of a coworker or a superior until you have exhausted every option to find out the answer. Be focused. Never stop learning. And don’t freak out.  Nothing ends up being as bad as it might seem. I have never encountered a problem that couldn’t be solved by throwing money at it.

Next move (or next five moves): More spins offs. Claymation domination. A whole night of claymation shows. (Laughs, then…) What I’d like to accomplish in terms of animation is to keep connecting with next generation viewers and fans of the medium by anticipating and utilizing new formats and distribution methods.

“Family Guy” fans (and who isn’t?) should tune in this Sunday night (5/23) for the one-hour season finale, “Something, Something, Something Dark Side, Parts One and Two,” a continuation of their homage to the STAR WARS saga in the form of a retelling of THE EMPIRE STRIKES BACK.

Know anyone who could use an entertainment industry insider? If so, please encourage them to subscribe to YourIndustryInsider.com and sign up to receive YII’s Mogul Mindset eBlasts today! Also, please visit Your Industry Insider Store to check out recommended books and DVDs. Content will be added regularly as suggestions come in from industry insiders!

YII first approached Stephan Fleet to be included in “New Media Month” for his work as Director of Digital Media on “Ghost Whisperer.” Little did we know we were dealing with such a multi-talented professional who has managed to become a serious hyphenate relatively early in his career. As you can tell by reading his profile, he is also a strategic thinker who has set and is working toward big goals. He is setting his own course to his ultimate dreams and doing great work along the way.

Current position: Visual Effects Supervisor and Artist at Encore Hollywood. I work on about 10 shows, including “Castle,” “90210,” “Melrose Place,” “Big Love,” “House,” and “The Middle.”

College & degree: BA in Theater, UCLA and MFA in Film Production, USC

Internship: I did a Stage Management Internship back in 1999 at the Geffen Playhouse for some Davet Mamet plays. Met some great people who helped me get where I am today.

First job in the entertainment industry: This is a weird question for me to answer. Technically, I was a child actor. I starred in a film (not released) opposite Christopher Lloyd in 1986. However, my first job in the television industry would be Director of Digital Media at “Ghost Whisperer” / Development Executive for Sander/Moses Productions circa late 2006. Note: Sander/Moses produces “Ghost Whisperer” – I wore two hats at once.

Big break: Ian Sander, one of the showrunners of “Ghost Whisperer,” taught a television class at USC. It became clear to me that Ian liked to pitch TV shows with a lot of visual aids. Having been a graphic designer in a past life, I decided to go all out on a class project and make a full on, hard cover bound pitch book with about 30 pages of graphic design. I also produced a sizzle reel pitch video. The project went over well and got me a meeting with Ian and Kim Moses, his wife and also another showrunner of “Ghost Whisperer.” (As a wise teacher once told me, “When you see the door to opportunity ajar, jam your foot in the gap and pry the thing open.”)

Eureka moment: I’ve always known I wanted to be in and around the entertainment industry.  I’ve dabbled in (almost) ever aspect of film, television, and theatrical production and I love it all.  I’ve naturally gravitated towards the things that I like to do more (also the things that the industry wants more of from me). There was a stint, right after my undergrad, when I was scared of not having work. So I did about 2 years as a graphic designer for some dotcoms and Virgin Entertainment. I could tell that I definitely had taken a turn down the wrong path. Then 9/11 happened. Virgin canned me while I was on vacation, and I met my beautiful (now) wife Becca all at once. Becca quit her job (at Virgin) and together we spent some great years poor, but focused on what we love to do: filmmaking. It was during this time that I directed my first short feature, “The First Person” starring Ed Begley, Jr. (I met Ed Begley, Jr. at my internship at the Geffen Playhouse. Everything matters.) 

Career path: Ian Sander (Ghost Whisperer) is mostly responsible for my current career path and attitude. At first, when I went back to film school, I purposely hid my graphic design, VFX, and computer skills. I didn’t want to be stereotyped and categorized as “that techie guy.” Ian taught me to use all my strengths, not to hide anything. There are so many people dying to get into this business… anything that gives you an edge you simply have to exploit! Thus a year after school I had proven myself to Ian and Kim and was trusted with the position of Supervising Producer for  the “Ghost Whisperer” webisode series (Season 2). Ian and Kim also involved me in the creation of pitch materials for their production companies development slate. I learned a great deal from them about pitching TV shows. 

After “Ghost Whisperer,” I was able to take my knowledge from producing webisodes and produce an indie film for under $40,000! I used all the tricks I learned on GW to line produce that sucker tightly. I’m very proud of the film. It’s called PLAYER (player.legend44.com) and we just locked a distribution representative. My father wrote/stars in it and my mother directed it. It was a family affair. 

I then reconnected with a close friend from USC who, with his brother, had worked their way up to a really cool opportunity: to do a few visual effects per episode for NBC’s new “Knight Rider” series. They brought me on to help out, and within three months, we had beaten out the main company involved and built our own company, Master Key Visual Effects. At our peak we had 20+ people working on “Knight Rider” and I was a VFX Producer on a network show. Again, it was my understanding of the “languages” of VFX, Cinema, Computer Geek, and TV Producer that helped me there.

Describe a typical work day in your current position: Hah! If I am going to the office – I eat my oatmeal in a paper cup, drink two cups of coffee, sit down at my desk, rifle through all my emails, then dive into working on any number of VFX shots. Sometimes it will be adding a skyline to an episode of “Castle,” or making a giant stuffed cat pull down a curtain for a crazy video for a famous director.  Often times I will be asked to confer with VFX producers, clients, and inferno artists on the best approaches to shots and help hash out a plan. 

On other days, I’ll go on-set for a show and supervise. The hours are really random and each set has a different vibe. Generally I try and hang out near the director and writers at video village to get a grip on what they are shooting and what they want. When a VFX shot is up and it is my time to shine, I’ll run around like a madman taking all sorts of reference photos, measuring camera angles and lens lengths, answering questions for anyone and everyone who asks, and all in all trying to do my best job to ensure the VFX shot is shot right and I get the necessary data and info to help my company do the best job they can in post.

Worst job (or day) in entertainment industry: One specific day doesn’t stand out to me. I’ve been lucky. My skills have prevented me from having to be a PA. I don’t think I could maintain the humility involved with those gigs. I will say at one job, I did have some issues with a co-worker who was, quite frankly, wrong for the job. The problem was mine, though. I let this person’s ignorance get to me. I learned a valuable lesson – it’s not worth it to build up anger and frustration. It accomplishes nothing other than making you feel like crap.

Best job (or day) in entertainment industry: I directed a short film called “The Outlaw Emmett Deemus” starring Larry Hankin. We were invited to be in the gala opening of the 2008 Hollyshorts film festival. I get there and find our film amongst films by Josh Brolin and Jessica Biel. I found myself on a panel with them, in front of an audience of about, like, 500 people, at the Egyptian. It was filled to the brim. All I can remember is this one guy on the panel was yapping on and on about how perfect his film was. I could see Josh Brolin and Jessica Biel about to fall asleep. When the mic came to me, for some reason, I screamed out, “Fuck the rules” (in regards to movie making) – the audience cheered really loud. That was a good moment! 

Best thing about your current job: The people! By some unexplained miracle of life, they are all really nice and cool.

Worst thing about your current job: It’s not producing my own TV show!

Brush with greatness: You meet lots of celebrities if you hang out in this town enough. They’re hardworking people like you and me. But I did get to go to the 10 year anniversary screening of THE SHAWSHANK REDEMPTION a few years back. Morgan Freeman was there. That guy has a magical energy. Also, when I went to see “Flight of the Conchords” at the Orpheum a year ago, I sat RIGHT NEXT to Eric Idle. Holy crap no one even realized he was there! Oh, and lastly, Clint Eastwood spoke at my graduation and shook my hand. It was like shaking the hand of Zeus himself!

Secret of your success/advice to the newbie: Learn anything and everything you can. Figure out what makes you valuable to the industry. You have to be valuable to get the job. Valuable is NOT having an idea for a movie. Valuable is knowing how to save a production money, make someone’s life easier on a production, or make the production (and people involved) be better.

Next move (or next five moves): Now it’s about striking a balance between lending my skills to the industry and maintaining my personal goals. I want to produce, direct, and one day run my own show. My strategy: I’ve found that I can use my skills to help TV shows. And helping TV shows means making friends with all sorts of people – producers, directors, actors, one day superstars. Really, it’s best to make friends with everyone, and help everyone the best you can. I believe in Karma. It’s also amazing how many of my peers from UCLA and USC are now up and coming. I already know Junior Agents at CAA, and famous actors and actresses, but when I met them they were classmates and friends.

My new thing is sharing.  I was reading John August’s blog (Editor’s note: More info on John August’s blog here.) and he said he wrote a blog because he believed that it was his duty to help people learn what he had learned. I like that attitude. I’m currently in the works on a series of video tutorials for my site exploring all the languages of movie making. One thing I have noticed in this industry is that everyone in every department speaks a different language. It’s kind of like we’re building a tower of digital-babel. Since I have a sort-of cross pollinated filmic education, I want to post tutorials that help give little tips and tricks to help communicate inter-department.

For example, I could do a 5 minute definition of “rotoscoping” that could easily help explain all the various pros and cons of this VFX technique to producers, directors, DPs, writers, and so forth.  I have a ton of cool VFX tricks for After Effects. Or maybe I’ll do a piece on how to use EP Scheduling and Budgeting for an indie, lower budget flick.  The sky is the limit, so keep checking my site, my first tutorials will be released soon and they will be on some practical After Effects techniques.

Stephan Fleet can be found online HERE (at his very cool website). Also, please note that Stephan is one of the judges for the 2009 – 2010 Third Screen Film Festival, which we profiled here in April. Visit the Third Screen Film Festival website for more details.

Know anyone who could use an entertainment industry insider? If so, please encourage them to subscribe to YourIndustryInsider.com and sign up to receive YII’s Mogul Mindset eBlasts today! Also, please visit Your Industry Insider Store to check out recommended books and DVDs. Content will be added regularly as suggestions come in from industry insiders!

Kirsten Vangsness is an example of someone who would’ve- and did- act for free if no one paid her to do it. And that has paid off well for her. In addition to her regular role on the hit primetime TV drama, “Criminal Minds,” she is highly sought-after for high profile projects on stage and on the big screen.

Current part:  I play Garcia on CBS’s “Criminal Minds.” I also just finished doing a play called “Kill Me, Deadly” at Theater of NOTE in LA. And I have a small part in an independent film about the Chicago 8 which is so-far called THE CHICAGO 8.

College & degree:  I went to Cypress Community College for two years and then graduated from Cal State Fullerton as a theater major.

Internships:  None.

Acting while in school (professional or amateur): I acted within the school’s program and also had done community theater in Orange County since I was 14, usually appearing in two or three plays a year. However, I was terrified to do theater in Los Angeles at this point. I was a couple of years out of college before I ventured into the LA theater world.

Day job while you were working towards being a working actor: Oh, there were so many… I worked at fabric store, a book store, a group home. I was a substitute teacher, a (terrible) waitress at a murder mystery dinner theater. I wrote grants. I was a bubble scientist, a hostess, an assistant to an actress…

First post-graduate acting job (un-paid): I did an Ionesco play at the Curtis Theater in Brea. As I mentioned, I did a lot of plays. It was not uncommon for me to be doing more than one at a time on different nights.

First paid acting job: A Diet Dr. Pepper commercial. That’s how I got my SAG card. (I was Taft-Hartlied). It was my third professional audition and I landed the part. So I was optimistic about future opportunities, but it was about five years before I got another paid job. Then I got a string of three or four commercials, often as a conservative business woman, which I found odd.

How did you get repped? Someone came and saw one of my plays at Hudson Theater and approached me. (I am awful at the marketing side of the business- this agent was not at the show to see me.)

What was your “big break” (or series of breaks that got you working)? I did a part on the show, “LAX,” and then went back to doing only plays for close to a year (getting plenty of call backs, but not getting the part). And because film and TV casting people never knew what to do with me (I didn’t look like an ingenue, but wasn’t old enough to be considered a character actress), I figured it’d be until I was fifty before I’d get paid, if at all. And I was at peace with it.

But then (right after testing for, but not getting, a part on a sitcom), a casting assistant friend of mine called and told me, “I want you to come in and read for this drama series. You won’t get the part. It’s written for a man. They’re changing it to be a woman, but the character’s named Garcia and, well, you won’t get it, but come in anyway.” Great.

So I went in and just had fun with it. And ended up going to Canada and shooting the pilot. It was a co-star, the smallest part on the show. And I totally didn’t understand the technical lingo. When I left, though the producer was reassuring, I was convinced I was awful and they’d recast the part. But, of course, they didn’t.

Do you continue to train (acting classes, coaches, workshops)?  I have private coaching, but more than anything, the theater is my training. Theater is like a class.

Has ageism been a factor in your experience as an actor?  No, but I’m a character actor so people aren’t going to make the same assumptions about me (guessing my age, etc.). I am also still in the young range. 

Have you used your acting career- or are you planning to use it- as a way of branching into producing or directing? I am a writer, so I am pursuing that and I assume the producing will come out writing. I have a lot of projects that I’m working on with a writing partner.

Eureka moment: When I realized I could (that I should) show up exactly as I was instead of waiting to wake up and be this “perfect” actor going about their “perfect” day. It helped me not care when I went in the room whether I did it “perfectly” or not. Because I knew everyone acts like they want to see perfect, but no one wants to see perfect. And from then on, instead of judging my success on whether I got a job, I thought, “Does it bring me pleasure? Am I getting better?” And when I stopped caring about being perfect and just let myself be myself, people paid attention.

Most significant role: I loved doing “Fat Pig” at the Geffen. I’d always felt being as thin as possible would be the key to getting a good part, but for that role, they were telling me to gain weight. But it was also the most difficult part I’ve done. It was hard on my ego and on my body, having the extra weight and not being able to do anything to get rid of it, not knowing if I would be able to get rid of it when the run was done.

Favorite part or project: I loved shooting “Criminal Minds” and doing “Kill Me, Deadly” at Theater of NOTE at the same time. During the day, I’d be Garcia and at night, I’d be a siren, singing torch songs. In general, “Criminal Minds” is my favorite. This is like school to me. I’d never been on a job for more than a day before this.

Describe a typical work day: In general, I like to keep things pretty unglamorous. I’m a plumber, a teacher, doing my job. When I’m not shooting, I spend a lot of time sitting around on-set. I write in my journal, listen to music, run lines.

I’ll describe what turned out to be my last day on “Criminal Minds” for the season. Despite a five o’clock call, I’d stayed up late learning lines for the whole episode in spite of only being scheduled to shoot one scene the next day. I drove to work, put on my costume (with lots of Spanx first), and then someone brought me breakfast (which is really cush, I gotta say). I was in hair and makeup for an hour and a half. We rehearsed, then I went over my lines more, then we shot the scene. Then, because of some schedule changes, they decided to shoot all of my scenes for the episode, but I was ready because I’d learned them the night before.

Best thing about being a working actor: It feels like the punchline to the longest joke you’ve ever heard. Money doesn’t make things better, though it simplifies things. But it’s just so satisfying. I’m surprised I can go wherever I want, that it’s my world. I still feel a little like I snuck in.

Worst thing about being a working actor: You have a lot of eyes on you. There’s something weird about it- you use a lot of emotional and spiritual energy acting and I find being on television, people make judgments about you and have ideas about you, either approving or disapproving. It’s easy to get caught up in becoming externally motivated, accepting this attention that’s unrealistic for real life. I have to remember, that’s not me, that’s a character. They’re not excited about me, they are excited about what watching you brings up about them. I’m happy to be a conduit for people’s imaginations, but I’m not responsible for their happiness.

Brush with greatness: After a performance of “Fat Pig” one night, I was concerned about a moment in the performance and was looking for the director when this woman said, “May I talk to you?” She had led me into the dressing room and the door was closed before I realized it was Helen Mirren and she was paying me a serious complement.

Sidelines: My mom is a 6^th grade teacher, so I go in and teach improv and help them write plays. I also write. And cook soup.

Secret of your success/advice to the newbie: Be brave enough to figure out exactly what you want- as close as you can- and figure out what that would feel like and try to recreate that feeling in your life. But don’t worry about your dreams changing or evolving- that happens- just go with it.

Also, never never never never think that you are “less than.” Have respect for yourself, you are an artist, you are on the cutting edge. Art is where everything begins. There is such value in being an artist and people shouldn’t forget that.

Next move: I am going to finish writing this thing that I am writing for myself and I’m making a short film with my theater friends. (Staying in touch with my theater friends is where the gold is.) I’m also going to make sure that my character on “Criminal Minds” has the most amazingly satisfying story lines for the length of the show and then just keep making magical, empowering, wonderful things. Do the movie with Wes Anderson, the one with Christopher Guest. Do my performance artist piece that will go to Broadway and London. AND be an executive producer and the lead in the feature film version of the “Wrinkle In Time” series.

Know anyone who could use an entertainment industry insider? If so, please encourage them to subscribe to YourIndustryInsider.com and sign up to receive YII’s Mogul Mindset eBlasts today! Also, please visit Your Industry Insider Store to check out recommended books and DVDs. Content will be added regularly as suggestions come in from industry insiders!

As you will read below, casting director Jami Rudofsky’s path to the entertainment industry started with a desire to be an actress. But after realizing while still in school that the life of an actress was not something she wanted for herself, she quickly transitioned into casting and never looked back. Her love of actors and her passion for finding the right fit for the role is evident to everyone who works with her, and readers of YII will be wise to find an entertainment career that is an equally good fit for them.

Current position:  Casting Director/Owner Rudofsky-Levy Casting. Just finished a pilot for ABC called “The Law” starring Cedric The Entertainer and, also, finished a web series called “The Lake” for the CW on-line, directed by Jason Priestley

College & degree:  BFA from UCLA Drama Department

Internship:  During my Junior year at UCLA, I interned with a casting director named Vicky Rosenberg.  Right after I graduated college, I interned for Amy Lippens and Mary Goldberg on a feature film. I learned a lot about how finicky the business is when the movie was shut down after six weeks of working on it.

First job in the entertainment industry:  My first paid job was as a casting assistant on Zalman Kings “Red Show Diaries.” Needless to say, the casting sessions were very interesting.

Big break:  After leaving a very cushy job as the casting associate on “The Practice,” I decided to try and get a casting director gig. I partnered with Mara Casey and our 3rd meeting was for a show on The WB (what is now the CW.)  We met with the producers and, frankly, I didn’t think we had a chance.  But lucky for us, Amy Sherman-Palladino and Gavin Pollone saw that we were two young, hungry gals who would work very hard if given the opportunity. We got the job and became the casting directors on “Gilmore Girls,” which ran for seven seasons.

Eureka moment:  During my sophomore year at UCLA, I realized that acting was not going to be the path for me. I hated auditioning, I didn’t have a lot of self esteem, and I knew I would never be successful as an actress. It was then that I decided to try and get an internship in casting because it seemed like a job where I could use my acting skills and, as it turns out, I was right!

Career path:  My career path has been very interesting. I was very successful very quickly and had good luck with being at the right place at the right time. After “Gilmore Girls” ended, I had to learn how to be proactive again, to sell myself and network, which is something I never really had to work hard on. It has been humbling.

Describe a typical work day in your current position:  A typical work day always starts with a cup of coffee.  Depending on what I am working on, days differ. On episodic television, my day would consist of going through submissions for roles that we are casting. Then we will make choices about which actors we want to bring in for the roles and setting up a casting session. Perhaps having a 2-hour casting session and uploading the auditions on-line so that all the producers and director can view our choices. Once choices have been made, it is up to us to negotiate the deals with the actor’s agent. Oh, and I manage to get an afternoon coffee in as well!

Worst job (or day) in entertainment industry: The day I got fired from a pilot and thought it was all my fault, when in reality we ended up just being the scapegoats.

Best job (or day) in entertainment industry: I have to say, getting to work with Cedric The Entertainer was a highlight. Especially because I worked extremely hard to get that job. I had everyone I know call him to recommend me for the job and when we finally met he said, “Oh, you’re the one that’s been stalking me!”

Best thing about your current job: I love my job and always have. I love finding new talent and watching them find their wings and go on to become successful.

Worst thing about your current job: The instability. I have had to learn to constantly put myself out there and stay connected to people in hopes of finding a job that will last. These days it’s extremely difficult.

Brush with greatness: I have been fortunate to work with extremely successful, brilliant writer/producers. Being able to work with geniuses such as David Kelley and Amy Sherman-Palladino was the ultimate. They have amazing visions and they do not compromise it for anything.

Secret of your success/advice to the newbie: I have learned that you cannot only rely on your skills.  You must constantly put yourself out there and network and ask for favors when necessary. I have also learned that you must have a tough skin in order to survive in this business. And most importantly, always believe in yourself!

Next move: I am casting a new musical called “Broads” which I am very excited about. I am also working on a couple independent features, but my main goal is to get a pilot or two, which will hopefully get picked up to series. And everyday I try to do one thing that is proactive for my career.