Hunter McHugh: Mastering the Audition

Have you ever stood before the curtain of the entertainment industry, peeking through to catch a glimpse of what happens behind the scenes? Step into the spotlight with Hunter McHugh, a casting director whose roots are deep in New Orleans' effervescent film community, as he shares the transformation from an actor to a casting maestro. Hunter pulls back the curtain on his journey, from standing in for stars on 'Bad Moms' to orchestrating the perfect ensemble cast, all while underscoring the power of adaptability and the magic of collaborative filmmaking.

As we wade through the kaleidoscope of Hunter's experiences, we're regaled with tales of how a stint in Russia unraveled the universal language of acting. It's a treasure trove of wisdom for actors aiming to hone their craft, with Hunter dishing out advice on acing auditions from commercials to dramatic roles. It's not just about the performance; it's about the fit – and Hunter knows just how to tailor an actor to a role like a bespoke suit.

Navigating the acting industry doesn't have to be a solo voyage. Hunter stresses the importance of a supportive community and how a nod or a nudge from a fellow artist can be a guiding light. Moreover, he debunks the social media followers fallacy, advocating instead for an authentic digital footprint that captures your essence. And for those moments when you're on the verge of stepping onto the audition stage, armed with Hunter's insights on casting dynamics and the heartfelt encouragement from a director who's truly rooting for you, you'll feel the embrace of the casting world – a realm where every actor's success is celebrated as a collective triumph.

Transcript

Speaker 1: 0:00

My name is Hunter McHugh. I'm a local casting director in New Orleans, Louisiana, and I'm super excited to be a part of the NOLA Film Scene.

Speaker 2: 0:17

Hello, welcome to the NOLA Film Scene with TJ Plato. I'm TJ and, as always, I'm Plato. I'm TJ and, as always, I'm Plato. Okay, we are here with our friend Hunter McHugh, casting director extraordinaire from New Orleans, louisiana. How are you, my friend?

Speaker 1: 0:32

I'm doing pretty good. I'm really excited to be here. Thanks for having me, guys.

Speaker 2: 0:35

Yeah of course, that was excellent.

Speaker 3: 0:36

That was great. I have been waiting since we started this podcast to get a casting director to do a slate podcast. To get a casting director to do a slate. Wow, we'll cut that part out. I just Maybe.

Speaker 1: 0:50

I definitely think you should leave that I think it's a good way to start, just know at least when we're sending out the slate instructions.

Speaker 3: 0:59

We send them out on a piece of paper so I can you don't know how many times. So I need readers and whenever I do an audition I'm off book but sometimes Slate. You know, if it's different than what you're used to, what I'm used to saying, I'll print it in real big letters and put it up under the tripod to remind me.

Speaker 2: 1:28

Okay, this is the key points they want. That's kind of the joke. Is the slates being the hardest part, harder than the actual audition? Yeah, and it could always be worse. We can make you do a full body shot, I know. I know If you saw Hick Jeremy's Christmas car that we had him made as girls, she's filming him and then he's like, do we have to do a full body?

Speaker 1: 1:43

Because you know Brian's crazy it was funny, Just to jump right into it.

Speaker 2: 1:46

Hunter, Our favorite question is to our guest what got you involved in this industry?

Speaker 1: 1:51

Yeah, so what got me involved in this industry is that I had started as an actor. I went to acting school. I got a BFA in acting. I even studied abroad in Moscow, russia, for theater, thought that I was going to be the next bad guy for repertory theater, for Shakespeare and all the wonderful plays that these repertory theaters do around the country. I learned quickly that it's much more difficult to get into these repertory theaters than I thought. And actually when I was in college I went to NIU, which is Northern Illinois University, right outside Chicago, in DeKalb, illinois, in the middle of the cornfields Definitely not Chicago.

Speaker 1: 2:28

I learned that, you know, I just like making movies and videos and things and I would get together with their communications department, but really was just a bunch of film nerds and make stuff on the weekends and put things together and come up with the ideas for these little shorts. I mean, I'm sure we still have that YouTube somewhere, but I'm not telling you to look it up because I don't even remember what we did. But a lot of good things came out of it, you know, learning how to work with other people with different walks of life, learning how to work quick on your feet. You know it was shocking to me that a lot of our other BFAs didn't want to participate in it because I mean, why not? You know we're here, we don't have to just go party on the weekends, we can party and make movies. So I was very excited that I found a lot of people in my circle that were interested in doing that.

Speaker 1: 3:17

After college I had made up in my mind, instead of trying to get an agent in Chicagoland area in my mind, instead of trying to get an agent in Chicagoland area to try and get an agent in Louisiana, where it was wild to me that I was able to even get my foot in the door with Louisiana Talent Agency. One of their actors, chip Carrier, who's one of my nearest and dearest friends, kind of helped lead the footing for that. I had a really good time working with LTA and every now and then, whenever I'm posting a project, I'll see Fiona post my headshot for a role. That's like not even wouldn't be me anyways, but just to like kind of mess with me. It really makes my day when that happens. So I auditioned for a lot of different projects. I slowly started to realize like I was more interested in what was being filmed, over being filmed, and the casting director just really always impressed me. All these local cast directors that are so great down here do such a great job and I just realized that's what I want to do. I like working with actors and I still get to work with actors, but a little more consistently than just going in for an audition all the time. Yeah, so I basically ended up kind of getting bored with waiting around. I mean, I really enjoyed all the auditions I did, but I jumped on set as an extra One day.

Speaker 1: 4:30

It led to being a stand-in for a movie Bad Moms with Mila Kunis. I was the other lead stand-in who was Mila Kunis' kind of flaky husband that she picked, but it was I like he. We actually had a really good chemistry and he kind of leaned on me to help him, cue him in with what's going on and like how we're doing the scenes, like hey, you mind walking me through this. I mean I really felt like I was a part of team working with some of the best g and e in town that I didn't even realize were like some of the top dogs down here the camera team, you know and you really get a chance to actually like learn how to work on camera. That's one thing that you know. It's kind of hard to be taught in school because it's something you just learn with experience, I think. And anytime I'm talking to actors I'm like you know, the audition process is so different than actually being on set. We're just trying to get you there, you know. So that led to me figuring out that some of my buddies from high school are doing like the PA work and they had these little headsets in. I was like, ok, I want to know what they're hearing, that I'm not, which led to me doing a bunch of PA work At first, starting to go down the AD route, quickly switching gears, realizing that there was a need for assistance for different producers, directors and actors.

Speaker 1: 5:46

And I am really glad I made that switch, because what a better way to learn how to handle a lot on your plate by watching people who deal with multiple things going on at once, and the joy I would get out of being one step ahead of them. That was awesome for me. I feel like even nowadays I try to challenge myself to be one step ahead. So then I led to working for a couple different people my favorite that I love telling people about is working for Keanu Reeves, for Bill and Ted 3. And I say you know, if he ever called me up to be his assistant again, I'm like, all right, yeah, cast director Hunter, I'll still be there but I'll go work for you anytime, Keanu.

Speaker 2: 6:22

Yeah, you still be there, but I'll go work for you anytime, keanu. Yeah, you'll be like Bugs Bunny One of those cartoons.

Speaker 1: 6:26

You'll just see the dust left. That, yeah, that's it. I'm running out. I met Brian on the set of Bill and Ted. He didn't remember me at first, I didn't.

Speaker 2: 6:33

You know. I was embarrassed by that because I met you at your acting intensive and for the folks out there casting directors and teachers too we'll put on like a day seminar and you prep a material, you do the scene. They say, okay, here's a tip, don't do that like. You start learning that day. And you're gracious and had all that knowledge and it was really cool to meet you. And we have a mutual friend in addie eversong you know what I mean and john watkins jr. Yeah, and I've been taking class with jim gleason for years, so I feel like we struck up a friendship right there. It was very cool. And then when I posted pictures from Bill and Ted Face of Music because I was Death's photo double and y'all can refer back to the William Sadler episode to hear stories about that you went oh yeah, I forgot you were on that. Keanu loved you.

Speaker 3: 7:13

What Nice.

Speaker 1: 7:15

Yeah, you know it might not have seemed like it, but he like really pays attention to like what the crew's doing and how engaged everybody is, Because I think at the end of the day it really helps the actors just to stay on it even more, especially with somebody who's doing something like you were, which was actually a lot bigger of a job than some stand-ins and photo doubles, because you were in full makeup the whole time and the five-inch platform boots and the boot. So I got to work for these guys and then did a couple other jobs with some great people, even got to work with like sam ramey's team, got to work for a great comedic producer, debbie liebling. Then I ended up working for my dream company, happy madison. I'm a huge sandler fan and I'm a huge chris farley and just like all these cats that came out of the woodwork A lot of them from the improv space Just great comedy.

Speaker 1: 8:08

You know SNL folks from the old days, right? Actually, when we were on set I was around Chris Farley's brother, John, and I swear if you didn't see him, you heard him. You thought it was him.

Speaker 2: 8:19

Yeah.

Speaker 1: 8:20

I'm just super stoked to be there and just seeing how the Happy Madison crew works. I mean it was a little different because it was like right after COVID, so everybody had to make a shift. A lot of these old school producers, directors they didn't understand. None of us did, you know. We didn't know what we were doing. We worked on Home Team, which was about Sean Payton, and Kevin James played Sean Payton, so it was really cool to be around him and I worked for the producers.

Speaker 1: 8:47

But I kind of ended up getting stolen per se by Adam's line producer, barry Bernardi, who I just owe a lot to because we would ride around, he would have conversations with people. I mean, that's something that people don't really realize is like, when you are listening in on these conversations of decision-making, it shows you how to become a leader. It shows you how to take it all in and really figure it all out. So, anyways, barry had caught me one day I don't know if caught is the right word, but he had seen me with my laptop open, looking at all these headshots. He's like what are you doing, hunter? I'm like oh, you know, I cast these little commercials and I can close it, you know whatever. And he's like no, he's like you do all that and you still get everything done for me. Like no, he's like you do all that and you still get everything done for me. And I'm like, well, yeah, yeah, you know, I had worked for a casting company while I was doing PA work and they kind of stopped coming in town so I started picking up some of their smaller clients, which was kind of the building blocks, but I didn't really want to tell anybody that I was doing it because I was already working for all these big sets and I thought it might be a conflict of interest, to be honest.

Speaker 1: 9:42

And he goes no, not everybody can do that. That's a niche. Like don't ever do this again. And I swear, one day I'm gonna have a happy madison movie for you guys. I'm like I am holding you to that. You should not have said that yeah, whenever you're ready. Yeah, all right. So, anyways, it's kind of like the shortened version of how it all happened, but hopefully that makes sense. Yeah for sure, totally.

Speaker 3: 10:07

I wanted to ask you about your study abroad. Oh yeah, how long were you in Russia?

Speaker 1: 10:11

Oh God, I always want to say I think it was like six months or four to four and a half six months, something like that. We were there starting in August. I actually turned 21 in Russia, which didn't matter at all, it mattered to me. We got there in like August and so we really got to see, like the change of seasons and you know, being in Chicago for school, I mean we knew cold, but Russian winter is pretty. I mean, I'm sure it even got worse by the time we left. But it was awesome.

Speaker 1: 10:37

You know, most of the classes the teachers didn't really speak English so they'd have some broken Russian. Try to explain to us everything that's going on which we thought was funny. It was like her overcoat and we're like her what, and everything was just us trying to figure out what they were saying. But you know, at a certain point in acting in general, like even when we go see the plays and a lot of we knew, you know, stanislawski method with renditions of all the checkoff plays we kind of knew the stories, which helped. But if we didn't understand exactly what they were saying, it did teach us one thing you have to be super specific, because even somebody in another language is really understanding what you're saying. Damn, you're a good act.

Speaker 1: 11:16

yeah, you know yeah I think it taught us how to be really specific and I think I really have taken to that for when I'm talking to actors and when I'm doing casting on how important it is to me to take that manuscript that you get and really validate all these different choices you make based on the text and become very like that into it. You know, once you're in that zone, that field gold zone, I mean, the world is yours and you can come up with whatever you want, as long as it all makes sense for the script and the character and the given circumstances. Yeah, it's great.

Speaker 3: 11:52

Wow, very cool, that's interesting.

Speaker 2: 11:54

We get to ask actors what they would say to up and coming actors or people on the other side of the TV, like something they wouldn't know. What would you say to any actor Like I auditioned for a commercial for you recently, yeah, and I felt a little lost in my agent. I get to say my agent now, yeah, first time I did it, yeah, thank you. Thank you, it was too dramatic. There was a big view, you know beautiful view for this thing. And so I came, I went, oh, and she's like no, you don't want to be dramatic, you want smiles for a commercial, you want to okay, so cool, so things like that. Is there something?

Speaker 1: 12:29

you could tell an actor hey, remember this when you're doing an audition, you know, just remember what you're auditioning for. You know, if it's a commercial, you're trying to sell the brand. I mean, even in a hospital commercial, everybody's going to end with a smile. For the most part, it's kind of interesting. You know, I think what I would say to somebody who's just starting out is it's your brand that you're building. Take it, try things. It might not work out. Do everything you can to make this yours and we will notice that and we will tell you when you're doing stuff wrong. But when it comes to learning about the different websites and learning how to get all the stuff there and where to go to, just all this information is truly on the internet. Or, even better, taking advice from people that you look up to.

Speaker 1: 13:11

Today I kind of felt really good about this. I had a newer casting director who had been a part of the CSA apprentice program, which is really awesome. Shout out CSA. She had reached out to me about a question and just sent me a text that hey, look, do you have five minutes? I'm having a lot of trouble with this job and like I'm just not getting enough submissions, like what do I need to do? And we literally sat on the phone for an hour and a half just trying to figure it out and at the last minute I figured out exactly.

Speaker 1: 13:35

You know what I'm saying. So use your peers, go to the teachers, learn from them. If they're not speaking to you, there's other teachers in town. Take the advice from your agents if you have one. A lot of different things you know, and there's a part of the business that is really nice which is it's very family oriented, like FilmFam is very strong. Just make sure you're going. You know. You know down deep inside if something's not adding up or if something doesn't feel right, lead with that trust your gut and don't be afraid to reach out to somebody, people you trust.

Speaker 2: 14:06

Yeah, like the casting director reached out to you but you're available, but, like for us to reach out, you want people who you can trust and who are good people yeah, yeah, yeah, and build your social media.

Speaker 1: 14:16

You do a really y'all both do a really good job. You, you know, build your presence online as an actor, so it's very easy to get in touch with you and learn more about you. I can't tell you how many times like a director or producer is like I really like that person. Is there anything else on them? They might not have it real, but if I can go to their Instagram and share it, oh, wow, cool. It's all about building your brand.

Speaker 3: 14:36

Yeah, I was actually just going to ask a question about that. I didn't do a lot of social media before I started getting into acting, yeah, and I've been trying to build that as I go and I've heard mixed things about that and I was going to ask you, based on intensives that I have taken with you. You talk about the casting process and the different levels and actors access, resume, headshot, reel, all that stuff and then the social media aspect of it and I've seen with some of your castings I'm guessing some productions will ask for that. I've noticed there's been a time or two where they want to see they've asked for our social media handles for that. Yeah, is LinkedIn one that y'all look at? Handles for that? Is LinkedIn one that y'all look?

Speaker 1: 15:21

at. I don't want to discredit LinkedIn or anything, but it looks like they're starting to get like a little bit more of a film presence. But it's not about, like the amount of followers or anything like that anymore. I think at one point it might have been like oh you know, you have a huge following on. But it's not that I'm saying on whatever sites you're using, just have a strong presence, make it very easy and know that what your strong points are as an actor and how you can benefit with what you post. You know what I'm saying. Like lead a horse to water. Well, you're leading a horse to water for the very things that you like. I guess, just as if being specific in your acting, being specific in your marketing, is just going to be just as important. Oh yeah, it's important, it really is. That makes sense.

Speaker 3: 16:06

That makes sense. So in the past a castmate of mine from a project I did was doing casting for a student film. Yeah, he's in a graduate program and he was talking a little bit about some of the behind the scenes stuff with casting and you've talked about that in online Q and A's and Brian and I tried to explain it about what I just mentioned the headshot reel, resume and a slate shot. I wasn't very succinct with trying to explain that. Can you touch on those things Like how it kind of moves you up in what is visible?

Speaker 1: 16:41

Yeah, if you don't have a reel, it might be nice to have a very strong audition. Some of these actors that have like worked with teachers on a specific piece, they'll get them to like record them and even if maybe they have a scene partner or not, but maybe it's probably better without just a strong something to show but to not have anything, it's hard for the people to kind of look through everything. I mean, a lot of this stuff, yeah, casting, sure, yeah, we want to see it too, but we kind of know you guys at this point.

Speaker 3: 17:12

Yeah.

Speaker 1: 17:12

So we know what you're capable of. But to give that lanyard, as they say, it's only helping. I mean the slate shot thing, I don't know, but definitely at least some kind of audition. If you don't have a reel, at least some headshots and your resume. That's probably what you definitely need.

Speaker 3: 17:31

I gotcha Cool Something. I've been curious about the sides that we get for an audition. Do you decide what is used in the side or does production send you this is what we want them to read, or do they give you a range and you pick out like what you want to see from that particular role? How does that work?

Speaker 1: 17:50

Nine time out of 10 for me. I actually work with the director to come up with them. He might give me scenes that he wants to see and then I'll challenge the scenes because I'll be like you know, I'm the one who knows what the actors are going to turn in and what's going to make it difficult, and I can't tell you how many times like we've made them. And then I start seeing tapes and I'm like, oh wait, this isn't going to work. You know, like poor role that is in a three page scene and has two lines in it but they're actively listening the whole time. It's like you know. So we try to figure out ways to make it work. When it comes for commercials, I usually come up with the improv. I usually think about the brand and how I could get the best personality out of the questions and improv as I ask. I mean, I usually do, but yeah, so sides and directions typically are me.

Speaker 3: 18:37

I gotcha. It sounds like it takes a little bit of marketing skill, especially for the commercial ones, to put that out A strong to see the exhibits that they have and I'm like, ok, you know I tried to do my best job of explaining it, but I also, like, had put how they could look at the exhibits online, so it gives it a little bit better.

Speaker 1: 19:04

And then the question was something that kind of touched on what I felt about the brand of the museum, which was what is the most important thing about culture to you and why you know, and some of the answers I got for that were just really nice. What is the most important thing about culture to you and why you know? And some of the answers I got for that were just really nice. It's so fun to watch people think you know and to explain why they feel a way about life or just an experience. That's what I live for to live vicariously through actors. Oh yeah, it's my favorite thing.

Speaker 2: 19:33

I liked your question. I had one that came up from somewhere up north and I go answer this question why do you want to do this project? And I'm like, because I'm an actor. What do I? You know what I mean it was. I didn't know what was behind it, I just said, you know, it seems like a challenging role. It'd be fun to play. It just blew my mind. I didn't.

Speaker 1: 19:50

You should have said I really don't, but I want to see if you watch this. That'd have been cool.

Speaker 2: 19:56

Yeah, and the rules are, so they're not set in stone, you know. No, I just got one and it was send us your headshot and resume to this thing, but it was for a monster, so I also included my death makeup, the other death makeup, the time I was in a crash in a movie, you know what I mean. I was like I love being in makeup, you know what I mean, and I got an audition, nice.

Speaker 1: 20:19

Yeah.

Speaker 2: 20:19

So it's sometimes putting that little bit of flavor, sometimes putting a little bit extra, and sometimes just doing what they say. You never know.

Speaker 1: 20:25

You know and like when the actors see something that's different, like, for example, we were looking for streamers for Street Fighter, like real streamers. You know, some of the actors in the notes would say or their team, their agents, would say online following and then put how many followers or what their Twitch was. It's smart to like, feed us some of that, because we might not know. I mean, I had a couple of buddies down here that I had no idea did that online. You know what I'm saying. So anything that can help.

Speaker 3: 20:52

Adding on to what Brian just said, one thing that I've noticed about your casting calls you always say make it your own About the commercial ones. You know Even the film ones. I hope Right, right, right right, but the improv ones are always fun. I kind of like that creative process because it's different than just figuring out a character and learning lines. It's a little bit different feel and they're always fun to me. Thanks, appreciate it.

Speaker 1: 21:16

I like the ones that are not so traditional, when we play out the action of the scene, and it is a lot of action. We had one for Bank of America where a guy gets inside and he has a sweater on, there's a bunch of groceries in it and the football game is about to come on and it's unraveling. So, watching what? These SAG actors because it was a SAG spot watching these SAG actors, because it was a SAG spot watching these SAG actors come up with a way to make that work in frame. It was brilliant.

Speaker 2: 21:43

Some of them you could have taken the audition and that should have been the final Nice, so in a way entertain the casting director too I mean, look, if you're having fun, we're having fun, right, yeah.

Speaker 1: 21:52

So I mean, it's not like, entertain me, but you know, entertain yourself, even with the two liner, have fun with it. Five and unders, whatever you know. What else are you going to do? At least you get to play somebody. You're not for a day, right, that's right.

Speaker 3: 22:04

I always see the audition as the win. I mean just getting to that point. It's experience and it's an opportunity to show what we do, right, you know, even if it's an audience of one or two in casting it's still, it's an audience and it's it's a chance to act.

Speaker 1: 22:20

But you also get to like, come up with a life. Right, even if it's a one liner, you come up with a life of what this guy does. You know, my best friend had a audition where I don't even know what the character was. He worked at some kind of facility, you know blue collar type job, and he was like he was in charge of them, but he had two lines and he walks out. His like main objective was just to get home so he could watch the football game at night. That's all he cared about. And I was like, you know, that's a great idea. Like, yeah, exactly that could be all you're thinking about when you're at work sometimes, or how terrible the night before went, or whatever. But it's really nice to to see. Even though it's something really small. I mean, it makes a world of difference.

Speaker 2: 22:57

yeah, makes it real yeah, so one last question, sure, what are you looking forward to most in this coming year?

Speaker 1: 23:04

I'm looking forward to. I have a couple of hopefully movies that I've been getting really excited about. I hate when they send me the script so early and then I get all start thinking about who and what and when and where and we don't even know if it's actually gonna happen. And it happened like clockwork. The other day I literally got done reading the script, tell the director I know exactly who could play the lead girl role and guess who. I ran into literally after I had told him that none other than the person I was suggesting. And I looked at her and I was like i've've been talking about you and she's like what it's for. I'm like we don't know if it's going to happen. I'm looking forward to that. I'm looking forward to a movie that we just got the flyer out for. I think it comes out the second week of February.

Speaker 1: 23:47

I'm not really sure it's going to be on Shudder. It's called History. A lot of fun with it. It was another one that we did during COVID, towards the end of all the restrictions and the smaller movies. It made it tough for us to try to do right with all that situation. But Paul Wesley's our lead, Jackie Cruz, Rhonda Johnson-Dentz oh my God, I'm just so excited and I found a really, really awesome little girl to play the lead and I can't wait to see how they made this all happen, you know.

Speaker 3: 24:17

I did a scene from that for one of your intensives. Oh yeah, a while back. Yeah, that was a fun scene.

Speaker 1: 24:23

Yeah, yeah, yeah, yeah, yeah, that role was Thomas Murphy. You know, I don't know. I haven't seen any trailer or anything yet. I'm dying Like we're going to release a flyer but no trailer. Like come on, I'm excited for that. And then there's one other movie I'm getting really excited about, called Future Date. We shot it in Los Angeles.

Speaker 1: 24:42

It is a rom-com about dating. If the COVID situation was so bad that we couldn't even go outside, wow, and a dating app and a couple gets the chance of a lifetime to live with another person in person. It was just so wild like being a part of something like that while life was really crazy and chaotic around us. I think it made it that much more powerful. But that's like storytelling, right, like it's reflected of the times, it's reflecting of the place and our director, stanley Wong we kind of grew up down here together and he's really a great dude and a big part of the improv scene in la and I'm just excited to see what happens with that one once people start seeing it, because it's definitely like a lot of sci-fi, but it's still a comedy about love probably my favorite genre, I'm not gonna lie. Other than musicals, I could watch a rom-com anytime nice, I'm a secret rom-com watcher too.

Speaker 2: 25:38

I say it's because my wife but hallmark, especially during christmas, is just pretty much all in 24 7 you know well, they'll get a different movie, but same plot every time, right that's right it's comfort food same beginning, middle and end, different cast, that's right how is the big city girl gonna balance her life with the job and the new guy who's back in the small town? That's right.

Speaker 1: 26:00

That's right. So they visit the small town and meet all the locals. Then she has to make the decision.

Speaker 2: 26:05

Do I take the promotion that's going to New York or do I stay here with my new love? That's right.

Speaker 1: 26:10

I'm telling you, I watched it. I'll admit it, I've seen that one, I've seen that one.

Speaker 2: 26:15

And then, every once in a while, they'll throw Santa Claus in, like you know, little girl.

Speaker 1: 26:19

Yeah, I don't remember what the name of the movie is.

Speaker 2: 26:21

It happens. When do you get to be our age?

Speaker 1: 26:24

We start slowing down a little bit.

Speaker 2: 26:26

You'll see your friends all over Facebook be like. You know. Do you ever walk into a room and forget why you're there? And I respond yes, that does happen to me, but it's so bad that I think about getting up to go in the room and already have forgotten why I wanted to go into that room. Yes, you have much more to look forward to, sir.

Speaker 1: 26:41

Yes, I could have enjoyed that, though it's nice to not always try to be so on it. You know what I mean, yeah.

Speaker 3: 26:48

Yeah, Hunter McHugh, it has been such a privilege to have you on and talk to you today and get some insights from casting. People joke about you know casting directors being scary, but casting directors aren't scary. Casting directors want us to get the job. They want us to book the role, because when we succeed, we all succeed. And sitting down and talking to you and getting these insights has been a lot of fun. I really appreciate and I'm grateful that you joined us today.

Speaker 1: 27:17

Thanks for having me. I really appreciate it.

Speaker 3: 27:19

Yeah, of course.

Speaker 2: 27:20

Thank you, sir. Casting directors are people too. Probably more than that. Have a good one, my friend.