(This episode was automatically transcribed into digital text, some errors may present.)

Patrick Oliver Jones:

Well, welcome back, everyone. I certainly hope you enjoyed my conversation with Sydney Kane, where she shared meaningful stories about creating her own show and finding her authentic voice as an artist. And now she is back here for the final 5 questions, where we dig a little deeper, talk about moments and ideas that have truly defined her journey. So Sydney, let us start with question number 1. What do you remember most about your first Broadway performance? Oh, I remember it so well. professional show?

Sydney Kane:

Um, you know, my first like actual professional show was one that I helped produce. It's called The Moss Maidens. Uh, this really talented writer named Dylan wrote it, and we did it at the She Arts Festival. And like, it was— we got extended to do 4 performances, which is like a very rare thing to happen there. Um, and it was like just this story of these girls in the Netherlands like fighting against, you know, like basically forming a resistance against Nazi soldiers. And it was really important because my great-grandfather fought in the resistance during the Holocaust. And so while I don't look Dutch at all, it was cool to kind of like— the story that she wrote was super prominent, based on a true story of these 2 sisters who did that pretty much, like they would flirt with Nazis and kill them.

Jones:

Wow.

Kane:

And it was just this really very empowering cathartic show. And I made these friends, and I'm still friends with all these girls, and I love them all so much. And they became like my sisters a couple years ago, and I'm still friends with all of them today. And that was probably like my— that was my favorite professional theater experience, I would say.

Jones:

Oh, I love that. I love that. Yeah, yeah. And, and, and such interesting stories. Yeah, I love it whenever they kind of go back, and especially true stories that are so like off the wall. Like, people did what? Back then? Yeah, it's, it's crazy whenever they do stuff. Yeah, I love that. Well, number 2, if you could give advice to your younger self starting out, what would that be?

Kane:

Oh, don't get a spray tan right now.

Jones:

Just the basics.

Kane:

Like, you won't know how to use it properly and you're gonna look weird. But then it's— but maybe it is important because then you learn how to manage it and it's fine. But don't do Don't do that, and— or read the instructions. But also, I would say, um, I think stop searching for yourself and just like take a second to breathe and think about— and just think for like 2 seconds. Journal. Like, that's it. I think that's the advice I would give to my younger self. Stop searching for yourself. You're right there.

Jones:

And you're right there in that moment. And then a year from now, you'll be in a different place. And then 5 years, you'll be in a different— and so on.

Kane:

Or like, what are you watching about that performance that you're like, oh, maybe I'm that person? It's like, or do you want to do that? That's the thing. It's like, yeah, you can be like— I would, I would mistake inspiration with identity all the time.

Jones:

Hmm, interesting. Yeah, it's so interesting because that was never an issue with me. Like, okay, yeah, like when I'm, when I'm 7 years old and I watch Superman, then I want to be Superman, obviously. But, but no, like, as I would watch, like, especially live theater, I wouldn't, I wouldn't so much want to be the character. I just wanted to be doing that. I wanted to sing that song that elicited that emotion. I want to be that funny, whatever it was.

Kane:

I'm not— so I was— yes, I was like, oh, well, okay, so then if that's what I want to do, and let me be that character and like show people that I can do, you know what I'm saying? So then it's like, also, it was a lot easier. You know, it was like, I like the way that character behaves. What if I tried that? Like, I was just, I was just doing the job, but in everyday life, which is like not smart. Like, I like was basically just like learning how to act in my everyday life, pretty much. Yeah. And like, rather than just like being like, this is actually who I am and I would love to play that part, it was like, cool, that's who I am, period.

Jones:

Right, right. I'm gonna act like that. Yeah, that person has friends on stage. I want to be that person.

Kane:

Yeah, it was— mine was actually— and this is also very interesting to think about based on like my trajectory and how I haven't really done a lot of musical theater since I graduated, but like, um, all of it was like through TV characters. Like, I loved, I loved it. Like, I felt like that was all it was. And like, when I would watch a musical, yeah, I had the same feeling you do. Like, can I— mine was like, can I even do that? Can I move like that on a stage?

Jones:

And number 3, what does success or making it mean to you?

Kane:

It's It's constant. I mean, it's, it's never done. So like, I feel like success is like a, like it's like, it's like breathing. It's like you're doing— it's like every day you have to work at it kind of, or like, and there's also no definition for it either. I think success to me personally means that I did my job and if I went one day without self-sabotaging myself and I'm doing the work, that is success to me. I think if you let other people define what it is, which is so— which I do every day still, you're never gonna be happy. But if you can find what that means to you, then it'll be easier to kind of like be like, where am I at? How can I improve to get to that level of, quote, success? Because I feel like it's like, am I doing what I love? And am I like doing that every day? Great, done. Like, I think I'm doing what I like with the people I love.

Success.

Jones:

Yeah, because it was interesting listening to you talk about, you know, the work that you did in college all the way through and doing your one-woman show. And for me, it's hard some days where it'll be like, the TV is just calling my name and that's what I want to do. I'm just going to be on the couch. And then I get mad at myself because I'm like, God, you're being so lazy. And then there are days where it's like I sit down to work on it and it's just, it's hard. It's like I'm not connecting with it, you know? And so how do you keep going? Because it sounds like you're a very self-motivated person. How do you find that motivation?

Kane:

I take Vyvanse every day for my ADHD, and that really does help. I'm not kidding.

Jones:

Okay.

Kane:

Like, I am medicated, but I, like I said, because I have, I have a good support system, like, like I said, like right now, this past year has been very like, I've been very dependent on my family this year. I feel I don't want to always have that or be that way. Like, I want to not be like that. So I have work to do. Like, and so I'm kind of like, I don't want to be here in a year. I want to be self-sufficient. It's hard. I'm not always like that.

Like, there are days where like I won't leave my floor. Like, I'll just like be like looking at the ceiling. But yesterday was actually the first day that I didn't do anything in like a month and a half. Like, not one thing. And it was really nice. So I do think that those days are important also. Like, you should listen to your body if like your body's telling you, I just need to like be away for a second. Is that you probably do need to take a second and just be. I think that constantly remaining busy is an idea that society is putting in our heads that we have to do. But there is nothing better than literally doing what your body needs. My physical therapist is a brilliant person, and she was always like, you hold everything in your body. Also, it's an instrument. You are your job.

Jones:

Oh, I definitely know I hold stuff.

Kane:

Yeah. Yeah. Also, I think that like there's like different months where like, or different times in your life where you're like, I've been feeling so tired lately. Like I just can't get off the couch. Like then do that. 'Cause like, God forbid you like run your meter like at zero and then it affects you long-term.

Jones:

Right.

Kane:

I think taking rest days are really important.

Jones:

Absolutely. Absolutely. I do agree with that.

Kane:

Yeah.

Jones:

And number 4, what changes would you like to see in the industry going forward?

Kane:

I feel like it's pretty perfect. I'm kidding.

Jones:

I love it all.

Kane:

None. I wouldn't change a thing. That's the craziest thing I've ever said. I've never done that before. It just— what gives me like such immense like ew is when they just try so hard to capitalize on a trend so fast, like 6, 7. I think I saw that in like 3, like, current TV shows or whatever. I'm like, please stop.

Jones:

Like, I was just in Beetlejuice and we added it to Beetlejuice, and there are other Broadway shows that started adding it in.

Kane:

Yes, yes. And like, listen, like, I added a Wicked reference in my show in December. It's all in due time, just be aware. But actually what I want to say, and I was talking about this last night with someone, um, bring back wonderment and, and curiosity to scriptwriting. Bring back like Suspending disbelief, like, in scriptwriting. We are overexplaining everything. It's making me feel insane when I watch TV. I'm like, I don't need to know how Jamie Lee Curtis in Freakier Friday got backstage. I don't need to know that. Like, she's just backstage now. She got there. We're like writing— it's background noise. But like, movies are not meant to be background noise, and we're writing like that. I want—

Jones:

The thing is, but the thing is, so many people are on their phones now when they're watching that— I saw a news report about this, that every 10 minutes they have to give a recap of what's happened because people—

Kane:

It makes me wanna literally cry.

Jones:

I know, I know. Whereas people like me, I mean, believe me, the number of times that I play the game while watching something, sure, I do that. But for the most part, it depends on the show. I think exactly what you're saying. Like, whenever I'm watching a sitcom, I can be playing something and I follow every few minutes and I know what's happening. But yet I've been watching, rewatching Sherlock with Benedict Cumberbatch. You can't pick up your phone. You got to watch that. You got to know what's happening because it's engaging me.

Kane:

Even sitcoms, though. There are some sitcoms where I'm like, like Schitt's Creek. You don't want to be on your phone.

Jones:

Yeah, you don't want to miss that because once Maura starts talking, you're done.

Kane:

Yeah. Yeah. It's like you're locked in. But that's— but that's good writing.

Jones:

Yeah.

Kane:

It's like there's other— like, I'm watching like even like the season of Bridgerton. I'm sorry, I don't want to watch it. Like, I'm not interested. I don't care. I hear— you hear the same thing over and over again, and I go, I— but even still, like, my brain's like, who is that? Like, I'm like, I actually don't know who that person is. Like, it's like they're reintroducing everyone as like they walk in the room, and I'm just kind of like, I don't want to watch this right now. I even made a joke about it in my show, is that I like— I like— I think at one point I took a second to like redescribe everything that happened in one scene just because I was like, that's the trendy thing to do now, is like to just like constantly be reminding people like, you're actually at a show, by the way. Okay, and then we continue, right? Um, but yeah, I just— I can't— I completely agree.

I think that's what I would like to see, people, um, bringing back intelligence into the medium of entertainment. Like, let people wonder things, let people be uncomfortable for a second and not know what's going on.

Jones:

Yeah.

Kane:

Um, as long as they get it later, then like that moment was purposeful. Then it's okay if you're a little confused at first, not a Not a problem. That's where I'm at. But people are so like, wait, what's going on? What's going on? It's like, one moment. Yeah, yeah, you're about to probably find out, right?

Jones:

I'm watching, you're watching. Let's watch it together and see what happens. Yeah, exactly. So last one, number 5: Describe a personal lesson that has taken you a while to learn, or one that you are still working on to this day.

Kane:

Knowing my worth as a person. And as an artist, like, that's it. Yeah.

Jones:

Why do you think that's been hard for you to narrow down or fixate on?

Kane:

In stepping into this world of like writing and comedy and stuff, like, I don't, I don't do stand-up. I don't do— and I'm not a stand-up. I am a comedian though, because I do funny things and I make people laugh. And that is kind of what I live and breathe now and what I want to do. But just because I do that does not mean I have to go to an open mic. I don't have to do that if I don't want to do that. I can, but people work very hard at being stand-ups and they're very good at it. I like to write funny things and perform them for people.

That's still a comedian. But it's like, I know that just because I'm entering this new world of something does not mean I have to be what I think people want me to be. I can just do me, and if people want to come, great. If not, fine. But tell your friend that you think might enjoy it rather than you. You know what I mean? And because I'm just done with proving myself constantly to people, uh, or like explaining who I am all the time. Like, I'm really excited to just be like, I do this thing, done. I, I don't want to have to prove it or over-explain. I feel like I've had to do that in relationships. I feel like I've had to do that with my career. And I work really— I want to work really hard for it, but I don't want to feel like I have to prove myself to like someone that doesn't deserve it, if that makes any sense. Absolutely.

Jones:

Yeah, you and I have something in common in that we've taken UCB classes, Upright Citizens Brigade.

Kane:

I love UCB, yeah.

Jones:

Yeah, UCB was great. I went through that, that long, long-form improv session that they have. And I would say that improv is definitely one of those things that if I could just do that, I would love that because, because you're constantly reinventing yourself. You're constantly reinventing where the character's going. It's like very in the moment. And it's hard, but it's very in the moment. And as long as you stay in the moment, then whatever you say is what that character's doing. And you don't have to like overthink it. And it gives the audience a chance to just kind of go with you. And there's no expectation. There's— it's like, where's it gonna go? We'll see. Yes, and.

Kane:

Right.

Jones:

You know, the whole— that's the whole point of it. And I love that having taken those classes, you know, I don't always do it, but I do try to incorporate some of that freedom, and even in a scripted role, and bringing, and bringing that kind of like, well, where is he going with this? Where— what's, what's he going to do next?

Kane:

Yeah. And I think that that's why everyone should take improv. Like everybody.

Jones:

It's good for everyone. Yeah. I mean, the number of people that are in corporate world that go to improv classes just so they can loosen up when they give speeches.

Kane:

Well, improv was actually one of the— I guess that was actually one of the ways that I had no choice but to say what was on my mind. Because if not, you're not going to be good at improv. And so that was actually one of the first times I like realized, I was like, oh, what? People are laughing at what I have to say.

Jones:

Yeah.

Kane:

Nice. Like, okay.

Jones:

Yeah. And it forces you to not only be present, but like say what's on your mind. It's like, yeah, like they said something you weren't expecting. All right, then respond to it. And you don't have to like overthink it so much. And so getting out of your own, getting out of our own way is like, uh, it's like big imperative. Yeah.

Kane:

Absolutely imperative.

Jones:

Well, let us get into the audition story that you want to talk about. And this is college auditions in general, like auditioning for Colleges?

Kane:

Oh yeah, well, I have— yeah. Is it just like one funny story or is it like—

Jones:

You can give 7, it doesn't matter. But yeah, so what, what about college auditions?

Kane:

Well, I just find them scary and I find them stupid. But like, I— the, the different— the cuts, the way the binders are, like all the rules, the dresses that you're supposed to wear, like all—

Jones:

They go so far as that? Like what you wear?

Kane:

Jewel— have you not heard about, like, the jewel-tone dresses? Like, oh my gosh, don't wear that. Don't sing this. Don't wear this. Like, have your binder look like this. Like, all these things. When I was going through it, it was like, it was so crazy. I hope it's changed now. I think it has.

Jones:

Hopefully.

Kane:

But, like, when I was going through it, it was like, it was like, don't wear a jewel— it's like everyone wore these, like, jewel-tone dresses. Like, my dress was, like, a very, like, jewely purple. Like, it was, like, very, like, purple. And, um, but it was a little bit edgier. And, like, I remember I put on, like, funny, fun tights and, like, booties when I auditioned for Pace because I was like, well, Pace is, like, the edgy school, and I want to do that. Yeah. And I just was such a piece of shit auditioning for college because I didn't want to fucking— I didn't understand it. I didn't want to work at it.

I was like, if either— like, I'm gonna sing this song and the schools, they're gonna want me or they're not gonna want me. Like, my, um, Carnegie Mellon audition, I had a monologue from Molière. I can't tell you what it was. I couldn't tell you. I think while I was auditioning, I walked in, I remember they're like, let's do the piece from Molière. And I was like, I was like, okay. And I said, um, really what was off the top of my head. I don't— I did not actually do the monologue. I like did what I thought was like the gist of it.

Jones:

I did the gist of it. I love that. I'm just gonna do the gist of it.

Kane:

There's— have you— did you get to see O'Mary?

Jones:

No, I didn't see it.

Kane:

No, there is this part in the show where she comes out and she like improvs the nurse from Romeo and Juliet. And I am not kidding. That's pretty much what my audition was like for Carnegie Mellon University. And I didn't care. I was like, I was like, this is— I'm not going to Carnegie Mellon. I'm not like, that's not gonna happen for me. Like, I'm not gonna do that. Like, no, I'm, I'm not for them and they're not for me.

Jones:

Well, so why were you auditioning for them?

Kane:

Also, why are we auditioning for them? Oh, wait. Oh, why did I audition for that?

Jones:

Yeah, why?

Kane:

Oh, I'm like, yes, exactly. Why are we having to audition? Um, no, I— oh, because, well, it was like one of those things where it was like I did— I had a college audition coach and, um, she was crazy. I love her, but she was insane. And like, she has this thing though where all these colleges come to this one hotel in Dallas, which is where I lived. And so it was like they were all there. So it was kind of like it, it was right there, you know. Um, and like, you want to say you auditioned for Carnegie Mellon, why not? But I mean, I didn't get a callback. I certainly did not. And the dance, the dance calls, I—

Jones:

Yeah, you want to talk about like panic-inducing? Yeah.

Kane:

Oh, I have had, I've had many a panic attack during dance class, even in school. At one time I ran out of class because I was like, I can't do across the floor. I'm like, I'm gonna be fucked if I do a chaînés and a fucking whatever leap out. Like, I can't do that. Like, everyone's watching me and laughing at me. Granted, they weren't, but like, In my head, I'm like, they are.

Jones:

Of course, everyone is.

Kane:

Everyone's judging you. I'm not ready for that. And there are these people who I'm like, I didn't go to summer camp for theater. I'm like, I'm not of this world. I don't understand this. Like, LaDuca's I didn't have until I was a second semester freshman. Then— no, right before, because we did A Chorus Line at Pace Art my freshman year of college. And we weren't forced to audition. But my friend was like, I won't audition if you don't audition. I'm like, you are an actual dancer. here. And, and so I, I did the audition though. It was really cool. It was by Orkley, like, taught the dance. But it was so fun. But obviously I didn't fucking get a callback.

I'm glad I did it. But I was like, Mom, I think, I think I'm gonna get some Laducas. Like, I was like, I think everyone's wearing these shoes. Like, I was like, I don't know what these shoes are. And she's like, oh, what? And I'm like, they're called Laducas. And there's apparently— they roll out a carpet when you walk on them. And then look, they are very comfortable. Like, and they're very nice.

Jones:

Sure, sure. They're very expensive though. Yes, they're very expensive.

Kane:

I definitely did not eat out for a minute. Yeah. Um, but worth it though. Like, it was an investment. Like, I do— I— but, but yeah, so that, that whole thing was crazy. But for college auditions, I would say that was my worst one. And then NYU was pretty funny because I really actually thought I was gonna get a callback.

Jones:

Did you prepare the same, like, material that your song, your monologue for everyone?

Kane:

Oh, of course. My uptempo contemporary song was Killer Instinct from Bring It On. What drives me insane, though, is that, like, you would try to find the most obscure song possible, like, for these competitions.

Jones:

Yes.

Kane:

If it was me now, I would have just done what I like to sing. And I feel like that is the most, like, prominent thing you can do. But the thing is that we think, like, we need to find— there's all these rules that don't exist. And like, they, they really just hurt you in the end.

Jones:

Yeah.

Kane:

Like, following all these rules or doing things like the right way rather than just like what you want to do, it fucks you so hard. Like, I would have just sang like Defying Gravity and like, I don't know, like, uh, Music That Makes Me Dance from Funny Girl or something like that. Like, also, like, if I were a person or like behind the table, I'd be like, oh, I love those songs, you know? Like, immediately, like, yes, those are great songs and they're foolproof. So, and the monologue I had was from Rapture Blister Burn, and it— but it was about like sex. And I was like, I was like 18 and like I had slept with like one person, like, but playing this like friend who's like, yeah, just fuck your husband or something like that. Like, why aren't you doing that? Like, I would like just being like that in the room. And I'm like, imagine me doing that for like, oh, what is her name? Head of Texas State. Caitlin Hopkins.

Like, I'm just sitting there like, for her. She was great though. I liked her a lot. But I'm not going to Texas State. That's an insane, insane school.

Jones:

In some ways, I wish I'd gone to maybe a different school or had something like that. I'm just saying, in some ways, because I'm like, well, it can open up some doors audition-wise. And but certainly having been in this business enough, I know that the school you go to doesn't really matter. It's, it's, it can be a prestige on the resume. But other than that, like, if your audition sucks—

Kane:

Go to no school. Go to no school. Yeah.

Jones:

Or yeah, there are people who just go out of high school and then just start auditioning and doing workshops and just like living and learning that way. Yeah, it's a great way to do it as well. I mean, it's like you were saying, there is no one path. There is no one way. There is like, find the way that gets you into it. There are paths that work for some people, but maybe you need to either find a different path or make your own.

Kane:

Yes. Like, I have friends that got agents after school and did regional theater and then booked a couple things and now are on Broadway. And I'm like, that's amazing, but it's not the only way that you can do it. And I think what happens is that people think if they're not doing it that way, then they can't do it at all. And it's like, well, no. It's like, there's like so many other things. Like, granted, like, do I wish that I could just like walk into an audition room, book it, and then like keep booking things? Who doesn't want that? Like, everyone wants that, but it's not possible. It's luck, timing, and then talent, like, way down the list. Like, it just is.

Jones:

Yeah, because it's one of those things that casting directors, they assume you have talent. If you're walking in the room, they assume you're going to do something, but what are you going to do with it? Yeah, that's what they want to see.

Kane:

Or even if, like, you even, like, sound remotely like the character. Like, it is that simple. It's literally, like, the voice inflections. Like, yeah. It's so out of your control, which drives me insane. That's why I was like, okay, well, I want to do things as well. Like, I want to be— I want to be creating things too.

Jones:

Yeah, because it was like last week basically when I learned that for TV auditions that if you blink too much, that can be distracting. I was like—

Kane:

If you blink too much, if you move your head too much, touching your hair.

Jones:

Right, I knew about movement, using hands and stuff, which we do in theater a lot. of course. But for TV, yes, you want to keep your movement. But I was like, wait, wait, wait, wait. So when I'm doing this scene, I just need to keep my eyes open the whole time I'm talking and never blink? And I'm like, but I need to blink.

Kane:

No, but then it's like, no. Yeah, I feel like there's actually like, no, like people just want to see people on a fucking screen. It's just like, behave normally. But it's like, but then again, people put all these rules in your head that it's just like, yeah, so then you say, if I look over here in this way, like, like, yes, like watch the tape back. If you think that you're moving your eyes too much, fix it. But it's like, But like, no, like, if I touch my hair one time, they're not gonna be like, doesn't do film. Like, they're not gonna do that. Like, that's crazy to think.

Like, just send the tape. Like, uh, if, if they like what you're doing enough, they'll be like, hey, you blinked a little bit too much, let's try it again. Like, or like, send it to your reps. Because 9 times out of— like, I had a, I had a rip in the hole of my, one of my sweaters for one of the first auditions my managers got me like last week. And it was a bit— it was a nice one. And I was like, I did this monologue, but there's like the hole in my sweater and like, you have to tell me if it's too much. And my manager goes, I did not notice.

Jones:

I did not see a hole. It's all good.

Kane:

It's literally like, like, do not listen to some of these people who just try to make rules out of reasons that they're not working.

Jones:

Interesting way to put it. Yes.

Kane:

It's, it's real though. It drives me nuts. It drives me crazy because I'm like, I feel like maybe you blinked too much during an audition. Because what if, like, like, I don't know, blinking a lot ensues, like, I don't know, for me, it's like, what, like, it's like confusion or—

Jones:

Yeah, yeah. I find that anytime that I'm— yeah, that I am, I'm either frustrated with someone or that I'm confused. Yeah, I find that I blink that. And so now, ever since I've read that, now when I go back to an audition, I'm like, my God, why am I blinking so much? And now I'm in my head about it, about, of all things, blinking. Not about how I'm saying the lines, or am I telling the story? But no, am I blinking?

Kane:

Listen, did you ever take Bob Krakauer's class?

Jones:

I did audit a couple of his classes. Yes. So I know, brilliant.

Kane:

I love his studio. His, his, one of his colleagues, Jess, she's fantastic. She teaches there. She is so great because she just is kind of like, Listen, as long as you just like follow some of these key points, behavior is behavior. Like, use— like, we still— we tell stories through pictures for TV. And if you like just make sure that the picture that you're presenting tells a story, that's all that really matters. If you're blinking and soothe something, like, great. But if like you're just blinking to blink and it looks kind of silly, okay. But like, I don't know, I'm just kind of like, it's— we watch for behavior, not for like— it makes me feel insane. Like, I touch my hair when I'm nervous. Like, that's a very tell sign if like a character's nervous. Like, touch your hair, that's fine. But like, if it doesn't serve the scene, yeah, maybe just be more cognizant. But just behave how the character behaves, and then you'll probably be fine. Like, it really makes me feel crazy.

Jones:

Yeah, sometimes it can be so simple. But yeah, as soon as you get in your head— and it's the same, like, doing self-tapes for theater. Like, I would audition so much differently in the room than on camera because as soon as I hit record, then it's like I'm on. Whereas in a room—

Kane:

I think self-taping for theater is hard. I think that self-taping for musical theater is really hard and really has kind of fucked a lot of things just because theater is in the room, period.

Jones:

Yeah.

Kane:

It's how you operate in the room. It's an energy. It's an energy. Yeah, exactly. So I think that for that, it's been really hard, I think. But the self-tape is crazy. It's like people are getting more opportunities, which is amazing, but more submissions now than ever. And that's to say if casting's even watching. Not to be a downer, but they don't even have to watch your fucking tape if they don't know your manager or something. It's crazy.

Jones:

If they find the 10 people that they want to bring in, they're done.

Kane:

I learned that— Like, when you submit it, like, based, like, based on certain things, like, there's like an order of which, like, your thing is even put in there.

Jones:

And yeah, and so now we have an algorithm of self-tapes. It's like, seriously?

Kane:

Yeah, it's awesome. Which is why if you want a casting director to see you, you're probably more likely to get seen if you're on their algorithm on Instagram or TikTok than you are in their fucking inbox.

Jones:

Crazy.

Kane:

That's why.

Jones:

Crazy.

Kane:

So like, just post whatever you want online, and you should just do whatever you want, because then a casting director will come see it and be like, I like that guy. I'll bring him in for this thing.

Jones:

Yeah.

Kane:

Or do your friend's stuff and invite people. Like, I don't know. I just, I do not think the old ways of how the industry works or the current ways of being— it's just very different now. And I think that people are going to people who still operate in that mindset of how the industry once was. And it's just, it's not like that anymore. We've evolved as humans also. Like, we've evolved in the ways that we think and the ways that we behave. Yeah.

Jones:

Insane. Well, Sydney, this has been an absolute joy to get to know you, to get to talk to you, and yes, to laugh with you. So I really appreciate you coming on the podcast.

Kane:

Also, I would say the other piece of advice, just because the other one was a bit confusing for me, I think, but genuinely, like, community. Lean on your friends. Talk to your friends. They are the most important. If they want to do stuff with you, do it with them. Community is so important. That's what I would say.

Jones:

Well, we've had our little community of 2 today, and I appreciate it.

Kane:

Yes. And I loved it. Thank you.

Jones:

Yes, absolutely. Thank you. Thank you so much for listening to Why I'll Never Make It. For early access to episodes and bonus audition stories, visit whyillnevermakeit.com and click subscribe or use the link in the show notes. I'm your host, Patrick Oliver Jones, in charge of writing, editing, and producing this podcast. And the theme music you're hearing was created by me, with additional music by Jon Bartmann. Join me next time as we talk more about Why I’ll Never Make It.