Storytelling is always evolving, but if you allow people with new voices and perspectives to come in, you open audiences up to different walks of life.
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I read the script first to get the perspective on the whole story, the writing, and how the character I'm auditioning for is talked about by other people or relates to other people; from there, I go into the sides.
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There are tons of talented people out there, and we just don't get a chance to get into this system. I want to be a part of that. I want to help these young, diverse, unique voices tell stories.
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I love the 'Fresh Prince of Bel-Air.' I love everybody. I loved every single person in the Cosby house, I loved every single person who went to Hillman.
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After the success of 'Empire' and 'How to Get Away with Murder' and 'Scandal' and 'Power' and 'Black-ish', which all had characters that were genuine, authentic, and had the language of real people, I found myself coming into pilot season and every network just wanted to have their version of one of those shows.
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I auditioned for Lamorne Morris' part, Winston, on 'New Girl.' In the scene, the character was eating a mayonnaise sandwich. I thought, 'Nobody else is going to go into the audition eating, and this is how I'm gonna set myself apart.'
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Agents run a business, and their business is their talent; some are more general and broad and can rep a little bit of everything; some are more niche. You have to be specific with who you approach and how.
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I run the material, always with two people, sometimes three. We all see things so differently, so to get a couple of people's perspectives on what I'm doing and the material itself is insanely helpful for honing in on what to take into the audition room.
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After the success of 'Empire' and 'How to Get Away with Murder' and 'Scandal' and 'Power' and 'Black-ish', which all had characters that were genuine, authentic, and had the language of real people, I found myself coming into pilot season and every network just wanted to have their version of one of those shows.
