- 5/22/2025
Andrew was born in Budapest, Hungary, and moved to the US at a very young age. Throughout his life, he has moved around a lot, and this has given him the skills to adapt in any situation, very quickly. After graduating from Arizona State University with a film production degree, Andrew moved to LA to pursue my career. He has worked in the film industry for over 14 years now and has had the opportunity to work in a variety of different crew and production positions. From the camera department to all different levels of the production department, this has given him a clear understanding of the industry and life on set.
The experiences of working in the camera and production departments gave Andrew a personal approach to relate to my clients. The idea of a below-the-line crew agency came to him while working as a Marketing agent in the camera world. After talking with production people and crew members directly, he realized that there was no other agency out there that represents only below-the-line crew members in film, TV or commercial content. With all of his contacts over the years and experiences, it became obvious that creating an agency like this was necessary, and he was up for it.
The experiences of working in the camera and production departments gave Andrew a personal approach to relate to my clients. The idea of a below-the-line crew agency came to him while working as a Marketing agent in the camera world. After talking with production people and crew members directly, he realized that there was no other agency out there that represents only below-the-line crew members in film, TV or commercial content. With all of his contacts over the years and experiences, it became obvious that creating an agency like this was necessary, and he was up for it.
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LearningTranscript
00:00Hi, this is Dan Aykroyd. He's progressive. He's beautiful. He's thoughtful. He's intelligent.
00:07He's powerful. He's positive. He is Steven Cuoco on Power 98.5 Satellite Radio.
00:16Empowering listeners from the U.S. to the U.K. Live on air with Steven Cuoco.
00:24I thought you'd like some dancing this morning or actually this afternoon, Andrew.
00:34Gets the vibe going. It doesn't get the vibe going.
00:39Thank you to everyone who's tuning in to live on air with Steven Cuoco on Power 98.5 Satellite Radio.
00:47All the latest and greatest and the best in news, sports, reality TV, entertainment, film.
00:54And now we have Mr. Andrew Toth. We are going into all about above, below the line agency.
01:02We're going to be talking about all the goodness that your agency offers, Andrew.
01:09For those that are DPs, gaffers, assistants, cinematographers, graphic designers.
01:27Pretty much anything below the line.
01:30Anything below the line. See, I got so excited I knocked my camera.
01:36What about composers?
01:40Yep. We do composers as well. Even intimacy coordinators will do, acting coaches, even PAs, production assistants.
01:48So it goes all the way down the totem pole from higher up line producers, UPMs, all the way down to PAs and assistants for those line producers as well.
01:57When we think of assistants, are we talking about the traditional assistants, Andrew?
02:02Like what we see in corporate administrative admins? Is it at that level?
02:08It can be. I mean, there's a lot of line producers and UPM or studio executives that work out of an office.
02:14So it can be a lot of like an office assistant.
02:16But it's also PAs in general that are the run and gun people on set as well, who are kind of the backbone in a way.
02:23They're not just getting coffee. They're helping out every single person on set.
02:26And they just don't get a lot of attention. And you don't realize like those people are really important.
02:31If you get the wrong person, everything can get pretty messed up.
02:34So having somebody there you can rely on to go get things and go do things and not have to keep on their back making sure they're working is actually a good thing as well.
02:44I got to ask. I want to backpedal a little bit.
02:48I don't mind if I mess things up pronunciating. Is it gaffer or gaffer? Because I hear both pronunciations.
02:55I think gaffer is probably more British, I would think, or maybe European. But gaffer is here in the US for sure.
03:02Okay, because I probably because my family's European, I'm more accustomed to the European pronunciations to where I actually had to learn how to switch pronunciations of certain words growing up, because I had taken on their, their dialect.
03:25I actually get corrected too much because of that's not the they would say that's not the American way of how we pronunciate things. I'm like, well, what household are you growing up in?
03:38I get that with my last name all the time. It's like, how do you pronounce your last name? It's like it's toast in the American way, but it's actually toast and sorry, it's toast and European, but I go by top just because growing up, it was so easier for Americans to pronounce top and toast.
03:53So I just generally just went with top instead of toast, but toast is technically correct.
03:59And I said, Andrew toast, right?
04:03I think so. Yeah, you got it right. Okay. Yeah, I mean, not even any practice. You got it.
04:10And I'm careful when I look back on people's interviews, because when I interviewed Cam Gigande, it was pronunciated on some of his interviews as gigana giganet.
04:26I even googled how to pronounce it. And it came up gigante. But when I interviewed him, he didn't even bother to correct me. And I asked him, we had a conversation beforehand, like you and I did privately. And it was almost like whatever, but I wanted to get it perfect. So, okay.
04:45He's probably so used to it. He's like, it doesn't matter.
04:48Oh, yeah, absolutely. You were born in Budapest, Hungary and moved to the US at what age? Because it just says very young age, but we talking five, four?
04:59Actually, more like two years old. So basically grew up in the US, but I moved back when I was 12. So I lived there for about a year and a half, maybe two years, somewhere around there. So I kind of picked up the language, going through those like growing stages as well as a younger adult.
05:17And so I kind of got an experience there, but it's still middle school. So I didn't really have the experience of living there as an adult or going through like, the whole ages of everything. But I would say like, probably two years old is when I moved here. And I've been here for like 3035 years now in the US.
05:32Do you have dual citizenship? Can I ask?
05:34I do. I do.
05:35Oh, you're lucky.
05:37Oh, yeah, I agree. I think EU and US I mean, this is the best passport. They're great.
05:44Does that mean, Andrew, that you can live however long and whenever you want in Budapest or in Hungary?
05:54I could, yeah.
05:55Are you serious?
05:57Yeah, in Hungary and Budapest, Budapest, technically, but for sure, those areas in the EU in general, I'd probably have to like figure out different ways to go about it, but in Budapest, for sure.
06:08So you don't have to pay taxes in both countries, do you?
06:12No, just the US. It's just where I live. So just over here.
06:15So then that means I should get a dual citizenship or something somewhere and then I only have to pay taxes in one country.
06:25I'm not sure how it works. You might want to check my account on that. I don't know. Don't take my word on that.
06:30Yeah, I don't know who I got to speak to. I'm playing with that.
06:36We had an extraordinary private conversation. I'm blessed to be connected with you because you're someone extremely different that I never had on my radio show before.
06:48And when we think about, and I want to make sure I have it correct, as always, above, below the line, you know how I feel about the name. It's incredibly catching.
06:58It makes you want to stop to really know what you're reading. So I like the little quiz kind of like, or not quiz, but puzzle type of thing.
07:08Oh, how am I breaking these down by word choices? Totally. Why this? Why, out of everything and anyone you could work with and represent, you want the gaffers, you want the DPs, you want the cinematographers, the composers. Why?
07:26I mean, they don't get the recognition that most of the above the line people do like actors, directors, producers, those types of people get all the recognition.
07:35They have agents out there. Everybody knows about them. But the crew is such a backbone to all those artistic people that they don't get recognized.
07:43And I love that part of it. I love the blue collar of it. I love the fact that these people are working so hard.
07:49They're working the overtime hours and someone should be there to protect them and make sure they're getting paid decently and make sure their hours aren't getting exposed or anything like that.
07:57So I like being part of the crew because I was part of the crew as well. And so I relate with relate to them a lot more too.
08:05Does it mean with your agency? Are you union, not union? How does it stand with SAG, non SAG? How do you fit into all this?
08:16So I work with both. I work with non-union productions and union production studios. I work with TV shows, features, commercials, non-union commercials, non-union shorts, music videos, all of the above.
08:27Just because the industry is so chaotic right now that there are so many smaller productions that are more up and coming and the bigger productions are getting limited and limited.
08:37So all these people that are on unions are now shooting non-union just to get ends meet and they're doing a more artistic type projects too.
08:44So although there's not the $20 million, $50 million movies, there might be like 10, $5 million movies or $21 million movies.
08:52And they're very, the scripts are so much better a lot of the times. And they're so unique and original that all these people want to jump on them now.
08:59And they're more available now to do those. So you have to be able to balance both. So we have to do union and non-union just to balance everything out.
09:08So this doesn't include or doesn't include an upcoming actor or models or does that fit into it at all?
09:15No, nothing actor, director, writer, producer, anything like that. Don't touch any of that. I have much respect for them, but I don't want to work with them.
09:24I'm going to go back to you had said, or what you had written. The biggest risk is not taking any risk. All of us have big dreams.
09:38The most difficult part is to be brave and dare to live new situations while accepting whatever is the outcome.
09:48Being a risk means there are no guarantees that you're going to achieve your dream. Starting this agency was a huge risk.
09:56Not only was it the first of its kind, but I'm also in competition with larger and more influential agencies that have been thriving in the industry for quite some time.
10:09How do you feel about that now, knowing that you wrote that and where you were then to where you're at now?
10:16I haven't read that in a while, but it still holds up. I respect what I did even more now after just hearing you say it.
10:25It was very challenging. It was very scary to start an agency and competing with these giant agencies that have been out there.
10:32Also, a new concept to an agency too. Are people going to actually go through me? Why would they go through me?
10:37Why would they go to my company instead of a different company? It still holds up 100%. I feel like it's working.
10:46What would be your signature mission statement? Do you have one?
10:52Right now, our mission statement is it's not just another agency. You're not just going to go to us because you need an agent or you're going to an agency because you need to book.
11:03We're building a community, so we're not just an agency. We're a community. We're working with our clients more hands-on. We're more familiar with them.
11:11They can text us, phone call us whenever they want. Hopefully not whenever they want, but of course.
11:17Not when you're sleeping.
11:19Exactly. And then producers and UPMs, the same thing. They're going to be booking people, not just positions.
11:25They're booking a DP because that DP actually works well with the director because of their personalities or because of their projects before or how they work on set.
11:34They're more personal based rather than just a position and just a crew member you're hiring. And that goes for every position.
11:40What happens when there's an emergency or a crisis or a last minute? What do you do? Do you handle that? Have you handled it?
11:49Yeah, we've definitely handled it. I mean, there's a lot of times in the film industry, something pops up, a position or a DP or a production designer leaves and UPM is struggling.
11:59They're trying to figure it out and they call me and be like, Hey, I need someone tomorrow. Do you have somebody? And I have to be able to jump on that to get someone a job. So yeah, it happens all the time.
12:08With my PR agency, I have a tagline, many taglines and slogans. I love those. But it's United Angels Dream. And the tagline is setting a stage while the spotlight is on you.
12:25But the secondary is your second opinion resource company. Do you have a tagline? Why I'm asking is because I thought to myself, I want to stand out in this business of PR.
12:41I want to stand out in general to have my own signature of what Steven Cuoco means when we think about your name, your agency's name. I want people to know that you really do need to get a second opinion.
12:56Not always is the first one correct. And depending on what is being offered, the question is, are you being treated fairly and is the duty of care there? So you really want to get down to know the business and the truth and something that is going to be raw and real and factual.
13:15Your second opinion resource company, go to Steven Cuoco. Do you have that? What would be, and this doesn't mean to sound like an infomercial, but it's really you're someone that's doing things very differently because it's so corporate out there.
13:30And we know the cliques of our industry. You have a background working in production departments. Do you have that slogan? Do you have that understanding that this is why you hire Andrew? Why you go to above, below agency?
13:50Yeah. I mean, the main thing is we are doing things very differently than the other agencies because we're working with the crew members in general and only the crew members. There's a lot of other agencies that will do below the line keys. They'll do the DPs, production designers, UPM line producers. We're centralizing more on the crew members too.
14:07So not only are the UPMs that are hiring going to us, we're also having the DPs who are looking to hire crew members or the production designer needs an art department director or a makeup artist needs an assistant. They'll come to us. The crew actually come to us to hire crew as well. So it's a different mindset and it's a different way of doing things. And it kind of disrupts to not probably a better word than disrupt, but it kind of changes things.
14:32And people realize this agency is not just another agency that you go to, to get key members, you're getting crew members. So it's a different mentality in that way.
14:41It's checking something here.
15:12was necessary. And I was up for it. Are you there like myself? Are you there hands on? Do you travel? Are you on set? How are you given permission? Are you given permission? How are you able to be more than just a booking agency to where you are actually?
15:31I mean,
15:32Yeah, you're actually that representative and you're on you're there.
15:36Oh, yeah, 100%. There are a lot of times I've actually just spoke to somebody who was a client and was saying, I really respect that you actually go to set. A lot of my other agents would never go to set with me, they would just book the jobs, then they'd be done with me. And they would just wait for the next income to come in with me. I'm actually no, I'm more personal. I'm going to show up when you have a premiere. I'm going to show up when you have when you're on set. I'll ask, Hey, is there a way I can go on set just to see how you work so I can get more personal with you that way. I don't have to show up.
16:06I can relate to your other crew members that are in your family, and I can get to know them as well. So it is different in a way that I do do those things. I mean, I try to fly out as much as I can, if something's overseas, or they're in a different state. Of course, it's all depending on budget and schedule and everything like that. I would love to do those more if something shooting in Europe or shooting in Paris, and I have a production designer who's doing a complete build and a set over there. It's like, why not go and check it out. And even if I'm there for a few days, like it's, I mean, it's worth the trip to go to Europe, even for a few days.
16:36I mean, why not? And then visit a set that'd be beautiful. Yeah. So I try to as much as I can.
16:42Are you able to get like behind the scenes photos or videos or things for Instagram? Are you just completely autonomous? And when you arrive, you're, you're just a shadow, you're shadowing everything you're shadowing advisement, you're shadowing support and comfort and partnership. Is that how I'm seeing it?
17:05Yeah, 100%. And when you go to a set, a lot of times there's NDAs that you sign, you can't take any pictures, there's they want anything released. So a lot of times I come in as a shadow, I'm just in the background, I just kind of mingle with the person that I know. And I introduced myself to the producer and director to say hi, and thank you for going through our agency and stuff like that. But a lot of times, yeah, no pictures, unless they say we would love to get a picture with you, then of course, I step up and do that. But I never go right away and start taking pictures.
17:32It's like, I feel like that's a little bit inappropriate a lot of times, but I would love to because a lot of times it's super cool sets and I want to show people the sets and so I have to be restricted in that way a lot.
17:42It's almost, it's exactly like Andrew when I say to people, be careful of when you take photos with, you know, celebrities or well established people because you become a fan, and you don't want to become a fan when you're a leader, when you're a leader, you need to remain a leader.
17:57If the opportunity is there, great. You know, just like the recent Mission Impossible release with Tom Cruise, you know, whatever people want to do, they can do.
18:12From a journalist perspective and in general, I'm thinking to myself, you're there for Tom, you're there for production, you're there for doing your job as a journalist.
18:25And it turns into a fan, fan fandom type of thing and I'm thinking to myself, shit, this isn't about Tom Cruise, this isn't about Mission Impossible, we're seeing all these behind the scenes videos and these photo ops and everything and it's like, what most people don't know, and publicists may not come out and say anything because they want journalists to give as much free exposure to their clients as they can,
18:51because they're also building their agency and agency's name. But in general, it is extremely taboo that publicists do not like journalists taking photos with their clients.
19:03They don't like that sort of exploitation of, oh, you're interviewing, let's say, Tom or another cast member on there, and then all of a sudden it turns into a paparazzi type of theme, not an actual professional media-based style of journalism.
19:24Are you cognizant, Andrew, of those areas in your business being so different from mine, that as a representative, as someone, you'll never lose your production status? That will always be part of you and your life and your career, of what you've done in production.
19:43But do you see it in that way, the way that I do, when I think of PR and media, do you see it from a production standpoint as to how not only your clients are supposed to present themselves, but also the people around them and what they should do of proper, is it called decorum, I believe? Something like that?
20:05Yeah, for sure. I feel like when you go to a set, there is a very big political structure to things. You need to know not only your place, but you also have to know how you interact with other people on set, because everybody has to realize when you're on set, it's not about the job you're currently on, it's about the future jobs and opportunities that come about.
20:26So if you, for some reason, bring someone on set and they embarrass you, or they do something wrong, that looks bad on you and could actually affect you in future opportunities too. So you have to be very careful with that, of course. And I think the more respectful you are, the more people respect you and return, and then you'll get more work that way as well. So yeah, 100%. I think it's very important, the etiquette on set.
20:49Are you educating as well? Are you being taught as well? Are you learning? I always say a master is a student and teacher all at the same time. So are you learning as well as teaching all at the same time?
21:00Oh, 100%. Every time I go on set, I'm like, Oh, I had no idea anything about that. There's a new camera, there's a new volume stage, they're shooting everything vertical nowadays. It's always you can always learn something new in film and TV. It's like you have no idea what's going to come up next. So I'm always open to learning, even if I, I'm very comfortable that I'm going to do things wrong. Everyone's going to do things wrong. Everybody's human. So it's going to happen. I'm going to make mistakes. And then you learn from those mistakes, and you just keep learning. I mean, I don't think I'd ever want to stop learning. I mean, it's very,
21:30I find it very fun to learn things in film and TV and learning things about commercials, music videos, how people shoot things, why people shoot things, why did you choose this over this. And so my clients teach me and then I also give them feedback and teach them a lot of things as well, from my experience, because I was on set as well. So it helps that we can relate back and forth.
21:49Can we still rely on that human beings, especially in your field, will always be necessary? And that possibly the concern of AI taking over a lot of these jobs? Can we still have comfort that we are not in that place as of yet? Or can you not?
22:08Yeah, no, for sure. I feel like AI technology is getting progressively better very quickly. But there's still nothing that feels the same as if you're watching a movie shot by humans versus an AI technology shot movie, you can see it and you don't feel that emotional like connection to that. Because there's still just like that distance from it. When you shoot it, when you're actually watching a movie shot by humans, and from people, you can relate to it, you feel it, you feel it.
22:38You feel those emotions just from the script in general. So I don't think we're anywhere near those stages. And if even if AI became a thing where they could shoot a whole movie and a whole TV show, music videos and everything like that, there's still going to be that world that humans want to watch what humans make, not just what AI makes. And there could be a world where we have both, which could be fine, where we have AI commercials, but we also have human generated commercials as well. Why not balance both in a way and use them to our advantage, and we can make our life easier, but still work.
23:08If that makes sense.
23:38Your company is producing, directing, so we can get more immersed for something that is really becoming a relic. Because I believe you and I touched on this isn't the 70s, 60s, 70s, and 80s, even early 90s. People are ready to say, here's this film, here's Mission Impossible. Here's the TikTok, Instagram, all this other big, big hype. Go out and see it. Here's the premiere. And that's it.
24:07We don't learn what really went into making this film. So can you or would you ever think, Andrew, to have your company take us behind the scenes in your world, not on other people's productions, but something that you can create or something to where people or someone can follow you, your crew, if you have one, and teach us something?
24:34Oh, yeah. I mean, I feel like that would be amazing if I was given that opportunity to almost shoot a docuseries or maybe even just a documentary about the life of an actual below the line agent and see what exactly these people go through, what our company goes through, how we actually start from the beginning when someone has a script or they have something that's building from nothing and become something all the way to the premiere.
25:00And when it comes out, it goes to the streaming and people, a general audience starts to see it. I think you kind of miss that nowadays because things are punched out so quickly. You don't realize how much work has actually gone into just that one project that you saw for like 15 minutes, even a commercial or music video. There's so many people behind it, so many aspects to it. Why not teach the general audience that are not in the film industry how that actually works as well and go into the agency world as well and kind of relate both back and forth?
25:26I think people would really appreciate it and I would love to do that. That would be amazing.
25:30I want you to do it. We need it.
25:32Thank you. Yeah, I agree.
25:35Can you imagine if you were able to incorporate into it, Andrew, the enormous amount of stress, not only with budgeting, being able to finance. People assume that if you have $100 million, it's going to become a box office hit.
25:56And how much studios waste money. And even with independent filmmaking, sometimes there's not always realistic understanding of spending. You should have an episode designated just to share and highlight the responsibilities and irresponsibilities of financing, how to acquire money, how money is allocated.
26:22Maybe share a little bit, but you not do this, how it's misappropriated at times and going in areas it should not be going in. We're talking about jobs.
26:34And I believe once there's more exposure and more light brought to the position and positions that you and your clients and even everyone else is in, it would make for great conversation as to how we can all do better and work better in making sure there's less waste, there's better community, there's more conversation.
27:01And there's more appropriate areas and levels to step forward into doing things that just make more sense.
27:15Yeah, I agree. I mean, I feel like bringing a mind to something that's so secluded to in a way secretive, unlike just budgets in general, a lot of people don't know what goes into budgets and what actually the money is going to. Because in a way, there's almost like this, you don't talk about it. Let's keep it on the DL. Everybody gets paid a certain amount. Nobody talks about their wages. Nobody talks about their salary, how much they're making.
27:43I think the more we bring attention to that, the more open people will be to talking about money and wages and salary, that in a way that it'll help balance people's wages and salaries as well. Because people are more open to it. Oh, I know you made that much on that movie. I should be expected to make that because I'm in the same position you are. Why am I making less? And more people would actually be susceptible to getting people the wages they deserve as well. Does that make sense?
28:09Oh, absolutely. And would it stand to reason that it shouldn't matter whether you're a man or a woman? Taking consideration, you know, there's a huge difference of someone who has six months experience or someone that has 20. For you, how do you keep the balance not only, you know, with taking in consideration and respecting the level of education and time a person is put into the years?
28:40Within their career of choice, but also to remove – because one day it's going to have to be done – to remove the political aspect of, this is a woman, this is a man. Is there a way that you – have you figured out how to make it equal without looking at sex or gender or race in your career?
29:07No, I mean, even nowadays it's still a struggle. It's very challenging. There's a lot of people that still will pay people less, pay people more depending on race, color and sex. It's just unfortunately we're still living in that world.
29:21I think I am a big supportive of equalizing everything as an opportunity for anybody, judging on their experience, not on the person itself, but the personality, the politics, the stage that they are in their career, rather than just pay somebody because they're a woman a lot more money or a man a lot more money just because they're one sex or the other. It doesn't make sense to me.
29:45It's about their experience. And even as a man, you should have that experience to be at that level. And as a woman, you should be at that level as well. So I think it's all about experience, not just the person who they are. You know what I mean?
29:57Obviously, you keep it fair, or at least you do.
30:01Of course, yeah. Obviously, yes, 100%. I actually try to get people more money rather than less money.
30:08Of course.
30:10That's my job.
30:12Without worrying about what your cut is like most people do.
30:16Yes, exactly. It's the long term investment for me, the relationship with that person, not just about the cut. It's about growing someone's career so they can get to that level. And then if they start do making a lot more money, they respect what I did. And then they hopefully will want to pay me a lot more.
30:30I believe they will. And you brought such value in conversation that we had in our first round. And it's very clear, you refrain from using buffer words, you don't really have stutter moments, your brain just seems to work seamless, and it's like a heartbeat.
30:57It's smooth. You're smooth.
31:02Oh, I appreciate that. Thank you. Yeah, I love that. Thank you.
31:06I've noticed you don't use filler words rarely. I haven't counted. I haven't recognized it. I like it. You're polished.
31:14Oh, I appreciate it. I try.
31:17Although there are some challenges every day because I believe in this agency and ideas, no matter the outcome, it will all be worth it. I give 100% to my clients and the agency. So there are no regrets. You were at an event and back when this was written and published. It looks like it was Magic Castle.
31:43You married, is your wife?
31:46Mm hmm.
31:48Because I believe she's in this photo, if you recall.
31:53Yes.
31:55Is she the one in a red dress?
31:58I'm not sure. Blonde. She's blonde. I can't picture the picture right now.
32:04Has to be her. There's another woman there. She's wearing a blue dress and a blazer. But I believe your wife is probably the one in a red dress. Oh, wait a minute.
32:14Most likely. She's like my height, kind of.
32:16You're a little bit taller. She's stunning.
32:21I like the balance both of you bring to each other. You guys were at the ASC Awards. You're welcome.
32:26Yeah, thank you. She's a DP as well. So she works in the industry. She's working on the show The Pit, which is on HBO right now. So she's a DP on that, which is very successful. She's doing amazing things.
32:39And your agency is the one representing her?
32:41No, no, no. We keep that separate.
32:43Do you keep it separate?
32:45Her agent's doing a great job for her. So there's no reason to come to me.
32:49I like this. You wrote, so many crew members struggle to find work on a regular basis. And when they work for a long period of time, maintaining those connections are nearly impossible with the hours on set.
33:03In addition to that, being able to change positions once established can be super difficult. How do people keep steady workers? Is that something that you build towards?
33:19It still blows my mind how a lot of freelance positions or freelance crew members can find jobs while they're working jobs and keep a schedule and keep working consistently.
33:33I feel like focusing on the job you're shooting right now, not worrying about the next job or the previous job and balancing all those is such a talent to be able to do that.
33:43And that's what I love to do, too. I like to have that person who's on a shoot right now focus on the shoot.
33:50And I can actually get them onto the next shoot without them trying to get out and going back and forth, back and forth.
33:55I can help relevate that little bit of stress and kind of pitch them on the next job and kind of balance their schedule a little bit more that way.
34:03It doesn't happen all the time, but it's a good way to kind of balance that as well.
34:06And then going from a position to another position is even more challenging.
34:10Let's say you're a camera operator and now you want to be a DP.
34:14I mean, it's such a struggle because you've worked in the industry for so long, you're typecasted as that position.
34:20How are you going to make the leap to something bigger or a completely different position when everybody knows you as that?
34:26So it's very challenging and I can help kind of build that as well to kind of go into that position and make it a little bit easier, even though it's still super challenging.
34:34Do you need to go back to university or how do you do it?
34:37No.
34:38They don't require you to have a degree or certification?
34:41No, nothing like that.
34:43But it all depends on how much experience you have.
34:48So let's say you are a camera operator and you want to be a DP.
34:51You're going to have to completely give up camera operating and go into the DP 100%.
34:56So there's going to be a huge gap in your work for a very long time and you have to be able to work and make money still.
35:02How are you going to do that?
35:04So it is challenging because you can't take those camera operator jobs anymore because then people are going to go back to hiring you as a camera operator.
35:11You have to be able to give it 100% to the new position or new job or whatever you're doing.
35:16So going back and forth doesn't work.
35:18It makes sense.
35:19But why?
35:20I mean, why can't someone have the flexibility when they have that skill and that talent?
35:25I would think that that's more of an asset than to say, no, you need to stay in one lane.
35:31Yeah.
35:32I mean, I think so, too.
35:33I think camera operators and DPs go hand in hand.
35:36But let's say a different position.
35:38If you're a first AC and now you want to be a DP, you aren't going to be able to do both because the DPs are the ones that are hiring you as the first AC.
35:47So if you go in there saying, I'm going to be a DP, that DP is going to stop calling you as a first AC because they're going to see you as a DP now.
35:54So then you start losing those jobs.
35:56So you need to be able to give 100%.
35:58I don't know if I would change up once I found something I'm exceptional at.
36:04Yeah.
36:05I agree.
36:07First ACs I think are super talented and they give a lot of work and it's a long time to get to that level.
36:13So jumping to a new one, you really have to be invested to do it.
36:16Yeah, I mean.
36:17The big change.
36:19Is it worth it?
36:21A lot of times creatively it is.
36:22I think first ACs are more the grunt and they do a lot of the work and the heavy lifting and they're more like behind the scenes.
36:30The DP gets a little more of the spotlight.
36:32You can be a little more creative.
36:34You get your name, you get recognized as a DP on these shoots.
36:37First AC, nobody really remembers the first ACs unless you're in the industry.
36:41But a DP, even outside the industry, people know Roger Deakins.
36:45They know all these bigger DPs.
36:47Greg Frazier, they know the names, but who knows the first ACs?
36:50And that's what I really want to do with the agency is kind of highlight these people that don't get the recognition.
36:56Who are these ACs that are working with the DPs?
36:59And they should be recognized and have their names out there, more popularized.
37:02They're like, oh, that person's amazing on set.
37:05That person works, pulls focus like crazy.
37:07This person's really good and politically on set and works creatively as well.
37:11So there's a lot of things that go into it.
37:13Is there a restriction that you guys have when we think about interviewing?
37:17Because you're very open, but you're independent.
37:20Let's say if I had a DP on or intimacy coordinator, do they really have to watch what they say?
37:34Even if they're not speaking about a specific project, do they have a parameter that they can only step forward to and never cross?
37:44I mean, I think it just kind of depends on the person because everybody's kind of freelance when it's coming to the below the line people.
37:50So it's like, of course, I think you should be careful what you say, like everybody, if you're on some kind of press or anything like that.
37:56So you have to be careful with what you say.
37:58But also, I feel like the more open you are, the more people can relate to you, too.
38:02So you should be honest with certain things.
38:04So I don't think there's any strict parameters on one way or the other.
38:08But I would give my advice and be like, maybe you shouldn't say that.
38:11Going back, I don't know if this is still relevant.
38:16You said COVID made all of this even harder and made us all rethink how we should balance our work and life.
38:24The pandemic gave me gave a lot of us time to think and reconsider what they wanted out of their work situation.
38:33That's where the agency comes in with the promise to facilitate all the above.
38:40Are we still or let me rephrase, are you and your team and your crew still in the residue of the pandemic?
38:51Or have you bounced not back, but have you bounced or jumped forward into having a more balanced life?
39:00Or have you bounced forward into having a more balanced career and just being done with all of that?
39:07Yeah, I feel like the pandemic in a way has been something in the past.
39:13So it is getting a little bit better.
39:15There's not as much restrictions.
39:17The industry is bouncing back a little bit more.
39:19There's other issues, of course, in the industry that are going on right now outside of that.
39:23But I think the pandemic was the big thing where people started to realize, I want to have a family.
39:28I want to have a personal life along with my career.
39:32Pre the pandemic, I think people were working crazy hours, focusing on their careers only.
39:37And then when all of a sudden the pandemic happened, people were at home and they were like, what do I do?
39:42I need hobbies.
39:44I need to do.
39:47And after people going through that, they start to realize, I want to keep those.
39:51I have a personal life and I want to be able to balance my career as well.
39:53So we're still bouncing back from that in a way that people are going back to these crazy hours.
39:58People are focusing on their careers again.
40:00But they're trying to balance those hobbies and doing a personal life and families and trying to work with both.
40:06And I think that's really challenging still.
40:08I hope there's resolve because.
40:15I don't know where to go with that anymore.
40:18I just don't.
40:19I think it's every it's not even just the film and TV industry.
40:22I mean, it's everywhere.
40:24I mean, careers, personal life.
40:26It's such a hard balance.
40:28I mean, it probably for you, too.
40:30It's probably super hard.
40:32You're so busy all the time working crazy hours.
40:34I have.
40:36I do.
40:38And I make it a point.
40:40That I'm going to make time for me.
40:43There's no reason not to.
40:45I have perfected.
40:47The way that I do.
40:49What I do.
40:51I know my system.
40:53And I have systems in place to where whether it's a producer, director, media, PR, interviewing.
41:01I know where they all fit.
41:04I know how much time is needed.
41:06I know how to assess a project.
41:08I know how to assess certain people who's who's involved or may be involved.
41:13Certain contingencies.
41:14Having a little bit of buffer.
41:16I'm glad you said that because I feel absolutely yummy inside of how that's awesome.
41:23I am serious.
41:25That's amazing.
41:27That's respectful.
41:30Well, when you live 51 years, you should be able to develop a lot of good or a decent amount of skills and systems to know how to sort out life.
41:41So not only do you not allow life to drive you nuts, but you don't drive your own self nuts.
41:48Totally.
41:49Yeah.
41:50And I like that you said that because I think experience is the big thing.
41:54Like when you have the experience, you can kind of balance a little bit better.
41:57But these newer people coming in the industry, they're focusing on 100% career.
42:01They need to realize it's the long game.
42:04You can't just like go 100% all the time.
42:06You need to have a life and balance everything.
42:08So the experience does help a lot.
42:09For sure.
42:11Your generation is overwhelmed, probably going to continue to be overwhelmed and inundated with such nonsense.
42:24It's like, why?
42:26It's like, how do you guys have time to breathe?
42:29You will reach a point and you don't need to wait to your 50s.
42:32You will reach a point to where you will be internally, externally.
42:37You will feel, you will say, you will think, and you will believe, I'm done.
42:43And when you get to that point and that place emotionally, mentally, all the above of I'm done, things will collapse away.
42:53It will be fun.
42:54It will be exciting.
42:55It may be slightly scary.
42:57You will.
42:58You will not have to do anything because you will just exude this power and empowerment of I had enough.
43:09And when life, energies, people, situations, and circumstances know you're not going to entertain it anymore, why bother?
43:19It's like, how often are you going to be knocking on a door sooner or later?
43:25Someone's going to realize you're not answering.
43:26And if you're not going to answer, what are they going to do?
43:30Sit down and be uncomfortable and wait by the base.
43:34Why are they going to open or are they going to leave?
43:36They're going to leave.
43:43I like this.
43:45You said dedicate time to learn and post on a daily, weekly, or monthly routine.
43:51Engaging your audience on a routine basis will keep your followers coming back.
43:56Keep up with current events that relate to your company and audiences.
44:01Are you still doing that?
44:02How are you now?
44:03And just before you answer that, because I know you're holding it, we're doing where are you at now?
44:10This we're going back to October 12th of 2023.
44:15Oh, wow.
44:16Okay.
44:17October 12th of 2023.
44:19That was your interview with Canvas Rebels.
44:21So once again, where are you at now, Andrew?
44:25When we think about what you had said back in 2023, dedicate time to learn and post on a daily, weekly, or monthly routine.
44:35Engaging your audiences on a routine basis will keep your followers coming back.
44:40Keep up with current events that relate to your company and audiences.
44:46Yeah.
44:47I mean, it was definitely a learning curve at first.
44:51I feel like in social media, you have to find a way to be a little bit different than everybody, but also relate to everybody at the same time.
44:59So I think when the agency kind of started, we were posting a lot of branding content that maybe didn't really make sense at the time.
45:06Or we're trying to do something that wasn't really us.
45:09And now what we did was we started focusing on our clients and doing spotlights of them and their work.
45:15And I think that's what's driving people to keep coming back because they want to see what our clients are doing.
45:20They want to see what projects we're working on.
45:22What is out there?
45:23What's new stuff that's coming out as well?
45:25So what's streaming right now?
45:26What have our clients worked on?
45:28So it was a little bit of like, what are we posting every day?
45:32Should we post every day?
45:33Should we post every week?
45:34Should we post every month?
45:35Should we post something that's actually more exciting and we wait a little bit till the perfect time to post it?
45:40So it's a little bit more of like a game and you kind of figure it out rather than you just post on a routine basis all the time.
45:46You should have some kind of consistency there, some structure when you're doing it all the time as well.
45:50So it's a little bit yes and a little bit of no.
45:53So we're doing things a little bit different.
45:55Sharing your personal life.
45:56Has it worked for you, Andrew?
45:58Yeah, I think so.
45:59Has it worked?
46:01Yeah, a little bit.
46:02I think it's a little scary.
46:04I'm not used to the spotlight at all.
46:06But I think it helps a lot because people can relate to someone who's a person, not just a company.
46:11It's like people see my face a lot more than just a company brand name.
46:15And when people see a face, they're more likely to talk to you and work with you and develop that relationship.
46:21So it's scary, but I do.
46:23I like it.
46:24Well, unless you are a fake AI, what would it be?
46:31Icon or something to where you're just digital and you're just robotic.
46:35I mean, we need to know who you are.
46:37Yeah, for sure.
46:38You're fabulous.
46:39Oh, thank you.
46:41I appreciate it.
46:44Is there anything else that we should know about above, below the line?
46:50How, what, where, when?
46:53Where do you want to go with this?
46:54This is your moment.
46:55This is your time, your spotlight.
46:58Where do you want to end?
47:00I think the big thing is right now with the industry being so challenging,
47:04I think as long as everybody in the world still is developing and wants to be in film and TV,
47:11and they have that drive and energy to do it, they should be doing it.
47:14I think a lot of people are starting to give up or they're starting to move away
47:18because it's getting very challenging now and people can't make a living.
47:21And it's like, of course, that's very difficult.
47:24But I think the people that are going to stick with it and focus on their career
47:28and just kind of dive into it and keep holding on,
47:31they're going to reek a lot of benefits when everything starts to come in back.
47:34And I hope a lot of people will still have that energy to do that.
47:39I appreciate that.
47:41I want to thank everyone.
47:44Please tune in to Live on Air with Stephen Cuoco on Power 98.5 Satellite Radio, Power985.com.
47:50We are live 24-7 on the iOS or Android app.
47:55Apple Music, very proud to be on Apple Music.
47:58Love it, love it, love it.
47:59Alexa, Streamr, TuneIn, MyTuner, Live FM Radio and more.
48:06Not only do we have www.AboveBelowTheLine.com as the go-to.
48:12Website looks perfect and polished.
48:14Where else do you want people to connect with you at, Andrew?
48:18Instagram, LinkedIn.
48:19They can go to ABL Agency, Above Below The Line Agency, any way to search.
48:24Just kind of follow us whenever we can or wherever you see us and stay tuned.
48:29Any closing thoughts?
48:32No, I think that's great.
48:34Everything has been lovely.
48:36I like it.
48:37And I like your background.
48:38Is that your studio?
48:40This is actually the office that we work out of.
48:42Is it?
48:43I like it.
48:44I really do like it.
48:46Got a lot of light coming in, which is breathtaking.
48:49And the tree looks like it's doing well back there.
48:52It is.
48:53I think it's a fake tree, so I appreciate it though.
48:55We're just going to consider that it's a real one and you guys do a great job.
48:58Never said anything.
48:59Look at the light.
49:00I mean, it's thriving.
49:03Thank you for being with us today.
49:04It's an honor.
49:05I'm here anytime you want to come back on.
49:08If there's projects that you would like to dissect, whether they're favorite or not,
49:17to encourage you to add that into your own content, break it down for us.
49:23I mean, really, really break it down so that we can understand why.
49:29So that we can be more immersed in just being like, oh, hey, here's the A-list star that's in a film.
49:35Here's how much money it costs.
49:37Here's the fabulous theater we can go and see it at.
49:40And by the way, get prepared to spend $60 on barely no snacks.
49:45And we hope you enjoy the film.
49:48Right.
49:49Yeah.
49:50I mean, I would love to.
49:51Let's do more breakdowns and figure that out.
49:53Get the more general audience knowing what's going on in the film and TV, which would be awesome.
49:58I would love to do that.
49:59Well, this is your area.
50:00I want to learn from you.
50:01So you teach me.
50:02This is your, you know, I'm a journalist.
50:06This is your lane, my friend.
50:09I'm not going to get in a car and try to drive in your lane now.
50:14And vice versa.
50:15I'm not doing what you're doing.
50:18Thank you again to everyone.
50:20And if you happen to not be part of this live, you can always check out live on air with Steven Cuoco on any one of your favorite podcast stations.
50:30Also, you can listen to this live episode as we re-air it by checking the schedule on either the app or power985.com.
50:42Hope you're having a great day.
50:43Stay blessed.
50:44Be well.
50:45Happy creating.
50:46And if you want to get a hold of Andrew and you're part of the film industry, you got the Instagram, you got the socials, and you can also go to www.abovebelowtheline.com.
50:58Take care.
51:16Find us on your socials and let's connect.
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