So I went to school, University of Arizona. I had a B F A. Ah major in theater production, and I really didn't know what I was going to do after graduating. I was not one of those color students who had a plan. I knew I was getting through college and I could put one foot in front of the other, but there was no grandiose plan what to do after, you know, life opened up and I was free and I'm supposed to support myself. But I had an option. I could move to the Los Angeles or I could move to New York since I was in the theater, industry and film industry. And I have a lot of friends who are in Los Angeles, and I also really like the warm weather, and I still like to driving. So having a car was something that was important to me at that time. So off I went to Los Angeles and I ended up first, doing a lot of temp agency work production coordinator, assistant art director, things along those lines, and within about four months, my parents said, you know, this freelance gig thing that's great but I would love for you to actually be able to pay your own insurance. So why don't you start looking for a job that's not within the production industry and something that's more 9 to 5 and they didn't really get it. They didn't get Hollywood. They didn't get the idea that you could actually make quite a bit of money doing freelance work, so I didn't really know either. So I went off and I got the job, and my first job was a little challenging. There was a lot of inter office politics, and quite frankly, I cried driving to work. I cried on lunch breaks. I cried driving home, and I was told at the time that you know, you stick out your first job So I did stuck it out eight months in, still sticking out when I realized that was it, and I ended up applying for a job for a product placement coordinator, and I didn't really know what that was either. But I knew that it was being advertised in the Hollywood Reporter and that I would be working on productions. And in college I had started a school run student theater and I had funded it through other brands, so it made sense to me to go after it, and I got it. And I actually ran the company for over a decade. And after inhibiting the proverb, royal, you know, glass ceiling, I left and started. Hollywood branded my own agency back in 2007.

Okay, so what responsibilities and decisions do I make? I own an agency, I make every decision, and I'm responsible for everyone who works for me. And I'm responsible for all of her clients. So there's a lot of responsibility there. Um, so everything that goes on at the end of the day, whether an employee makes a mistake or a deal goes wrong ends up being my responsibility to make sure that we fix it and that we have the client be happy. Eso weekly work hours are by no means healthy at all, not something I would advocate unless you are a true workaholic, and you can try to figure it out and make sure that you one day marry a spouse who could be supportive as well, because being an agency owner means I'm working. You know, there's some days and 18 hours a day. It could be very, very long, depending on what's going on. We have clients who are all over the world, so we might have calls are going on in China or in Japan or South Korea was required late night hours. We have production deals that no might start very early in the day, so there's a lot of time

okay, challenges and not my job. So part of my job is an apartment agencies job is to get our clients into movies and TV shows. So we do product placement when you're watching a movie or TV show and you see someone wearing a certain brand watch driving a certain car, drinking in a certain soda. We work with deals like that, and a lot of those deals have a lot of legs to them. So there's a lot of build out on development. It's not something that's necessarily an easy Oh, just make that happen. So when we're working for our clients were literally getting them cast in roles, and we're working with the director and the producer on the prop master on the set decorator and all these different people and things go sideways and things go sideways aid a lot. So you know, part of it is, there's the language of what the client wants. So corporate America is very used to when they're paying for some things, example of getting a script, knowing what's going to happen, having it all detailed, being able to actually control what the messaging is in an ad, right? They're paying for a 32nd ad. They know this. They have a team, not how it works in Hollywood. In Hollywood, it works where there's a creative team, and quite frankly, they're trying. Decide if your brand is going to enhance their film, their TV show, their story line and the creative types. They're not really Business E. So they're not worried. No messaging as much. And they're not worried about, you know, making sure the brand's all comfortable. They're trying to create a really, really good product. So my agency bridges that gap. So we are the ones and speak the language of the production where the created folks are and were there to reassure them and also there to make sure that they're very educated on the client. And we do clients speak right production speak client speak. So we're able to actually get the production to understand the goals of the client and negotiate those while at the same time, we're working with our clients who are the ones paying us to make sure that they understand that you know you can't be full in the face of something that will be your TV show because then It's not organic and you know everyone listening here. No one likes product placement being thrown down their throat. That's no go, right, So it has to be organic. And it has to be something where it makes sense to this story. And it's still also has to be with a good guy character, right? It has to be something that brings the brand up. So there's lots of things that can go on at any one time that we try to make sure where it doesn't go off the rails, No.