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The videos I put on YouTube have expanded my audience beyond what I could have done at just a Hamburger Mary's. People saw the videos, started booking me, and literally 40-plus countries and thousands of gigs later I can basically say that YouTube has bought me a house.
My sister was always supportive. When I first moved to L.A., she was like 'I know you can do it!' But my parents, in the beginning, not so much. They were kinda like, 'I'll believe it when I see it.' But when I actually started booking things, my dad was like, 'Oh, I knew it all along.'
In N.Y.C., I auditioned for mostly 'quirky friend' roles. Since casting directors in L.A. lacked a preconceived notion of me, I was able to reinvent my type a bit, which was essential in booking the role of Amanda on 'Ugly Betty.' I don't believe I would have auditioned for that role in N.Y.
Maps help us in tracking our cabs - if they're idle, headed for a booking, or in the midst of a trip. With custom systems built atop maps using available APIs, we are able to manage our inventory extremely well, predict ETAs for customers, and optimally allocate the nearest cab to a booking request.
The power of a label and radio and a booking agency and all that - you never know until you experience it the first time, but being able to have a song on radio, but then go play a show for people that have heard the song on radio, and having it sung back to you, is - I don't know how to describe it.
A couple months before I got the audition for 'Arrow,' my husband and I had just sold everything we owned, packed our dogs and belongings into a truck, and moved to Los Angles with a prayer and almost no money. When I ended up booking the role, we both cried from joy and gratitude for a week straight.
It's just one of those things. When you're a wrestler you're thinking about one guy, yourself, your character and whatever guy it is you're working with. When you're a writer and you're kind of in a booking type role, you're thinking about the entire roster so you're thinking about wrestling 24 hours a day.
I did two matches for WCW, for 'Saturday Night' and for 'WorldWide.' Scott D'Amore was booking the extra talent. I remember I was really torn about it. I was like, 'Hmm... I don't want to do that. I don't want to just be an extra guy. I want so much more than that,' but I was flat broke, and it was 500 bucks.
We toured the U.S. and Canada for two years, which was a lot of fun. It was very much a do-it-yourself, punk-rock ethic of booking your own shows, sometimes sleeping on the floor of the club you had played or meeting folks that would take you in, or sleeping on the side of the road or at rest stops in the car.
I give myself homework when I have an audition. I give myself goals, and that's how I check how I'm doing. It can be something simple like 'listen,' or 'find your feet.' And then afterward it's an assessment, so in a way it's not about booking the job or not. It's about what I learned as an actor about that character.
We did wanna change the name. We were actually putting names in a hat. It was the people making an income off Motley Crue that talked us out of it. The booking agent was getting them between a half a million and a million dollars a show as Motley Crue. Then there was the manager who got 10 to 15 percent off Motley Crue.
In L.A., if you're in improv, and you're on those stages, all the big agents and managers and producers are watching those shows. They're not flying to Chicago to see the show. People are booking jobs off the stages in L.A. who aren't more talented than the guys in Chicago. But the most guys book out of L.A., and the second is New York.
People can say what they want about Eric Bischoff, and I've heard a lot of people make negative comments about him. I'll comment on his booking. His booking is not what I look for in wrestling, but that said, I will always be appreciative and thankful to Eric Bischoff for offering me the contract he did, when did because it saved my financial life.
