Hollywood 101: General Advice About Hollywood & Commonly Asked Questions

The. Question, I get asked the most is how, do I find an agent I wish. I had an easy answer for you it's, different, for everybody, I'm so sorry it's so hard I'm so sorry I wish, there was like this, is how you do it I wish so much I could do that heart of your hustle and part of your journey is going to be how do you find an agent I would say the, vast majority, of people these days I think are getting agents, because they were assistants, or pas. That were, able to work their way up at a show and get. An episode and that, episode led, to the possibility, of a staff job and that's, when an agency would. Come in I think, the other way is some of these programs if, you were get, into an ABC or NBC or CBS program. Then. Sometimes, agents will come to you basically. There needs to be some sort of vetting process, it's hard because there's, so much material out there something. Like some of these programs something, like working your way up on a TV show becomes. Really essential, because it means you've already gone through a process and you're already on your way and it makes agents easier. Agents, easier to acquire even still, like my own assistant who's brilliant. And very very funny and has been working the process for a long time six. Years to get an agent and she's. Amazing, and worked for me and and, there, was a lot of phone calls along, the way until finally they said yes. So. Your overnight success, might take a while guys and that's, okay also, your first agent might not be the agent you have till you die you know like that's okay it's not a marriage. It. Can be like we're gonna figure each other out and maybe we're gonna stick and maybe we're not gonna stick and you, can walk away too at, any time if they're not doing their job do I need a manager and an agent no, not, when you're starting out especially, you really don't here's, the trick though it's. Easier, to get a manager than, it is to get an agent because. Managers. Technically. Can be anybody, an agent. Goes through a whole process and. They have an agency behind them agencies. Have a license, to make deals for you managers. Don't. What. Managers can provide, is emotional, support, guidance. They. Can be if you're a is, not, very active your, manager, can be active your manager, can set up the meetings and the calls at all, of the studios they can do all of that for you and while, you're waiting for that agent, they should be where, the agent, becomes integral, is during, staffing, season to, get you into those rooms and to make sure that once you have an offer they're negotiating your deal so. You, don't need both but. At the beginning it's, often. Easier to get that manager, so that you can get the agent and then you have to have the manager for a period of time because they, got you the agent. The, manager, agent difference. The, manager, is supposed to look. At your career and take. Your career into, consideration. When vetting, job offers for you the agents are supposed to be getting you meetings to, go on shows it might not be for stuff that you're necessarily right, for or not right for I say, go on every, meeting go, to every meeting because you don't know there. Might be somebody there that three years from now might might remember you for something so I say say yes to every meeting you can go on I do feel like the first thing that a manager can do or an agent can do when they find you give you notes on your script, tell. You what they liked and didn't like and if it requires a rewrite or if you need new samples. Some. Sort of sit down or you get very specific about who you are as a writer what, is important to you to write what, types of shows you want to write on and making sure that the samples that you have ready to go support. Everything. You've talked about okay, then, they're all on the same page then once they're all on the same page you should be going out and meeting with executives. People. At the network junior. Executives. Assistants. People. At all of the networks and studios so, that people around town start to get familiar with who you are and what you write so, that when pilot season does come around and they're looking for punch up rooms or they're looking for people to try out your, name will come up as somebody that they should consider everybody.

That You can meet that's gonna be singing your praises every single person who can possibly put a phone call in for you so that if you read in the trades oh my god this is a show that I'm dying to write for who. Is the person who is the production company oh my gosh I've met somebody at Sony or I've met somebody at Pappy, Madison, I'm gonna put a call in or an email in or tell my agent to follow up with them so that hopefully I can get in there you, need to do that homework you need to know who the production company is which leads me to pods. Pods. Our producer, only deals that, every studio has happy, Madison is a pod. Norman. Has Norman Lear has act three productions, I have, glow, nation Mike Royce has snowpants we all have these little production companies, that we are constantly developing, our own material, out of some, are very small like mine - me and my assistant that's it we're, tiny, but, happy Madison has a bunch of a. Junior, executives, that are reading and constantly meeting new people and as they as projects, are coming up they want to hear them after, you've done the executive, meetings you'll, meet with a pot and maybe they have an article or a book or life, rights on somebody, or they. Want to do a reboot of an already existing show, and, they'll, say what's your take on that let's hear what you have to say about that thing, so, pods are really important because they again, make the world a little bit smaller first, you have these humongous networks, then you have these studios that work under the networks then you have these pods and the, pods can sometimes be a great way in and the other nice thing about pods is that, they are your partner, so, they can work with you on these pitch documents. On how. To lay out the pitch on these meetings, because they have people that they already, know because of their relationships, that, they can introduce you to so. If a, pod meeting is something that you go on they end up liking you they think you're really cool maybe they'll consider you if one of their pilots get picked up or maybe they'll want to develop with you developing, with you means that they have an idea that they want to work on with you to take out to market you don't get paid for anything until, you sell that but, you might go through the process, with them because you're gonna learn a ton by going through the process with them here, are people that it's their job to read stuff to read pitches, to, go through this stuff you can learn a lot, by working with a pod so. That's, what a pod is and then you go out and you pitch and usually, you're pitching with a pot even if you just have an idea a lot, of times your agent will recommend, that you, go out with a pod with your original, idea so, you'll pitch your idea to various pods they'll, say oh that seems in line with what we like to do here at our pod, and we're gonna help you develop it even further and and get, you to really, refine this pitch even more and we're gonna now be attached as producers, and we're gonna help you to, groom you to make sure that you are really ready and we're gonna be in the room with you and we're gonna be, fielding.

Questions With you and supporting, you as you go out and sell this pilot so, for, one day at a time acts 3 was our pod and we went out with Norman but I've gone out with so many pods in the past and, they can be super super helpful as you're, learning and and facilitating. How best to do this you've got to find your people, you. Have to find your people it is vital. Nobody, can do this alone maybe, it's joining a theatre company. Maybe, it's at, your workplace you're able to find people that also shoot things and also want to make stuff if, not, take. A class now, classes, can be expensive, but. I think things like Groundlings, UCB, and the Ruby and all of, these are great resources not, just for. Classes, so that you can learn and grow as a creator but, also for you to meet like-minded people, you need to start finding your people to read your material to, go over auditions, with you to. Read. Your specs before, your agent reads your specs and give you notes on it also finding people that hold you accountable and, that you hold accountable, so, that you can say we're writing we're gonna write every week we're gonna bring new scenes in every week and we're gonna meet but I really, think it's important to have some sort of tribe the, other reason why a tribe is important, is because if you're building this group of people that you trust and that you like and that you, respect you, can do things like I'm gonna go pitch a pilot for the first time can I pitch it for you guys and you guys give me notes. Vital. Vital. To have a group of people do grunt work with a smile when I was teaching at the college level I taught at Loyola for a while I would have a PA come in and talk about being, an awesome PA, because. If you, are an awesome PA people. Will remember you they, remember, the people that bring them the food and the cold drinks and the coffees and if. You crush, at that and then. You come to these people after working with them for six months and getting their coffee and making sure their lunch was on time and you say can you read my script I bet, they're gonna say yes because, that's the other thing nobody has time to read anything but. If, it's somebody who's been crushing it for you you. Sort of feel beholden to, do it right so how do you become that person I just talked to a PA recently, who had been on a show and, he. Was asking me if he could work for me and I was like you just were a PA don't what about those writers and he was like oh I never talked to them I'm like what, then. Shame on you you were in that system, your, job to be is to be there and to get to know them and to show them you're amazing, and to, find a way to ingratiate, yourself without, being annoying I mean look it's all a dance you got to take the temperature all the time am I being annoying am I being a, crazy, person am, I being too, quiet, I mean my thing was too quiet my. Thing was. I didn't want to rock the boat I wanted to be pleasant and likeable when. Sometimes I had funny things to say but I was too afraid to say them right it all it, takes time to build your confidence in that way it's, not something you just get over night but try to do that grunt work with a smile please don't be a jerk to pas that's, there's, one thing that I always get on ryders about is when they're being direct RPAs look, there's general things to guys like not, everyone's gonna like you sometimes, for no reason. Or. Reasons you're just not going to know maybe you remind them of you're their, exxor, or, a babysitter that was mean to them or I don't know there's some writers I've worked with that. I was not for them I was not their person, and we were not gonna as hard, as I tried, it wasn't, gonna happen and I'm, a crazy obsessive, person so I would. You. Know sit in that again and again and what can I do and what can I do and it would move, me away from doing the work of the work so. Try, not to get so obsessive, in how. You, know and in who likes you and who doesn't like you what's most important, is are, you effective, at doing your job are you being helpful are you being additive, if, I could tell myself something during, that time is who cares if that guy doesn't like you don't. Let it take away don't let it make you shutdown, in the room so that you're not saying anything and you're not being, additive, you're, not finding. Solutions, and providing, constant solutions, and pitching and pitching and pitching and who cares if they don't like that idea because they might like this idea so. I think a really big thing is to come in as, positive. As you can be as happy as you can be don't be obnoxious and, over-the-top and rude to people and, make. Vendetta's. And who gives who cares about all of that try, to be good at your job and try to get better at it if you feel like you're, not doing very well try.

To Do better I would, also I wish I had told myself to be more communicative, with my bosses so, you have to try as much as possible to, be the solution, I wish, I had gone and spoken to my bosses more I wish. That some of the things I had sat through I hadn't, sat through and I had told people that it bothered me I didn't, I take, ownership of that now but, I didn't at the time and I think there could have been ways that, I could have been more productive early on had. I been more proactive about. What my position was why I was there what, job I had to do and how I can be effective, in making sure the showrunner and the. Number, one are getting, a thousand, percent for me to make this show better etiquette. This. Is a big one pull other show runners read, other show runners tweets. Because. Every one is a little bit different I will tell you from my perspective I, am. A mom I like. My husband I, don't. Get to spend enough time with my family doing this job so. Anytime, I am with them I want to be with them and anytime I have available to be helpful I let, Twitter know I'll say, hey I'm available right now and answer questions and ask me questions because my kids are asleep or my husband's out of town or whatever so. During that time I'm quite happy to answer questions, for people the, thing that, I think. People don't understand, is, asking. For more when when, people are being giving to. You is rough. Man if I'm, doing a panel and I'm taking a Saturday, and I'm, gonna go there for two hours where they're not paying me and I'm not at home with my kids playing. Or, or, pushing. Them on a swing set I've chosen to be there with you don't, ask me for a job don't. Ask me to read your script because, that's asking for more that's, asking for more when I'm already giving for, free this, thing so. I see that a lot I see that. Afterwards. We do these panels and people will come up to us and man. If they're asking if for me to read a script or for me I mean it's just it's rough it's, rough what. I will say is you. Can introduce yourself you can say hey my name is hi. My name is Gloria I love the show thank. You so much for doing this today, I'm. A comedy writer one day I hope to work for you awesome. Well it's really nice to meet you I hope that I do get that then you can go to your agent, and you can say hey I just met Gloria and. I. Would like to you know can you just kind of do a follow-up and just say we met at this thing and if they're ever looking for something that's appropriate then I get an email from your agent it's like hey you met at this thing if you're ever if you ever have any needs this is what she writes and here are the samples and that's perfectly appropriate because. Then it leaves the ball in my court if there's something if there's ever an availability it doesn't. Make me feel like an asshole for giving you my time if, however. I'm at an event and you're asking me for things that I have to now say no to I it, make it turns me into a jerk and it turns whoever you're asking, into a jerk you, don't want to do that same. Thing is true on Twitter on Twitter it's like give me a job or read my script or here's here's a link to my movie, come. On guys I get it I get that the Hustle is real I get that it is rough. Out there and everyone. Is trying to do everything to get, seen but. There are appropriate places and inappropriate, places and look, for a different showrunner. Maybe that's gonna work, I think, we're often enough they're not gonna look at it and they're, not gonna love it it's gonna bum them out when they were just trying to do something decent try to think of etiquette, try to think of appropriate, ways to, interact with people and what, is the best way to do that and I think I think the way I've Illustrated is, probably, gonna. Serve you better than, handing somebody a script when you see him after an event how to get his scripts in the right hands, hustle. Hustle. Become. A PA try, to figure out a way to get into a PA, position, or a writers assistant position. To, all of the programs submit to all of those programs those, are the best ways I think to, get your material read right now I had a show on, the. Air and, I still had tons of pieces of development, because, the Hustle is it never you're never like I've. Now made it in Hollywood, and you put your feet it does that that doesn't happen that day never happens, you're, constantly, hustling, you're, constantly thinking what's the next thing I'm gonna write what's the next thing I'm gonna work on what is this show, well. What if we can't make it anymore what else am I gonna write what.

Does That look like so I'm constantly, asking myself those questions and it's the same stuff you have to ask yourself, when you're making stuff like if. Not this idea then this idea you might work for a year on the perfect pilot and then your agent hates it and they don't send it out and so you got to write something else this, is the gig all right we're gonna do some frequently, asked questions and some questions that we got from Instagram and Twitter so, here we go. I. Would. Say in interviews if, I am having a showrunner meeting, with you I've already read your material, I've, already probably called around about you, and, I have a need I'm not meeting people unless I have a need because I don't like to wait waste people's time because, I don't like my time to be wasted so, I am meeting you for. A showrunner, meaning for my show that, I am interested, in you as a potential, member of my staff what. That means is I want, to know what it's like to hang out with you because. I am subjecting. Myself and my staff to you so. Are you cool are. You chill are you funny are. You nice to be around. Are. You Pleasant. That's. What I want, to know I want, to know if it's, basically. I'm. Having, you over to my family's, house and you're gonna live with us for a while and are you weird are you, odd you, make me feel awkward, do. You make odd jokes, do you have like do. We sync are, we cool do we vibe with each other that's, what that meeting is I've. Gone to some meetings where it's like I did not die I, just didn't vibrate them I just left Gordo no we are not each other's people I've. Also gotten, those jobs sometimes and, then it was not a great experience for me because we weren't really the, right match so. It's a date man we're, on a date and it's, like are we cool that's what it is are we cool now you might be cool and then I'm like oh my god they were super cool I want to hire them oh I only, have this much in my budget. And I can't because this person cost this much and this person cost this much shoot, I'm. Gonna remember you when, people call me I'm gonna tell him about you so. Just, be don't leave that meeting and not, get hired by me and think oh my god she hated me it went terrible. Think. Like alright I got a sure winner meeting that how many people get that what. A win, so. Just keep doing that just keep doing that your job is to go and be yourself, and be cool and, like show, them that you're funny and then you're interesting, but, not too needy it's a date the best way to describe it is a date it's. A date with a donor that is non-sexual, that is for the purpose of working, and, chilling. And be, a person, in the room that contributes, and what, are you gonna be like, don't. Be weird. The. Best advice I've ever gotten is it's not personal it's a hard one because as artists everything is personal, everything. We share is our heart and our guts. But. It's at the end of the day not it's, not personal so. Roll. With the punches, also, know if you're in some rooms with people that don't get you there, will be another room where it's all people that do get you and I.

Think I would get too stuck on that sometimes, so. The, things I think you can learn for me are, be. As prepared, as you can possibly be, have. Strength. And believe in yourself because now I believe, in myself, now. I know. That I'm great at this job now, I have. I'm. Very different in rooms and very calm, and very collected. But that took time to cultivate and, I, would just suggest and, I wish that I could have cultivated, that earlier for myself, so, that I could have had a better time in certain, jobs I was in and also so I could have been more helpful to my bosses so. Now, I, know how to do all of those things so the more we talk about this the, more you can get a get, to a place where you're able to do that sooner. When. You're starting out and your resume is bare it's rough I was doing a my. Resume, for the first time as an actress and a, friend of mine said oh right, commercials. List available upon request I, didn't have any commercials but. But. It was list available upon request made, it seem like maybe I did so, there was a little bit of this fake it so you make it Fame right like I put every high school play I was at I put every college play I was in my resume was like glaze and I had barely done anything I think, that the benefit that you guys have now is you have your phones, you, guys can shoot stuff in your house I mean that just didn't exist unless somebody had a camera, and now these cameras, are so amazing, you, can't shoot monologues, you can't shoot these sort of vlogs and make them funny, and interesting and sell yourself in that way ways. That that I didn't, have. Accessible. To me at the time so. I would say shoot, videos, and put them on YouTube and, shoot. Shorts, and submit, them to comedy festivals, these are all things that you can challenge yourself and, your friends to do your tribe to do and I think they're really really great things to do I did, a couple of short films, when. I was first wanting to direct. Beyond. Theater cuz I had done ton of theater directing but I hadn't directed cameras, I hadn't gotten to do that so, I directed, a couple of short films and submitted them to festivals, and went to the festivals, and did screenings, and it was super fun and I. Think that I learned a lot doing all that and also made connections while, I was at those festivals, so hustle. Hustle hustle babies. I. Think. I've kind of talked about that I've always been a really confident, person I'm not a Wallflower I'm, confident. The. One place where I shriveled. Was when I first walked into rooms, so. That surprised, me because, everywhere, else in my life I was very confident, but once I did, the work of getting in that space and I was with these guys. I was, just like oh my god, so. I wish I had just been more confident I think that that person, who I was then would have been just fine in that room had, I been able to get out of my own head and had, I not been so sensitive to some of the comments and had, I been able to defend myself more, and say that's not cool that is cool you.

You're. Awesome, shut, up I wish. I had had the strength, to do it look it was also a different time I've talked to my agents. About this recently, about, certain. Situations, that I was in in the past and, how, at the time I felt like being, quiet and accepting. The. Situation was the best thing to do and they agreed with me that given the circumstance. Of the time that. Was sort of what you needed to do to survive and I think that's what I'm really grateful for with. More women and more inclusivity, I think that rooms, have all gotten better and stronger and, that. Stuff, that we used to have to put up with you don't have to put up with anymore I mean I'm talking microaggressions. You know but. Those things when you're when you're already feeling a little vulnerable it, can be hard to get over so I think the rooms are much better now I hope they are and I, hope they continue to be really inclusive, and, warm. And be a space, where everyone can, feel. Their, best to crush it but you. Might also be in a space that's not great you. Might be in a situation where your boss is a monster, and people, you're working with are jerks, you still. Have to do your job and, how, do you do that and how, do you find allies when maybe you don't have many allies. In. Order to get to the other side in order to accomplish in order to continue, up this ladder you have to find a way to get through it and I'm here to tell you you can you can get through it it might, be difficult but. You can. What's. Essential, and comedy writing you. Gotta be funny, you've. Got to be funny if, you're not funny I don't think you should be doing comedy I mean that seems like it was pretty straightforward things, look. The other thing is comedy is so subjective. Like I might. Think something's funny that you don't think is funny so. It's, finding the type of if you think you're hilarious then, what is that hilarity, like what is that funny finding. What that funny isn't making sure that you're writing that funny and you're being submitted for that type of funny because. There's different types of funny as we, know it exists on TV so I would say for a comedy writer to the essential is to be funny the essential is to try to continue. Pitching, that, your job is to pitch your job is to provide, solutions try. To do so with, with. Joy and with kindness, I. Would. Say in, a, TV script, make. Sure to spellcheck, make. Sure to reread it make. Sure that the formatting, is correct those, are tiny things but, they're important they can make you look a little bit amateur hour when you know what you're doing just, make sure especially if you're switching formats, if you're going from however to sync you know single to multi. Like make sure that you know that you see a script from before try, to get your hands on scripts especially. If there's already produced, episodes look, at them and make sure that you're formatting it correctly. I. Have. Actually partnered, writers up before, and. Some people will ask me about partnering, up with writers, and I, think you know that's really depending on you if you, feel like you. Love having a partner that you work with there's somebody that you've been writing with for a long time you. Guys have a very shared. Vision, of how you like to work and you want to go in and work together I think that's awesome what. You need to know is that teams count is one entity, they. Don't count as two entities the count is one so. How, that's helpful is if I have a spot for one more writer and you're a team.

You. Have that you can have that spot so. You're cheaper, you're two for the price of one which is amazing, and I, do populate. My room I think we have three writing, teams in the one-day-at-a-time writers, room, because. They are amazing, work great together and also, I can. I can fit them into my budget the issue with that is they split a salary they. Split a salary and you, know when. You're taxed at 30%, and then you have to pay your agent, 10% you have to pay your manager 10%, that's, 50% of your paycheck and then. 50%, of that so. Something, to keep in mind I also know writers that will start out as partners, I mean I partnered, with people along the way, they, partner up for a few years and then at some point they go you know what now, I kind of want to go out on my own and do my own thing and, they do that but they've established themselves. Along the way and established. Themselves enough, to be able to separate and start doing their own things and, now, I partner, up on movies because. My. Time is limited I want to have somebody else that I'm duking, it out with but. For a very long time my agents did not want me to partner on movies I think they wanted me to get very clear about who. I was and let, the industry, know who I was and who my voice was before I started partnering up and now. Finally. They're. Cool with me partnering, up with other people on other projects, which I'm now getting to do which is super cool but, at the beginning I can see looking back why, why. They wanted that to be the case and so I'm glad I took the road that I took but, there, are definitely writers that like to do the partnering thing and if that's your jam then do it. Work-life. Balance I have a lot to say on work-life balance because. I also hear a lot I hear. A lot from young women who. Want to be moms and who want to get married and who are afraid they can't do that if they become a writer because I, hope. I've made clear that. It's not like, four. Hours a day that you're writing it, is, non-stop. Hustle. Non-stop. Hustle, you. Are writing on one thing but then you are developing another thing but then you are in and by the way some writers rooms I mean the the one-day-at-a-time, writers, room is you know we're done at around 6:00 there, are some writers rooms that you're there till ten twelve, two, in the morning, some. Writers rooms you're coming in on the weekends, I have, worked on some shows where we would start at 9:30 and, we would go home at 10:00, 11:00, midnight, it, can be all-encompassing. And, at, the same time you're trying to hustle and right side scripts and at the same time you're trying to have a personal, life it's, a lot it's a lot of, work so. I would say when you're going into these jobs it's probably, I mean I don't know that I would necessarily ask, the, showrunner, what their hours are but, you can find out from your agents, your, agents will tell you what.

Type Of room they run that stuff is out there I love you when show burners think that's not out there. Because. It's out there everybody, talks about all of us all. Of our reputations. Are out there so. You can ask you, can ask people that used to work with them you can ask your agents like what's it gonna be like and at, the very beginning I, didn't. Care if I was there till four twelve or fourteen hours I didn't have kids yet I was newly married my husband was hustling doing his cartooning, like okay. This is the time I was happy to do it so. I was there for a long time and it was great as I've, gotten older and I want to spend time with my kids, and I want to go home at a decent time I don't even want to drive over an hour if a job is over an hour away I don't want it because. I don't want to be in the car an hour that way in an hour that way that's two hours of my life I don't get to be with my kids I'm, not interested, so. These are all questions that you can ask but. It is no, joke, lots, and lots and lots and lots of work and lots of hours and lots of hustle and lots of continuing, to think about the next project so you need to try to find some semblance of balance and what. I would say on that front is it requires, help you. Cannot do by yourself you. Need to have people that are helping you out unless. You. Are a single, person than a solo and your whole life is your career and you're very happy doing that and I think you're probably fine but if you want to have a relationship, and spend time with that person if you want to cultivate your friendships, and have dinner with your friends sometimes, if you, want to have children and you want to spend time with them then, you're gonna need help you're gonna need nannies, you're gonna need assistants you're, gonna need to shell, out that money. If you, don't have family or you don't have friends that can help you out so, that you can do that and find some sort of semblance of balance because, it's really hard it's, a lot of work you. Know is it rough did I have to leave both of the jobs I was at yeah I did it was hard I left jobs I loved when I was pregnant half, the family you want to have if you want to have them just know that. In order to have, that life you need to have stuff set up so, that you're not scrambling, and, depleted. You, need to have a support system in place you got to do the work you, got to do the work before you got to do the work during you got to do the work after, it. Is non-stop, never-ending. Hustle, it's joyous, it's, wonderful. It's fun, it's so, nourishing, sometimes. It's back-breaking there, will be tears, there, will be late nights you will hate it you will love it you'll want to quit you'll never want to do anything else it's. All part of this process, but. It's a lot if, you, do all of these things it's. Gonna be okay. You're. Gonna be okay. If. This is what you want to do with your life there's. Room there's room for all, of you to do this thing it. May start to look different than what you initially, planned it to look like but there's, a ton, of jobs there's a ton, of places that are creating content maybe, you get in and you realize oh my god I actually love producing more, or I love actually makeup and hair I love props, or I love costumes or I love you might fall in love with some other aspect, I want to shoot it I love to edit it it, might look different that what you initially wanted to do but if your calling, is to be a storyteller, in some capacity and you. Do all of this work with. Time the cream rises to the top. So. Stay. The course do. The work you're. Gonna be okay if, you're. Doing all the stuff we've talked about in these videos then, you're doing the right things know. That you're doing the right things trust. That you're doing the right things and keep, your head down and keep working you're, gonna get there thank you so much for watching it's not over here you guys you can still tweet me at, everything gloria i'm on instagram on twitter i'm still available to you so. Keep asking those questions keep, doing the work make, sure to watch all of the other Hollywood 101 videos, on petal likes youtube, channel who's Gloria Calderon Kellet good, luck.

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2019-09-08 14:24

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