IFH 047: Yancey Arias – How to Make It as a Working Actor



Top Apple Filmmaking Podcast

20+ Million Downloads

Want to learn how to make it as a working actor? Well, studying actor, producer, and director Yancey Arias would not be a bad start. I met Yancey Arias years ago and since have worked on several projects together. I’ve always admired how Yancey was able to always keep working.

To date, Yancey Arias has over 70 acting credits in film, television, and Broadway. His credit list is kind of nuts:

I just got tired of typing, his credit list is impressive, to say the least. He’s also worked on huge studio tentpoles live Live Free or Die HardTime Machine and the Hands of Stone starring Robert DeNiro.

His first big break came in the Broadway production of Miss Saigon in 1992, which he worked on in different capacities for several years. His breakout role was on NBC’s Mini-Series Kingpin playing the lead Miguel Cadena, which was viewed by 25 million people.

I sat down with Yancey while he was in between setups on the hit show Marvel’s Agents of Shield. He’ll be popping up on the show in 2016. I really wanted to get a seasoned actor’s perspective on what it takes to make it in Hollywood.

We also discuss his work on indie films, his new life as a director and producer with his production company NYC Films and much more. Enjoy!

Right-click here to download the MP3

Alex Ferrari 0:06
Today guys, we have a special treat. We have a really old good friend of mine Yancey Arias. He is an actor who's been in a million different movies. I mean, I can't even explain to you how many movies he's been in. He's been on so many shows. He's been on over seven he officially has 70 acting credits on film, television and Broadway over 70 acting credits on shows like castle NCIS, New Orleans, the sopranos, bones, Hawaii Five o elementary CSI New York and CSI NCIS Los Angeles, or noticed the shield and has been on big huge temple movies like Live Free or Die Hard Time Machine and the upcoming new film coming out with Robert De Niro call Hans of stone. He is a working actor as what I like to call Yancy yanxi is definitely a working actor he's been in the business for years and years and years. He you really won't find a nicer and nicer not only a nicer actor, but nicer human being. I've worked on with Yancey and a few projects in the past and he has been nothing but a pleasure to work with. And he you know, he teaches acting as well. And I you know, I wanted him on the show to kind of, you know, let people know what it takes not only to be a working actor, but to be a working professional in the industry. And a lot of the stuff that he talks about in regards to acting can easily be translated into directing writing, or any other discipline within the filmmaking business. Now if acting wasn't enough, Yancey is also a very good director and producer working with his production company, NYC films. He's producing multiple different projects as a director and a producer, and worked on a wonderful little film called The Shooting Star salesman with one of our former guests as a director Kiko the latter day now Yancey is a very hard man to get ahold of. He's working constantly. I actually got him to do this interview in between takes on the set of Marvel's Agents of SHIELD which he's going to be either has already aired or will be airing soon. So he's going to be in between so you'll hear some things in the background here some doors closing and opening. He's just basically waiting around between scenes, and he was gracious enough to to do this interview for us. So enjoy my interview with Yancey Arias. Yancey, man, thanks so much for being on the show, man. I know you're extremely busy. So thanks again, man.

Yancey Arias 3:13
You're welcome, man, please, anytime.

Alex Ferrari 3:16
So um, we'll get right to it. What was your first experience in the entertainment business?

Yancey Arias 3:21
My grandma, my mom, they were hosting a competition for the new those for the best lip synching group that there could possibly be in the Lower East Side of Manhattan

Alex Ferrari 3:36
Now Menudo is the one direction of our time,

Yancey Arias 3:38
That one direction of our time corrective but the Puerto Rican kids so yeah, and I basically was the intermission entertainment and I actually was singing for real I wasn't them singing I was just kind of like they threw me on stage two as a filler. And everybody sat down when they heard my voice and you know, it was a really nice experience because it was a beautiful song. That that was from the Menounos but it was something that that was touching to them because one of the guys was leaving the group and I sang his song no no v this is a Don't forget me. So all the girls went nuts and they started crying and you know and it was just like an amazing experience of of contacting an audience and giving them something they wanted to hear and also having a voice and being accepted and I was just like wow, okay, this might be something I like to do. And from there on, my mom supported me you know, in everything I wanted to do in terms of my entertainment you know, experience

Alex Ferrari 4:38
Now what what what made you want to be an actor, like there's a difference between jumping on stage on and singing,

Yancey Arias 4:44
Acting correct. So basically, when I went to high school about two years after the fact I was 14, I was 12. When that happened when I got on stage for the first time when I was 14 when I went to a high school by the name of St. John's prep in historic queens, and I met the Wonderful James are green who coincidentally, you know, saw me on the on the train on the seven train actually the nnr train headed back into the city with my with my guys that I hung out with from the baseball team and we were all clowning around singing, you know these these funny songs a lot of like do up and you know 50s greats and and we were singing always in forever I'll never forget forever. And he was like I want all you guys audition for the school play. So, you know, I was the only one who was interested in I auditioned and he gave me the lead role. I was the only one who could really sing that year. And he made a deal with me says I'm going to teach you how to sing. And you're going to teach him how to speak Spanish because he was an opera singer. So he wanted to sing with a better accent is arias. And coincidentally, my name is Yan teoria. So you know what, what a great duo. So he then introduced me to jack Romano, who was the main director of the stage of the place called stagedoor. Manor up in Loch Sheldrick, New York, where I studied acting, and singing and dancing and everything as a little kid from age 14 to 17. So I got a nice scholarship, you know, every summer doing, you know, plays, and during the winter season, I was doing plays with Mr. Green, and then at another high school that I had to end up going because I moved to Staten Island and more more Catholic. So throughout the high school years, I did about maybe 12 plays, right? And mostly musical, and some some some straight plays. But you know, I soaked it all up, man, that's when I knew that this is what I wanted to do for the rest of my life. And it was literally at the age of 15 where I'm where I'm confirmed it like 14 I wet my feet 15 I was like No, this is it. This is me. This is where I am. This is this is my calling. So that's awesome, man. Yeah. And then I went on to college to Carnegie Mellon University. I was accepted there. And I studied there for another two years between age 19 and 20. And, and then at 22. I got Miss Saigon on Broadway and you know, I continually keishon Yeah,

Alex Ferrari 7:21
I must have been, wow,

Yancey Arias 7:23
That was a dream come true. Because when I was in high school, I saw Les Miserables, lay in the front row center seat, and I was bawling. It was just an amazing experience. Imagine I literally said, I'm going to be on this stage someday I will perform on this stage someday. And kid you not. That's exactly what happened. About five years later, I booked. I booked Miss Saigon. And I'm in that that theater in the same very the very same theater, if you can imagine when I was rehearsing for Miss Saigon. And I knew, and I was looking at the play from the audience perspective, because that's what you do before you you know, actually, when you when you jump on a show that's already established, you have to watch the show several times. So you see how it all works before you actually on there. And I was in tears, then, you know, well, I made it I made a very strong commitment and a conviction that I would be at this theater that's very theater working on this very stage and near I am and it was it was a wonderful training ground. It was a wonderful experience. I did it for six years. Yeah, and and during that time, I continue my studies with my coach Alan savage out of New York, and I was there every week doing scenes outside of what I was doing with the show, and he was helping me hone in my skills and just, you know, grow up in it, you know, and, and really just find a sense of like, a sense of like, survival and ownership the same time just like really understanding the journey, you know, that this is and where I really want to take my career and where I want to take my mission and my work. And so he was detriment. It was just, he was pivotal. And he was super important, you know, in summing it all up for me. And then I was doing a lot of you know, guest stars, you know, in all the all the New York cop shows like the law and orders in New York and the cover and NYPD Blue, all those shows that we shoot in New York, NYPD which shot in LA, but they sometimes came to New York. And

Alex Ferrari 9:31
So, ironically,

Yancey Arias 9:34
So I shot you know, anything that was in New York, I was shooting and then I realized that there was some really interesting roles that I never got a chance to be seen for. Once I actually signed on with paradigm back in 1995 years ago, I realized that there was some roles that that that I was missing out on and I had to be in Los Angeles. So that was in 2001 where I decided to move to Los Angeles and and try to compete for some of the more you know more interesting involved roles that that you know would be cast it out of La so that that was then my mission and I came out in online and and I've been here in Los Angeles for close to 15 years

Alex Ferrari 10:22
So so what's the big difference between working in New York and working in LA as an actor

Yancey Arias 10:28
Okay well New York you know you're you obviously have more tangibility to theater so you know you could do you can shoot on on any set in New York you know, between 6am and 6pm and then jump on the on the stage at night you know, and you know, knock out a great you know, as best as possible do your best work possible at night from 730 to 11. You know, and that was my life back then I was that's exactly what I was doing. So, I was I was it was such a wonderful experience to go from set to stage you know, almost every day and I did it quite often and it was amazing it was exhilarating and and definitely for a young person it's like you're on top of the world you feel like such a rock star. Right, right. Right. But you know, I definitely you know, have all the energy for that, um, you know, and La in LA you know, it's more like you know, basically if you don't have the right I guess outlets you could be sitting around because you know, sometimes I me personally, you know, I would work probably, I don't know maybe four or five times in the year so those projects would take me about you know, three weeks to shoot each one you know, and unless I'm on a series and I'm a series regular and it takes me throughout the whole year or at least say you know six or seven months you know, it would be like five to six months you know that I'm working in another five to six months in between that I'm not so what do you do with your time you know, so I found golf I found an adult baseball league we're planning on you know, I found I found poker but I played a cheap program and played expensive program

Alex Ferrari 12:23
Right you know you're not rolling that you're not rolling that hard.

Yancey Arias 12:26
I know I know my limits and now I have a kid right so it's like my baby boy is taking a lot of my time so yeah, a lot of the outlets that I was using is now you know focused on him

Alex Ferrari 12:38
Isn't it amazing that that happens when when kids come around isn't it

Yancey Arias 12:41
Oh I love it and you know it's great because now now I'm in more of like the seat of you know enjoying him you know watch him grow and what and watching him you know accept whatever whatever things that I throw at him and like read through our golf ball ball at him or baseball bat in a ball just to see him pick it up and do something with it and try to guide him through that that's that's just like that's you know, it's just an amazing experience you know where even if I had a girl I would do the same thing with her you know, right right kids period you know it's just like to see their light bulbs go off and then learn every day and just see what they pick up in the downbar 24 to 48 hours a new odd or new thing that they do or new behavior that's like that's like the most amazing production I've ever done in my life so that's that's definitely you know my involvement you know between work now for the last year and a half just just basically being with him and taking him to places to see how you know let's see how he reacts to stuff he's a

Alex Ferrari 13:42
Big guinea pig for you is what you're saying

Yancey Arias 13:43
Is it really good kidney you know it's so much fun because I've had I've had a wonderful life so far and I said I hope to have another 40 years in me you know we'd God Willing at least 4050 years you know but but with all that said you know like in this time of my life at 44 you know I have so much to give to my kids and I say kids because we want another one hit right right so so you know

Alex Ferrari 14:09
And I have to give I have to give you have to give you props man you are actually one of the few actors who actually admit their age of public oh

Yancey Arias 14:17
I don't care I know you I know you though it's after a while you don't you stop caring because when you do some high profile shows like kingpin or something like that or thief when the series that I did you know, sometimes you end up doing press and the press gets the information and then it's all over the place. There's no hiding it

Alex Ferrari 14:35
Not anymore. It's not the 20s or the 30s anymore. There's no hiding anything.

Yancey Arias 14:40
I mean, my look my look, the way I look at cameras is I eat right and I work out hard. So I still look about 35 I can play anywhere between 3536 to about 45 my age. You know so, so the age ranges there. I mean, I Yeah, I keep myself healthy enough throughout my life to be able to warrant that, but But yeah, I mean, the age thing, yeah, there's there's certain sometimes you would, there's, there's a sense of ages in the business in this isms everywhere, man, but you know, you limit yourself. Exactly. I just, I just, you know, do what I do, and I love and I also produce, and I direct and I ride and these are things that I do, you know, also along with, you know, being a dad, but also great outlets and for me to, you know, to stay involved and to stay creative, you know, during any spells that there could be, you know, if there's a dry spell in the business at all, you know, then I'm still creative, you know,

Alex Ferrari 15:44
So let me ask you now I want to get into some acting questions, because I, you know, I'm a director we've worked together on on multiple projects together in the over the years. I've never directed you, though, I do hope one day to to direct you. Yeah. But so I'm gonna ask you some acting questions. So this is a little bit selfish, because I want to know, but also for the audience as well. What makes a good actor, in your opinion,

Yancey Arias 16:09
A good actor is one that takes on the responsibility of the human being that they're representing. Great definition that takes on the rep, the responsibility of the story being told, you know, every story has some truth in it, if not all true, okay, even if the fact even if it's made based on nothing, and it's a fictitious story, someone was inspired enough to write it, that something in their life has changed is something that they had to deal with that was really specific, but they don't want to, they don't want everybody to know about it, it's in there, and you got to find those gems of information in every project that you do to understand that, whether it be, you know, sci fi, or based on a true story biopic that, that, you know, there's a very specific reason and a very specific audience that, that we're trying to reach out to, and to tell a story that is somehow motivate someone. So when you when do we become a responsible actor, then then the actor is now is now committed to communication, communicating that story, and committed to, you know, being a part of a team to bring that, that whole story to light. Whereas, like, if an actor is not that committed, then it really becomes about them, and about all their fears, and about all, you know, ego, when things like that, go and whatever else that has nothing to do with the story. So that to me, defines, you know, what, what a really good actor is.

Alex Ferrari 17:47
Now I, you know, directing actors over the years, one thing I always see sometimes is, a lot of times actors get in their own way. When it comes to playing a character, what would you suggest, as you know, in? I don't know how to say this, but how do you what would you suggest and how to get actors to get out of their own way? And I'm not sure if that makes sense. Does that make sense to you?

Yancey Arias 18:10
Yes, absolutely. Well see, here's the thing, you know, with proper training with the proper coaches, you know, actors find a safe space where they can create and they can be like, little lab rats or be like little scientist and just explore and, and, and, and, you know, work with all the different colors in the, in the spectrum, work with all the different colors on the palette, and just, you know, completely immerse themselves in the training process, so that they can learn to fuck up, learn to, they can learn to, you know, be bad actors to be great actors they do to just just, you know, not think so much, but just to create in the creative mode, you know, because there is no right or wrong. Prayer is there is you know, a commitment to the work and to try to explore so actors without proper training, do get in their own way because they're too worried. They don't have they don't they don't know. They don't, they haven't explored they haven't. You know, it's like, it's like, you know, saying, Okay, listen, young man, you're going to go from from Los Angeles, and you're going to walk all the way to Europe, you're going to walk all the way to a town called York shark. Okay, you're gonna walk away there. Here's a map, good luck. But if you know if, you know, if you, if you take that person, he's okay. I'm going to train you how to use you know, this tool that helps you get through that mountain, and I'm going to train you how to, you know, use this float to get to through the ocean, use this scuba gear and you know, gear him up. You got when you when you got when you go into any kind of, you know, a studio that's worth, you know, going to, they're going to stick in a suit They're going to, they're going to chew you up, they're going to give you a utility belt that you can easily access after many years of training, easily access these tools to understand what you need. So essentially, if you're a chef in a, in a, in a kitchen, in a world renowned kitchen, you got all the spices, you got all the, you know, you got all the materials laid out, and that took years of understanding how all those spices work, right. So, so good, a good actor who has a lot of training, you know, a good training, not just any training, but good training, like in good conservatory has explored a lot of those ingredients, and all of those tools to use in order for them to be able to come to a set or come to a stage. And, and, and live. So what happens it you know, it's a, it's a process in order to, to have that kind of freedom to have that kind of creative freedom to understand when they might be getting themselves into any kind of trouble, like getting getting to, in their own way, or, or when they're actually in the creative flow of it. And so, you know, a good good trained actor knows when, when they're in and when they're out. And so, you know, and they know how to get back in if they're out. Okay, so and that's why a good director, you know, basically will, will try to hire the best possible actors, so they don't, they, that part of the job is easy, they can, they can trust that their actors are going to, you know, show up to work and know exactly what, you know, what, what story they're telling, and, and, and, you know, the director can also then freely create, on many levels, you know, he doesn't have to babysit an actor, he can, you know, think about the shot and think about the lighting and the, you know, the costumes and the colors and all the nuances and a special effect that he might have, you know, so so it's really, you know, it's, it's interesting, being able to interest an actor who is primed to come to set to work that way. So So that's, that's, the key element is good training, to help understand how and when to when a person feels like, you know, an actor feels like they might be getting in their own way, and how do they bring themselves back to the story.

Alex Ferrari 22:14
So it's kind of like, you know, for another analogy is like, kind of going into a boxing ring, you know, you're not going to go up against Floyd Mayweather without any training. Or already fights in general, like, I'm like, I'm just gonna walk in, I'm like, I've seen someone throw a punch, I'm gonna try throwing a punch. And that's where I think a lot of actors do get in trouble. Because they, they look at like, Oh, I see what that guy is doing, oh, I can go do that. And you might get one lucky punch, maybe if you're lucky, but lucky, right? But again,

Yancey Arias 22:45
You got it, you got to follow through, because then it's like, you may win that punch, but you're not gonna win the fight. It's just, you know, that and that's what happens with a lot of young actors who come to Hollywood is that, you know, they come from wherever they come from, if they don't have training, and they don't have to support a support system, they get lost in it, because, you know, they, they feel like, I look good, you know, and I could do that I could be like, you know, dinero, or Brad Pitt or whoever, I can do that. And they show up without, you know, proper training and proper, proper skill or support. And, and, and they get buried, they get buried, all destroyed in Australia. Yeah, because they don't, they don't understand. You know, sometimes there's some people that, you know, that the studios will hire to, you know, because they're so beautiful, you know, and then they'll hire coaches for them on set. And, and, you know, if they're lucky, they take to heart the experience they have with the coach, and they cling on to the coach and the coach guides into their career for the rest of their life. Or if they're too, you know, I guess self absorbed and, you know, prideful, that they think they don't need a coach, well, then that's only going to last them for so long, you know. And that's, that's pretty much it. So you need to be kind of humble in this in this business. And at the same time, you have to be strong willed and know that, you know, if you want a career in this industry, you never stop learning, ever,

Alex Ferrari 24:04
Right! And like I always look at, probably one of the greatest living actors alive now is Meryl Streep. And you watch her, and she just, it just embodies whatever she does, it's, it's magical to watch actually, and like she just changes from character to character, with a fearlessness that and I think that's a big word to use when you're when you're an actor, to be fearless. And it's difficult to get to that point.

Yancey Arias 24:30
I think that there's, you know, the dichotomy of that is, is that, you know, you got to be willing to be fearful Branton oh not to have fear. So that's fine. Like, like when you go when you go to battle, you know, when you're at the top of the mountain and you're looking down at your enemy, you know, you you know, there's something that happens in the gutter, your stomach is like this may not turn out that right. Right, but you're willing to you're courageous enough to try, you know, and so You go and you go into battle so so you can't negate fear because fear is there right but you embrace that fear and and you courageously go into the fight and and and that's what is you know that that's the the amazing part of it is like some people get consumed by fear you know but they don't they don't realize that that that very energy is good energy and you can make that productive for yourself

Alex Ferrari 25:24
Absolutely fear can be a driving force if used properly correct now can you give any advice to actors about the brutal auditioning process which I've been on the I've never been in front to audition for someone who has been auditioning people and I try to be as nice as I possibly can to actors to come in but I've seen other casting casting sessions that are absolutely just brutal what what do you and I'm sure you've I'm sure you have a couple stories what what kind of advice can you give actors about handling that that kind of brutal auditioning process?

Yancey Arias 25:58
Well, this is a this is a 20 pound question. I mean, it's it's a big one but I'll try to break it down as quickly as I can. Basically, you know, when you when you're handed the material from your agent or wherever you get it from, you know, you commit to it 100% and you you learn it and you research it as best as you can so that so that when you go in you have creative freedom so that you're not tied to the page and your hand you know so that you can you know, do your best with that and then give an interpretation of the story that that is you know, on the page already then you know on game day when you before you go in before you go in you know you want to feel like you've put in the hours you put you put in the time you done your best to prepare now just go in and celebrate go and celebrate like you're actually shooting you have to have a sense of like ownership and and acknowledgement of the fact that you know life is a rehearsal you don't have to get it right enjoy the process so you go you go into the room where you're waiting for yes there's 20 other people but you know what, God bless them they're going to get there someday you're going to get your someday it's not up to you you know it's really not up to you all you can do the only thing that we have power over is celebrating our preparation Game Day is celebrating our practice you know when the guys go when the guys go to the Superbowl, you know they've been working hard all season and they continue to still practice they know their weaknesses and then when it's game day when it when they say Okay, it's time to play put it on the whistle goes it's a celebration man and everything else just comes off you may just everything comes through naturally without even thinking about it. And then understanding that you you There's nothing else you could do but that because the director and the producer and the writer, they're in the room and they're looking for what they wrote. So if you don't happen to be exactly what they're looking for, it's nothing against you they love your work and someday they might actually hire you on another project in case in point that's happened to me several times you know I wasn't ripe for a certain part but they loved my work I went in there with that attitude that I talked about and and they love it and then they hired me later on

Alex Ferrari 28:14
Yeah, it like I was trying to tell actors like sometimes just not personal sometimes they're not looking for a 510 Latino, sometimes they're looking for a six foot five black guy, right and it just that didn't get to you. Unfortunately before the auditioning process.

Yancey Arias 28:28
Don't let that shut you down exactly. Rock and Roll because you never know they might even write you in. They write you into the project

Alex Ferrari 28:36
Right and that's happened I've seen that happen many times with actor friends of mine as well, but you just got to do. I was interviewing Robert forester A while ago and he was just always saying the same thing. Like do the best work you can no matter how small the part is, no matter how small the audition is just bring your game. That's right every time and good stuff only good things gonna happen from that might not happen every time but eventually something happens from that. Amen. Um, now what kind of advice can you give about handling rejection? Because I know that's a huge part of being an actor.

Yancey Arias 29:08
Okay, could this be our last question or can we continue this?

Alex Ferrari 29:12
Or do you need Yeah, do you need do you need to head out

Yancey Arias 29:15
I do need to head out but but but I can answer this question and then maybe Yeah,

Alex Ferrari 29:20
Absolutely perfect. Okay.

Yancey Arias 29:21
So So, rejection you know, you have to have like skin of steel, you know, basically and again, if you go back to understanding, you know, how, how and why are we going to, you know, to these to the audition process, then it doesn't matter the rejection because you know, it has nothing to do with you. If you did your best that and you claim and you put your stake or you put your stamp, this is my brand, this is how I work. This is why I am this is what I love to do. This is hard prepare, you know, and it all comes out in the story when you when you tell that story, when you're dealing with the other actor or you're the casting person, and you have this great wonderful general genuine rapport with the other person and you're really in the scene and you really give yourself over to the scene into the other person and invest yourself in that way, then you did your job.

Alex Ferrari 30:10
We'll be right back after a word from our sponsor. And now back to the show.

Yancey Arias 30:21
There's there's nothing else you could do you if you did your job, you did your job, you walk away. And and now next time that you know, I'll do the same thing again. You know, one of my friends, Jacob Vargas is so sweet. You know, I've worked with him several occasions. And kingpin job is etc. And my boy said it right. You know, he says, We're career auditioners, that's our career. You know, we go in every time like, we're on set, we're working, we're getting paid for it. And every so I mean, I saw I went another 1000 jobs maybe in you know, 30 years of experience of this of this entertainment industry. And I, in my mind, I did 1000 projects on IMDB, I did 70 projects. Right? But you know, but that's how you psych yourself out for this whole thing. You just say, you know, you psych yourself up for it, because you say Listen, this is my career. This is what I do. I meet people all the time. That's what I do. And every time I meet him, I give him my best best possible, you know, scenario, my bet my best foot forward, you know,

Alex Ferrari 31:20
Where what would you consider to be your big break

Yancey Arias 31:24
Big breaks for big breaks, I guess would be kingpin because that was the biggest audience that you know, I was able to, you know, share our story with 25 million viewers showed up the first episode, and we beat dragnet and and Sopranos that Sunday, I remember vividly, and then do the, the scheduling of the show got kind of wacky. So the numbers kind of, you know, did a little bit of a jump, but, but we maintained about 15 million viewers by the end of the sixth episode. And until this day, 10 years later, or rather, 12 years later, everyone is like, Hey, what happened to that show? What can we see it again?

Alex Ferrari 32:12
Yeah, I know you say that? Is that what you get? Is that what you get mostly recognized for?

Yancey Arias 32:15
You know, yeah, I mean, I would say 90 Yeah, 90% of the time when people see me they go kingpin. But then, you know, then I have a nice group of people that actually watch a lot of different things that I've been in and you know, they catch me on and whatnot and but I gotta say, that would be the the the show that broke me in and do Alan Coulter and David Mills, God blesses, so rest in peace, they were so great to give me that opportunity into into risk that responsibility onto me

Alex Ferrari 32:48
Now as an actor, what kind of what kind of experience is that? Because that's a very unique experience for an actor, you know, being kind of thrown into the spotlight like that. I mean, it's not like you're an overnight success. You had been working for years before you got that shot. But, but I'm imagining as an actor that what was the experience, like being thrown in front of 25 million people? Like, how does that work for you,

Yancey Arias 33:10
It was fantastic, because you said a key thing I've been in the business a long time prior to that I've already working, you know, on film and television for about 12 years prior to that experience. And in all the experiences I've had in different shows that I've worked on, in my guest starring or recurring roles, you know, I had the opportunity to work with a lot of people that were, you know, the leads in shows and the series regulars and, and, you know, I got a sense of, like, how I wanted to what I wanted to bring to the table for production, in terms of like the family atmosphere, the synergy, the synchronicity, the flow of happiness, and just, you know, I feel like when you're on a series and if you're a series regular, it starts from the top so, you know, spread the love and bring everybody together and make them feel like they're part of something special. So, you know, I made it very clear to everyone number one, number one on the call sheet is not my name, it's the production, it's the show. So it's number one, and we're all here to serve the peace. And I gave you know, I gave everybody the best, you know, support that I possibly could to help them and help me bring the best you know, product out there for the audience. You know, the best performances and the best, you know, the best love you see that kind of camaraderie and that kind of family atmosphere that you get to play with. from day to day, it does show up on the screen that greatness and, you know, that was a wonderful experience for, for me to have to have that responsibility and give people that kind of support and, and and love that, you know, I've always wanted to do when I got my when I you know, eventually someone gave me that responsibility. It's about sharing, it's about, you know, bringing everyone together and like a one big happy party, you know, awesome family. So So yeah, that was fantastic.

Alex Ferrari 34:59
Yes, Real quick, you're wearing your earbuds, right? Yes, they're it's rubbing up against your shirt. So if you could just hold them like apart, that would be awesome. But other than that was perfect. So yeah, so you've done a ton of TV work over the years. Now, how does that differ from your filmmaking experience?

Yancey Arias 35:18
Well, you know, it's because television was the, I guess, the avenue that I ended up being on quite frequently, especially after a show like kingpin and whatnot, you know, it's been a challenge to get into the film world because you know, it's like, you have to be careful not to become too popular on a TV show, you know, but but I'm lucky that I didn't get you know, to overuse or overexposed in any particular production on television. So I've I've been blessed in the way that I've played a lot of different characters you know, and and so when a film producer sees me as an actor, you know, they're like, oh, that guy's interesting he's always doing something different Yeah, you know, I know I know that face but yeah, okay. Yeah, it's a good act Okay, maybe he's right for this role. And if I am great, I'm on the film. And you know, I've been I've been working hard to get myself more into film as of late and for quite a long time rather I since I moved to Los Angeles 15 years ago, every so often I pop up in some films and some big blockbusters a lot of independence you know, and in the independent world, I realized that you know, in order for me to basically you know, kind of bring myself to the attention of the film world I have to kind of create my own project so I started producing, writing and directing and I'm on my sixth project right now coming out in theaters early that next year about March called restored me which is something that I produced on an accident and and then I have about three other films in development that we hope to shoot at least one or two saw, I hope to shoot in 2016 two new films for the public and a lot of my stuff is based on true stories you know, suspense thrillers or maybe even action just because like you know that's kind of the world that I love so much and and if you're going to you know commit time outside of your acting career you know, you better do something that you really love and you you know, you can put a lot of focus and attention to so that so that it you know, it drives your mission forward you know, whatever it is that you want to say in the world you know, and what are your reasons you want to help with it or in the world you know,

Alex Ferrari 37:48
now you've also worked like you said, you work on a huge tent poles and you've worked on small TV shows, what can you tell the actors listening? What is it like working in a bit like a big blockbuster, like kind of like the day to day vibe and also any any advice you can give to any actor who might get on as a day player or you know, on a big show like that, because it's a very different different experience than being on an indie project or on a television show?

Yancey Arias 38:15
You know, it's you know, Indian television Okay, specifically it's not very much different it's pretty much let's you know, let's move you know, you have a lot of pages in one day because for a television series you have you know, a week and a half to shoot what's supposed to be a whole episode that could you know, 45 minutes of you know, a footage and and you know, indie you have to shoot, you know, in 18 days, you're lucky if you get 25 days on an indie film. Yeah. So, so, you have 18 days is not a far stretch from you know, 12 days, you know, so So, you do have to hustle and you have to be in shape and you know, you know, good form that you're you know, you're eating right, you're getting to rest as much as possible you're working hard, you know, you're doing some exercise, you got to stay out there because, you know, there's no time to dilly dally, you know what I mean? So you really have to, you know, understand the PC you're in, give it your 100% you know, emotionally physically, you know, spiritually, mentally the whole nine yards, so you got to be ready for all that, you know, so it moves, it moves, really, you know, it's an animal that is definitely a little bit different from the, from the studio temples, because those films, you know, there's a lot more money involved, there's a lot more time involved, and they and there's a lot more intricacies involved, especially today with the you know, visual effects and all the wonderful you know, you know, toys and gadgets that are involved in some of the big films that you get to play with and all the green screen this and that, there's a lot more waiting around and prep for those kinds of films is is millions upon millions upon millions of dollars involved, you know, and so and right So they want to think they want it to be an amazing cinematic experience. Whereas in television and indie films, it's so much more story story story. And, you know, if we get something spectacular, visually, amen, but, you know, we got to get this movie in the can or TV show, you know, sent off to, you know, to post so that it can make it on time for airtime. I know. Yeah. So so you know, the so in terms of like, you know, the difference really is more, you know, against the, you know, big blockbuster films, you know, versus the TV shows and the independent films, you know, mind you, you know, if you have a week or two weeks to prep for a TV show, or an indie film, you know, you do everything that you can to get, you know, look under every rock creatively, you know, as to understanding what the piece is what you're fighting for, what you're trying to what you're trying to achieve in the whole, you know, story and your relationships with everyone. And understanding, you know, how, you know, the significance and the, the freefall that you're going into working in that speed and giving your absolute best for the story. You know, whereas when you do a big blockbuster, you have about a month or two months, maybe even six months prior to shooting. In one case, I had a whole year before shooting on a blockbuster hit Oh,

Alex Ferrari 41:20
what was that time it was that time machine? Was that time machine?

Yancey Arias 41:24
No at Well, you know what, that was a six month waiting period before I got on time machine and then Live Free or Die Hard was about two month waiting experience. You know, this is an indie film, but not really this is called the hands of stone, which which I was part of, and it's coming out next year to the Weinstein group with Robert De Niro and Edgar Ramirez. And that particular film, I I got the part almost a year before I did the role, so you know, and the role, as you will see is a pivotal one in terms of like, who fights Roberta Duran in New York City for the first time ever, you know, in the history of robidoux re Roberta Duran I coincidently had a whole almost seven eight maybe almost a year like seven eight months to a year before I was on set and it gave me plenty of time to work out you know, boxing wise and I just, I just boxed my butt off for two or three weeks excited to you know, to join the cast and the biggest compliment I got was when I when I finished a couple of the fight scenes I came off the rain came out of the ring and Robert DeNiro comes up to me and he's like hey what you know are you pro i mean you know what Jim what Jimmy workout of oh shit Yes, thank you Lord God thank you Mr. dinero great compliment Mr. Raging Bull. as fuck you know, like as an actor, you want to be able to disappear in your role you know what I mean? And and for him not to know that I was an actor on the set that I was actually thought because I was actually a real fighter. A huge fucking compliment as a huge compliment. It's so so I you know that that was a testament to my hard work for the 17 months to the year before I got on that set.

Alex Ferrari 43:14
And now you're also talking about directing and producing you produced a film with one of our guests prior guests. Kiko. Kiko Yes, the shooting star salesman. Yeah, we're the star of that one. And we talked a bunch about that, that in the in the episode, but that must have been fun. You did a great job in that short, I remember watching it in the beginning. Before it before I got released. I was like, man, it was a must have been fun.

Yancey Arias 43:40
I was fantastic. And you know, I'm trained, you know, classically and I went to Conservatory, Carnegie Mellon in Pittsburgh, and you know, so so when I read the script, I felt like it was such an eloquent piece. And I felt like it was something that you never seen me do before. You know, and so I really wanted to challenge that, you know, myself and the peace to to see a Latino in that role. I mean, when it first came to me, Kiko didn't know what he wanted to do with me on the project if I just wanted to produce a them or not, and I read it. And I was like, who you have in mind for this what we were thinking like a 60 year old white guy, you know, I was like, Well, God bless the 60 or white men love them all. But you know what, I want to play this role. And I want to, you know, I want to do my take, and, you know, and he was like, Oh, wonderful. That sounds like a really good idea. I was like, Yes, it's a brilliant idea that before you change your mind, so we got into it, and he we had the best experience possible. And we were so in love. I mean, the, the show the actual short is playing so much for the last three years in all these different festivals, and it's garnishing awards and whatnot and acclimated. And, you know, we're just like on a shoot of fooling features. So yeah, that's one of the other things we're in development with, that we're trying to make as well. And we're just working on the script right now. So that's awesome. Yeah. So we'll hope hope to see that So I'm in the next two years.

Alex Ferrari 45:01
So speaking of working with the director, what do you look for as an actor and a director?

Yancey Arias 45:07
Okay, well, if I'm working with a director, okay, having having directed already, for me, like, I know, and I appreciate, like, being able to, like, talk to my actors, when they need me, you know, I don't like to be in their face, you know, so. So basically, like, I trust my crew, I trust my actors. And, you know, I set up cameras in such certain ways that it's like, I want, I want them to feel like they're almost onstage and they're having a live performance. So like they're creatively flowing, and nothing technical is getting in their way. You know what I mean? So like, I almost feel like, I'll put zoom lenses on cameras, so that, you know, they were in tight, but they don't know we're in tight, you got I'm saying, so I wanted to feel like we're, I want the audience and the crew to be like flies on the wall, watching something like really dangerous happening right now. You know, so I give them that space, you know, and I like that, you know, I like directors who give us space, you know, as big as because they give, giving us the respect and the honor of knowing that when they hired me that I'm going to bring the goods, I'm going to bring my preparation, and allow that preparation to be a celebration on set, you know what I mean? And it's not that I'm trying to say, like, you know, actors should take over No, that's not what I'm saying is that, you know, if, when I'm hiring somebody, I'm looking at mostly, you know, trusting noise, okay, this person is brilliant, they're great. They, they do, they do their work, they do their homework, they're responsible, they're not there, they're kind of people, they're loving people, they care for the peace, they're going to bring something, let's play, you know, so I like obviously, like, you know, before we actually start production, maybe a week of rehearsal, just to kind of get in there, you know, get dirty with the director, knock out all of these wonderful, you know, moments and scenes talk about things that, you know, we'd like to achieve in in all the scenes, and then, you know, finally, when we get to set that we're all on the same page, we're not, you know, wasting time on things that we didn't explore yet, you know, we're actually expanding on the exploration that we had in our preparation and our rehearsal, you get what I'm saying, if anything, there, anything gets stopped, we think for a second about anything is only about expanding and moving forward, rather than, you know, you know, stopping and not having had that prep time, you know, to get it. And then the other thing is, like, you know, sometimes I feel, you know, and this is nothing against certain directors and whatnot, you know, everybody has a different way of going at it, different roads at the top of the mountain, and as an actor, I understand how to work with all of them, you know, it's my respect to them and their craft, you know, because not everybody's wired the same way. But I do kind of tend to, like some of the directors who, you know, they're brilliant at what they do, you know, and they understand and respect what I do. And, you know, the talking is minimal, you know, it's, it's more about the doing, you know, and and, you know, if I need another tape, let's do another tape, because, you know, I have something special that that just came up out of the moment that perhaps, perhaps I didn't hit or didn't jump off the cliff on. And, you know, let me give you one, you know, hits and giggles, you'll, I'll surprise you, you know, even if it's an improv, you know, it's something that, you know, whether beyond the page or off the page, that it's something that is something creative, that allows us to, you know, to be and so, you know, I feel like sometimes certain directors like to talk for talk, you know, to feel their importance, and it's not, you know, it's sometimes an insecurity thing, and I understand it, I understand it, you know, and I and I respect them for feeling that way. In a way, it's a compliment to me that they want to share that moment with me and they want to talk about something, you know, but, but a lot of times, it's like, you know, just have faith in your guys and just do you know, just lead the way if I'm off track as an actor for anything, please come in and help me get back on track, right? If I'm driving this, and I'm, you know, I'm doing my thing, and they're getting it and I'm attaching the story. You know, some really good directors know how to leave their actors B and just, you know, basically just just be like, Oh, you want another one? No, you're good. Okay, great. Let's move on. You know, right. Right. Right. Right. It's it's not even, you know, it's just knowing when you have it, some some directors don't know when they have it, you know?

Alex Ferrari 49:49
Yeah, that's, that's that's what Robert Forster said. He says, like, I asked him the exact same question He's like, I'd like a director who knows when they have it. Great. That's a big thing.

Yancey Arias 49:59
It's a big thing, it's a big thing because, you know, otherwise, it's like, it's sometimes it gets kind of sticky and little muddy, but, but you know, I think that at the end of the day as an actor, without my directors hat on, as an actor, you have to be able to work with everyone and everyone style, you know, and just basically adapt. And, you know, remember that you're invited to a party, you know, and you have to respect everyone at the party, and the party and all your work on your work. And, and be ready to be ready to, you know, to adapt into I've already said that, but be ready to complement the project and to collaborate with the project because, you know, no matter what you came up with, that is so brilliant for your, you know, that you feel we want to share with the audience and we want to share for the, with the production, you know, things things are going to slightly alter, you know, for one reason or another technical things or, you know, story wise or, you know, whatever, you know, things do change. So be ready to change, be ready to adapt, you're ready to flow. So you know, you it's just like being a fighter, you know, I mean, like you can, you can basically train for, you know, 16 months prior to a big fight or three months or two months or one month prior to a big fight. And in that preparation, you know, you do you think of every possible thing that you have to do to fight that opponent. But when you're in the ring, when it's in the fight night, dude, anything could happen. Anything could, of course, be able to just flow and adapt. And you know, you know, go with it, you know, I'm saying and, and, and, you know, you're brave enough to go through it, you know, try to win. And if you did win, great, but if you didn't, at least you were brave enough to try. You know me, I

Alex Ferrari 51:49
think that's good advice for life in general, just kind of go with the flow. Anything can happen at any time.

Yancey Arias 51:55
Exactly. And don't freak out when something doesn't seem to be wrong, because what you think might be wrong, actually could be a blessing.

Alex Ferrari 52:03
Oh, I've had that too many times in my career. Too many times cop out for right. Yeah, exactly. Exactly. Yes. Um, hold the mic a little bit off, your shirt is still rather good. So I have a couple more questions. Are you good? Are we good on time? Yeah, so far. Alright, cool. Any advice you can give a working actor on how to make it as a working actor in the business?

Yancey Arias 52:32
Well, here's the number one thing, anytime you get the opportunity, remember that it you have to appreciate it with every ounce of your body and your soul. And then, you know, prepare yourself to do the best work you possibly can in the time of your life that you're in. Because every time you go in and do work for any production, you know, it's about being consistent every time. Like always bring your A game and I know it's exhausting, but you do it because you love it. And there's no other reason why you need to be there. Because simply because you love the story and you'd love to be on the project. And and be prepared because once the audience then feels that love that you brought to the table, like basically, like you're serving a dinner, a beautiful dinner, every time that you're going, you know that you put them on a show, you know, and so like every time you invite the audience in, to sit down and give you you know, your attention for you know, 45 minutes to two hours, you know, it's it's this amazing dinner that you prepared for them. So you know, otherwise, if you don't have it that great, then people don't want to come you know, to dinner anymore. So the more that you so the more that you you know, they're always bringing something delicious, different, something great, something interesting, you know, and your work is always on point, you know, you know, 99% of the time, you know, because remember you gotta leave 1% for failure for failure because failure is good thing it's a humbling thing.

Alex Ferrari 54:00
You know, it's a greatest teacher but you don't learn by winning all the time.

Yancey Arias 54:04
Exactly. But you get you'll learn by failure as well. But you know, you know your turkey always gonna be as delicious and scrumptious. You know what I'm saying? But but but no thanks. Yeah, if you're right for Thanksgiving, right? If you're, if you're consistent, right and giving and preparing the most delicious dinner, doing your best work, then, you know, people will pay attention and people want to keep hiring you. And that's how you become a working actor in this business. And the other thing that you have to do to also be you know, a working actor is that you have to have a lot of different things that you do, you have to learn how to dance you have to learn how to sing You have to learn you know, you got to know your shit as an actor, you have to you know, you have to pick up an instrument you have to do a lot of different things. Because sometimes a certain role calls for it and and if you go in on it, and you don't know anything about that, you know, it's going to be Difficult to cast you, you know what I mean? Because then you know you want you want to give the producers and director no reason to say no. You know, I'm saying so you're going for a role, and there's a specific skill attached to that role. You want to know something about that? As a general statement, right? Yeah, exactly that way, that way, you know, so sharpen your skills when you're not working on different things, whether it be dance class, singing class, horseback riding, guitar, horseback riding, motorcycle riding, be safe guys, you know, you know, any kind of contact sport, boxing, martial arts, you know, be good. Respect your body, understand, you can't hurt yourself, either, you know, but but train, train, you know, on all of these different arts, because, you know, you're going to be called upon to have to come up with that skill. And it's very apparent when you don't know what you're doing. And because of television, and television, and independent films move so fast, and the preparation is so small, you know, you want to have a head start. If he so so there's a big thing about vision questing. I call it vision posting, because I say to myself, look, you know, what, I haven't been called yet to play a guitarist, you know, someone who's good, but but like, I think of myself as I'm someday I'm gonna play someone special in history, who played guitar. So I play guitar. So I work on it, like every day, even playing little, you know, Nursery Rhymes to my son, you know, as long as I'm doing it, I, you know, out, you never know, when I really have to do it for a job. You know what I mean? I'm lucky that I do sing. I've been singing since I was a child. And I've done it on Broadway. And, Greg, we talked about before. So if there's a singing role, you know, I sing. So I'm gonna bring that to the table. I say all actors should learn how to do especially learn how to sing or learn how to use their voice, learn how to dance, or do yoga. Because it's really important, you don't just act from the head up, you act with your whole body, you know, you're communicating with your whole body. So you got to learn how to use your instrument fully your full on instrument from head to toe, so that, you know, you can apply that to being consistent at work and also being ready for something that might surprise you later on that, you know, oh my God, I've been in dance class all the time. Oh, this is a big dance movie. Oh, it's a big ballroom dance movie. Like what happened with you know, what was that movie?

Alex Ferrari 57:26
The ballroom of a strictly ballroom strictly ballroom

Yancey Arias 57:29
or another movie that Robert De Niro did the most amazing film of two years ago.

Alex Ferrari 57:35
Oh. Seven line playbook.

Yancey Arias 57:40
So somebody's playbook. Exactly so I mean yeah, I mean the characters didn't have to really know how to dance but it's good to know something

Alex Ferrari 57:47
it helps it helps with the part without question yeah, no are there are there any pitfalls in the business that you can warn actors about

Yancey Arias 57:55
pitfalls you know I would say the pitfalls are like in life don't expect so much don't don't expect you know that everybody's gonna kiss your ass or you know throw flowers you know down you're on your feet you know you know you appreciate every opportunity you have Be humble you know because if not, you know, people people will see that smell that and they don't want to work with people that don't appreciate to be on a project you know what I mean? They know that you know there's a lot of people I know that shot themselves in the foot because you know they think that they're poopoo don't stink you know what I mean? And and they get bad reputations you know so so as you know I say work hard Be humble do your best and and and you know try try and bring love to the table and nothing else you know you know I think also you know good training you know get yourself in a good you know space a good workshop or you know good class you can work out for a couple of years that you feel comfortable with and safe in and you can rock use you know, rock your best creativity you know, find a way to work out in spaces like that so that even you know as a working actor, you're still always growing you know in between and you're still you riding the bike in between work because sometimes you know, if if you don't work for maybe four or five months and all of a sudden you got a job and you got to jump back on the bike and you got to you know, kind of start the pedaling again whereas if you're already there and you've been in you know another production or working on something for yourself you know to expand your muscles and have character that you never played before you know that you know you you're ready and as soon as someone calls like BAM okay hello let's go and and that you know, what happens is some some actors get lazy they don't they don't work on their craft they don't they think that they know it all. And you know, like art art is an evolving thing and so you know, you never got it you're never ready and if you feel like you got it, then you're dead really creatively.

Alex Ferrari 59:56
And the one thing that you said that was I think it should be made a point of is like here's like a For two years you have to do this like this is not a short thing this is a long process to become a really good actor it takes years of determination years of work

Yancey Arias 1:00:08
yeah man still work out and I'm you know I'm 30 years in the business so yeah right you have to I say work out because I look at a class like a gym, right when I'm when I'm in a class I'm a structure I'm working out that's my workout time. That's my therapy time.

Alex Ferrari 1:00:23
So um, last two questions. The toughest questions by far what is the what is one of the most underrated films you've ever seen? And what are your top three films of all time?

Yancey Arias 1:00:38
got three underrated and no

Alex Ferrari 1:00:39
What? No, no, just one underrated three top

Yancey Arias 1:00:42
One underrated film and three top Yeah, that's a good one. I told you it's gonna be the toughest you're gonna give me a second I'm gonna start with the basketball okay maybe maybe the under one underrated one we'll come to but you know godfather of course you know godfather 123567 right That to me is the you know I could I could just you know a film is so great when you can like after 30 years of being in the business anytime it shows up on like you know any network or any you know any cable channel you stop what you're doing you watch and if you don't have time you go like I got to see that again and you go pick up the DVD and put it in

Alex Ferrari 1:01:34
a few of those movies yeah

Yancey Arias 1:01:35
you know and it's now as a director producer writer even more so it's like you know if you have a film like that you you go back and refer to shots and you go oh my god look at that carrot movie. Oh my God look at that amazing you know you know panoramic shot that they have or whatever you know or the way just the interesting lighting or anything you know cinema party decio and love cinema beautiful beautiful farm film that in terms of story and simplicity heart and soul heart soul passion I mean it was you know, just so good it just got me right away you know when we in terms of story and in terms of like all of that you know, inspiration you know is great great you know, it was one of those examples of fantastic movie that was probably shot for very little and very humbly but with a lot of love and care you know what I mean? Okay, so godfather cinnamon para decio and Gosh, I mean Hello

Alex Ferrari 1:02:46
whichever one whichever our wars okay fine

Yancey Arias 1:02:50
you know as a kid you know, it's like you grew up with that and it's so hard to get away from that today. The kid in me is so excited by those Star Wars is coming

Alex Ferrari 1:02:59
it's it's it's I've never seen the anticipation that the last time I've seen anticipation for a movie this much was was probably when the prequels came out. Like that was But even now more even now more so because

Yancey Arias 1:03:12
oh my god. Yeah, because the technology is so amazing. And JJ Abrams, like he's asked with Star Trek one and two that it's like, you can't wait to see what he's going to do with the Star Wars

Alex Ferrari 1:03:23
and you know that most of the most of Star Wars is he shot at old school practical.

Yancey Arias 1:03:28
Wow. Yeah. Well, I can't wait.

Alex Ferrari 1:03:30
I can't wait to see how he pulled it off. So yes, where can people find you?

Yancey Arias 1:03:37
You can find me at www ncrs.com. I check in there all the time. And you know, you can actually go to my forum and ask questions and I answer also on Facebook, Yancey areas and Twitter and Instagram and now Periscope. Your Periscope. Yeah, no, I'm a periscope when I have a good connection like I'm on the set of agents of shields today. And obviously I can't be on set with the periscope thing but I can do that so much. I can be in my trailer talking about it you know, I wouldn't talk about any plot well you know of course of course specific you know, I have to respect my my due diligence and silence of course to the project but you know, I can you know, I can just say Hey, guys, you know, I'm doing you know, this show watch me, you know, in the new year, you know, but But so, so yeah, so you can find me on all those social medias. And, yeah, and this 2016 and at least the first quarter, you're gonna see me quite a bit. I'm on. Agents of SHIELD. I'm on Bosch on Amazon. I'm on. criminal mind criminal my Criminal Minds beyond borders. is the new Gary Sinise show now Gary Sinise. I'm sorry. Excuse me, please scratch that. Wait Is it in New York CSI New York okay was the was the one that

Alex Ferrari 1:05:06
That was the one that was Gary Sinise Yes. Yes. Oh, sorry.

Yancey Arias 1:05:08
Yeah. I'm thinking somebody else I think Craig Kinnear for some reason okay. Similar actors but now yeah Gary Sinise is amazing anyway, so Gary Sinise has a new show called Beyond Borders. Is this the Criminal Minds Rand flagship and I haven't film coming out called restored me and I also have a film coming out called hands of stone so you can catch me in a lot of neat stuff in the first quarter of 2016

Alex Ferrari 1:05:40
And handsome stone is the one with a with with with Bobby I like to call Bobby Brown Yeah, yeah I've actually seen the I saw the trailer I'm not sure the trailer that I saw the poster for sure. I was like oh, and he's like he has he's the he's like the the trainer right

Yancey Arias 1:05:59
The trainer right? Yeah, I mean I'm sorry. Roberta Duran yeah the trainer and and we have you know, and then in my film that I produced is coming out restored me it's got a really interesting avenue that we're going because we're we're bringing a lot of spirituality to a very urban edgy, you know, based on a true story type film.

Alex Ferrari 1:06:23
Oh awesome.

Yancey Arias 1:06:24
So so you know it kind of goes in the faith based market but more but then it also dances in the you know, urban you know, Suspense Thriller world so it's kind of you know, in the end we have some really wonderful actors that you would be amazed that I was able to pull out you know, from my Rolodex of friends over the years that I've worked with and they've supported me and I've supported them and you know, we just try to make it a love fest on set and you know, bring actors you know, like much like George Clooney and Steven Soderbergh use a lot of the same people you know that's that's basically what I'm doing I'm trying to you know, I'm taking a you know page off their playbook and bring friends to the table we have a great time you know, so the classic dinner you know, so you just that's a really fun movie that I think a lot of people appreciate once it comes out restored me because you'll see a lot of the people that I've worked with and you'll go oh my god yeah he worked with on that one and he worked with him on that project and then and that you know in any get it you're like oh, I see what yes he's trying to go with his progress he you know, it's a big you know, Family Affair every time

Alex Ferrari 1:07:28
That's so awesome man thank you so much for taking the time out and sharing the experience your experience with with the crowd and hopefully, people get something out of a lot of this wonderful information that you laid out for us today man.

Yancey Arias 1:07:40
Good stuff man. hopefully help somebody.

Alex Ferrari 1:07:43
Thanks again for being on the show brother. You know, sometimes you just meet people in the industry that you just just love man and and Nancy is one of those guys. I absolutely love Yancey and would go to battle with him. any day of the week. He is one of those souls that is that he says a giving soul and he's such a great, he's also a very great actor. But more importantly, he's just an amazing human being and was blessed to have him on the show and share a little bit of nuggets of gold nuggets of information that he has. Anytime you can hear or listen to somebody who's been in the business for a long time give you advice. It's in your best interest to listen and I was listening as much as interviewing on this one as well. Because I've talked to Yancey a bunch I've never had this kind of detailed conversation with the antsy before so it was a big treat for me and I hope you guys got something out of it as well. Now guys, don't forget to head over to filmmakingpodcast.com and leave the show an honest review. It really helps us out a lot. So thanks again for all the support guys. I hope you I hope you guys are getting a lot out of this. I'm loving it and enjoying doing this show. And I plan to keep doing it for for a long time to come to want to try to help as many filmmakers as humanly possible. So keep that dream alive. Keep that hustle going. And I'll talk to you soon.




  1. Bulletproof Script Coverage – Get Your Screenplay Read by Hollywood Professionals
  2. AudibleGet a Free Filmmaking or Screenwriting Audiobook
  3. Rev.com – $1.25 Closed Captions for Indie Filmmakers – Rev ($10 Off Your First Order)



Where Hollywood Comes to Talk

Oliver Stone

Oscar® Winning Writer/Director
(Platoon, Wall Street, JFK)

Edward Burns

(Brothers McMullin, She's the One)

Richard Linklater

Oscar® Nominated Writer/Director
(Boyhood, School of Rock)

Eric Roth

Oscar® Winning Screenwriter
(Forrest Gump, Dune)

Oscar® Winning Writers/Directors
(Everything, Everywhere, All At Once)

Jason Blum

(Shaun of the Dead, Baby Driver)

Oscar® Nominated Producer
(Get Out, Whiplash)

Chris Moore sml

Oscar® Nominated Producer
(Good Will Hunting, American Pie)

(Menace II Society, Book of Eli)

Marta Kauffman sml

Oscar® Winning Writer/Director
(Last Samurai, Blood Diamond)

Emmy® Winning Writer & Showrunner
(Friends, Grace and Frankie)

Free Training of The Week


How to Produce a Profitable Low Budget Feature Film

By Suzanne Lyons

Join veteran producer Suzanne Lyons as she shows you the three key secrets to produce a successful and profitable independent film.