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Through a referral, I was put in touch with a former agent at ICM who recommended an acting coach named Vincent Chase. Vince was known to have a large bevy of attractive young acting students in his classes. I was also able to rent a small room from a B-movie producer in Malibu. The Brebner Agency set up a meeting for me with an agency called STE. As I later discovered, they were highly regarded in the industry and I was lucky to be meeting with them. On that very first day of the meeting, Jerry Scott, the agent I was speaking with, set up an audition for me with Warner Broth- ers. I drove directly from the STE offices to Warner Brothers and was handed ‘sides’ to read with two of the casting directors. I had no idea how lucky I was or the importance of this oppor- tunity. As a result, I was extremely calm and unimpressed by the whole affair, which served me well in the audition. I didn’t really care if I impressed anyone or landed the role. Indifference is the best tool an actor can have. After the audition, one of the casting directors said that my performance was “fantastic.” Both complimented me and pro- vided encouragement that made me feel I was in exactly the right business. I didn’t get the part, as I was told I looked too much like Bruce Boxlightner, the current lead of the show. At that point, I wouldn’t have known what to do on a set any- way, but the positive feedback excited my new super-agents, and I was off and running to meet many influential folks in ‘the busi- ness.’ I made the rounds. Universal, Warner Brothers, TV Networks, MGM—mostly just meet and greets. I’m the new guy at STE, blah, blah. Put on the ‘Mr. Charm,’ I thought. The agents gave me very little instruction as to how to ‘be’ in these encounters.