Let your work sell you.Talk yourself up and connect with people.
Javan Wade is an actor, an entrepreneur, recognized as one of Variety's 10 Brits to Watch and dubbed a rising star by London's Evening Standard.
As an actor, he's appeared in massive shows and movies, but he's probably best known for his portrayal of Victor Stone, aka Cyborg, in Doom Patrol.
Beyond acting, Jevan spearheads a plethora of initiatives, including his production company, Wall of Entertainment, producing online shows aimed at Generation Z, like Does a Shoe Fit, Shiro's Story, and The Pink Courtroom for international brands, resulting in over 55 online shows and amassing over six
billion views.Find out how he does it.Welcome, Javan Wade.
The more people that you help, the more you help yourself.
Welcome to We Audition Show, Javan Wade.It's so good to have you here with us.Thanks for having me, fellas.Nah, of course, right?You know, you've been in England for a long time.I have.And you made the move to America.
You had a big success in England, and then you're being really successful out here.You just was on Bel Air.You did Doom Patrol before that, and you started all the way back out with Man Them on the Wall, right?Yeah.Tell us about that journey, man.
So I started off, before I even got into acting on a serious note, I was playing football as the US would regard as soccer.And I was playing, I loved it.My whole family was pretty much heavily into football.
And I was just doing acting classes on the side, a place called D&B back in Downham, my hometown in London.And off the back of that, I remember being like, 15 years old and saying, you know what?I have to make a decision.
It's either like, I'm going to continue this football or I'm going to, you know, really take acting seriously.And I loved acting more than I love playing football.So I decided that I was just going to stop playing football.One day I went to my mom.
I said, I want to act.And she said, follow your dreams, follow your heart.I went to my dad.I said, I want to act.He said, you're out of your mind.Let's do the football.
No, I'm playing.He was really supportive as well.And off the back of that, I just like decided that I was going to go for the shot off the back of that.I heard about this place called the Brit school.
I heard that if you want to get into the industry, then you have to go to this place is, you know, a high, a high probability that you get industry opportunities by going there.
So, you know, it's, it's more prolific for music, Adele, Amy Winehouse, but I went there for acting. a few alumni, you got Tom Holland, you play Spider-Man.And I thought, okay, cool.This is the place I need to be.
I went to the Brit school and in my, after my second year, I realized that I felt like I got enough from the school to the point where I just wanted to get into the industry.And so at the end of that course, you have like,
what they call a showcase and that's your opportunity to get an agent.And so I did the showcase, got an agent, Seinu, which is who I've been with since the start.
And I decided that I didn't want to go to another drama school because I got what I needed there.Let me just try and get out and work.And this is where you kind of like, I got a bit of a, a bit of a understanding of the industry.
I'm going up for hoodie number one, thug number two, and thug number three.And I'm like, okay, there we go.
And if that's going to be the case, then I want to, you know, create my own version of that, you know, put myself out there.So I get more opportunities.
And so me, my best friend, perso, Ascot, um, we ended up coming together and we said, look, let's make a, let's make a show on YouTube and let's put it out there.
So we went to a variety showcase, which a friend of mine, um, Glenn Murphy, who was part of twist and pulse, the dance from Britain's Got Talent.And they put on this showcase.
We went there and met our third member who was D Carte, who did our first ever experience of standup comedy.And we said, you were brilliant.He said, well, you guys are brilliant at your sketch.Let's come together and let's do something.
So we ended up going for a walk two days later to the chicken shop.And during our walk to the chicken shop, we came up with this with this idea called Man on the Wall and put it out on YouTube.You get dark meat or white meat?I got dark meat.
That's always one of the best ideas.Exactly.And off the back of that, we created the show.We did it three times because the first time we shot it, it just wasn't what we wanted it to be.Did it again.And then finally we got it funded.
We just Just put it all out yourself.
Self-funded.Yeah.And it was, the experience was at the Brit school, you had all these different strands.So you had, you know, musical theater, you had theater, you had music, technical theater.
So we went to all of our mates and essentially started producing before we realized we were producing. So I went to my mate in music strand and said, Hey, we need a theme tune.And then Fidel made us the theme tune.
Went to my friends in technical theater and said, Hey, we need some, like some elements for our set.They then helped us out with that.Went to friends in media.We need cameras to rent.They then gave us the cameras.And so put it all together.
And off the back of that, that was, you know, producing the show.And then we put it out online.And during that time, there was, you know, the, um, the London riots in 2011 off the back of Mark Duggan, um, the police brutality.
And we said, let's do something about, you know, this, because we know that one, it's gonna give a bit of a lighter tone to what's happening and have people understand what's really happening.
And two, it's going to just get a lot of foot traffic because everyone's typing it in on the internet and we can service that traffic.
hanging on a news article and then diverting the traffic.
Because that had the highest form of traffic at that time of people searching it on YouTube and searching it on Google.So we knew that we would pick up some traffic if we titled it Man on the Wall episode one, London riots.
Everyone searching for the London riots would then come across our video.
So entrepreneurial.You're probably getting some traffic again now, aren't you?Yeah, literally it's full circle. But I mean, and YouTube at the time was only what, like six years old then.So there wasn't the level of competition out there either.Yeah.
No, it was like, we had a friend of ours in school.His name was Marcus Noble, and he was the first person to ever do a YouTube show that we saw.And he was like, look, we want to do something like that.
And at the time there was no one doing any videos on YouTube, let alone a show, you know?
So a little bit of fact, a fun fact for the We Audition listeners.We started We Audition.Our third founder is the first ever YouTube star.She's the first person to get a million views on YouTube.Crazy.
For the first ever scripted show, but nobody knew it was scripted.It was called Lonely Girl 15.And it was a video blog that people thought was real, but wasn't. No, fun fact.And the whole thing was scripted.The whole thing was scripted.Yeah.
But people didn't realize at the time.And yeah, first thing to get million views, but yeah, anyway, back to no, no, no.
But at that time that was, that was what it is, you know, finding YouTube long form content, it blew up and it started doing hundreds and thousands of views from that traffic over just a few weeks.
After the fourth episode, we were contacted by big talk productions in the UK and they said, Hey, we love what you're doing.This writer called Levi David Ade is, you know, making this new show called Youngers on E4.
And we've asked him, how do we make this show better?And he said, man, I'm on the wall.We need man I'm on the wall in this show.And so they, you got scouted off the internet.Yeah, yeah, yeah, yeah.
And that was, that was, you know, the start of everything for us.It was just, you know, getting onto that show.We did two seasons of Youngers and the plan was that they would basically create us our own show after we did the Youngers show.
And so as a result, we held off on doing any more content because we said, let's save all of these great ideas for the TV show.But once we did the two seasons of Youngers, they didn't end up cracking on with the Man on the Wall show.
But then we had lost the online audience because we had done all of this stuff on TV. And by the time we were kind of left skin and dry, it was done.And so then we said, okay, well, we still got these subscribers.We just got to kind of reenact them.
Let's make a new show.And we did the JPD show and we got a pilot from BBC three.
And, and then- Did your followers come back?
They were still there in regards to being subscribers, but they were just dormant.And because Man on the Wall had gone and then they'd seen it all on Youngers and it was like, well, we don't want any more sketches.
So we said, okay, what haven't we done with this Man on the Wall brand?The only thing we haven't done is a live show.Cause we've done music videos, we've done skits, we've done the first ever comedians to do BBC radio on extra fire in the booth.
with Charlie Slough.And he started on YouTube in a similar fashion, didn't he?And then he got acquired by some already, yeah, like Hip Hop Station bought his idea and blew it up.And then- And that was crazy because it was his idea, you know?
So- I thought he was a character for ages.Yeah, that's Charlie, man.Charlie, he's a great guy.Wait, I might be able to get the fire alarm in here now. Would you do anything different if you did it now?
Would you do anything? in this landscape as it is now, because it's completely different from 2011.You got any advice from someone starting now?
Yeah, it would be the, it would be the same thing in terms of create your own content and devise and, and, you know, put yourself out there at the time we, we just use what we had.
We constructed everything on, you know, the cameras that we could get access to.So nowadays you've got iPhones that look, you know, better than the cameras did back then.
Um, so I would say at this point, yeah, it's about, you know, taking an idea, something you're passionate about and just going with it, use what you've got.
And I guarantee you that anyone that is around you or anything that you need will gravitate to you.And that's just what happened for us.People came to us just from that idea, you know?So you got all these different platforms.
Now you've got, you know, Instagram, you've got Tik TOK, you got, so now it's, it's definitely about, you know, using these different platforms as a bit later, when I talk about the wall of comedy, the wall of entertainment, I'll go into some more stuff in that.
But now we look at using, you know, Instagram as a specific network.So we say like Instagram is, you know, is HBO.We say that, um, uh, Facebook is the BBC.
We say that TikTok is because they all have different audiences and you have to serve those audiences.And even if it's the same content, you have to package it differently.
And so take your idea, whatever it is that you've got and get it out there, but really look at how you package that content.
That same piece of content that you put out on Facebook will be different to how it releases on Instagram, different to TikTok, different to Snapchat and treat all these different social media platforms because they have different audiences and those audiences gravitate to that content.
And they have different formats and different lengths and different, you know, I think people still, you know, would watch horizontal videos on Facebook a lot more than they would.Yeah.We just don't watch horizontal videos on Instagram.Exactly.Yeah.
And it's annoying when you, when you get one, you even want to turn it that way.It's small, that kind of thing.So yeah, you've got to be very specific about how you craft your content.
And so, yeah, when we got to the point of the JPD show, um, we went to the BBC and we said, Hey, like we've finished with man on the wall.Now we want to do a sketch show.I was heavily influenced by key and pill.Um, and we just love their sketches.
And we said, we want to do something like that.So we worked with a company called happy tramp, um, Neil Webster and Ben Palmer, who actually directed the in between his movie. and they worked together with us to create this sketch show.
And we put it out there and it was maybe like 11 o'clock on a Sunday night.And we said to the BBC, Hey, this is, this is really late.Our audience are going to be asleep.You know, it's young kids that we're, you know, connecting with.
They still put it out.It didn't perform the numbers that they wanted it to perform.And then they said, look, we're not going to, you know, go further than the pilot.So we said, okay, cool.
Give us the rights back for this show and let us put it out online.And we'll show you and prove to you that it's not the sketch.It's the time you put it out.
But what we couldn't do at the time is we couldn't just put it on the Man on the Wall YouTube channel because that was for that show.So we said, okay, what we're going to do is we're going to create a network. So we created a network.
We had at the time, you know, like SBTV, which is a music platform in the UK, Link Up TV, GRM.And we said, there's nothing for entertainment, nothing for comedy.Let's be the first.So we created this platform.We put that show on.
Let's back up.When you say create a platform, is that your own website?Is that on another channel like YouTube?Yeah.
So we had our own website, but the main funnel that we use was Facebook.And it was pretty much like a Facebook wall of comedy videos.And that's why we called it the wall of comedy.
Got it.And so that's the, that's the network.It was using existing social media structure.Exactly.
But it was bringing in multiple streams of content to there we go.
And so that video was your stuff, but also other people, you know, or where did you get the other stuff from?
Yeah.Or at the first instance, it was just our stuff.So it was just this one show that's those sketches of like 30 seconds to a minute and a half went out.They did millions of views on our Facebook page.And off the back of that, it was like Eureka.
It wasn't the sketches.It was the audience and the distribution.So that then built our audience.We went from around a million followers on Facebook to like three, 4 million followers.And then we said, okay, well there's other guys out there
and girls are creating content.
If we can find a way to work with them in order to be able to create content for them, distribute it on our platform, we can get the likes of the BBC, the channel fours, et cetera, to come and then want to work with them via seeing that content distributed.
So we did just that.We went and we found, you know, different creatives and, um, we took that content and we said, okay, we want to make a show for you.We love what you're doing on Snapchat and we love what you're doing on this platform.
Let's, you know, create something for you and put it on our platform.They wanted access to our audience because we had like 4 million followers at the time.
And because we were monetizing our Facebook, we had the resources to be able to fund the productions that we would do for them.So we started creating these mini series of like
10 minute episodes, six episodes, a series blowing up these different content creators.And off the back of that, the platform would continue to grow.The Facebook page then grew, uh, eventually to about 20 million followers.
And we will produce in between our original content and licensed content about two to three, 400 million views per month.
And that's when we said, okay, now it's not just going to be our original content, but we're going to go out and license other people's content and have licensed content and original content.
And then the wall of comedy, the wall of productions and the wall of talent then became formulated as a, as an entity.
Your foresight in something like that is insane because you literally, like you said, you called it a network and that's why I wanted to dive into that is you built it like a network.
Being an actor yourself, a lot of people in the acting game would be likely to think more selfishly about, I just need to get my stuff out there.I've got 4 million followers, what more can I put out there?
But you really aggregated these other creators and brought other people up with you.Do you ever get scared by that or like,
Jealousy is not the right word, but there was ever a moment when you thought, if I keep bringing all these other people up around me, my stuff might diminish.
It's a really good point.I would say, I would say no.And the reason why was because like, funnily enough, that was actually a part of why originally when we created the wall of comedy, we had Dikarte, who was the third member of Mandom on the Wall.
but he was really passionate about just creating content.And me and Percy was like, well, we don't want to create content for ourselves anymore.In this capacity, we want to create for others.
And as a result, that's why D then said, okay, you guys continue with the wall of comedy and I'm just going to continue acting and trying to do my thing.
So it was definitely a conscious decision so much so that we had conversations about it, but because we always believe that, Hey, when it comes to acting, I've had a lot of,
uh, self-confidence in terms of me getting to where I want to get to as an actor and continuing to build.So me helping others is never going to take away from me.
It's only going to end up helping because you're only as relevant as what's relevant, you know?So if I can continue to make other creators and build them
also with the entrepreneurial insight, I wanted to always, you know, have a network and have, and be an entrepreneur that owned a channel as opposed to just create a show or be an actor on a, on a project.
Um, so that was definitely a thought, but it was, it was harnessed with the fact that we really wanted to create a network and, and build something.
And it's scalable as well.At some point you want to step aside and go on and do Doom Patrol and still have the other stuff running.You can't do everything all at once.So I suppose that network gives you the ability to be a superhero on everything.
Yeah, no, 100%.And that, that was, you know, that was key because we had the, the idea of one day we want to be producing our own TV shows, producing our own movies.
So in creating wall of productions, it was the opportunity for us to be able to create shows for other people, house this, this network and kind of, you know, build from there.
And then one day we'll be doing what we're doing now, which is creating TV, creating film and developing in that way. and the wall of talent.
I don't know if you mind me asking, how does that work?Is that right to ask?Does Facebook and Instagram pay you or did they pay you?And do they pay you if you put other people's work on your wall?
Yeah.All social media platforms at this point pay whether or not you get access to the monetization programs is one thing, but they all pay. And if you are in a certain space, especially original content, I love original content.
So Facebook was paying us at the time, but we were really lucky, man, because at that time we were part of a beta program in which what is now Facebook watch was then them testing out how paid advertising would work.
And because we had one of the largest platforms in Europe via the content we were creating, they chose us as a platform to test our monetization.So we were monetizing Facebook as early as 2013, 2014.
And that's what really allowed us to be able to build our platform, build the content, our production company, our talent management company, managing the talent, and then also build an office of what, you know, built to around 40 employees.
And that's how many employees you have now, 40 still?Well, now we have a little bit more than that.But in between that, we shrunk back to zero.
And the reason why that took place is because during the time where we were building our social media platforms, we had an instance where we had a bad egg in a company and he was uploading videos
excuse me, he was uploading videos that weren't licensed.And so we wasn't aware of it because everything went through him.And just at the time I would call it bad management.We didn't, we wasn't aware of what was taking place.
Facebook then came to us and said, Hey, you've got all of these different videos that have been uploaded.And as a result, we have to strike your page and you're going to get a strike of like 25 different strikes at one time.
And as a result, we're taking away your Facebook page. So we lost our 20 million followers.We lost, um, we lost all of the content that was, yeah, that was, how, how are you licensing this content?
Like what, what was needed to put in place?Cause people share stuff on their social media all the time.That's not theirs.Yeah.
Yes.But when you've got different companies at the time you had like Unilad and Ladbible and Buzzfeed, you know, these companies in which reach out to you and say, Hey Darren, we love the video that you posted on your Instagram.
We'd love to pay you 500 bucks to license this content and put it out on our platform here, sign this agreement.And now we own your video.And then you do.
So you were doing contracts with those content creators?We were doing contracts with.Is that still the same to this day?If you put someone on your Instagram, you, you know, cause I see, say, say like Snoop Dogg.
a ton of things on his Instagram all the time.That's not him.Is he having to license and pay for that each time?
Potentially, or he's not monetizing that content.
But when a company comes and says, Hey, you're a big competitor of ours, you guys are like, you know, you're actually ranked, you ranked number one in the whole of the world in the month of May in 2018.We don't actually want you here.
How can we get you, get you off? And there was a juxtaposition where the guy that we had, he was managing the content.He also wanted to be in front of the camera.
And because we weren't able to get him in front of the camera over the craters that we were working with out of spite, he uploaded those videos knowing what would happen to our company.
So we're not talking about sharing other people's videos, are we?We're talking about uploading content as though it's fresh and yours.Is that right?
No, it's still, so we have the original content, which is all of our content, which we don't need a license for because we own it.We created it.But then there's Richard, you just did a piece of content or a sketch or a video.We love it.
Can we send you a contract, pay you for that video?And now we have the license to be able to upload it.We're going to upload it.But then what happens is there's content that you've done also gone and sold to Unilad or Buzzfeed.
and you've sold it for a higher price, ignored our contractual agreement.And Facebook at the time, they favored the big dogs.So they didn't even take our contracts into consideration.And they just said to us, look, they've got the license.
It's dated more recently than yours.They paid more for the video.And as a result, they own it.You've published it.And now you're going to get a strike.
Oh, I see.So one ownership, it's not a non-exclusive, it's an exclusive license.
Even if you did the licensing, someone else sort of usurped your license.Exactly.
And so as a result, we lost everything.We had our offices in Shoreditch.We had, yeah, just under 40 employees.We had everything.It was great. And then we had nothing.And it was just me and my two partners, Percy and Taff.
And we literally created a WhatsApp group and we called it start over.And it was literally us going back from the drawing board and rebuilding everything from scratch.And this was in 2018 when I got the biggest, you know,
role of my career in Doom Patrol, I got the biggest news of my entrepreneurial career, which was that we'd lost everything.Was that the same day, same week?It was the same week.
And the reason why that was is because I was in the hotel because I hadn't yet found accommodation because it was so early in doing the fittings in Atlanta.
Let's dive deep on that day.Talk to me how that felt.Like really, genuinely, how did that feel?
It was, it was horrible.It was, it was devastating first and foremost, because everything that we had built and the trajectory of everything that you have is crumbling or has crumbled, should I say?On top of that,
I felt even more horrible because I'm in Atlanta.I've got my two business partners in London and we're having to, you know, have all of these conversations and I'm not there physically with them and having to do everything remotely.
And then on top of that, we're in a position where now we've got to tell 35 people that they don't have a job anymore.And that's it because we can no longer afford to pay you because we don't have our income coming in.
So, yeah, it was, it was devastating while doing all of that, answering to Warner Brothers and the production for Doom Patrol and having so much on my mind of trying to, you know, prepare for the biggest role of my life being a superhero and cyborg while trying to work out how we're going to navigate this whole situation with my company.
And, um, Yeah, it was, it was bad, man.It was, it was bad.And I think after that, it was just that mentality of, okay, we either stop now, and this is what was cool.This is what I, when I realized that, hey, no, I really want to do this.
And we all really want to do this, Percy, Taff, because right now, you know, even Percy is also an actor.He was doing well.He had his show called The Innocents on Netflix and starring in that.
And we could have just decided, let's just crack on with our acting, you know, but we said, nah, we're gonna, we're gonna rebuild this thing from scratch.So what we said is, all right, what do we have left? We have the talent.
We have our production company and we have phenomenal ideas.
So now we're going to go to different brands and we're going to say, Hey, instead of spending all that money on a billboard, we want you to take some of that budget and give it to us so that we can create you a digital billboard, a channel, a network, just like we created for ourselves.
We're the guys who built 20 million followers.We can build you millions of followers too.We have the ideas, we have the talent.
And so we went to different companies and we would then create them bespoke formats like we would do for the talent, but with the talent, around their brand.
And for example, we worked, one of our first clients was a company called Foot Asylum and we created a dating show called Does the Shoe Fit, which tied in with their brand as a sneaker brand, as a trainer brand.
So it's like branded content, like you were making a long form commercial, but with fun ideas.
And in order to get those views again, did you have to buy paid advertising on your own content, things like that?Or was it organic?
No, all organic, never bought any paid advertising.Just no, never.It's just been ideas.Even to the point where we'd say to brands, Hey, we don't want you to put paid advertising behind it because it will stop our reach of our organic views.
So if we upload a video and it doesn't do well, okay, you got your freedom to go and do that.
But every time we would hit, we would then build, you know, these channels, we built channels from zero to millions of subscribers, you know, brand new shows that we would build to, you know, millions of views.
Um, and that also had an influx on the product that they would sell on, um, the core factor that took place because these said influences were now associated with these different brands.
And today we work with around, we've worked with maybe about 40 different brands from, uh, you know,
pretty little thing, McDonald's to Wingstop, JBL, like a whole array of different brands that we work with and we build branded channels for, build branded content.And as a result of that, that was our business model that helped us to rebuild.
And now we got our offices back.We're back just, well, we started back in Shoreditch, then we hopped to Liverpool street.And now we've got just over 40 employees and built the whole thing back.
If you'd like to join the WeAudition community, go to weaudition.com slash show to get 25% off.Now back to the show.
I mean, you're an amazing actor.We've seen you act.You're also an amazing salesperson.Thank you.That's very clear.Where do those two intersect?Do you think they're helpful for each other?
If there's an actor out there that's not a good salesperson, is that important?
Yeah, I think there's two degrees when it comes to the sales.I think that you have two aspects as a salesman, as an actor.You have your performance, which is always gonna sell.
And if you have a great performance, which is why it's so important to work on your craft, because if your craft is great, that sells in itself.Someone goes and watches a film and they're like, oh, I want that guy.I did the first Purge.
Greg Berlanti saw me in the first Purge and said, that's my cyborg.I was then cast in Doom Patrol.Yeah.
Yeah. So, you know, Auditioning by doing that role.
Yeah.I was auditioning from doing that a lot from doing that role.Was that straight offer for cyborg?Or did you have to audition again?No, it was an offer.Yeah.
Yeah, no, it was, it was wicked.So I'd say like performance wise, that's, you know, your biggest tandem.
And then outside of that, there's the, there is the salesman or the saleswoman of selling yourself, you know, meeting people, connecting with great people, getting in the rooms, relationships is a big thing.
People want to work with you because they like you. You've got two actors and it's like, okay, they both can deliver the job.One of them is a really nice person.The other one is stressful.The nice person is going to win every single time.
And it could be, it could come down to a little bit, you know, shy of that.They're both great people, but I've met this person and I got a vibe for them.I haven't met this person, although I've heard great things.
My personal experience is going to win every time.So meeting people, connecting with people, that's why I love you lots of events.With audition events, you get to connect with these people and be in person and say, Hey, you know, this is who I am.
Fill me, fill my energy, let's connect.And so that's what I would say in terms of those two angles, when it comes to a sales position, let your work sell you.
And also you need to talk yourself up and connect with people and just sell yourself, your energy, your vibe.And, you know, so long as you are a good person that will come through.
And that's not an authentic selling yourself.Cause a lot of people try and sell themselves and they just become annoying.
But the thing I always say to actors, when we talked about that, that nuance between who gets the job, I speak to actors that say, well, you know, I am the best person for this.
And I'm, I said, you know, there's only, there's not only one best person for it.That's the problem.
So when you're a certain level in your craft, So is someone else.And so is someone else.And so there's going to be something outside of your control that tips that.So it may as well be a relationship.It may as well be knowing them.
It may as well be the way you handle yourself in the press or, or, you know, how you come across in a podcast, you know, even doing things like this. people out there get a sense of an energy from somebody and they know they want to work with them.
That person is professional and they're, you know, educated and they, they understand the industry.That's going to be an asset on set.
For sure.That's, that's, that's, that's everything really, you know, it's like, And this is the phrase, people don't buy what you do, they buy why you do it.
And if you can get an understanding of why someone does something, why they are the way they are, why they decided to start acting and that all comes through, people buy into that.And that's what you're setting, but that has to be authentic.
It's not what you're saying.It can be annoying when people are trying to sell themselves in the wrong ways.
Just let you be the talking and work on yourself to the point where who you are naturally just exudes something that people want to connect to and want to work with.
Yeah.It's amazing really, the connection thing.
So, um, I know Rich, you, you will probably be very interested in what I'm going to ask Javan now as well, because we, we struggle with this as entrepreneurs and actors and no, I'm nowhere near the success level of you.
I know there's going to be people out there right now inspired by what you're doing and be like, how the hell does he have time?It's to talk to us about that.
How do you have time?How do you have time?Entrepreneur, producer, actor, creator, networking, 1010.Oh my God.How do you sleep?No.
So I know we've talked about this before.Tell us about how you structure your day and your week to maximize this, because it, it feels overwhelming.Most people wouldn't know where to start.
Yeah.So how I structure my time is, um, something called the 80-20 principle.Uh, I live by it.It's a book that you can get, get it online.Yeah.
You can grab it on Amazon or wherever I'm a bookstore, but that is essentially what I use in order to construct my time.Um, especially as an entrepreneur, when you're doing several things.So the concept is basically that
If you look at whether it be a company like a retail store or whether it be a distribution network like a Netflix or Amazon or Disney plus, you're in a space where 80% of their revenue, 80% of their success comes from 20% of that stock.
So whether it be the five hit shows on Netflix that generate the millions of views, or whether it be that one hoodie and t-shirt and pair of trousers that people love that gets sold in that retail store that brings in 80% of their revenue.
And that same thing happens and can be used for your time.So taking, you know, 80% of your time at the start on any one given project and putting your all into it.
Once you get to a point where let's say, for example, the wall of entertainment, you can then build that business, build that company with all of your time and most of your time.And that 80% gets applied.
And then once you then build it to a certain point, you can then bring in a team.Once you then have that team that you can bring in, you then just manage that team.
So then you have that 20% of your time, which is focused on managing the team that are implementing the strategies, the things, and the opportunities that you want to do.
And so that's why I just put it to right now, my team, I have a phenomenal team, especially with my wall of entertainment company.I wouldn't be able to do any of the things that I'm doing today without that.
And then you've got, okay, so that's one company.That's a hundred percent of my time now where I've used 80% to really focus.And then I got it to a certain point and then now 20% to manage it.Now I move on to the next thing.
And it might be a season where I'm starting plus one network and off the back of that 80% of my time build out a team and then 20% of the time to be able to then manage it.It might be a role that you're doing.
Any role that I'm doing at that point, I have to put 100% of my time in just to make sure that I'm delivering great work.
And because you have all of the other structures and the things around of the teams that you've built, that that allows you to be able to put a hundred percent of your time in to that role, because you've got teams that are building out and, you know, doing the work that is needed for the companies or the business that are being built.
So I really just focus on putting all of my time into one set thing until it gets to a certain place that I deem as successful or a level of success.And then because I'm, you know, entrepreneur spirit, I love creating new businesses, new things.
And, and then, you know, I'll create a new company and I'll put all of my time in there, build a team, but I'm always building things with a vision of being able to not be hands-on within it.
So I can't build anything where it's always gonna require me, otherwise it can never scale.And so the only thing that I would allow to always require me is my creative side, is my acting, is my writing.And so, and producing what I'm producing.
So I think that that is the scale of how I manage my time and using the ability to create something and then build a team around it that can help the operation of that before you move on to anything else.
And if it's not in that operational space, then I don't advise you moving on to anything else or building anything else until it is.Yeah.
If I'm honest, this is a conversation myself and Darren have had about We Audition and other stuff as well.Yeah, it is.
And yeah, I mean, personally, we're, you know, one of the things I learned from you is, is about delegation because delegation scares me.It does.
And I wanted to touch back on that point of after that crushing incident where you were cheated by your own employee, How do you stay positive and do it again?I mean, that takes some... That can't feel good.Exactly.
I mean, after going through a negative experience like that, you must have that moment where you're like, this sucks, but not only does this suck, having employees sucks.
Yeah, but it, but having employees doesn't suck.Having employees is great.Having bad employees suck.And that's the difference.And it's saying, okay, well feel the fear and do it anyway.And that's always the mentality because you have two choices.
You either stop. or you continue.And for me, stopping is not an option.So then it's looking at it as a learning curve.And what do I need to do differently to not put myself in that position?
Okay, well, I need to have people that I can and do trust in certain positions of power.And okay, even with that, you're not gonna be able, that's why you're paying these people.
But as a result of that, creating really strict consequences for things that they would do, that they know that at that time, he didn't have any real big consequences other than him losing his job, you know?And he was willing to do that at the time.
So it's like, okay, if I'm gonna be crafty and do something, I have to look at it and say, oh, am I gonna just lose my job, which I'm willing to do?Or is there enough of a consequence that I'm actually not gonna be willing to do that?
On top of that, having people that would manage those people, you have your core team.I have within my team, people that have been working with me now for years, the best part of, you know, 15 years, and I trust them, they're just people in my life.
And so it's like, okay, having those people in place and managing those other people.So until you get to the point where you can build trust, because that's all you can do, it's a time thing.
You put things, paperwork in place and things that you can put in place to allow you to, in the time where you're building the trust, you still have an opportunity to have that reassurance that they're not going to do that.
And you have to delegate there and you have to, in order to, you have to say, okay, cause I had, I had a struggle with that too.It's like, they're not going to do it as well as I think I can
That's what we always come up against, especially with the personal brand business, which, I mean, both We Audition is a very much personal brand because our personal values are baked into the company as yours is with Plus One or Wall of Comedy, right?
It's having, there's a juggle between being that personal figurehead.I mean, the entrepreneurs that I respect in this world are the Richard Bransons, it's the Tyler Perry's, it's the people that you know behind the brand, right?
Um, and that's always a struggle I think is, is, you know, how Jovan, the brand instills the values into these companies.
But one of the things that you've told me, uh, in, in other conversations that I think is amazing is you're no stranger to hard work, right?
You hustle as much as the rest of people, but also you are really good at delaying gratification and reinvesting.You told me once that you will put you will not take money in order to put it into the building until it does.
And a lot of actors, and I want to sort of flip this back to an actor's career, a lot of actors aren't really good at that.
They, they know they need the new headshots and they know they, and you know, you meet those actors go, ah, yeah, I'm not doing well because this, because that, because I need new headshots because something else.And
they will justify it with, I have no money or I have no time.And then you see them in the bar getting rounds of cocktails and you go, you do have the money.What do you say to that person?
I say they're not serious.I say they're not serious.Really?Yeah.Because you don't have your priorities in order.I think that in order for you to be in a position where you know that your primary asset is
to be the best actor you can be and put yourself in that position.There's things that you need to do.
Reinvesting in yourself is the most important thing, you know, and reinvesting in, in, in your craft and creating what it is that you want to create is, is needed.
And so if you go into the bar, you're spending money and you're saying you don't have money, you do have the money. You just not, you just don't have the money to spend on the things that you need to spend it on.
And you're spending on what you want to spend it on, which means that you don't really want to be at the top of your craft because otherwise your actions would outlay that.And if your actions are not outlaying that, then that's not the case.
First and foremost, I'm spending my money on everything that puts me in a position to be the greatest asset that I can be as an actor.Because I always look at myself and say, well, if I haven't
created the best opportunity for me to be seen, then I can't complain.I can't, you know, I can't put myself in a position where I have anything to say about it because I haven't done everything that I need to do in my power.
And so I've got this like this niggle in me also that is like, oh, If I haven't done everything in my power, then it could be down to me why I haven't got that audition or why I haven't booked that role or not being seen.
And you can't complain at anything if you've got stuff that you've got to sort out yourself.Until then, I would say to you all like, stop complaining about what it is that you haven't done for yourself.
you have to put yourself in a place where you're like, okay, I've done everything in my power to put me in the best possible position.
And now that I'm in the best possible position, now let me let, you know, whatever it is that you believe, I believe in God.So I say to myself, and now I'll let God do, you know, God's work and let things happen.
But until you've done everything in your power, then it's not gonna happen for you.
But you're not really someone just let stuff happen to you.I mean, even though you're spiritual and you, you believe that it's very clear, the building blocks you're putting in place and everything you've.
Oh yeah.I think that in regards to that, when I say like, let the things happen, I mean like once you've created what it is that you need to create as you know, whatever it is that you're, you're trying to do, you don't have to put in that work.
You got to consistently build.And that work is what brings what they call good luck or, you know, it's not good luck.It's just good work.It's just hard work.It's, it's, you're creating your own luck with the work that you're putting in.
Right.What's the, there's someone that's famous that says a quote that's the, luckier, sorry, the, uh, the harder I work, the luckier I get.That's it.That's right.That's right.
Because that work, it creates the quote unquote luck, you know?
So yeah, that's, that's doing every, and I think that it attributes to when I'm talking about getting the headshots done, you know, making sure that your reel is up to scratch, making sure that that once you've done all that stuff, then there's still more that you can do.
Then I'm saying, okay, well, there's a bunch of events going on and there's people that I could be meeting.Am I at those events? Am I pushing myself to be there instead of being at home and playing the game?
Okay, then I'm still not doing everything I need to do that's in my power.You can never stop.
And if you get to the point where you're like, okay, now I'm in a place where I feel like I've done everything in my power, then you're probably where you want to be in your career.
Talk to us about events, right?Because both of us run events.We believe in events and bringing people together.We were just both at a lot of Emmys events this weekend.For someone that hasn't experienced that, what are they like?Are they worth it?
How do you get into them?And then what comes from those events?Talk us through an experience that's been either positive or you know, how you navigate those.
Yeah.I think events are, are tremendous so much so that I put on as many events as I can.I like bringing people together.
And the reason why is because I see great value in people connecting whether it be me helping people to connect with plus one network or me wanting people to connect with me or connecting with people.
So like, let's take like, you know, Emmy weekend and these events that take place first and foremost, Uh, it all starts with the craft and building.There's certain rooms that, you know, we just can't get into until we've developed ourself.
And there's rooms that I can't get into now and that I aspire to get into and I will get into one day.And then there's rooms that I used to want to get into that now I get into.
We were talking about high rock in a weekend, right?It's like, it's so interesting how you're a level beneath or above and you're like, The juggling that goes on.
Exactly.And, and that comes with, you just know that, okay, one day when I'm in those rooms, it's going to be because what I've done from a craft perspective is warranted.
And that there is that direct energy exchange that then allows me to say, or allows them to say, okay, he can be in this room now.And that's going to be from the work.
And then there's, you know, when I'm starting out and there's rooms that I can get into, it's just down to me, you know, connecting with people or finding out about them, going online, seeing what's out there.
And one of the biggest things when it comes to, there's even rooms that you might feel like you can't be in yet, or you shouldn't be in yet, or for me that I should be in, but they're not going to let me in yet.
And I still get into some of those rooms because of my networking, because I'm connected to And I'm like, Oh yeah, Darren knows this person.
And as a result, he's going to connect me with this person because we have a great relationship and there's people that you want to build relationships with because if people like you, then they're going to connect you with the people that you need to be connected with.
So it's all around this kind of connection ethos. And I would say that it is worth it.These events that you go to, they're a great time, especially if you can get something out of them.
I think when it comes to if those events are worth it, yes, because one, you get an opportunity to be seen.And the more people see you is the more that they remember you, out of sight, out of mind.
I think two, you get an opportunity to connect and network with people. sometimes I'm just fanboying.I'm just like seeing like some of my, you know, uh, my idols or creators or people I want to work with.
And just from being a good guy, you go up to them and you connect with them and you just shower them with the love, the genuine love that you have for them and their work.And if they're nice, then they're going to be like, thank you.
You know, and, and how you make people don't, um, they don't remember what you do.They remember how you make them feel.And so if you can connect with someone,
Yeah.And you can make them feel a way in which is uplifting or is positive.Then they're going to remember that.
So the next time they see you, they're going to be like, Oh, I remember when I met Darren and that association is going to be with how Darren made me feel.And now because of how Darren made me feel, I've got a lot of time for Darren.
I'm just going to be someone who just wants to help.Darren's got something he needs.Hey, I want to get into this event.Do you know anyone there?And you're a great guy.I'm going to connect you with someone and try and get you in.Or I've got this role.
Oh, I remember that guy I met at the event.He would be great for this role because his essence was who this character is, you know?So yeah, like connecting with those people.
And, and then I think it's just really important for, for us all as creators to try and just
be in the rooms that we need to be in, in order to learn and, um, and connect with the industry and, and know what's actually happening, you know, and a lot of that takes place.
You know, it's very good at that.You are actually very good at that.That's probably your super.
That is a superpower.I'd say 100% you have, you know, you have a superpower in, in connecting people.
I got a superhero, but I got the superpower.No, you know, what's interesting though, when you said that about, um, you know, I think you spoke about sharing events and getting into other stuff and then remembering people.
I think one of the most important things is remembering the people that remembered you.And people don't do that enough.They don't.I'll give an example.If you get a premier invite or you get a party invite or whatever,
most people, they're sitting there thinking, Oh, who should I take?That's going to be helpful to me or whatever.And they don't give the invite back to the person that just hooked them up last week.
They're just, and then actually when you form those alliances at your level, because everyone's always trying to get a step above, you know?Yeah.Network on your level. You do it on your level.
And then what happens is like what we had at the weekend where there was like probably 15 of us bouncing around that BAFTA event that are very, very tight friends.
And we're able to be like, whoa, you met this person or can you get, you know, and we reconnecting with other people and just spreading your network laterally.
And that's your room that everyone else wants to get in.Your room, you're talking about going up or down.That becomes your peers in a room that is elevating on its own, isn't it?
People want to be involved in your little circle.They're looking over there going, why are these guys having so much fun?But for anyone who doesn't understand, how do you get these invites?
Does it come from an agent or publicist or do you have to reach out yourself?
Yeah, I think, um, different ways.So you can, you can have invites in which could come directly to you at a certain stage.I think you can have invites where you got to reach out to people and find out what events are happening.
You know, doing the digging and the research who's putting on this event, who's the organizers, who is, you know, um, who's the person I can connect with to get in. also having a publicist.
If you have a publicist, then they can get you into these events based on their relationships.It's all relationship based.Um, so that's really kind of like the three major ways that I'd see as to how you get into these events.
I have another one as well that people overlook.
A lot of events often have a charity element.They'll have a committee.You think about the, a lot of the fancy awards events and stuff, a lot of them are nonprofits.And one of the ways is to reach out and be part of it.
You know, whether it's a gold house or Cape USA, there's a bunch of different ones that are especially for specific areas of talent and they have nonprofit boards. Be involved, be helpful.Yeah.
Everyday action and stuff.Everyday action.Yeah.
I think that one misconception that people don't see or understand is that the more people you help, and it goes back to what you were saying earlier, the more people that you help is the more you help yourself.
this, this ideology of the, I need to put myself first.I need to put myself first.There's a universal language of helping others.And the more you help others is the more you help yourself.
And I'll go one degree deeper than that is that no one on this earth would be able to do what they do if there was no one else here.So for me to act and be a success as an actor, I need a team, I need a crew, I need an audience.There we go.
For me to do anything that I do, whether it is from, if you're taking out the trash and there's trash on the ground, there's people that have put that littered, that everything that you do from whatever scale to whatever scale, you need people.
So that's just a principle that we can see and know that anything that we do, If we help others, we will always help ourselves and it will always come back full circle.And so we should always look at it and say, how can we help others?
And the biggest entrepreneurs are the biggest things that get built.The only way that you have a business is by serving, is by having others.If I go through from We Audition, you guys are helping actors, you're helping creatives who need
access to others who can help them with their career.If I look at all of entertainment, I'm helping creators.I'm also helping audiences to get access.
Plus one, I'm helping entrepreneurs and entertainers and investors find what they're trying to find.If you've got a property company, you're helping people find a home.
There's nothing that exists in this world that will be successful that is not anchored around helping others.
So we always look to be in service.
Some amazing insights you've given us here.Thank you, bro.Anything you want to add, Rich, before we close this out?
Spoken word poetry.I just want to touch on that.I was on your Instagram and I, I love it.Just tell me why you started to do that.And is that stuff you write yourself or the people's stuff or do you do it anymore?
Thanks Rich.I think the spoken word is like a, is like a core passion and love for me.How that originated is like one day I was like, Oh, I find it difficult as an actor. as just an actor, not a writer, just an actor to have my own voice.
As an actor, you're always displaying someone else's voice, which is whatever's written on the page.Rappers get to do it because they sing, they rap their songs.Singers get to do it because they sing their songs.But as an actor,
we don't actually get to say what we want to say unless we then are additionally a writer and write the thing that we're going to act in.
And I felt like I had so much in me that I wanted to get out and spoken word was my form or my remit of how I was going to get what I have inside of me as an artist out without it being in the form or the medium of script writing.
So that's how I kind of, you know, found the love for it.And I think that just words, from a language perspective is something that I feel like I've been given somewhat a talent in.And I like to, you know, just dabble in it and it makes me feel good.
I get to say what I wanna say.And yes, everything that you see from a spoken word perspective are things that I've written myself or I collaborated with vast people and David Bianchi, a good friend of ours and collaborated with David on some pieces.
And outside of that, there's things that I've done myself. Right now I'm focused on a few other things, but spoken word will definitely be something that I go full throttle in at a time.
I still want to do a whole spoken word album or project that allows me just to get everything out from a spoken word perspective.
We're just going to drop a beat over that whole last section and release it. In the spirit of the conversation, it's going to be an NFT.We're going to repurpose it for Instagram.We're going to TikTok it.
I should have done it in spoken word, shouldn't I?
I like it.And I like the fact that you've done it.And with everything, it's the entrepreneurial spirit, isn't it?
That's really coming through that you can produce your own stuff, be your own producer, your own director, and the sort of master of your own universe, whatever.Yeah.Master of the universe.
Jovan, I could talk to you for hours and hours.This podcast could be three hours long because there's so many lessons to learn here, both just in life and business and acting and all of it.But we've got to wrap this one up.
I want to know, what would you like your legacy to be?We've seen all the incredible stuff you've done.Go 20, 30, 40, 50 years from now.What do you want people to remember you for?
I want to be remembered as one of the best actors of my generation, first and foremost, one of the best and most prolific storytellers of my generation, a good person, someone who helps people, someone who makes people feel great and inspires the greatness that maybe even they don't see within themselves to come out of them.
And I also want to leave this place having created my own platform at a grand scale, OTT, over the top network, streaming network, whatever you want to call it, which has the ability to take stories from the unrepresented and have a voice and have an opportunity for them to create their work at the highest level and also have audiences find the work in which they can connect with that speaks to them at their highest level.
And if I can do those elements of what makes me feel happy and what makes me feel like I am who I am, then I will leave this place a happy man.
Well, thank you for making us happy today.It's an absolute pleasure.And you can see all of Jovan's links in the show notes after this episode.So make sure you go follow him and see all the amazing stuff he's doing.Thank you for that.
And thanks for watching guys.Much love.
Thanks for listening to The We Audition Show.
Your hosts were Darren Darmborough and me, Richard Cambridge from We Audition, the leading professional actors community where you can connect, learn, elevate your career, and always get a self-tape reader on demand. We hope you enjoyed this episode.
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