Alright – so today we’ve got the honor of introducing you to Reagan Mendez. We think you’ll enjoy our conversation, we’ve shared it below.
Reagan, looking forward to hearing all of your stories today. Let’s start with a story that highlights an important way in which your brand diverges from the industry standard.
Ever since the pandemic when auditions switched from in person to self-tapes, we feel we have the ability to be in the casting room and have been able to guide clients in a much more personal and specific way when it comes to their auditions. The business has also become so much more of a machine in the sense that you tape an audition, you upload it for casting to watch and then what happens next is all internal of whether it moves on to producers/director or not. We aren’t always privy to that information, so we at least like to give our clients feedback to let them know that they are doing good work and on the right track. At the end of the day so much of this business is out of our hands so making sure our talent is rising to the occasion is one way to help control the product we are putting out and hopefully enable the most success. Luckily, we also work with so many amazing casting directors who take the time to give us feedback when they can and also give redirection when they want to see something more or different from a client.
Reagan, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?
How I got into the industry:
My passion for the entertainment industry began at an early age. Before I hit double digits, I always looked forward to Saturdays so I could watch Siskel & Ebert. Though I vigorously disagreed with their negative review of Troop Beverly Hills, the previews and their analysis kept me coming back, fueling my excitement for upcoming films. I grew up far from Hollywood, in the town of Longview in East Texas—notably where Matthew McConaughey spent his teenage years. In high school, I worked at a local movie theater that hosted a special premiere of A Time To Kill, with Matthew in attendance and Entertainment Tonight covering the event. As an avid ET watcher, I knew who Jan Carl was and even got her autograph a hot dog wrapper. My role that evening was to greet guests at the door in my white button up with blue vest and bow tie. After Matthew entered, with all the boldness and self-control of a 16 year old I blurted out “I love you!”. The excitement was too much to contain—being in the presence of a movie star, surrounded by the full glamour of an authentic premiere, complete with a red carpet and the flash of photographers’ cameras. It felt like stepping into a scene straight out of television, a surreal experience unlike anything I had ever encountered in real life. I knew I wanted more of it.
Initially, that led me to pursue acting, and I immersed myself in high school theater. However, I quickly realized my penchant for being typecast playing old ladies wouldn’t translate into an acting career, so my plan changed to studying film in college and working outside the cameras.
While attending the University of Texas at Austin, I worked at Blockbuster and spent much of my time reading the back of the VHS boxes, learning plots and casts of a lot of movies. I became a human movie database as I absorbed all of this information long before it was available on the internet. In 2002 I graduated with a BA in Radio-Television-Film and soon moved to Los Angeles the following year. When I first moved to LA, I attended a seminar organized by the University of Texas, where alumni from various sectors of the industry shared their insights on different career paths and offered invaluable networking opportunities. This led to my first job on a low-budget horror film titled Dr. Moreau’s House of Pain where I began as a production assistant before being promoted to 2nd assistant director. It almost felt like being at summer camp on the fast paced 2 week shoot as I bonded with everyone on the production team while working long hours together. However, it became clear to me that working on set wasn’t where I ultimately wanted to be.
Another alumni connection helped me secure a paid internship at a boutique talent agency for three months, which ultimately paved the way for my role as an assistant in the youth department at Coast to Coast in October 2003. I spent my early years at the company familiarizing myself with all of the casting directors and even kept note cards of which projects each person cast. I formed friendships with fellow assistants and together we exchanged information as we navigated the industry together.
Becoming a talent agent wasn’t something I intentionally set out to do, especially since it wasn’t presented as a career option during college. At the time I entered the industry, many job opportunities required agency experience which is why I went in that direction and only planned to stay a year or two. Now as I approach my 22nd year at the company, I know it’s because of the incredible mentorship and support I received from my coworkers, Dana Fletcher and Meredith Fine. These strong, brilliant women took the time to teach me the business and uplift me, shaping my career along the way. I wish more people in this industry recognized the power of fostering others with the same generosity and encouragement.
Life truly came full circle for me, as telling Matthew McConaughey ‘I love you’ turned out not to be the last time our paths would cross. Years later I met him again at the premiere of Interstellar, where my client Mackenzie Foy played his daughter. We connected over our shared upbringing in Longview and the fact that I was at his hometown premiere. Now my client Noah Carganilla is currently in production for a new series where he plays Matthew’s son. Little did I know at 16 that I would one day give Matthew McConaughey children.
What services I provide:
As an agent, a fundamental part of my job is creating opportunities for my clients by securing auditions. We’ve built strong relationships with casting directors who trust our judgment and value our input when we present ideas for a role. These connections also mean that when they’re looking for suggestions, they turn to us knowing we consistently provide the best actors. I’m also always eager to support casting directors with creative ideas when they’re working on smaller projects, like short films. It’s not about profit for me—it’s about fostering our relationship and contributing to their vision.
After a client books a role, our next step is to negotiate terms and conditions that are in the client’s best interest. In cases involving a series or film, we often recommend enlisting an attorney to assist with deal and contract negotiations. As an actor’s career progresses, there comes a time to expand their team strategically. This team might include personal managers, attorneys, publicists, financial advisors, and others, depending on their needs.
Being a youth agent requires a thorough understanding of child labor laws and a commitment to ensuring that productions comply with them. I strive to create an environment where my clients feel confident coming to me with any concerns, knowing that I will advocate fiercely on their behalf. When it comes to the well-being of someone’s child, no concern is ever too minor
We also offer career guidance to help clients make informed choices and develop a strategy that maximizes their potential in the industry. Early in a career, it’s about casting a wide net and exploring diverse opportunities. Over time, a clearer trajectory begins to emerge, and it becomes important to select roles that align with that path. We often say there are three key reasons to take on a project: the script, the people involved, and the financial compensation. Ideally, two out of these three factors should be in place to make the project worthwhile.
Although I enjoy working on a wide range of projects, my appreciation for independent films goes back long before I entered the industry. I believe in their value not only as part of a client’s career but as a part of the fabric of filmmaking. Over the years, our clients have been involved in numerous indie films, such as Little Miss Sunshine, Captain Fantastic, and Dìdi. These projects have achieved varying levels of success, yet each has been a unique highlight for our clients in its own way. Unlike big-budget films, the success of indie projects is measured by more than just box office revenue. Thanks to the rise of streaming platforms, independent films now have opportunities to thrive and reach audiences in ways that weren’t possible when theatrical releases were the primary avenue
Can you share the story of a time when you had to pivot (in business, career or life)
Things definitely changed in this business as they changed for so many people in various industries when the pandemic hit. We went from working in the office to working remotely and auditions went from in person to self-tapes. While we already had experience watching audition tapes from clients that were based out of state, the volume drastically increased.
While we could have had clients submit the tapes directly themselves to the casting directors, we decided to take a more hands on approach and use this new normal to our advantage. We suddenly felt we had the ability to be in the casting room which helped us to guide clients in a much more personal and specific way. While I can’t say we are the only ones that do this, I do believe we are in the minority of agents who take the time to watch every client’s audition before sending it on to casting. We watch not only to make sure that it’s solid but also that it’s the best work we know the client can do. If we feel it can be better, we give notes to have them retape. We don’t always know what casting wants so we don’t give notes just to make every audition the same but always want something that we can send forward so that no matter what happens, it will make a good impression.
The business became so much more of a machine in the sense that you tape an audition, you upload it for casting to watch and then what happens next is all internal of whether it moves on to the producers/director or not. We aren’t always privy to that information, so we at least like to give our clients feedback to let them know that they are doing good work and on the right track. At the end of the day so much of this business is out of our hands so making sure our talent is rising to the occasion is one way to help control the product we are putting out and hopefully enable the most success.
What do you think helped you build your reputation within your market?
I feel fortunate to have joined an agency with an outstanding reputation in the industry, but I also take pride in my role in maintaining and contributing to that reputation. At my core, I subscribe to the adage that you catch more flies with honey and strive to treat everyone with kindness and respect. I believe this is reflected in my interactions with everyone I engage with in the business.
Relationships and trust are the foundation of my success in the industry. Casting directors consistently request our clients because they trust us to provide talented and well-prepared actors who deliver strong auditions. Even when a client doesn’t book a particular role, the objective is for their audition to leave a positive impression on the casting director so that they will consider them for future opportunities.
I also think we are all working towards the same goal. Casting directors are trying to find the best actor for the job and I want my clients to have the opportunity to be that actor. They are the ones having the conversations with the producers or directors and know more of what they are looking for than I do so I rely on them to tell me what they need. I still love thinking outside the box and creatively when it comes to my clients, but I also want casting to be on board with those ideas because they are ultimately the ones that can be the biggest advocates for actors. It’s this respect that I am listening when they tell me what they need that I think fosters trust between myself and the many casting directors I work with daily.
Teamwork is also at the core of everything I do. That’s why I find it hard to use the word ‘I’ when talking about clients—because I truly operate in a ‘we’ environment. Even while working remotely, I stay closely connected with my associates through our constant text chats or phone calls. We thrive on collaboration, whether it’s brainstorming creative ideas for clients or coming up with innovative solutions to challenges.
Communication is also a huge priority for me. Even if I don’t have an immediate answer, I make it a point to let the person emailing me know that I’m actively working on it. I’m extremely prompt with responses—whether through email, text, or taking the time for phone calls when discussions go beyond simple messaging. I believe that strong communication also builds trust and reassures people that their needs are being prioritized and fosters deeper connections. Through frequent communication, you not only strengthen working relationships but also get to know someone on a more personal level. While this is a business, we’re working with children, parents, and families, and that requires a thoughtful, personal approach.
Being approachable is essential to ensuring that my clients feel at ease reaching out to me. My goal is always to make my clients feel comfortable and supported. When it comes to working with children, I prioritize hearing parents’ concerns and respecting their choices. If I send a project that doesn’t align with their comfort level, I fully support their decision to pass. If I have additional insights or feel strongly about a reconsideration, I’ll always share that perspective, but ultimately, their decision is what matters most.
Many of the people I work with began as assistants around the same time I did, and it’s been amazing to see how we’ve all grown and evolved together in this industry. As a result, many of my relationships span over 20 years. That said, I truly enjoy forming new relationships and am always open to considering new clients from people I haven’t had the chance to collaborate with yet. You never know where a new connection might lead, and more often than not, one referral turns into many more.
I also take pride in the strong relationships I’ve built with other agents in the industry. There’s a mutual respect among many of us and an understanding that we don’t poach each other’s clients. In fact, a few of us maintain an email chain where we share information and encourage each other. There’s plenty of talent to go around, so instead of being adversaries, we focus on uplifting one another and fostering a sense of community
Contact Info:
- Website: https://www.ctctalent.com/
- Instagram: @coasttocoasttalent
Image Credits
All photos are my property