“Hollywood Dreams: Actor & Producer Matt Drago’s Journey”

Welcome to the CJ Moneyway Show podcast, the podcast show where we unlock potential one dream at a time. Today we have another guest whose journey is truly worth hearing. Sit back, relax, and enjoy the Moneyway experience.

What's up, my good people? Welcome to the CJ Moneyway Show in association with Believe Network, the podcast where we dive into stories behind success and creativity. And I'm your host CJ Moneyway Johnson, and today we are joined by someone who's living his dreams in Hollywood. Matt Drago is an actor and producer best known for his role as Fabian in Somewhere in Montana, a film where he stars along the likes of Michelle Hurd. Matt has appeared in various projects including Disney's Counting Scars, What Would Jesus Do?, The Journey Continues, and Ripley Scott's The Prophet of Science Fiction. Not only is Matt making waves in front of the camera, but he's also developing his first feature film through his production company. Outside of acting, he's a fourth-degree black belt— oh no, not to mess with Matt— a fourth-degree black belt and diehard— which me and my man Matt was just having this conversation— uh, sports fan. Matt, welcome to the CJ Moneyway Johnson Show, man. Thrilled to have you on today, bro.

CJ, thank you so much for having me. This It's gonna be an absolute blast. I can already tell.

I appreciate it, man. I appreciate it. I think I saw it, but, you know, once you going over things, I overlooked the fourth-degree black belt, man. Tell us a little bit about that, man, before we get into anything, man.

I always jokingly say that I grew up like a Ninja Turtle because it was my dad who's my sensei, and I grew up in a dojo. Yeah. So I studied martial arts from basically when I could walk. I was on the dojo deck doing katas. I have 3 other brothers, and so it was the 4 of us. 4 Ninja Turtles, 4 brothers doing martial arts together. We all kind of demonstrated the characteristics of the Ninja Turtles. One was a brainiac. He got perfect scores, Marcus, on his SATs. That would be Donatello. One was always kind of like doing his own things. He was kind of like the independent one, kind of like doing his own thing. That was Raphael. And then one lived on a boat for a while in Alaska, just a free spirit, and that's Michelangelo. So that left me with Leonardo. And honestly, CJ, the practice of martial arts growing up was so integral to my acting process. It taught me a lot of, you know, self-practice, which I think is what a lot of actors need to really dive into to really find that success, and not necessarily outward, but within yourself, right? It's the joy of doing an audition is just like the joy of doing a kata. It's a It's enjoying the movement of it. It's enjoying the expression of it. It's enjoying the practice of it. And my dad, Arthur Drago, he did a great job. He's got a school there in Front Royal, Virginia, Front Royal Karate Club. And it's been there for decades and decades now. And it's just become such an integral part of the community. But I think what it really, really taught me is, you know, just to enjoy the discipline of it and the practice and the people, because it really brought in a real big family and I consider them my karate family. And so yeah, that's a little bit about my— I actually just went for my 4th degree black belt on May 4th, on Star Wars Day of last year. So it was pretty cool to go back and really just be around the people. And even a couple of the longest black belts in the dojo said, "Damn, Matt, you still got it." And I'm like, "Yeah, it was born inside of me from a young age. It's never going anywhere." Man, that's cool, man.

So let me ask you, Matt, real quick. Being a first-degree, second-degree, third-degree, now fourth-degree black belt, I've heard that like a boxer, let's just say like a Mike Tyson or Floyd Mayweather, somebody of that nature, like they can't get into a street fight because they considered that their hands, because they're professional fighters, are lethal weapons. So is that the same thing with you? You just can't get out there and kick somebody butt, can you, being a fourth-degree black belt?

I got asked this question all the time because everybody knew I was the Karate Kid growing up, you know, in elementary school and middle school. That's when it gets real. And then obviously in high school when it gets even realer, right? Because then you got the hormones kicking in, right? And people always used to ask me, how many fights have you gotten in, Matt? You know, because you're a karate guy. And I said, my answer would surprise you. And they said, go for it. I said, I've never been in a fight in my life. Because I know how to protect myself. And it's that innate ability that my dad taught me growing up is how to defuse things. Fighting is only for the last resort, right? The last option. And I got to be honest, CJ, the time in my life that I've ever come close to getting into a fight was not for me. It was because of somebody else. It was to protect somebody else. And so I do. I think that part of my practice, because we do okinawan sho and ru, It's an old karate practice. The Okinawans are very humble people. Actually, they are some of the longest living people in the world in Okinawa. And just studying with them, my dad and I went out there for 2 weeks, studied with some of the grandmasters that were 85, 90 years old. And it's that self-practice of knowing that you could take care of yourself if you need to, but really not trying to ever— being the peaceful warrior is kind of the way that we go about our practice. Like I said, it's an old school karate practice. We don't get trophies. Your belt is your trophy. We're not like the school that has like kids fighting against other kids, right? Which I think is wrong. Honestly, it's about your self-practice. It's about your improvement. And I think once you have that in your life, like you have this unconscious competence, this confidence about you, where you can defuse situations. But, you know, if it ever came to it, and I needed to protect somebody, then I would.

You know, on the opposite spectrum of you, like you say, I think that's where most of my fights came from is helping others. Like my cousins that was my age, I was considered the fighter, you know?

Yeah.

Growing up, I was the fighter. And you know, you made me think about it. I forgot, me and my cousin, we went to a karate school in the area and I used to kick his butt all the time. And my uncle was there one day and he was watching me kick my cousin's butt. I know he'd be mad if he seen it. Told me, he say, hey, start fighting somebody else, you know, like quit, uh, fighting my cousin. And I don't think I made it past a yellow belt because it's what, white, yellow, purple, and then move on. Yeah, I don't think I made it past yellow belt, man, because I was fighting this one guy, which I did start fighting somebody else, different nationality. And I will say he kicked my butt, and that probably was the end of my Karate Kid experience.

You just wanted to end on the yellow belt so you could have Lakers colors. That's why you just were like, you know what, hey, maybe, man.

Man, I never think about it like that, but you know what, you might be right. So, Matt, man, let's start with your roots, man. You know, you touched up on some things about you and your brothers and the Ninja Turtle analogy and how vital and important part your father was, you know, inspirational as far as you guys growing up doing this. You grew up in Virginia. And from a young age, you knew that you wanted to be an actor. Can you tell us about that early dream and how you pursued it?

Absolutely. I was always the kid that, you know, just needed my own imagination growing up. It was just about creating characters. I feel like I had the actor bug born into me. And it was just because I realized really early on the power of storytelling and the story— and the power of imagination and creating. Creativity and being able to do that, but also giving it back to others and how much the collective experience of being in a room full of people doing a show together would really bring people like an escape. I felt like the power of it very early on. I did my first stage show at 4 years old. I was doing local community theater because in rural Virginia, I mean, that's basically what was available to me at the time. And so I got into it really early. Basically, I think I did like 10 shows at Fauquier Community Theater in Virginia, in the Warrenton-Manassas area. And my first paying gig was dinner theater. And that was a big growth for me because I did 3 shows with Riverside Dinner Theater in Fredericksburg, Virginia. And it taught me the work aspect of it because I'm 14, 15 years old. I'm playing Mowgli in The Jungle Book, Hansel and Gretel, like the kids' shows. And then I did one show there that was Little Mame, and I played Little Patrick in that. And it was just a really humbling experience because because you're on stage, but then you get off stage and, you know, you're taking orders and cleaning up plates. And, you know, so it showed me really early on that this was a dream, but dreams take work, and you need to make sure that you are always working towards your dream and not just being a dreamer, right? Because I always say this: dreamers are fighters, man. Like, dreamers are fighters. Don't sleep on dreamers. Like, we will fight to make sure that our dreams are realized. And especially for me, I felt like I always had it inside me from the perspective of like how I could make an impact on others. And it was a great show that I had. And it's a great story is that I came off stage one night and there was this 70-year-old woman that came up to me and, you know, I was playing Little Patrick in Mame, which is a very, very dynamic show that just kind of shows that like, kind of like, you know, maternal-son element and She came up to me and she said, "Matt, I wanted to thank you so much. You know, watching you on stage tonight and your portrayal of the character really taught me that I need to make an effort to be closer to my son." And it was just one of those things that for me resonated. And I think even at 14 or 15 years old, that was the moment where I was like, "Oh, this is why, like, you know, stories matter. This is why, you know, what I do really matters. Like, this is the impact that it can make on people." Because it was a very reflective moment. You know, I was just, I was serving her table and I just met and she made the effort to stand around and make sure that she told me that. And it meant so much to me. And so it's like that fuel for the flames that got me to New York City, got me around my people. I did a national tour with TheaterWorks, which was a children's show. And I just got to tour around the country and perform for kids. And honestly, that taught me a lot because I think kids are the best audience. Like they will be honest with you. You know, you've got these shows at 9:30 in the morning. And you better bring the energy because if you bring your energy, they will give it back to you. But if you don't, they won't, right? And so it was just one of those things that really just blossomed in my career doing that show, getting the opportunity to go abroad for a couple shows. I played the understudy as Tony in West Side Story. I got to perform as the featured soloist in Sound of America, which is the national band and choir tour of America. And I got to sing in some amazing cathedrals and, you know, just really work on just kind of the relationship aspect of it, you know, because I think when you're on tour, you're around the same people over and over again. And it really taught me just kind of how to collaborate. And I think that's the gift that keeps giving in my life is, you know, being on sets, you know, like Summer in Montana, getting to work with great actors like Graham McTavish and Michelle Heard and Kate Orsini and Jonathan Stoddard and Kaylee Macchio and Andrew Roa and Tasha Gates and all these wonderful actors that become your collaborators, they become your team, along with the cast and crew. And I always say this, like, crew is what makes film special. And so I think when you give that— like, when you grow up the way that I do, you uniquely have this perspective on it, where it really is a team sport. Film and collaboration and theater is a team sport, because I can't hang the light the way that my friend Jason can. I can't do the sound the way that my friend Travis can, you know, I can't see outside of myself, like the writer and the director of Somewhere in Montana, Brandon Smith, you know, there are just so There's so many parts of the team that make it just this really special, dynamic experience. And so much of what I think happens in TV and film is a lot of the stuff that's off screen. It's those conversations that I had with Graham at dinner. It's those conversations that I had with Michelle, you know, sitting overlooking the sunset on Flathead Lake. And those conversations really sometimes manifest those relationships that I see on screen when I see the finished product. So it's just— there's so many layers of how special acting and collaborating is for me in my life and how much it's given me. And it's why I feel like I'm in the ultimate sweet spot of my career, because I'm just appreciating it. I'm appreciating everything that's been a gift in my life and everything that's come my way through acting and being a creative.

Man, and ain't nothing wrong with that either, man. You know, Growing up, like you say, growing up, I was the entertainer in the family.

Nice.

Michael Jackson. I had a Michael Jackson performance. New Year's Eve, they come up and sing. Amazing. I dance. Christmas, perform. I remember me and my mother did Michael Jackson and Paul McCartney, "The Girl Is Mine." I was in drama in junior high school, high school. That was my thing. So like my mother say, She's not surprised that I'm doing this now because I've always done that, you know, like speaking. I've never been afraid to speak in front of people. I used to be in the plays at the church when we did church plays and things of that nature. So, you know, and now I'm writing, I'm doing certain things because like you say, it's all about the creativity. And I never forget this, Matt, man, I never forget this. I went off to college and I jacked off, you know, went to a little junior college here in Indiana and I jacked off real bad. And my father said, he said, "Man, we should've sent you over there to acting school over there in Chicago." He said, "You know, who knows?" He said, "Look at Billy Dee Williams," because I had it in me. But like you say, I didn't pursue that dream because to me that wasn't a dream. It was just something that I knew that I could do. I put all my eggs in one basket, as they say, into sports. That was my outlet until I started being a karate kid. And so that derailed that. Man, so, Matt, man, so, yeah, so I'm feeling what you said, man. So, Matt, so you moved to New York to study acting in college, then transitioned to Los Angeles. What was that journey like, and what were some of the biggest challenges you faced along the way?

Yeah, well, what made me make the move was actually my acting teacher, who I studied with for 2 and a half years in Chelsea, and really became a grandfather to me. And he had his own studio, so he brought in the best of the best, and it was— It was a small little studio on the 6th floor on 26th Street. And there were times, you know, because again, it's not all roses, right? It's work. And I had put a lot of money. I was working bar shifts till sometimes 4 in the morning, putting a lot of that money back into my career. There was at one point that I had 3 different coaches that I was working with, like a vocal coach, an audition coach. A specialty coach, which kind of taught me how to sing different styles. Because in Broadway, you have like very many different styles that you can sing, and you can sing more of those legit shows like Phantom of the Opera, Les Mis, Miss Saigon. But then there's a lot of stuff that's coming to Broadway now that's more pop-based, you know, like Spring Awakening, which I was up for. And then there's, you know, really unique shows like Avenue Q, which is a puppet show. If you don't know, it's a really, really cool show. And, you know, I was up for Wicked, If/ero. And so like, there were a lot of shows that I was close to, like, you know, final call, but I just missed, you know, and sometimes I'd missed to someone that had, you know, a TV film credit. Right. And I actually remember my final callback for Avenue Q. I actually knew the guy. It was up between the two of us and he was another theater kid and we worked out at the same gym and I knew him and I literally looked at him. Before he went into the room, and I meant it. I said, I'm really glad that one of us is going to get this because it was somebody that had kind of done the same thing that I did, you know, like worked really hard, deserved it, put a lot of the money that he made into, you know, from, from the gym and personal training right back into his career, just like I had from the bartending shifts, putting it right back into my career. Like it wasn't something that was going to be given to either one of us. Like it was something that one of us was going to earn. And I was glad that it was one of us. And that's always kind of been my mentality. And so, you know, basically studying in Terry Schreiber's studio, I took a film class because, you know, I grew up a theater kid. And so I was really interested in kind of building my technique into film and TV. And I got to study with Peter and Diane Meider. Peter was the director of One Life to Live for many years. So he was a really, really great, you know, they were just a great husband-wife tandem that really loved it out of you. And their class was a safe space. And they taught you technical aspects. Well, I took that class. And the first day, you know, I was paired with a girl named Elizabeth. And she's become a really good friend. She was actually at my wedding, right. And we were paired together. And afterwards, I went to Peter and I said, hey, how do you want me to you know, you want us to get together maybe once and run the scene? Or do you want us to not run it? Or how do you like actors to kind of go off? And he's like, yeah, just get together, just has to be once this week, you know, run the scene a couple times, figure out those little moments in between, because there's so much like behavior that you can build in film specifically, that really, really instigates those moments on screen. And so he was talking to me, you know, for about 15 minutes afterwards, But, you know, as I was walking out, he's like, oh, by the way, Elizabeth isn't your scene partner. I was like, oh, but you paired me with Elizabeth. He was like, no, Laura is your scene partner. She just wasn't here today. So connect with her when you can and have her over. She's taken the class before. She knows what to do. She had taken the class 2 times before, but connect with her when you can. So I connect with Laura. She comes over to my apartment. We're rehearsing. I pull out the scene and the call sheet. And it just occurred to me in that moment, I said, hey, I noticed that you have a 540 area code. Where are you from in Virginia? And she looked at me and she said, Front Royal. And this is again on 79th and Broadway in New York City, right? One of the biggest cities in the world. Yeah. And I looked at her and I said, excuse me? She said, Front Royal, Virginia. Have you heard of it? I said, I'm from Front Royal. And she was like, no way. And I said, yeah, seriously. My dad's the karate guy across from the Main Street Cinema. And I know this person, I know this person, I know this person. And I was like, well, what does your family do? She said, my family owns the Apple House, which is a small little country store that only somebody in that area would know. Actually, they did Alpenglow, which was like the East Coast Martinelli's. And it's just a store right off of 66 from our little town. And I looked at her in that moment and on 79th and Broadway on my dresser, I pointed to my 3 things on my dresser that literally still had the price tag still on them from the Apple House. So we're from the exact same town. We were literally living 3 blocks away from each other our whole entire life, only a year apart. But because of the different divorces in our family, she went to this one school over this town, and I went to one school over this town. So our circles were a little bit different. And at that moment, it was a breakup scene from Say Anything. And I literally looked at her and I said, well, we've already gotten the breakup out of the way. Are you ready to go out on a date? And that's when we started dating. And to answer your question about LA, my girlfriend then, now my wife, and we moved across the country, you know, a few years back to LA because Terry again was a grandfather to me. He brought me into his office and he said, you know, Matt, I think maybe you should try to give LA a shot. Like, I see your work in class. I feel like you really would be very dynamic in front of the camera. And at that point, Laura was already packing the bags. We were ready to go. We made a road trip out of it, CJ. We went to the Grand Canyon and we just made it a really cool kumbaya trip. Just a couple of kids throwing everything in the car. You know how it is. And just getting here in January and it was 85 degrees.

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No, maybe this is where we were meant to be and we love LA. LA, like I said, it's a city full of dreamers. Dreamers are fighters. Don't sleep on LA. LA strong, baby. And yeah, it's just been a real journey up until this point. And it was just, uh, kismet that I met a girl in a 12-person acting in New York City, found out we grew up 3 blocks away from each other, and that's why I'm here right now talking to you.

Man, I tell you, boy, now that's one life to live right there.

Right?

Right?

Yes! I like that. That was good. That was good. Cheers to that. That was good. I like that.

So that was cool, man. And you know, I was listening to you too, and something resonated to me, something that you said about you and the guy, how y'all was auditioning together. And you say, "Look, man, I'm glad it's one of us that's going to get this role." And a lot of times too, man, doors open up for people when you can genuinely be happy for others. You know what I'm saying? We going for the same thing, but if you get it, I'm happy for you as if I'm getting it. Because if it didn't work out for me, I know God got something in store for me. He just trying to test us to see how it'll be if we can push others along, you know what I'm saying? And give them encouragement even when you striving to do the same thing. You say, okay, that's for them. I got something bigger and better for you. Can you be patient? You know what I'm saying? And can you be happy for others in they moment as you would want people to be happy for you in your moment? You know what I'm saying? So it worked out for you well. It got you the lady, it got you California, all the wonderful things in life, man. 75 degrees weather. I am— I'm totally jealous right now. You know what I'm saying? I know that was then, but when you talking negative 20 right now at 85, man, that's a little bit of jealousy creeping in. So, Matt, man, let me ask you, man. You've had a diverse range of roles, from "Somewhere in Montana" to Disney's "Counting Scars," and even autodrama podcast like "No Other Way." How do you choose your projects? And what type of roles excite you the most?

That's a great question, CJ. I mean, honestly, I let the projects choose me. You know, I think it's the job of the actor to uniquely put yourself on tape and enjoy the process of auditioning. And it can be hard sometimes, right? But the reality is, you have to look at it this way, is that when an audition comes your way, and, you know, whether it's your agent or your manager or yourself getting that audition, You almost have to take pride in it, that you uniquely can put yourself on tape only the way that you can for that role. You know, you're doing your own process, and you find that over time. I go back to Terry, and he, you know, threw everything at us, whether it was Strasberg or Meisner. I did Kabuki training, which is bodywork. You find your own process and how you build a character. And a lot of times for an audition, you do that quickly, right? You have to figure out a way to bring yourself to the character, how you view the character, and then how you put it on tape. And then you have to do the hard part, which is you have to let it go. So in terms of your question, in terms of choosing my projects, a lot of times I let them choose me. I'm very zen about it because, you know, I know that you don't have all the control in the world. And I tell actors this all the time. It's like, if you love acting, like, the audition is the win. Like, you love acting, you got to act today, right? Auditioning is acting, and right? So if you love acting, you should love auditioning and what you do with that character. I will say specifically for Summer in Montana and Fabian Verdugo, he's the first character that I've ever truly fallen in love with. Like, I felt like very early on in the process when I read the script, and I read it 3 times before I even put myself on tape, that I just felt that this character connected with me on a level that I've never experienced before. I feel like he is driven by his legacy, much like I am. I feel like he cares about people and is willing to put his heart out there to people, even if he gets hurt. Even if he's on the brink of losing his dream, he will fight through that tooth and nail. And again, as you've talked with me today, yeah, I'm sure you can glean that that's very much the way that I am in my life. So I really got him very early on. And then I just started to explore that because a lot of acting is your process, right? And I love building backstories. I wanted to find out how this guy clicked and bringing personal elements to this character within my own life that I felt like connected. So it was building those backstories. You know, I'm a little bit of a method actor, but the good parts of method that, you know, I lost 25 pounds for this role. And I hired a nutritionalist, you know, Jennifer and Nathan DeTracy, through my friend Nathan Reed, who's an actor and really put me in touch with this great team of people that taught me how to lose the weight in a healthy way. I like to have my protein shakes and lift weights. And it was none of that. It was kitchen and cardio. It was 5 little meals during the day, and a lot of cardio to burn off not just my, you know, my fat, but my muscle, right, to lean out. Because I felt like this character really was that he was somebody that was so driven that he forgot to eat meals, he would care more for others than he would care for himself, right. And so, you know, at the drop of a hat, he'd be there for somebody else, but maybe not necessarily be there for himself. And again, he's passionate. So, you know, some people might outward-facing see him as like something of like, you know, a larger-than-life character. But, you know, sometimes you have to be a fighter when you believe in something. And again, he's the person that would go down with his ship, right? He's the last person off the boat. He cares about his crew. Those are his family. And so we talked a lot about that when I was, you know, talking with Michelle Hurd, because Michelle Hurd plays my producer. She became like a big sister in my life. And it was that dynamic that we really translated on screen, because sometimes that producer director, you know, relationship in real life is that person that can tell you something that you need to hear. And you're like, okay, okay, I understand, you know, I absolutely, you know, so we had that really, really cool dynamic that we showcased on screen. And again, this film for me, this story is a story of the times. I feel like it is one of those stories that can really connect us because it's a story that really showcases two uniquely different people that butt heads from the beginning. Brandon Smith wrote this story about two people that are the protagonists and the antagonists of their own journey. And just being on set and telling it and telling it proudly, it quickly became a story that was bigger than all of us. And I'm excited to tell you more about it.

All right, man. So, Matt, tell us, man, is the movie out? When is it coming out? You know what I'm saying? Before I ask you another question, because you're getting us excited about it, man. You know, all these— these great actors and actresses you working with, man. And, you know, we want to see you in your breakout role. So, so what is coming out, man?

So it's a limited release right now. The easiest way is, you know, to give me a follow on my Instagram, and I post all the updates for when the film and where the film will be available. That's on my Instagram, @mattDrago, M-A-T-T-D-R-A-G-O. Give me a follow there. I've got my Linktree, it's got my website with my actor website, my production company website, and there's a widget on my website that shows where it's screening right now. It's a limited theater engagement right now, but we're trying to get an expansion right now, meaning that it will come to more theaters eventually, and then eventually also to VOD and streaming. So right now it's a very limited release. Brandon really wanted it to be a conversation piece. So he wanted to give it a theater run, which a lot of movies don't even come to the theater anymore. We went to Rocky Mountain NATO, National Association of Theater Owners in Salt Lake City, And we got to meet some of the most wonderful people that have owned theaters sometimes for 3, 4 generations. I met this one woman, it was her grandmother's drive-in in Idaho. And theater owners are hurting right now. And a lot of independent films can't get into theaters because there are just big budget films that blow them out of the water with the marketing budget and this and this and that. So we wanted to give ourselves the best shot at coming to theaters. So it came out in theaters January 10th, limited engagement basically in the Midwest. And now hopefully an expansion is coming in the next couple weeks as we speak here in early February. And then eventually I will let everybody know when it comes to streaming platforms and VOD as well.

Oh man, that was cool. So it's in my area. You say the Midwest is in my area out here, and I agree with you, man. And the theaters, with all this other stuff that's going on right now— because we got a few around us, man. That ain't my life.

It's special. It's special to be in the theater, you know what I mean? There's just something that happens when you are around other people. And I think specifically to the last few years, in 2020, we've gotten so complacent. But man, I used to go to the 1:00 AM movies in New York City. And just the energy that you would get just being in a room full of other people. I think about Sixth Sense all the time. I watched that. And like, you know, when the big reveal happened, people like, you could hear it in the audience. Like it was wild. You know, there's nothing better than being around people and we have to remember how to do that, especially with all the technology that's being thrown at us. It's like, there's just something special about being physically with people. And this is a conversation piece. So I think that, you know, it's a story of the times and that you've got people from the right, people from the left, people from the middle coming to see this film and seeing that there is a path forward for all of us. Because if our two characters can find mutual respect through a film like this, in the story that resonates with other people, then other people need to be having those conversations too. And hopefully there is a path that we can find together to come together a little bit more as a country.

Yeah, you know, you made me think about it when you said, you know, Just being in a theater with everybody, not only for the popcorn and Icees. I loved getting refills on the Icees. That's my thing. But I remember when I was in high school, I think it was my— might've been my freshman year, at a house party, the first house party. Kid 'n Play had just came out. And you just made me think about that time, man. That theater, it was so packed. You know what I'm saying? We was just out there having a good time. And that's just how it used to be, man. It's not quite like that, you know what I'm saying, no more. Hundreds of kids just in there just waiting to go see a new movie release coming out. Just having a good time, man. This generation, they don't know a lot about that, man. They don't know about a lot of things, you know, how we used to do things back in the day that was so fun, man. 'Cause it's all about video games right now. That's their part of excitement. So Matt, man, I only got a couple more questions for you, man, and then I'm gonna let you go on to your busy day, or your busy schedule. But let me ask you, Many actors eventually move into producing or directing, which, you know, seems like you have done. What do you think is the biggest difference between performing in front of the camera and working behind the scenes?

Yeah, I think when you are an actor, for the most part, like, you are serving the director and the producer. And, you know, operationally, it's more really from the heart. You know, it's really more from the heart. It's really what makes you connect with the character. It's being a servant to the story, right? And when you get to be on set with someone like Brandon, who is the writer and the director, you know, you're picking his brain a lot. And so, it's more from that creative point of view and serving the story and really just staying in the mechanism of being an artist and being a creative. Producer is a lot more up here. It's a lot more cerebral. You know, you are balancing a lot of different things, and sometimes you don't have the time to get too emotional because there's so much to do. I mean, I learned so much from watching Eden Mattson on set, and I think it's one of the reasons why I've wanted to now become a producer, because I saw how she was able to balance so many different things at once. I mean, I'm talking about a dozen to maybe two dozen things at the same time. But she did it with such dignity and grace and professionalism. Again, it was like she was up against so many things, and she did it for all of us, because the producer really is like the glue that holds everything together in a production. So I think because of that, and just because of how much respect I have for as a producer and a human being is I gleaned a lot from her and Joe Borden. Joe Borden is, uh, he really honestly did such a great job at keeping the whole cast and crew light the whole time. He's a comedian. He actually was a writer on Tosh.0, but he's really, really good at fighting for funding, which is another part of being a producer. It's like you have to call your shot, you know, you've got a movie or a film that you feel like is important. And so you have to reach out to the people that can support that vision. And, you know, for us it was Bozeman Spirit.

It.

Shout out to them, you know, because they were a big funder in our, our scenes. And, you know, they put a lot of money in. A lot of the people that put money in were local businesses, right? And so it really does create this team collective effort. So to get back to your question with producing, I feel like for me, I learned in this film because I already said that I have won in this film, you know, just being a part of it. I have learned and grown so much as as an actor, but really more so as a creative and a collaborator. I have learned, CJ, that not only I love acting, and that is my first love, but I really love collaborating. I love the process of being able to build my team, you know, have that same editor, that cinematographer, or, you know, that group of people that really feel like they're in it together, that are there and want to tell a great story together. I just love the aspect of my next chapter in building my production company, getting people around me that see my vision, which actually sparked from Fabian Verdugo. He brought a film to a little corner of Montana, a very big film, a very important film. And that is my wife and our, our mission statement is that we want to bring films to little pockets of the country, starting with Front Royal, Virginia, a Christmas movie because it's where we're both from. And we know that place. And so it feels like a full circle moment. But what's so special about it is what it does. Because when you bring a film to a small pocket of the country, you're giving them a voice. And I feel like that's what we all need right now. We all need a voice. I think that's where a lot of the dissonance is coming in our country is that a lot of people feel underrepresented. Underheard. And so I want to, with my stories, be able to fight for the moving parts and my team to bring these little stories to these little pockets of the country, to give them a voice and hopefully push the messaging of our country coming together because there is a path. I believe that and I always will until my dying day. And I think part of it for me as an artist is what can I do? And what can I do as an artist is to make an impact by shining a light on these little corners of the country that feel like they don't have a voice.

You know, two things, and I appreciate you sharing that. It made me think about some things too. For one, that's something that I did want to start my podcast on, to give a voice to those who haven't been heard. You know what I'm saying?

Yes, 100%.

To the everyday man and woman. It's not about being a celebrity or being, you know, the biggest star. Yeah, of course you will I would like to have some, you know, to boost rate. But you said something earlier. It's about connection. It's about connection. Yes, connection.

Yeah.

It's from the heart. You know, it dawned on me yesterday, I was talking to somebody and they do podcasting too. You know, we had a great conversation, but then after I got done, it made me think about some things because they asked me, they say, well CJ, you know, 'cause I was telling them how I do interviews from, you know, different platforms, People come to me or whatever, and she say, well, you know, do you get paid for this? And they don't pay like this and whatever. And I didn't think about it at the time till later. Sometimes some people in things for the monetary goal, right? When you do things from the heart, you know what I'm saying? Like, if money comes, that's fine, but I want to do something that can resonate because I want to do it from the heart. If I'm just going into it and Matt say, well, I come to Matt and I'll be like Well, Matt, you ain't got this and that. When Matt say, well, I ain't got no money, then I'm done talking to Matt, you know what I'm saying? Because you're not aligning with what I want to do. So whether you have money or no money, the way I'm approaching it, we can have a conversation, you know what I'm saying? We can talk because it's not about money, it's about the personal, you know what I'm saying, the feelings. And then you said something too. You said bringing into this small pocket, you know, back to Virginia, where you guys going, you and your wife, and you developing a story there. And made me think, 'cause I told you I was working on a project, and that's the exact same thing that I'm doing right here. Working on a project for Gary, Indiana. It's called GI: The State's Capital. And I want to bring, you know what I'm saying, like what it could have been or what it could look like, you know what I'm saying? And then the storyline. And like you say, with the producer lady and everything, It just takes so much, but I'm learning so much more now, you know what I'm saying? 'Cause I'm meeting interesting people and I gotta pick your brain on something after we get done too. But it's like you say, just the creative part. I mean, it's just so much fun. I know you know more than me by being in a production studio and rubbing elbows with the big shots like Michelle Heard and your man's Graham, man. But hey, it's just a beautiful thing, man. And keep doing what you doing, man. Reaching these small pockets, you know, where people's voices can be heard. And people can be not only heard, because we can hear people through podcasts, but you're doing something, man, where people can be seen as well. So that's cool, man. I really appreciate it. So Matt, man, just let me ask you one final question, man. So what final message would you like to leave with our listeners, especially those who are chasing dreams in creative fields?

Mm. You're asking all the good questions today. Well, I mean, first of all, CJ, thank you for having me on your show. I think I'm just going to follow up with what you were just talking about, that parallel of what matters in your life, right? And if you're a creative, because I'm talking to a creative right now, it's that connection. It's that impact that you feel like you can leave that surpasses the amount of money that you have in your pocket. It's leaving a couple good stories behind. And that's what it's always been for me. That's where this journey has always lived inside of me, is I feel like I would rather make $10 as an actor than $100 doing something else. And I really mean that because I feel the weight of the impact that stories can have. And especially now with technology and with AI, human stories matter more now than they've ever mattered before. And who can uniquely tell stories? Humans. If we give away our human stories to a machine, we will give away so much, my friend. Like, we will give away so much. We have to support indie films. We have to support human stories because, you know, we want future generations not to go to the movie theater and be like, hey, Mom, Dad, there's this weird, you know, movie. There's people in it, you know. And that will create some denigration in our, in our society if people aren't seeing the real emotions, the real tears, the real people. Because, and I I say this all the time. I got into acting because I love acting. And I know that that sounds obvious. But like, if you said, you know, get in that booth and we'll scan your likeness and take your voice away from you and generate something that we think you might do, I would say 100 times out of 100, no. Because I love the process of acting. I love the process being in front of Michelle Hurd and Graham and having this 10-page scene and, and being with her and reacting with her and being in the same space with her and him and all of these great collaborators. And then being off set, off screen, and collaborating with my directors and my producers and learning how Jason is gaffing that and learning how Travis is doing that sound when we've got a windstorm coming in. It's those relationships. And this is a relationship and industry just like any other industry. And I will say to the actors out there, like, just keep enjoying the journey. The journey is the destination. The journey is the destination. And I know sometimes it gets hard. And I'm riding a high right now. But there are times now that I have been through in my life where, like, I never get too high. And I never get too low. Because I understand how grateful I am to even be here, to be talking to you right now, to be able to share my experiences because that is the joy that this world and this life brings me, is to call myself an actor, to call myself a collaborator, to call myself a creative. That is something that I felt like I was beamed, you know, into this planet for. Like, this is why I feel like I'm here. And so if I can just keep bringing joy to other people and serving some great stories in this Man, that's a life well lived in my book.

Yeah, I like that phrase you just brought up. I think the Bible says it like, "I've been up and I've been down. I've been abased and abound, but through the two, I've learned to be content in whatever situation I'm in." You know what I'm saying? Because like you said, I'm grateful for where I am. I've seen some things, I have been through some things, and it's all about just being humble and grateful. That's the most important thing. And that there will take you a long way. So Matt, man, oh man, I appreciate you dropping these nuggets on us, man, sharing your story with us and everything, man. But man, let me say this, man. Your insights, you know what I'm saying, has been invaluable, man. You know what I'm saying? Your dedication to your craft and passion for storytelling is truly amazing. So again, thank you, Matt, for joining us on the CJ Moneyway Show. And to our listeners, thank you for tuning in. If today's episode inspired you, you, please leave us a review, subscribe, and share with someone who loves movies and storytelling. Until next time, stay inspired, stay motivated, and keep telling your story. This is your boy CJ Moneyway signing off. We outta here. Peace.

Thank you for listening to the CJ Moneyway Show. Don't forget to share this episode with your friends. Leave a comment, and drop a review. Be sure to tune in every Tuesday and Friday for more inspiring journeys. Who knows, your story might be next.

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