MDC: At the same time , I'm also hearing, over and over again , the phrase "ethnically ambiguous". I'm hearing that a lot. The Jessica Albas..

LG: Exactly. But still mainstream. Very pretty. Not grungy. But not California either.

MDC: Across the board, the hardcore editorial market seems to have made an adjustment too. Girls who six months ago would have been dismissed as "cheesy", are looking quite right this minute.

LG: Well, they're trying to sell products. Do people buy products from someone who's not aspirational? I guess it comes down to that. Aspirational is back. But with the edge. More global.

MDC: Do you work with a set body of clients who ask for exclusivity?

LG: Casting directors are independent consultants. Unless you are on staff at an ad agency. For example, Grey Advertising has its own in-house casting office. It's really the only big one left with in-house casting due to the flood of beauty contracts they've had. So it swings. It's not like you do the same job forever, which is what makes it interesting. You can add value to new clients because you have experience with old ones. So if it worked for L'Oreal yesterday, but not today...it doesn't mean you won't get them again...it's just the ebb and flow of a cyclical business.

MDC: Do you see television evolving a lucrative market for the industry?

LG: Already a lot of times, a television campaign includes print. They want continuity in selling a product
You're right. The J'Adore campaign is a great example of that. A lot of editorial photographers are crossing over to television as directors. Lately it's less of a stigma.

MDC: It's important to note though that there's a huge difference between that girl who looks great on paper and that girl who looks great on camera.

LG: And that's a big part of our job, Betty, to actually know the difference, so you don't waste time showing clients people who just can't engage the camera. Some girls are gorgeous in person, but as soon as they're required to move in the frame, it turns out that's not for them. But that's OK. If they really want to do it, they can take classes. They have to really want to do it. Someone who has the drive, for instance, is Molly Sims (from MTV). She really, really wanted to do it. She did her homework. She absolutely did everything right as far as I'm concerned. And she hit!

MDC: Well the supermodels of the previous era were always media-ready. You go backstage with a camera crew, you corner a Linda and you leave with a piece. Are models today less media-genic?

LG: I think there's a language issue. A communication issue. Girls are also a bit younger and a bit shyer sometimes. Plus that turn-over! The number of new kids baffle me. The number of new agencies...It gets so huge.

MDC: I must say it's very impressive, the scope of the full service shop you have here.

LG: Thank you very much, Wayne. We have a big investment in equipment, space, staff and a history of being solid in the business world, as well as the creative world so we're not casting out of an apartment. You can provide a client with all the resources they need.

MDC: So it's not just "Here's her card, here's her book" you invest heavily in unique material on the model...

LG: The tapes are very important to us. We are trained to make sure that everything looks good. The girl looks good. Unfortunately in a lot of cases, girls get thrown on camera and whatever happens happens. We really work to present models in the best light possible.

MDC: One of the more interesting concerns that come on on the MDC Forums is "I Have A Casting Today And I'm Terrified What Should I do!" What advice do you have for that young model going on that first nerve wracking casting?

LG: Once we get them up here, they'll look forward to coming back. We make models feel very comfortable. Advice for going to places that may not be quite as appreciative of who they are? It's very tough to be on that side of the camera, so my advice would be to believe in yourself. Develop yourself. If you really want it, do all the right things. Take the right classes, learn the right styling, learn the business of your business and nobody will be able to intimidate you because you'll be secure.

MDC: A lot of people also get terribly frustrated when they don't hit in those first three months.

LG: I don't remember where I read it, but someone said "You book 1 job for every 500 auditions". That wouldn't surprise me. It goes back to the question of drive. You have to really, really want it. If I were in that position, where I got discouraged after three months, I would probably set a time goal for myself. I would say if I haven't achieved such and such by such and such a date, I'll do something else. And that would speed me up to achieve those goals. You just need one job in your back pocket and that gives you all the confidence in the world. And you get directors and photographers wanting to work with you. The key is that confidence. I've seen one job change a girl's whole energy. And that's what it's about.

MDC: Linda it was a consummate pleasure sitting down with you. Thank you so much.

LG: It's our pleasure. Anytime!

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