During the pandemic, ChiChi Anyanwu made the brave decision to start their own talent management company, Chi talent management, Management of the careers of actors in theater, film and television. Your company is part of a small number of black women owned agencies so I chatted with ChiChi to see how she makes all of this possible.
How do we actually have a share in the game if we continue to earn money from other people? “
How did you come to the decision to start your own company?
I have interviewed various agencies [and] it came to a point where [I got] tired of working for people. I’m in my 30s now, just sick of working for people. And the sad part is that I don’t really see much [Black] Managers or agents who have their own businesses in New York, alas. There are quite a few people in LA, but in New York I can probably count on my hand [how many are] Obsessed with black.
How do we actually get a stake in the game if we keep making money for other people? In everything that happens in the world, I’ve always thought about property. I didn’t know if I was quite ready because in my head I want to[ed to first have] five series regulars, five people on Broadway. You want an established income to come in because it’s a bit risky. It was definitely hard because I get very impatient too.
What is an average day in ChiChi’s life?
I have a bad habit of not eating breakfast. I’ll check my cell phone [first thing], and as soon as I check my cell phone, my day can begin. I will now practice turning off my cell phone and maybe doing sports, having breakfast. It’s a busy day where you need to get messages, check in with customers, and make sure everyone has their tapes on time. I now have an intern which makes my life so much easier so get in touch with my intern and make sure things get done on a daily basis. To make sure I submit all projects, I do a pitching day. I am now adding a couple of consultations a day. I am just starting to promote my clients and find that they work.
I know a black manager in New York who has her own company. “
How was starting your own business during the pandemic?
Because Broadway was closed at the time [and] There were no real TV and movie sets, it was really slow for a while. There were projects that would then release the collapse [say] oh we have to postpone this because of COVID. So it was a bit of a gamble, but at the same time [I felt] Well, let me just do this because there aren’t a lot of people who look like me.
That’s what sets me apart from everyone else. To be a management company owned by black women is [relatively] unheard of. I know a black manager in New York who has her own company; she’s the only one I know I am one of the very few; just let me do it.
What challenges did you master as a black woman in the industry?
What has frustrated me in the past – some people will say, “Oh, I only have so many seats for this type of actor.” Let’s say someone has five African American actors in their twenties. You have this whole thing about filling certain types. I wanted to be that company that wasn’t about guys but how to get the best actor [from] a heterogeneous group of actors? Most of my clients are African Americans, but there is so much diversity among African Americans. Everyone has different backgrounds. I don’t want to feel like I have just one type of customer.
If a person doesn’t have a great resume, this can be some kind of name game. Sometimes I sell my clients and someone says they’re looking for bigger names. The reality is, when you’re selling a new show, it’s about selling ads – which is what actors will bring in with the ad money, too. My job is to showcase my clients, but also to make sure we have the marketing materials [to say] Hey, I know she doesn’t have a really good résumé, but check out her work. Fortunately, I was able to attract many of the people who do not necessarily have a lot of experience in top offices because I developed them.
What do you say to entrepreneurs who also wear lots of hats?
It helps to focus. When I knew [then] what I know now, if I had joined the agency a little earlier. I was hopping around all over the place. I actually did casting for quite a while before I got into representation and management – I decided to get an assistant job at an agency and then eventually work for a management company. So it definitely helps to figure out what you want to do and then focus on it. But ironically, all of those contacts I made during the casting are still in touch today; they hired my clients. I had to work in casting first to get the contacts I need now when addressing my clients. I still have a lot of contacts that I made in college, I met directors while working at various companies in Pittsburgh, I networked a lot when I was working at the McArthur Theater, I have all these great black directors with met this internship that I did over 10 years ago. Even though it took me a while to get where I am, it helped to be someone who did a little bit of everything.
How important is it to you to highlight the People of Color resources?
I think it’s really important. People will complain that there are no options for it. gives [actors] Color, but what about the people behind the scenes? I am part of this diverse representative group and it is nice because they provide you with colored publicists, [and] Entertainment lawyers. There are literally resources now that we can share, where you can find people who look like you.
It’s not just about what we see on screen – it’s also about what’s going on behind the scenes. Even with Broadway. People complain that there isn’t enough diversity on Broadway. Who are the producers? Do you know the five best black producers? Do you know the top five black directors on Broadway? It’s also about making sure people have access to this information.
Personally, I am happy to share information. While I’m not necessarily going to represent you as an actor, I want to help be a resource. I do counseling sessions with actors because sometimes it’s about someone else looking at your material [and give] You feedback.
What advice would you give people when it comes to developing a work ethic in the media?
In any case, I think you have to be okay with long hours. In all honesty, I’ll work until I’m done, or actually until I fall asleep. I am multitasking. I probably do a lot of different things while I work. If you really want to work in the industry, you have to accept these long hours. When you book your television show, it will be a 12 hour day for a scene that may only last five minutes. You will be surprised when people finally get what they want, how they don’t want to put the work in. Even when you finally have what you want, it will still be a process. I respect all the kids on Broadway because you do eight shows a week – that’s a lot of work.
I will be quick to recommend a therapist to you because you are going to need something to help you. There is a lot of rejection. I have a few clients who get frustrated when they get involved in so many projects and [don’t get callbacks]. If you don’t get any callbacks, you’ll have to go back and do the homework. Let’s find a new coach, let’s find out what doesn’t land. Sometimes you just don’t fit the role, but sometimes it depends on the work and how hard you work.
Just make sure you want it. Make sure you are in a good place [and] that you have time to manage and manage the workload [the] Audition. Some people can’t juggle both and frankly, as a manager, I can’t wait to become [them to] quit their survival job. My goal is for everyone to quit their job so they can focus 100% on acting.
This interview has been edited for length and clarity.
