Step inside the real story behind the highlight reels. On this episode of Call Sheet Confessions, host Mia Lepage sits down with photographer, creative director, dancer, and founder of Young CEO LLC, Neely Towns.

From growing up as a competitive gymnast in Alabama to shooting for Chris Brown, Winnie Harlow, Omeretta, and more, Neely breaks down the actual steps that took her from $250 sorority gigs to working with A‑list talent.

They dive into:

How Neely pivoted from college gymnastics to dance and photography
Moving to Atlanta and finding a creative community that embraced individuality
Using free work, DMs, and personal projects to build real industry relationships
Shooting Breezy Bowl, touring, and going to Coachella with Winnie Harlow
The reality of anxiety, people‑pleasing, and downtime between big jobs
Why being more than “just a photographer” gets you rehired
Building Young CEO, escaping the “starving artist” mentality & aiming for financial freedom
If you’re an aspiring photographer, dancer, or creative trying to break into the industry—or just love a good behind‑the‑scenes story—this episode is for you.

JP Stanley didn’t take a straight shot into the Hollywood power seat either. He was a high‑energy kid bouncing between Wisconsin, Nebraska, and Florida, obsessed with performing long before he knew what a producer did. Theater classes, competitive dance, teaching combos at recess, and getting in trouble for making classmates laugh were his first “sets” — years before Apple TV spots, American Express campaigns, and founding Goodwork Productions were even on the horizon. What started as a four‑year‑old’s dream to “make movies” turned into a full dance career, then the LA grind of auditions and agencies, before a single casting internship quietly rewired his entire path.

In this episode of Call Sheet Confessions, JP and I trace how a performer who thought he’d dance, then act, then maybe produce at 50 ended up fast‑tracked into casting director, senior casting director, and executive producer — and ultimately, CEO of his own production company. We get into the artist residency that birthed his first short film Stage Moms, the pushback and praise it received, and how that project became the catalyst for starting Goodwork. JP breaks down what actually happens inside a casting office (intern to assistant to associate to CD), why directability matters more than “perfection,” and how he quietly slipped himself and his friends into breakdowns while learning the system from the inside.

We also unpack what being an executive producer really looks like across music videos, commercials, and indie films — from line producing and UPM responsibilities to managing budgets, departments, and fires that will happen. JP walks through a recent near‑disaster on a Major Lazer video, when a crucial night‑shoot crane simply never showed up, and how a frantic round of cold calls, a random 24‑hour equipment yard, and a genius G&E team turned a potential shutdown into one of their best‑looking setups. He explains why he obsesses over fully built‑out call sheets (for a $50 shoot or a $50M one), what makes a Goodwork production different on set, and why he’ll always invest heavily in crafty that actually fuels 12‑hour days.

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What does it really take to go from church mime and $5 dance classes in St. Louis to choreographing for the Grammys, BET Awards, and artists like Latto, Cardi B, and Lil Baby?

On this episode of Call Sheet Confessions, Mia sits down with creative director, choreographer, producer, and educator Jeremy Green – founder of Behind The Movement (BTM) and creator of the powerful live production Dear Black Boy.

Jeremy opens up about:

Growing up in St. Louis and falling in love with dance after watching Janet Jackson’s Velvet Rope tour
Failing his first professional dance class and why passion kept him going
Moving to Nashville and Atlanta with almost nothing, interning at Dance 411, and starting out homeless
Working as an assistant in the agency world and how understanding the business changed everything
How Behind The Movement went from a small showcase raising money for kids to a full week-long professional intensive
The heart and healing behind Dear Black Boy, and why telling Black men’s stories on stage is so important
The real qualifications that get dancers rehired (hint: it’s not just talent)
Why he prefers live stage, loves auditions, and believes work ethic beats talent every time
His advice for aspiring dancers, choreographers, creative directors, and program founders
If you’re serious about a career in dance – or you care about purpose, mentorship, and building something that outlives you – this episode is for you.

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