Speaker 1: Hello, and welcome to the Spirited Actor Podcast with me
Speaker 1: Tracy Moore. I was a casting director for film and
Speaker 1: TV and commercials for over thirty years. I transitioned to
Speaker 1: a celebrity acting coach after I cast a film New
Speaker 1: Jersey Drive with executive producers Spike Lee and director Nick Domez.
Speaker 1: I auditioned every rapper from Biggie Smalls to Tupac, and
Speaker 1: I realized that rappers and musical artists they needed help
Speaker 1: transitioning to acting. My clients consist of musical artists from
Speaker 1: Buster Rhymes to Eve, Missy Elliott, Angela Yee from The
Speaker 1: Breakfast Club, and Vanessa Simmons to name a few. I
Speaker 1: also coach sports stars and host as well. I feel
Speaker 1: I have the best of both worlds. As a casting director,
Speaker 1: I know exactly what they're looking for, and as an
Speaker 1: acting coach, I can coach you to be remembered in
Speaker 1: that room. Now I know, I know actors want to
Speaker 1: get the job. I get that, but being remembered by
Speaker 1: casting director that is powerful. And now it's time for
Speaker 1: meditation of the day. Whatever the present moment contains, accepted
Speaker 1: as if you had chosen Eckhart toole, I learned a powerful,
Speaker 1: powerful lesson that I always talk about sometimes in my classes. However,
Speaker 1: I learned what being present meant right before my dad passed.
Speaker 1: And when my dad found out that he had cancer,
Speaker 1: he called myself and my two brothers on a conference
Speaker 1: call and he said, I need to tell you guys
Speaker 1: something right now. My two brothers knew I didn't know that,
Speaker 1: but they were calling to tell me, and so my
Speaker 1: dad explained what was going on, and I just lost it.
Speaker 1: I started crying. I was boohooed, I was hyper vitilated,
Speaker 1: and I could hear my dad say to my brothers,
Speaker 1: just give her a minute, Just give her a minute. Right. Finally,
Speaker 1: when I pulled it together, my dad said, Tracy, I'm
Speaker 1: not dead yet. And every single moment after that, I
Speaker 1: was one hundred and fifty percent present in our conversation.
Speaker 1: If we were together, I was one hundred percent present
Speaker 1: in his presence. I understood that, yes, I was sad,
Speaker 1: and yes, the possibility of thinking of losing my dad
Speaker 1: just broke my heart. However, I was already cremating my
Speaker 1: dad in the conversation of him telling me about cancer.
Speaker 1: But when I bought it back to the present day,
Speaker 1: I enjoyed every single minute of my dad's last ten
Speaker 1: months on this earth. Stay present, Enjoy the present, Enjoy
Speaker 1: the moments, Enjoy just being here in this moment right now.
Speaker 1: Nothing more, nothing less, just grateful. Before we get started,
Speaker 1: i'd like to remind everyone to look out for my
Speaker 1: new show, Inside the Black Box. I'll be co hosting
Speaker 1: with the great Joe Morton. We'll be on Crackle Network
Speaker 1: real soon. I'll keep you posted. Welcome to the Spirited
Speaker 1: Actor Podcast with me Tracy Moore. I am excited for
Speaker 1: my next guest. I thought maybe my producer, mister funny
Speaker 1: Man's Bruce Henry would do the intro, but I'll do
Speaker 1: it myself. Today's guest is me, you guys. I'm here
Speaker 1: to teach you, guys, some things that came up yesterday
Speaker 1: when I was talking to a group of my dynamic, spiritual, amazing,
Speaker 1: phenomenal casting director friends. So this inspired this class today
Speaker 1: for you. I want to talk about boundaries because I
Speaker 1: need to reiterate them. I want to talk about the
Speaker 1: things that casting directors don't like you to do, and
Speaker 1: I also want to say I don't want to go
Speaker 1: into a lot of detail about it, and let's start
Speaker 1: off here. So welcome me, Tracy Moore to the Spirited
Speaker 1: Actor Podcast. And today's show is just don't do it. Okay,
Speaker 1: just don't do it. Trust me. I have a resume,
Speaker 1: you can google me. Trust me on this. When we
Speaker 1: as casting directors suggest, highly, recommend big and plead for
Speaker 1: you guys not to do something, you might want to
Speaker 1: just take heat to that. Okay. So yesterday I had
Speaker 1: the most dynamic conversation with Like, I got emotional on
Speaker 1: this phone because one of the casting directors was Winsome.
Speaker 1: Sinclair and whins worked on Juice, and you know, we
Speaker 1: were as a collective. We were talking about how important
Speaker 1: Juice was at the time and what that movie meant
Speaker 1: to us, and I just got this feeling that the
Speaker 1: three of us when some Sinclair, you, Lissen Stererero, and
Speaker 1: Wendy Mackenzie, all of us combined, wins said, we have
Speaker 1: over a hundred years experience as casting directors, right. So
Speaker 1: what hit me is that when we grew up as
Speaker 1: casting directors in this industry, we didn't have the Internet.
Speaker 1: We did not even have iPhones or mac books. I
Speaker 1: remember word processors and the screen was green and the
Speaker 1: words were green like anyway. The point is is that
Speaker 1: we really did the heavy lifting. When some brought up
Speaker 1: a point that we used to have messengers, I totally forgot.
Speaker 1: That's how we got scripts out. We would have messengers
Speaker 1: come to our office and they would take the scripts
Speaker 1: to different agencies or management companies for the actors. Right
Speaker 1: today bing email, one button, boom, script is there. I
Speaker 1: remember standing at the fax machine on the TV show
Speaker 1: New York Undercover and faxing sixty six pages of an
Speaker 1: episode two agents, and I had an intern and that
Speaker 1: was her job was Her job was to open pictures
Speaker 1: and resumes and to fact sides and scripts. Today she
Speaker 1: is the casting director for American Idol and CBS Big
Speaker 1: Brother Asia Loup. So we did a lot of heavy lifting.
Speaker 1: There's not a there's some heavy lifting, but we did legwork.
Speaker 1: New Jersey Drive Nick Gomes, director, He was like, Tracy,
Speaker 1: I want authentic actors, but I want like authentic people
Speaker 1: of these characters. I was on my feet on the
Speaker 1: path train to Newark, New Jersey, which looks totally different today.
Speaker 1: In nineteen ninety three, when I went and we went
Speaker 1: to shows, I saw a Broadway show The Seagull If
Speaker 1: you've never read any of chekhov by you know, it's
Speaker 1: a part of American classic theater. And The New York
Speaker 1: Times was at that time raving about Anthony Mackie, and
Speaker 1: my friend knew him, and he was like, Tasey, you
Speaker 1: got to come see this guy. Well the play and
Speaker 1: not just coming from me. I mean it was very,
Speaker 1: very painful to watch, and half the audience left. However,
Speaker 1: there was some shining stars in the cast, and as
Speaker 1: much as I wanted to leave too, I stayed because
Speaker 1: of those people. There's a lot of things that back
Speaker 1: in the early nineties, late eighties, early nineties as casting
Speaker 1: directors that we did because we don't have the technology
Speaker 1: that we have today. So there's a different work ethic
Speaker 1: that we have as well. Right being on time, not
Speaker 1: if your audition is at two fifteen, you don't want
Speaker 1: to get there at two fifteen. You want to get
Speaker 1: there like around one, so you can go in the restroom,
Speaker 1: adjust yourself, take a breath, breathe, settle yourself, revisit the sides,
Speaker 1: whatever you need to do. You don't want to just
Speaker 1: get to the audition and go straight in that room.
Speaker 1: You need a minute. So those things that we did
Speaker 1: without a mac pro or air. Those things help us,
Speaker 1: I believe, and all of us on this collective phone
Speaker 1: yesterday believe that made us who we are today. And
Speaker 1: so the imbalance that a lot of casting directors are
Speaker 1: seeing is that the actors are not matching up to
Speaker 1: that they're not matching up to a work ethic. One
Speaker 1: of the casting directors, Wendy, talked about the work. I
Speaker 1: love how Wendy talked about the work of an actor
Speaker 1: and how you know you have to work on your craft.
Speaker 1: It's like it's not just regurgitating these lines, spitting out
Speaker 1: these lines, or I love when people talk louder like
Speaker 1: that's creating something, you know, or yelling. Find other ways
Speaker 1: to be angry, to be upset, to be happy. Don't
Speaker 1: come into the room doing the obvious, or don't send
Speaker 1: your submission tape in doing what everybody else is going
Speaker 1: to be expected to do. Find something in the character,
Speaker 1: Find something in the moment, Find something that can give
Speaker 1: you a different perception and perspective of what the scene
Speaker 1: is about, but still staying within the integrity of what
Speaker 1: that scene is about and who that character is. Don't
Speaker 1: go too far so I know, I kind of rambled. However,
Speaker 1: I do have some points, So I want to start
Speaker 1: first with boundaries because this is really important. So I
Speaker 1: told this story right, because for me, it's not about
Speaker 1: being humble in this business. For me, it's about knowing
Speaker 1: what your purpose is for me not for me. I
Speaker 1: know clearly my purpose to help people to pursue their
Speaker 1: dreams and achieve their dreams, because dreams do come true.
Speaker 1: I've witnessed my own journey, continue to witness my journey
Speaker 1: and grateful for my journey. Spruce is the part of
Speaker 1: my journey. And Spruce is sitting next to Dad, who
Speaker 1: I love, So he's a part of my journey. That's
Speaker 1: why I'm here. So you have to not only be
Speaker 1: great talent, stunning talent, but just human beings, right, And
Speaker 1: this is just starting with common courtesy. A couple of
Speaker 1: weeks ago, someone called me up, and an actor called
Speaker 1: me up and asked me if I would come to
Speaker 1: a showcase. I love supporting actors and showcases and monologue slams.
Speaker 1: I just did a not Go Tuesday monologue slam with
Speaker 1: Mitchell and so when he approached me, he texted me
Speaker 1: and so I said, listen, you know, send me the
Speaker 1: information and how much do you know about me and
Speaker 1: what I do? And so he hit me back and
Speaker 1: he said, I know you do like a podcast.
Speaker 2: Mm hm.
Speaker 1: So I hid him back and said, I'm going to
Speaker 1: affward you my resume. I'm for you forward you my
Speaker 1: because it's important that you do your due diligence when
Speaker 1: you approach people of my value and my credit in
Speaker 1: this entertainment business credits. There's a way in which you
Speaker 1: approach people and understanding what their value is going to
Speaker 1: bring to you. And I'm not talking a monetary here.
Speaker 1: I'm just saying, if you are going to reach out
Speaker 1: and ask me to do this courtesy and I would
Speaker 1: love to do it, at least know what I do
Speaker 1: and who I am in this industry like everybody else
Speaker 1: you approach. So he read my bio. He called me
Speaker 1: back and he said, oh my god, miss Tracy. I apologized,
Speaker 1: I didn't know that you've been in the industry this long,
Speaker 1: blah blah, and I said, let this be a teachable moment.
Speaker 1: Let this be a teachable moment because now you will
Speaker 1: do your due diligence in approaching people and researching people
Speaker 1: to know because I'm not standing on your shoulders, you're
Speaker 1: standing on mine. And I know, going back in my
Speaker 1: casting experience, there was a time when casting only consisted
Speaker 1: of black, white, Asian and other. Now we are in
Speaker 1: the terms of ethnically ambiguous, which broadens and opens it
Speaker 1: up more. Right, So I've I've fought for actors. I've
Speaker 1: cried over the fact that an actor that I championed
Speaker 1: didn't get cast and then you know they went on
Speaker 1: to do other things. The director hates himself or whatever,
Speaker 1: like so many different scenarios in the casting world. But
Speaker 1: it is so so important that not only do you
Speaker 1: treat this like a business, but people like to work
Speaker 1: with people they like. I am not saying create a
Speaker 1: personality that is something that we all should have, especially
Speaker 1: being in an entertainment world. I'm just saying being conscious,
Speaker 1: being considerate of people's time, being aware that you don't
Speaker 1: want to waste people's time. Because I don't want to
Speaker 1: waste people's time at all. So where does this human
Speaker 1: part come in submissions in a zoom right, because that's
Speaker 1: a whirlwind. You guys don't have live auditions anymore. Well,
Speaker 1: I always highly recommend to you guys that we need
Speaker 1: to see bits of your personality, because we don't just
Speaker 1: hire the talent, we also hire the person So we
Speaker 1: want to like you, at least like you because you know,
Speaker 1: we could be on the set for months or weeks.
Speaker 1: We want to like you in yourself tapes. When you slate,
Speaker 1: that's where you infuse your personality. Do you like your name?
Speaker 1: Say it like you like it? Do you like where
Speaker 1: you live? Are you happy with your height? These the
Speaker 1: way in which you say it gives us insight into
Speaker 1: who you are. So if you're happy and you know
Speaker 1: you don't have to be over the top, but just
Speaker 1: be yourself, let us in just a little bit into
Speaker 1: who you are and a little bit of your personality.
Speaker 1: Put it in your slate, Okay. When you get callbacks,
Speaker 1: that's where you engage with the director, producer, maybe writer.
Speaker 1: The casting director, the casting director's assistant or associate is
Speaker 1: always your alibi the room because technically, we found you. Okay,
Speaker 1: so we found I'm only saying technically because when you
Speaker 1: get into like, you know, the shooting and then the
Speaker 1: premiere's gret you know, the credit always goes to the director.
Speaker 1: The director, So that's cool because I still love my gig.
Speaker 1: I have so much fun. However, when you get into
Speaker 1: that callback situation, that's where they're going to ask questions
Speaker 1: and start to peel some of those layers up, you know,
Speaker 1: apart as to who you are. And then this is
Speaker 1: where the director gets a chance to see if you
Speaker 1: follow direction, how you follow direction, and their mind starts
Speaker 1: percolating on you know, how you would be with this actor,
Speaker 1: and are you a great fit and all this other stuff, right,
Speaker 1: so we don't we not only get a chance to
Speaker 1: see you as a person, but we see you know
Speaker 1: U as working in this environment as well, and you
Speaker 1: want to, you know, like, thank you please. You know
Speaker 1: that's common courtesy. If you don't understand something, ask someone
Speaker 1: to elaborate or give you an example, so you don't
Speaker 1: look like you either don't know how to follow direction
Speaker 1: or you don't understand direction. So you want to make
Speaker 1: sure there's clarity on that after. And know this because
Speaker 1: one of the things that I do stress in my
Speaker 1: classes is that actors need to read aloud every single day.
Speaker 1: The point of that is not everybody writes how you speak,
Speaker 1: so you have to get used to other people's words
Speaker 1: in your mouth and comfortable hearing them and owning them
Speaker 1: as if they're yours. So that happens is when you
Speaker 1: read every single day, you can be able to pick
Speaker 1: anything up and breathe life into it. That matters because
Speaker 1: you are probably ninety nine point nine percent sure that
Speaker 1: you are going to get new sides in a collback
Speaker 1: so that we can see your process. Right, So if
Speaker 1: you're being called back before a character, then we'll give
Speaker 1: you a scene that we didn't give you in the reading,
Speaker 1: I mean in the submissions, and see how you craft
Speaker 1: that character in that scene. Right, Or we will give you,
Speaker 1: because of the work, a bigger scene, right. And in
Speaker 1: giving you a bigger scene and another character, then we're
Speaker 1: we get the opportunity to watch you morph into a
Speaker 1: third character, right, because I look at it as well.
Speaker 1: Let me say two characters I look at as in
Speaker 1: an audition. The slate is your personality, and then you
Speaker 1: morph into the character that you're auditioning for. So I
Speaker 1: like to see that process and other casting directions as well,
Speaker 1: and see how you do that. So in the callback,
Speaker 1: you know we were there. We're watching you or seeing
Speaker 1: a cale read and seeing how you bring it to life.
Speaker 1: A callback is also we like you, but we want
Speaker 1: to make sure we like you. And that also is
Speaker 1: where the director comes in and gets an opportunity to
Speaker 1: play with you. So la and probably once the strike
Speaker 1: is over, they've been doing a lot of live auditions
Speaker 1: and live callbacks. We're still, you know, moving along. I
Speaker 1: do know that there are some auditions or to the
Speaker 1: strike that were happening live. So that's a great thing.
Speaker 1: I personally like live. I feel like there's an energy
Speaker 1: that you can feel and and just resonate with when
Speaker 1: you are in the presence of actors and just get
Speaker 1: a real sensibility of who they are and how they
Speaker 1: are to work with. So that's how I grew up
Speaker 1: as a casting director, and that's just my preference. However,
Speaker 1: I live with the zooms. I live with the zooms.
Speaker 1: Not mad that we have that platform. However, we're going
Speaker 1: to talk about that second. Okay. I want to finish
Speaker 1: up on boundaries because the other thing that we were
Speaker 1: talking about is, you know there is casting directors don't
Speaker 1: have time to call you and tell you you did
Speaker 1: not get the role. We call you when you got
Speaker 1: the role. Okay. We also don't call you with any
Speaker 1: information and tell you, well, you know, you didn't get
Speaker 1: the role because you're too short, or you didn't get
Speaker 1: the role because you didn't emphasize. These words are what
Speaker 1: we don't do that we don't have time. You get
Speaker 1: a call when you are cast cist, not cisped, it's
Speaker 1: cast period. So technically, in years ago, like late eighties,
Speaker 1: early eighties, nineties, they had this book called the Ross Report,
Speaker 1: and the Ross Report had a list of agents managers
Speaker 1: all across like New York, LA, Chicago, not so much
Speaker 1: Atlanta at the time, and so in bold print and
Speaker 1: like twenty four bold it would say do not call
Speaker 1: when you read like casting directors and agents at the bottom,
Speaker 1: do not call. So I would suggest you not call
Speaker 1: casting directors. I sug yes, you don't get comfortable with
Speaker 1: casting directors like you know, most casting directors in my experience,
Speaker 1: we've had some experience in theater or acting and we played,
Speaker 1: but it wasn't something for me personally that I took
Speaker 1: serious enough and said I want to be an actress.
Speaker 1: I took it serious and said I want to direct.
Speaker 1: That's really where I was coming from and continue to
Speaker 1: come from. So I would not suggest that you call
Speaker 1: ever casting directors unless they called you left their number
Speaker 1: and asked you to call them by all means return
Speaker 1: that call. Not show up in any casting director or
Speaker 1: agent's office. Hey looking forward an agent. Nope, don't do that.
Speaker 1: And one of my experiences when I was working at
Speaker 1: pH one, I don't know how these actors got my
Speaker 1: home address, but I would come home and there would
Speaker 1: be Manila envelopes in my doorway, So that was a
Speaker 1: little sketchy them. Don't be desperate. Kat Williams talks about that.
Speaker 1: You know, desperation doesn't read well. When you let things
Speaker 1: go and trust in the universe and trust in divine timing,
Speaker 1: whatever your religious belief is. The outcome is spectacular. It's spectacular.
Speaker 1: The key is letting it go. And a lot of
Speaker 1: times actors hold on to a lot of things. You know,
Speaker 1: they hold on to the audition after they submitted it.
Speaker 1: I should have did I shouldn't. No, let it go.
Speaker 1: You did what you did. And the most important thing
Speaker 1: is to do your best work. That's the most important
Speaker 1: thing that you need to do. So we're gonna move
Speaker 1: out about don't get comfortable just again. Casting directors, most
Speaker 1: of them have great, great, great personalities and fun people,
Speaker 1: but they don't like you to call them at eight
Speaker 1: o'clock in the morning, two o'clock in the morning on
Speaker 1: the weekend. It's not cool. You know what to do,
Speaker 1: don't do it, Okay. So I'm going to move to
Speaker 1: self taste because one of my really really sister friends,
Speaker 1: Kim Williams, is working on a film that before the strike,
Speaker 1: they were able to get a waiver, and so they're
Speaker 1: moving into production. And there are some roles that back
Speaker 1: in the day it was considered bit parts where actors
Speaker 1: had lines, but they weren't considered starring or co starring
Speaker 1: a little above extra, right, this is in film, and
Speaker 1: they in the nineties they got rid of that, and
Speaker 1: so these characters do have lines. And there were a
Speaker 1: couple of roles that you know, she so graciously threw
Speaker 1: at me. And of course I always think about the
Speaker 1: spirited actors. So Kim Williams had put out the breakdowns.
Speaker 1: This was in July sometime, and so she I saw
Speaker 1: some of the tapes that have been submitted to her.
Speaker 1: And yesterday when I was on this collective with these
Speaker 1: casting directors, there was there was a common denominator among
Speaker 1: all of us that you must do the self tapes
Speaker 1: properly right. And I don't know if you guys are
Speaker 1: aware of this, but in the sag after a strike
Speaker 1: there there is a disagreement that the actors have with
Speaker 1: casting directors in terms of, like, you know, make sure
Speaker 1: you pan and edit, and actors are complaining that they're
Speaker 1: not editors and that you know, they have all this
Speaker 1: work to do when they're So that's in the sag
Speaker 1: after So maybe they're going to edit it a little
Speaker 1: bit for you guys, or make it a little easier.
Speaker 1: I don't know what that resolution is going to be,
Speaker 1: but just know that that is a discussion during the stripe.
Speaker 1: So this one particular gentleman had his camera on the
Speaker 1: desk and he technically was looking like this, and then
Speaker 1: when the reader would say the lines, he would look
Speaker 1: up at the reader like this, under his glasses like this,
Speaker 1: and then go back and look at me or the
Speaker 1: director on his camera down heap. So I asked his
Speaker 1: manager if she could ask him to resubmit, but to
Speaker 1: get it on a tripad tripod and put it up
Speaker 1: so that you know he's looking and engaging in the
Speaker 1: camera and the camera on eye level. His background was
Speaker 1: white and he had on a white shirt with black
Speaker 1: pemp stripes. So the thing. The thing is is that
Speaker 1: he looked like he was in prison. That's what he
Speaker 1: looked like. He looked like he I can't anyway. What
Speaker 1: I'm trying to say to you guys and articularly, is
Speaker 1: that when you do your self tapes, you need to
Speaker 1: either take a self tape class or you need to
Speaker 1: learn the proper equipment. You need to get the education.
Speaker 1: Don't assume. And then you know, I literally watched like
Speaker 1: four or five tapes back to back. All of the
Speaker 1: tapes did not follow traditionally like you know, blue green,
Speaker 1: gray background, The camera was wrong, the lighting was off,
Speaker 1: and it just screams to me in a way that
Speaker 1: regardless of what we are asking, you're going to do
Speaker 1: what you want want to do, and that's not right.
Speaker 1: You need to adhere to whatever those directions are in
Speaker 1: the breakdowns, whatever those directions are that your agent says
Speaker 1: to you, it's imperative that you do that. I don't understand.
Speaker 1: And this was another part of the collective why people
Speaker 1: feel that acting is just saying lines. It's not that easy.
Speaker 1: We also talked about parents and your support system. I
Speaker 1: loved how Wendy said that, you know, all in her classes,
Speaker 1: the parents are invited because they need to know what
Speaker 1: she's doing. And in case she's not there to help
Speaker 1: their child, they can step in and not miss a submission,
Speaker 1: miss an audition, right So, and then in her experience
Speaker 1: and my experience as well, that parents don't think their
Speaker 1: kids need. My question was, what kind of job do
Speaker 1: you push your children or your teenagers in and they
Speaker 1: have no foundation or stability or understanding knowledge of the
Speaker 1: verbiage or the protocol that's going to create anxiety and
Speaker 1: stuff you don't want to do. So get the education,
Speaker 1: do your due diligence, do your due diligence. IMDb dot com.
Speaker 1: Anybody and everybody that you are in contact, you are
Speaker 1: stepping in front of that is going to watch your
Speaker 1: submission tape. When you guys get the breakdowns and your
Speaker 1: agent sends that to you or you see the breakdowns,
Speaker 1: you need to IMDb dot com, the executive producer, the writer,
Speaker 1: the casting director, all of those names on there, because
Speaker 1: that gives you a gauge as how you're growing and
Speaker 1: the people that you are standing in front of and
Speaker 1: who are seeing your work. So that's really really super important.
Speaker 1: I had a pleasure talking to Tracy today. Thank you
Speaker 1: so much, Tracy, thank you. So that's going to be
Speaker 1: the end of just don't do It. That's today's show.
Speaker 1: Just don't do it. Trust and understand that everybody. Everybody
Speaker 1: gets a turn. Man, everybody gets a turn. So I'm
Speaker 1: going to open it up right now because I get
Speaker 1: to answer some questions from our spirit actor alumni. Folks. Hey, Elsa.
Speaker 1: Elsa is going to introduce them.
Speaker 3: Hello, Hello, thank you for those gyms, Tracy. As alway,
Speaker 3: all of the actors are going to be listening intently
Speaker 3: to those because they need to take heed.
Speaker 1: Yes.
Speaker 3: Yes, I'm sure our two guests today who are too
Speaker 3: wonderful actresses don't have that issue.
Speaker 1: Yes, because one is the more represent that's right.
Speaker 3: So, ladies, you can come on camera today. We have
Speaker 3: Miss Amber Miller Moore, missus Amber, and Miss Tisha Harrison. Welcome, ladies. Yay,
Speaker 3: you can go first with your question.
Speaker 4: Okay, Hey, miss Tracy nice, Hey you're doing It's good
Speaker 4: to see you.
Speaker 1: So my question.
Speaker 5: You were talking about self tapes and of course you
Speaker 5: know having them technically sound, but one thing actors do
Speaker 5: is trying to have the perfect tape. Oh I feel
Speaker 5: about like, say you've gone through most of the tape
Speaker 5: and you do a little flub, but you make it
Speaker 5: through and it's a good take, right, What is just like?
Speaker 1: Do you retake it and try to get that perfect take?
Speaker 4: Are you just going for giving it your best feeling
Speaker 4: something and you've done your interpretation of the character?
Speaker 1: Excellent care, excellent question. We are looking for potential, not perfection.
Speaker 1: What happens when you go for perfection? You're doing five takes,
Speaker 1: seven takes, ten takes. Robbie reads is only do the
Speaker 1: amount of takes that you would get if you were
Speaker 1: standing in that room. So we're not talking more than
Speaker 1: three takes. If you go more than three takes, you're
Speaker 1: over rehearsing, you're over, you're beating it, and you are
Speaker 1: looking for that perfection. But there is no perfection because
Speaker 1: if you give us perfection, where do we have room
Speaker 1: to say? You know, I want to make that adjustment.
Speaker 1: I think this would be a different choice. Let me
Speaker 1: see if Leticia can do like. Because the director is
Speaker 1: the one who's going to guide you through this and
Speaker 1: direct you. They just need to know one you're directable,
Speaker 1: you listen and follow direction and your talent shines. So
Speaker 1: don't don't go for perfection, go for doing the best
Speaker 1: that you can possibly do unless you know the casting, director, director, producer.
Speaker 1: But do the best that you can do and then
Speaker 1: blow sprinkle dust and let it go. Okay, thank you, Okay, Yeah,
Speaker 1: you're welcome.
Speaker 3: Thank you. Leticia, and up next we have Amber Millan Moore.
Speaker 3: What's your question? Amber?
Speaker 1: Hey? Hello, my question?
Speaker 2: Hello? How are you everybody? It's funny what you spoke
Speaker 2: about today because it's in the same vein as my question. Now,
Speaker 2: obviously I had no idea what you were going to
Speaker 2: speak on, and it's about the bunking myths. As actors,
Speaker 2: we're in classes, we go to seminars, we go to workshops,
Speaker 2: and we get so much advice, we get so much feedback,
Speaker 2: we get so much input. Is there anything that you
Speaker 2: hear from actors on a consistent basis that you're like,
Speaker 2: let me debunk that myth or let me set the
Speaker 2: record straight, let me get you on the right path
Speaker 2: that we need to know.
Speaker 1: Okay, Amber, Yes, another great question, Read the action. Read
Speaker 1: the action. Yesterday among my collectives we were talking about
Speaker 1: because what you Lissen Terra Love him forever, but wanting
Speaker 1: to create even more opportunities for you actors, and brought
Speaker 1: us all together to discuss what are those opportunities that
Speaker 1: we can create to debunk all these things, right, but
Speaker 1: the one that is the most me. You don't read
Speaker 1: direction or when I'm doing in my sessions, and actors
Speaker 1: over overreading, and I'm like, action is imperative to read
Speaker 1: because it's most cases you and Leticia know this. It
Speaker 1: will tell you how to react in order to get
Speaker 1: a reaction from someone else. Or it might say that
Speaker 1: you your eyes started to tear, so now you know
Speaker 1: there's an emotional weight in that next line that you're
Speaker 1: going to say that is causing you to tear up.
Speaker 1: So action is a part of the script. It needs
Speaker 1: to be read. It needs And what I heard was,
Speaker 1: and it was on my spirited actor ig in a
Speaker 1: conversation thread, this casting director said, no, I apologize. This
Speaker 1: agent said that you casting directors are concerned about pacing,
Speaker 1: so alleviate the action because that'll take up give you
Speaker 1: a little more time and just focus on the dialogue.
Speaker 1: I had to get on and dispel that. That is
Speaker 1: that's tragic. You are getting paid to read everything on
Speaker 1: those one hundred and twenty five white pages. When you
Speaker 1: I'm saying, I'm talking about leading, supporting, co star, cameo words.
Speaker 1: That's your job. So read everything. Even a slugline will
Speaker 1: tell you inside, outside, location and time and day that's
Speaker 1: important for your character.
Speaker 2: Thank you.
Speaker 1: Okay, you're welcome so much. Those for great questions. Thank
Speaker 1: you Autition Amber, thank you Elsa. Once again, bring in
Speaker 1: some great spirited actor. Oh jees on, And when we
Speaker 1: come back to the Spirited Actor Podcast with me Tracy Moore,
Speaker 1: we are going to do class and session and we
Speaker 1: have a guest director, Rolando Hudson is going to be on.
Speaker 1: So sit back, we'll see him in. Welcome back to
Speaker 1: the Spirited Actor Podcast with me Tracy Moore, and we
Speaker 1: have something special. I'm so excited because I want to
Speaker 1: call him our residual resident director. Well we'll talk about
Speaker 1: but lady Jevil, please put your hands together for the
Speaker 1: sensational director. Rolando, what'son pleasure?
Speaker 6: Thank you, thank you so much, thank you for inviting
Speaker 6: me here today. Look this for sure, I know that you.
Speaker 1: Are looking for actors all the time. You're right right
Speaker 1: about that, So I want you to meet some Spirited
Speaker 1: Actor ogs it else Elated is going to give you
Speaker 1: their names, okay, yes, introduction, Sure.
Speaker 3: Hello Orlando, good to see.
Speaker 1: You, good, good to see you.
Speaker 3: Welcome, Welcome. So today on the Spirited Today on class
Speaker 3: and session, we have two of our Spirited after alumni.
Speaker 3: We have Miss Amber Miller Moore Welcome Amber by nice,
Speaker 3: and we have Miss Leticia Harrison Welcome Leticia Hie.
Speaker 1: Hey, I'm excited. So I'm going to read the narration
Speaker 1: and and then after that if you have the floor,
Speaker 1: whatever you feel you want to give them, please Okay,
Speaker 1: they will graciously accept them, all right, lady, you guys
Speaker 1: ready okay. ELSA action marked up written by Leanne Almado.
Speaker 1: Interior breakroom, Hospital afternoon in their scrubs, Crystal and Jazz
Speaker 1: are in line, getting lunch and catching each other up
Speaker 1: on their weekends. Mid conversation.
Speaker 4: That he did not take you there?
Speaker 2: Yes he did, and I actually really enjoyed it. I mean,
Speaker 2: I know I talk about all the time Hobby is
Speaker 2: an old head, but the music is so good and
Speaker 2: he's introduced to me to some new things.
Speaker 4: Well, I'm just glad that you final look at your
Speaker 4: head out of press and up and went.
Speaker 1: Crystal notices a deep mark on Jazz's neck.
Speaker 3: What is that?
Speaker 4: Oh, it's just a hickey.
Speaker 2: A hickey from who?
Speaker 3: But I don't.
Speaker 2: I don't think that's a hickey. It's a little dark, Jazz.
Speaker 2: Let me let me see.
Speaker 1: Jazz trying to cover it up. But Crystal moves her
Speaker 1: hand and hair. It's bad.
Speaker 2: That's a bruise. You've been with him? Are you seeing
Speaker 2: him again? And please do not lie to me.
Speaker 4: First of all, it's a hickey, Okay, you know I
Speaker 4: like it rough, and I'm not seeing him. We just
Speaker 4: caught up.
Speaker 2: So you unblocked your number? Did you reverse the restraining order?
Speaker 2: Does he have your new address?
Speaker 4: I don't have to answer all these questions. Okay, did
Speaker 4: I see him?
Speaker 1: Yes? Are things different?
Speaker 4: Yes, he's trying. He sent me a letter every day
Speaker 4: since the last breakup.
Speaker 2: Okay, So what does your therapist have to say about this?
Speaker 4: I haven't told her.
Speaker 2: H of course you haven't, Jazz, because you already know
Speaker 2: what she's gonna say. It's a red flag. You've already
Speaker 2: been through this. When you asked to see someone, see
Speaker 2: how they make you feel, and you observe their actions,
Speaker 2: you believe them and his actions girl, they have not changed.
Speaker 2: In fact, they've gotten much worse.
Speaker 4: Her Crystal, It's fine, it's nothing, okay.
Speaker 2: Mm hmm, it's something I'm afraid that I'm gonna lose my.
Speaker 1: Friend, see.
Speaker 6: Right, great, great, great, great performance. Definitely definitely both both Definitely.
Speaker 6: I was drawing in in the beginning. It took me
Speaker 6: a minute to get get what the story was about,
Speaker 6: and I thought that was kind of interesting. But uh yeah,
Speaker 6: once I got into the story, I started seeing the
Speaker 6: relationship for sure. I would just I know, I mean,
Speaker 6: I'm not the writer or anything, but I kind of
Speaker 6: feel I found it like a kind of a not
Speaker 6: that's so much judgmental, but I know it was a concern,
Speaker 6: but it came to up it seems like it's just mental.
Speaker 1: On the person. And and I think, for.
Speaker 6: I'm sorry, I'm sorry for your name, but there needs
Speaker 6: to be some kind of redeeming qualities about this guy,
Speaker 6: even though he's he's rough, you know, for you to
Speaker 6: be go there with him, there has to be something
Speaker 6: redeeming in his character for you, you know what I mean.
Speaker 6: And and I didn't see that come across as to
Speaker 6: why you want to go through this abuse?
Speaker 1: You know, what I mean, in your what would you
Speaker 1: give her in the scene in terms of direction to
Speaker 1: change that around.
Speaker 6: I mean, I guess in an emotional state, you have
Speaker 6: to go some kind of emotional situation where.
Speaker 1: Someone you loved.
Speaker 6: So much betrayed you in some sort of way. I mean,
Speaker 6: a father figure that comes back on the scene. The
Speaker 6: lack of not having that person in your life. I
Speaker 6: don't know, but it has a couple of an emotional thing,
Speaker 6: you know, your choices, you know, yeah, so and and
Speaker 6: And that's what I mean about sometimes being coming off
Speaker 6: as being accusatory, you know what I mean, just you
Speaker 6: you you kind of have to show that you are
Speaker 6: a friend in that too. And and I think just
Speaker 6: thinking of it, I'm not sure. I mean I'm not
Speaker 6: I'm not an actor. I'm not. But just feeling that
Speaker 6: and getting those emotions in you will convey to convey
Speaker 6: the lines, That's what I think.
Speaker 1: So, yeah, you know what I mean. I agree. I
Speaker 1: think that with Amber's line where she says the restraining
Speaker 1: order a new address for me, that was so powerful
Speaker 1: because it was like, oh my god, like it's one
Speaker 1: thing you know that she has a restraining order and
Speaker 1: then she had to move she has a whole new address.
Speaker 1: She would risk all of that.
Speaker 2: Yeah, dude.
Speaker 1: So at that point, for me, I felt like with
Speaker 1: Amber's character, I would have just been like, well, I mean,
Speaker 1: you can lead a horse to water, you know. But
Speaker 1: I'm not being I'm not being you know, I'm not
Speaker 1: being lighthearted about it. I'm just saying at that point
Speaker 1: that dialogue was important for me that it was like,
Speaker 1: there's nothing else you can do, Like, you just listed
Speaker 1: three things.
Speaker 6: That are like, yeah, huge, exactly, So there has to
Speaker 6: be something there that that someone would dv for you
Speaker 6: to even be that vested, you know what I mean?
Speaker 1: You know, yeah, so I was like you, Orlando, I
Speaker 1: was drawn in as well.
Speaker 6: You know.
Speaker 1: If nothing, you guys, just to be able to create
Speaker 1: an emotion from us over zoom. That's why you know,
Speaker 1: when actors complain about callback zoom readings, I'm like, it works,
Speaker 1: it does resonate. So you guys are an example that
Speaker 1: it really does work. Exactly. Great, right, So you want
Speaker 1: to give them a tip, You want to give them
Speaker 1: one thing that they can take with them for the
Speaker 1: rest of the day.
Speaker 6: Wow, I guess be true to yourself and try to
Speaker 6: make it relatable to your experience in life, because that's
Speaker 6: all we have. It's like these emotions that we I mean,
Speaker 6: we're on a journey. We're all on a journey. We're
Speaker 6: all experiencing different personalities, and you're trying as an actor.
Speaker 6: You were experienced someone else every day as an actor,
Speaker 6: that's your role. You you were going into somebody else's body,
Speaker 6: somebody's mindset, but you're bringing your own experiences to that.
Speaker 2: Amen.
Speaker 1: Amen, thank you so much, thank you giving around the applause.
Speaker 1: Thank you, thank you so much for bringing I hope
Speaker 1: that was some help. Definitely, thank you that was ladies.
Speaker 1: Was that help? Did that help you? Yes?
Speaker 2: Very much, so thank you so much, thank you.
Speaker 3: Excellent.
Speaker 1: All right, thank you, Elsa. When we get back on
Speaker 1: the Spirited Actor Podcast with me Tracy Moore, I'm going
Speaker 1: to give you guys some love, and now it's time
Speaker 1: to give love. What I've learned in my years on
Speaker 1: this earth, and specifically through my granddaughter Soriah, is that
Speaker 1: her generation very expressive and very brutally honest. When I
Speaker 1: ask Soriah question, I expect honesty because that's who she is.
Speaker 1: She's never not been honest on her feelings. I think
Speaker 1: it's so important that we encourage young people to express themselves,
Speaker 1: to understand what it's like to just stay in this
Speaker 1: moment and be present so that they're not creating anxiety
Speaker 1: and stress in their life. Because when we allow and
Speaker 1: give ourselves permission to be who we truly are, we
Speaker 1: start to get to a place of peace. We start
Speaker 1: to get to a place of not caring what other
Speaker 1: people have, what other people are doing in their lives.
Speaker 1: We go more inward and we start to ask what
Speaker 1: can I do and how can I be of service
Speaker 1: out working, And that's where the true happiness is, and
Speaker 1: being of service to others and accepting who you are
Speaker 1: and where you are right now, don't forget to look
Speaker 1: out for us on our new show, Inside the Black Box.
Speaker 1: My co host will be Joe the Legend Morton. It's
Speaker 1: going to be The Spirited Actor Podcast on Steroids. We'll
Speaker 1: be streaming on the Crackle network. I'll keep you posted.
Speaker 1: Thank you for joining us on the Spirited Actor Podcast
Speaker 1: with me Tracy Moore. I look forward to our next
Speaker 1: Spirited Podcast. Thank you