WEBVTT - The Spirited Actor - Christine Swanson (05/05/2020) 0:00:00.120 --> 0:00:03.320 Hello, and welcome to the Spirited Actor Podcast with me 0:00:03.520 --> 0:00:06.440 Tracy Moore. I was a casting director for film and 0:00:06.519 --> 0:00:10.640 TV and commercials for over thirty years. I transitioned to 0:00:10.680 --> 0:00:14.240 a celebrity acting coach after I cast a film New 0:00:14.320 --> 0:00:19.440 Jersey Drive with executive producers Spike Lee and director Nick Domez. 0:00:20.079 --> 0:00:24.479 I auditioned every rapper from Biggie Smalls to Tupac, and 0:00:24.560 --> 0:00:28.240 I realized that rappers and musical artists they needed help 0:00:28.320 --> 0:00:32.640 transitioning to acting. My clients consist of musical artists from 0:00:32.800 --> 0:00:37.440 Buster Rhymes to Eve, Missy Elliott, Angela Yee from The 0:00:37.440 --> 0:00:41.120 Breakfast Club, and Vanessa Simmons, to name a few. I 0:00:41.280 --> 0:00:45.120 also coach sports stars and host as well. I feel 0:00:45.320 --> 0:00:48.760 I have the best of both worlds. As a casting director, 0:00:48.800 --> 0:00:51.360 I know exactly what they're looking for, and as an 0:00:51.360 --> 0:00:53.840 acting coach, I can coach you to be remembered in 0:00:53.880 --> 0:00:54.360 that room. 0:00:54.760 --> 0:00:54.920 Now. 0:00:54.960 --> 0:00:55.240 I know. 0:00:55.520 --> 0:00:57.960 I know actors want to get the job. 0:00:58.160 --> 0:00:59.800 I get that, but being. 0:00:59.600 --> 0:01:05.759 Remembered by casting director that is powerful meditation of the day. 0:01:06.200 --> 0:01:08.920 You're not famous until my mother has heard of you, 0:01:09.520 --> 0:01:13.240 Jay Leno. There are plenty of reasons why people choose 0:01:13.280 --> 0:01:16.240 this business. I feel that it is important that you 0:01:16.360 --> 0:01:19.680 understand all the reasons why you are pursuing a career 0:01:19.680 --> 0:01:22.880 as an actor. One of the most common reasons that 0:01:22.959 --> 0:01:27.640 I've heard is to be famous. Fame has a lot 0:01:27.720 --> 0:01:31.919 of consequences. The most obvious one is your lack of privacy. 0:01:33.200 --> 0:01:35.840 If that doesn't bother you, then great, but if it does, 0:01:36.000 --> 0:01:39.600 then you need to reevaluate this career choice. There are 0:01:39.600 --> 0:01:41.679 a lot of perks in this business, but it is 0:01:41.720 --> 0:01:46.440 important that you remain grounded and focused. One of the 0:01:46.480 --> 0:01:49.760 ways you can do that is by understanding what your 0:01:49.920 --> 0:01:57.840 true goals are. Today, I will respect my privacy. Welcome 0:01:57.920 --> 0:02:01.880 to the Spirited Active podcast. Asked with me Tracy Moore. 0:02:02.680 --> 0:02:05.960 And I can't even begin to tell you how much 0:02:06.040 --> 0:02:10.520 love I have in my heart for this guest. I 0:02:10.680 --> 0:02:21.320 met Christine Swanson, director Extraordinaire nineteen ninety eight. Christine looked 0:02:21.400 --> 0:02:25.680 up at the date nice, Oh my god, And I 0:02:25.880 --> 0:02:30.760 just remember you and Michael and such a beautiful couple 0:02:31.040 --> 0:02:34.480 and just really fun, creative. 0:02:34.080 --> 0:02:39.480 Filmmaking filmmaker's energy right, And. 0:02:40.880 --> 0:02:43.440 You said you had a film And I feel like 0:02:43.480 --> 0:02:45.960 you gave me a postcard because I feel like I 0:02:46.000 --> 0:02:48.720 had some sort of documentation of it, and I was like, 0:02:48.760 --> 0:02:51.160 I'm definitely going. But as soon as I saw it, 0:02:51.240 --> 0:02:53.720 I was like, she's gonna win, She's gonna win. 0:02:54.680 --> 0:02:57.440 I did, and you won, and I was like, oh 0:02:57.520 --> 0:03:00.520 my god, Like it was such a great film. It 0:03:00.560 --> 0:03:01.680 was really a great film. 0:03:02.160 --> 0:03:07.359 So to be able to fast forward twenty twenty and 0:03:07.480 --> 0:03:12.119 have you have a plethor of films and things we're 0:03:12.160 --> 0:03:14.560 going to talk about audience again. You guys need to 0:03:14.600 --> 0:03:19.240 get your pen and pencil computer however you document because 0:03:19.919 --> 0:03:23.679 the jewels, the diamonds that are going to be dropped 0:03:24.040 --> 0:03:28.440 in this interview. Nice, fine ladies and gentlemen, put your 0:03:28.440 --> 0:03:31.560 hands together for Christine Swanson. 0:03:32.160 --> 0:03:37.920 Oh cool, right, say it's true. Yep, I'm making it. 0:03:38.600 --> 0:03:42.040 I remember. The thing that I love about you is 0:03:42.120 --> 0:03:46.040 like and what has never changed is like and I 0:03:46.080 --> 0:03:49.760 love that you call yours the spirited actor. But there 0:03:49.800 --> 0:03:56.320 is a spirit that you embody that reeks of authentensity 0:03:56.720 --> 0:04:01.800 and integrity that fast forward from when we first met 0:04:01.960 --> 0:04:07.880 until now. I have a profound understanding of how that 0:04:08.400 --> 0:04:10.240 is lacking in our industry. 0:04:11.000 --> 0:04:15.240 Wow, and the fact that you know we are reconducting 0:04:15.280 --> 0:04:18.560 I just feel like that is that's god like putting 0:04:18.560 --> 0:04:23.280 me back together with people who are like minded, who 0:04:23.360 --> 0:04:28.840 are genuine in their pursuit of this craft for purposes 0:04:28.960 --> 0:04:30.240 outside of themselves. 0:04:31.160 --> 0:04:33.960 Oh wow, that's selerity. 0:04:34.160 --> 0:04:38.920 So that's you, Thank you, I received that that. 0:04:39.640 --> 0:04:39.839 Wow. 0:04:39.880 --> 0:04:42.200 I'm going to have to replay that all day today 0:04:42.520 --> 0:04:47.120 because you know, that is the truth, and that is 0:04:47.279 --> 0:04:51.760 something you know we're going to jump in because as 0:04:52.200 --> 0:04:57.120 a female director in this industry, how are you embraced 0:04:57.600 --> 0:05:00.960 because we do have a different energy, We have a nurturing, 0:05:01.040 --> 0:05:03.400 we have you know, a focus. 0:05:05.680 --> 0:05:06.320 How is that? 0:05:06.480 --> 0:05:09.360 How has been how has that been received for you 0:05:09.480 --> 0:05:11.720 as a director in television and. 0:05:11.720 --> 0:05:15.120 So well, I think you know, if you remember me 0:05:15.200 --> 0:05:18.320 starting out, I was kind of wide eyed, bushytail. Yeah. 0:05:18.880 --> 0:05:24.039 I had no preconceived notion about how anything worked. All 0:05:24.080 --> 0:05:28.640 I had was a passion and some modicum of talent 0:05:29.120 --> 0:05:33.200 that I wanted to offer the industry. So on some level, 0:05:34.200 --> 0:05:40.360 sometimes when when all everything is like in sync, that 0:05:40.920 --> 0:05:48.520 is enough talent and passion, okay, right strickly on the 0:05:48.600 --> 0:05:56.000 creative side of things, talent and passion, it is enough, okay, Okay. 0:05:57.120 --> 0:06:02.760 In the industry, however, that's not the focus. So that's 0:06:02.839 --> 0:06:06.960 two sides of a conversation. If if we're talking about 0:06:07.000 --> 0:06:11.719 an artist, I don't look at myself as a female, 0:06:12.120 --> 0:06:14.760 and I don't look at how I'm going to be embraced. 0:06:15.160 --> 0:06:18.920 I I just go for the jugular, right, That's all 0:06:18.960 --> 0:06:22.680 I know. Right right now, when you're you apply that 0:06:22.760 --> 0:06:25.760 to the business side of it, Now, we have to 0:06:25.920 --> 0:06:32.080 kind of look at a pre existing culture and hierarchy 0:06:32.480 --> 0:06:35.880 that has very systemic issues that. 0:06:35.920 --> 0:06:40.800 Have happened to do with you, with you really so 0:06:40.960 --> 0:06:42.039 I can I can. 0:06:42.200 --> 0:06:46.560 Tell you experiences and stories about that part of it, 0:06:46.880 --> 0:06:50.920 which which which in many ways can look like a struggle. 0:06:51.240 --> 0:06:55.560 But I just don't look at at struggles as obstacles. 0:06:55.880 --> 0:07:00.800 I look at struggles as opportunities, right, how I can 0:07:00.880 --> 0:07:05.120 mount myself in ways that I feel like God has 0:07:05.360 --> 0:07:11.480 called me to function absolutely. So It's like I think 0:07:11.560 --> 0:07:15.520 when people see the work and if they like it, 0:07:16.600 --> 0:07:20.280 maybe it parlays to other work. But I have never 0:07:20.400 --> 0:07:25.800 suffered for lack of imagination or or work because of 0:07:26.440 --> 0:07:29.000 systemic issues outside of myself. 0:07:31.440 --> 0:07:35.280 Well, and when you talk about being yourself, you were 0:07:35.640 --> 0:07:39.040 You've been consistent in that energy. That was the like 0:07:39.240 --> 0:07:42.040 energy that attracted both of us because we didn't know 0:07:42.080 --> 0:07:46.360 each other. But it was like, hey, hey, right, I 0:07:46.400 --> 0:07:49.720 think that was so that was a moment. But I 0:07:50.320 --> 0:07:58.480 the challenges I can say that actors have right working 0:07:58.720 --> 0:08:03.320 you know, how acts work with a male director versus 0:08:03.320 --> 0:08:06.480 a female director, And me as an acting coach, I've 0:08:06.520 --> 0:08:12.240 been on those sets and I'm you, yeah, director, director. 0:08:11.800 --> 0:08:12.720 That's what you know. 0:08:13.080 --> 0:08:15.680 But then you start to get specific. You're a female, 0:08:16.240 --> 0:08:18.400 then you're a director of color, and it's like, but 0:08:18.680 --> 0:08:22.720 I'm a creative being like and so to me, the 0:08:22.720 --> 0:08:26.280 blessing is you have created a path, your own path, 0:08:26.360 --> 0:08:30.760 and you continue to create that path where yes, how 0:08:30.800 --> 0:08:33.760 great would it be to just be recognized as a director? 0:08:34.120 --> 0:08:34.520 Period? 0:08:35.080 --> 0:08:40.720 That said no, well yeah, And then the thing is again, Tersey, 0:08:40.800 --> 0:08:43.160 I don't look at myself in that way, like I don't. 0:08:43.640 --> 0:08:47.079 I don't look at myself as a female director, black director, 0:08:47.160 --> 0:08:50.559 But I'm just looking at as I approach it as 0:08:50.600 --> 0:08:53.559 a creative entity. And then when I work with actors. 0:08:54.000 --> 0:08:56.240 To me, what I love to do is this, and 0:08:56.800 --> 0:09:00.240 maybe it has to do with me. I think has 0:09:00.240 --> 0:09:02.640 more to do with me being a mom than a fever. 0:09:03.640 --> 0:09:05.360 So I like to do like just say, like when 0:09:05.360 --> 0:09:11.400 I'm working on an episodic right, typically the usual cast. 0:09:12.480 --> 0:09:15.520 They're comfortable in their skin and what I try to do. 0:09:15.800 --> 0:09:19.120 So what I try to do is just ingratiate myselfs 0:09:19.200 --> 0:09:21.760 to them in ways that they know that I'm here 0:09:21.800 --> 0:09:24.920 for them if they need And then sometimes I have 0:09:25.000 --> 0:09:27.320 to push them to try some things that they're not 0:09:27.760 --> 0:09:31.600 being pushed about. Right. People that I pay a lot 0:09:31.679 --> 0:09:39.960 of attention to are the day players, because one if 0:09:40.000 --> 0:09:43.840 a day player is not on their toes, if they're 0:09:43.920 --> 0:09:50.319 not present, you will lose a lot of time and 0:09:50.360 --> 0:09:53.040 that's not something you can afford to do. So what 0:09:53.120 --> 0:09:56.640 I to do, though, is to make sure that I 0:09:56.679 --> 0:10:00.160 spend as much time as I can with the day players. 0:10:00.320 --> 0:10:04.200 I like with them in advance. I'll call them, I'll 0:10:04.200 --> 0:10:07.480 meet with them before their day to shoot, so they 0:10:07.520 --> 0:10:11.120 get comfortable with me. So that so the first time 0:10:11.200 --> 0:10:15.280 meeting me is not on set, right, because what happens 0:10:15.360 --> 0:10:20.200 is nerves kick in and then they start, you know, 0:10:20.280 --> 0:10:23.199 freak out because now they're they're just trying to please 0:10:23.800 --> 0:10:26.280 me because this is the first time they've met me. 0:10:26.640 --> 0:10:29.480 So what I do is put them at ease and 0:10:29.520 --> 0:10:34.240 like have conversations with them of their day. One of shooting. 0:10:34.440 --> 0:10:37.760 So then day one of shooting, we've broken the ice already, 0:10:38.000 --> 0:10:41.920 you know, we got the next level of our relationship 0:10:42.240 --> 0:10:45.120 and hopefully they're a little bit more at ease, so 0:10:45.160 --> 0:10:48.520 then we can tap in to really the creative parts 0:10:48.520 --> 0:10:51.720 that we want to explore. So I'll do that. But again, 0:10:51.800 --> 0:10:53.680 I think that's that could be a mommy thing. I 0:10:53.679 --> 0:10:54.440 don't know, you. 0:10:54.320 --> 0:10:58.280 Know, I think what actors need to know first of all, 0:10:58.400 --> 0:11:00.199 is how rare that is. 0:11:01.200 --> 0:11:02.640 I don't know that. I don't know that. 0:11:02.520 --> 0:11:04.400 It's happened most. 0:11:05.280 --> 0:11:07.360 You know, I've just been really blessed to be on 0:11:07.400 --> 0:11:10.559 the set for six years on all of Buster Rhymes 0:11:10.559 --> 0:11:11.679 and Eves projects. 0:11:12.120 --> 0:11:15.880 And when we have rehearsals, you know day. 0:11:15.720 --> 0:11:17.880 Players and for those of you who don't know what 0:11:17.960 --> 0:11:20.760 a day player is, that's an actor that works one 0:11:20.880 --> 0:11:25.640 day in it. And so for Christine to take time 0:11:25.720 --> 0:11:29.200 out of her day, which it just doesn't include actors. 0:11:29.480 --> 0:11:33.040 It includes maybe going over wardrobe, or maybe there's special 0:11:33.040 --> 0:11:35.800 effects or what there's a bunch of stuff going on 0:11:35.880 --> 0:11:40.280 in your world, but you to take that time, yeah, 0:11:40.320 --> 0:11:48.840 and recognize their value. They're that exactly. That's a blessing, Christine, 0:11:48.880 --> 0:11:52.120 because I'm I'm when they call first team to the set, 0:11:52.559 --> 0:11:56.080 I'm with first team and it's very rare, you know 0:11:56.280 --> 0:12:00.320 that a day player again, you know, we will have 0:12:00.440 --> 0:12:02.600 a rehearsal with the day player, but the director is 0:12:02.640 --> 0:12:05.120 not focusing on the day player. The director is focusing 0:12:05.200 --> 0:12:08.679 on my client or you know, the other celebrities. 0:12:09.000 --> 0:12:12.920 Well, if the day player is not on point, guess what, yep, 0:12:15.040 --> 0:12:19.640 I inherently so that I make sure like my day 0:12:19.720 --> 0:12:22.480 is not going to be held up because the day 0:12:22.480 --> 0:12:26.400 player is not showing up. And you my job is 0:12:26.480 --> 0:12:29.840 to make sure everyone shows up. And that's the camera 0:12:30.160 --> 0:12:33.960 and behind the camera. So that's my job as a director. 0:12:34.320 --> 0:12:38.480 And I don't there are no small players in so 0:12:38.600 --> 0:12:41.839 I don't you know, there's there's kind of like quality 0:12:42.280 --> 0:12:46.520 to the set that I bring because that's just how 0:12:46.559 --> 0:12:49.480 I like to work, right, And I love that. 0:12:49.640 --> 0:12:52.320 And even for me as an acting coach on the 0:12:52.360 --> 0:12:56.360 set and I'm watching the monitor, I have coached extras 0:12:56.720 --> 0:12:59.160 because I go to them and I ask permission for 0:12:59.240 --> 0:13:01.839 the from the director and I'm like, do you guys 0:13:01.840 --> 0:13:03.600 want to do what they're doing? 0:13:03.800 --> 0:13:06.480 It starts here, right, you know, why. 0:13:06.280 --> 0:13:09.040 Are you walking across the street you don't need words 0:13:09.280 --> 0:13:14.880 to tell us something, you know. So as as a director, 0:13:15.040 --> 0:13:17.920 that is you guys, I pray that you guys are 0:13:17.920 --> 0:13:21.120 really holding onto these gyms right here, because again it's 0:13:21.360 --> 0:13:25.680 very rare. I've seen a director take that time and 0:13:25.760 --> 0:13:29.600 you talk about rehearsal. Rehearsal is luxury. When they said 0:13:29.640 --> 0:13:31.480 we have rehearsal, I would be jumping up a day 0:13:31.520 --> 0:13:32.000 on the class. 0:13:35.080 --> 0:13:37.560 When I'm out of town on a job, you know, 0:13:37.880 --> 0:13:43.200 like especially do an episodic and few so far, but like, 0:13:43.640 --> 0:13:47.480 if I'm in New York City working, I'm not taking 0:13:47.480 --> 0:13:51.520 the weekends off. You know. I'm calling my day players 0:13:51.559 --> 0:13:53.479 and I'm like, hey, you want to meet up for coffee. 0:13:53.840 --> 0:13:57.280 I'm calling crew members and saying, hey, if you have time, let's, 0:13:57.360 --> 0:13:59.000 you know, let's talk and meet up. And I'm not 0:13:59.040 --> 0:14:02.880 trying to make people will more, but I'm I'm I'm 0:14:03.000 --> 0:14:06.199 here and willing and ready to work and if you're amenable, 0:14:06.559 --> 0:14:08.800 let's let's get a jump on this. You know. So 0:14:09.480 --> 0:14:12.920 there's an episode of Chicago PD. I did this episode 0:14:13.360 --> 0:14:18.600 six eight and it's the first time the black Mail 0:14:18.760 --> 0:14:21.320 lead I had a love interest. 0:14:22.240 --> 0:14:24.920 Oh wow, Okay, sakes. 0:14:24.560 --> 0:14:28.400 Were very high for him. So this season six right, 0:14:29.320 --> 0:14:33.720 and so six years the brother ain't had a love interest, right, Hey, 0:14:34.320 --> 0:14:36.960 that's the script that I get. They gave me a 0:14:37.000 --> 0:14:40.160 black love story, and so I went, I went up 0:14:40.200 --> 0:14:44.800 to that actor and I said, listen, are you ready 0:14:44.800 --> 0:14:49.600 to throw down? Like I'm ready, I'm ready. I said, Okay, 0:14:49.920 --> 0:14:54.200 if you're ready, let's go fly. Right. So that I 0:14:54.280 --> 0:14:57.360 did with him that he was never used to doing, 0:14:57.960 --> 0:15:00.280 and one of those and because he's the right regular, 0:15:01.040 --> 0:15:05.120 he's a series regular, right right, I was like, we're 0:15:05.120 --> 0:15:09.640 gonna rehearse on the weekends. Wow. So he and the 0:15:09.760 --> 0:15:14.600 lead actress that I cast for that episode, they had 0:15:14.640 --> 0:15:18.360 like this epic love scene. Right, it's his first love 0:15:18.440 --> 0:15:22.000 scene ever, like on this series, on a show where 0:15:22.040 --> 0:15:25.400 all the crew members know him, cast members know him, 0:15:25.680 --> 0:15:28.400 and they're clowning him like, oh yeah, this is your 0:15:28.440 --> 0:15:33.640 first love scene. So I knew he was gonna be moving. Okay. 0:15:34.440 --> 0:15:39.040 The actress, she was a guest star and she was 0:15:39.280 --> 0:15:43.120 kind of more seasoned in having done scenes before. So 0:15:43.200 --> 0:15:45.120 what I did was over the weekend, I'm like, we're 0:15:45.120 --> 0:15:48.440 gonna come together and we're just gonna rehearse some things. Okay. 0:15:48.760 --> 0:15:51.280 So I had them go over lines with each other. 0:15:51.600 --> 0:15:54.400 I mean so much so that they had a level 0:15:54.440 --> 0:15:59.360 of comfort that was kind of different than you would 0:15:59.400 --> 0:16:02.160 see on a regular show where people are meeting for 0:16:02.200 --> 0:16:04.440 the first time. And another thing that I did was 0:16:04.480 --> 0:16:10.960 I actually practiced the love scene. Wow, like almost like 0:16:11.120 --> 0:16:15.160 cut by cut, okay, as you know, love scenes are 0:16:15.200 --> 0:16:19.960 just it's a very technical thing. Well, right, so I 0:16:20.040 --> 0:16:22.920 threw a blanket on my bed in my apartment. I'm like, 0:16:22.960 --> 0:16:28.000 all right, guys hop on, okay, And we actually maneuvered 0:16:28.240 --> 0:16:31.880 the love scene bit by bit. And as actors, you know, 0:16:31.960 --> 0:16:34.840 they had to know like, okay, can I touch you 0:16:34.920 --> 0:16:38.800 here and I touch you there. It's like tongue or no, 0:16:39.160 --> 0:16:42.640 no tongue. So everybody familiar with what they were used, 0:16:42.920 --> 0:16:43.960 what they were okay with. 0:16:44.120 --> 0:16:44.600 Right. 0:16:44.920 --> 0:16:47.560 We got all the kings out, we got all the 0:16:47.640 --> 0:16:51.120 nerves out right. When they showed up on set for 0:16:51.160 --> 0:16:54.480 that scene. I mean like it was like clockwork. It 0:16:54.640 --> 0:16:58.240 was like we were able to discover more, you know, 0:16:58.400 --> 0:17:04.480 because we weren't. There was no stagnation in the newness 0:17:04.720 --> 0:17:07.399 of having to do a love scene for the first 0:17:07.440 --> 0:17:11.239 time for him because he had already practiced. Right. So 0:17:11.800 --> 0:17:14.440 it's like I love working with actors in that way. 0:17:14.520 --> 0:17:18.440 If they're available, right, it all makes them magic. Okay, 0:17:19.200 --> 0:17:22.600 so you have available for that though, you are. 0:17:22.560 --> 0:17:23.359 A true blessing. 0:17:23.440 --> 0:17:26.320 I'm telling you I've been on sets not only as 0:17:26.320 --> 0:17:29.840 an acting coach, but my career started as a casting director, 0:17:30.000 --> 0:17:33.919 and so to watch great directors and the way in 0:17:33.960 --> 0:17:38.240 which you communicate you are an actor's dream because you're 0:17:38.320 --> 0:17:43.560 speaking their language. There's a comfort in coming onto a 0:17:43.600 --> 0:17:46.439 set as an actor and being able to communicate with 0:17:46.760 --> 0:17:51.040 the director. I know that that refrigerator is filled by 0:17:51.119 --> 0:17:54.560 a prop person, but I want to know what your 0:17:55.040 --> 0:17:59.280 idea of what I eat right and if it aligns 0:18:00.720 --> 0:18:02.879 and you are that director that I could have a 0:18:02.920 --> 0:18:07.280 conversation where I absolutely what and that just brings so 0:18:07.440 --> 0:18:13.399 much more depth and volume their performance. I think. So, No, 0:18:13.960 --> 0:18:17.080 I'm a confirm it. I'm gonna speak for the actors, Christine. 0:18:17.280 --> 0:18:19.600 I'll speaking for the actors, because. 0:18:22.000 --> 0:18:22.520 I was going to. 0:18:22.560 --> 0:18:26.680 Say day players turn into contract players, contract players turn 0:18:26.800 --> 0:18:33.159 into stars and listen. And I remember reading an article 0:18:33.200 --> 0:18:34.359 on Premiere magazine. 0:18:34.400 --> 0:18:34.879 Michael J. 0:18:35.080 --> 0:18:38.840 Fox worked with Ellen Chineworth and he said she was 0:18:38.880 --> 0:18:42.760 the only casting director that treated him like a human 0:18:42.760 --> 0:18:45.520 being because he was doing some extra work. She ended 0:18:45.600 --> 0:18:48.719 up casting all of the Back to the Future, you know, 0:18:48.920 --> 0:18:51.960 because there's you know, celebrities have and they have choices 0:18:52.200 --> 0:18:55.720 and when you do things like that for actors and 0:18:56.119 --> 0:18:59.000 what you've done, yes, they have a comfort and a 0:18:59.119 --> 0:19:02.840 dynamic before ormance. But as an actor, to be able 0:19:02.840 --> 0:19:05.280 to give them that comfort so that they can do 0:19:05.400 --> 0:19:06.440 the best that they can. 0:19:06.640 --> 0:19:09.520 Absolutely what I love. 0:19:10.040 --> 0:19:10.440 I love. 0:19:12.160 --> 0:19:16.080 I love actors because to me as a as a 0:19:16.119 --> 0:19:22.360 director and a filmmaker, they're like crayons to me, right, 0:19:22.720 --> 0:19:25.439 So I take that's what I color with, you know, 0:19:26.200 --> 0:19:29.280 And so I just want to have flexibility, and when 0:19:29.280 --> 0:19:35.359 they're more available, the more flex so you I just 0:19:35.920 --> 0:19:39.040 to me, it's a comfort thing. And I really try 0:19:39.200 --> 0:19:43.480 to create relationships with actors that put them at ease 0:19:43.960 --> 0:19:47.359 and put them control, like they have a lot of 0:19:47.400 --> 0:19:51.199 control in my world, you know, And I like to 0:19:51.240 --> 0:19:55.639 create the space for them to feel safe then to 0:19:55.920 --> 0:20:01.200 kind of be imagined in ways that I want them 0:20:01.240 --> 0:20:05.280 to surprise me, you know. So it's just that's what 0:20:05.520 --> 0:20:08.520 it's so fun for me, you know. So I don't 0:20:08.960 --> 0:20:12.720 I take the weight out of it, because part of 0:20:12.760 --> 0:20:17.280 it we all have to be connected and available. So 0:20:17.720 --> 0:20:21.119 whatever tensions are around, my job is to make it 0:20:21.240 --> 0:20:25.000 safe for actors. You know. I typically block for them 0:20:25.040 --> 0:20:29.800 in ways that that you know, sometimes on network stuff 0:20:29.800 --> 0:20:33.359 that I might get in trouble for. Like somebody said 0:20:33.359 --> 0:20:35.840 to me, like, I don't know why she spends so 0:20:35.960 --> 0:20:40.879 much time talking to day players, And I think it 0:20:40.920 --> 0:20:44.280 came from like let's just say an A D or whatever. Right, 0:20:45.000 --> 0:20:49.359 stay in your lane, yeah, and don't step in mind. 0:20:49.600 --> 0:20:52.800 You know, this is what a director does. And I 0:20:52.800 --> 0:20:56.040 don't care if it's episodic and nobody else cares about 0:20:56.119 --> 0:21:00.040 day players. You know, That's not my approach. So I 0:21:00.040 --> 0:21:03.600 I'm in with the filmmaking approach. And like sometimes they're 0:21:03.680 --> 0:21:06.320 just they're punching out product, right. 0:21:06.160 --> 0:21:09.359 And the structure there's there's a template that you know, 0:21:09.440 --> 0:21:11.360 they set the template for law and order. 0:21:11.400 --> 0:21:13.520 This is the way it's done, you know, color within 0:21:13.600 --> 0:21:14.320 the lines. 0:21:14.680 --> 0:21:17.440 Yeah, I don't know. I don't know how to do that, 0:21:18.119 --> 0:21:21.320 I know, And that's what I know. It doesn't change 0:21:21.359 --> 0:21:25.679 the fact that I'm on time and I'm on schedule. 0:21:26.080 --> 0:21:30.679 I just I just elevate the product, you know. And 0:21:30.680 --> 0:21:33.600 what I've learned is this, like I have to do 0:21:33.640 --> 0:21:37.120 that because that's who I am. But that doesn't mean 0:21:37.200 --> 0:21:38.600 everybody appreciates that. 0:21:39.760 --> 0:21:42.920 I mean, we can't change other people, right, but then 0:21:43.520 --> 0:21:47.000 in who we are, people can conform in some way. 0:21:47.520 --> 0:21:50.920 So you just you be you. I agree with you. 0:21:50.960 --> 0:21:54.000 But I'm been an actress and I'm like, wow, I 0:21:54.119 --> 0:21:56.879 want to be an actress just to have a conversasue 0:21:56.960 --> 0:21:57.760 with Christine. 0:21:58.119 --> 0:22:01.480 But that's so cool, which brings me. 0:22:01.760 --> 0:22:06.000 Let's talk about the movie that's coming out now on Lifetime, 0:22:06.080 --> 0:22:06.600 The Clark. 0:22:07.640 --> 0:22:10.080 My god, I grew up with the Clarxists, love with 0:22:10.119 --> 0:22:15.040 the Claque. How is that experience working? 0:22:15.800 --> 0:22:20.600 Well? You know, I came on board this project. You know, 0:22:20.640 --> 0:22:25.120 I'm from Detroit, right, Yeah, when I heard that this 0:22:25.200 --> 0:22:28.040 movie was being made and they approached me to direct it, 0:22:28.200 --> 0:22:30.800 and you know, as they were looking at several directors, 0:22:30.840 --> 0:22:35.560 I told them, listen, I'm from Detroit and I'm a 0:22:35.600 --> 0:22:42.000 good filmmaker. You want me on this project? Wow, That's 0:22:42.080 --> 0:22:44.920 how I pitched myself. I'm like, you want me on 0:22:45.000 --> 0:22:50.399 this project because the thing that Detroit teaches people is 0:22:51.720 --> 0:22:55.560 is like this kind of grit that is that like, 0:22:56.280 --> 0:22:59.320 in other words, don't don't get in a fight with me, because. 0:22:59.080 --> 0:23:02.280 You'll lose wow, wow. 0:23:04.200 --> 0:23:08.320 Or craziness. You know, depends on who you ask. Ask 0:23:08.400 --> 0:23:14.359 my husband, So say that to say like that, the 0:23:14.440 --> 0:23:18.240 Clark's sisters are who they are because of this internal 0:23:18.359 --> 0:23:26.040 grit of their mother, Mattie Moth Clark, who defied her circumstances, 0:23:26.359 --> 0:23:34.400 who defied like church politics, and created musical geniuses who 0:23:34.520 --> 0:23:42.000 pretty much are responsible for how gospel music sounds today. Amen, exactly. 0:23:42.400 --> 0:23:44.680 So when you're dealing with a woman who is of 0:23:44.720 --> 0:23:49.200 that stature and of that level of grit and determination, 0:23:49.800 --> 0:23:53.480 I'm like, yeah, you want me to direct this? Yeah, seriously, 0:23:53.520 --> 0:24:01.560 I was walking in Maddie Moss clark anointing, so or 0:24:01.600 --> 0:24:04.480 at least I felt that I felt like I understood 0:24:04.560 --> 0:24:07.880 what she did, because if you talk about her, they're like, man, 0:24:07.960 --> 0:24:11.560 she was mean, she did not play, but the fire 0:24:11.680 --> 0:24:16.720 sounded good, right, right. She made history. 0:24:17.800 --> 0:24:20.520 And we're talking a different time, you know, we're not 0:24:20.720 --> 0:24:23.320 talking in nineteen nineties. 0:24:24.680 --> 0:24:27.600 It was such a backdrop. 0:24:27.080 --> 0:24:31.199 Of what she you know, history had to endure and 0:24:31.280 --> 0:24:36.160 overcame in spite of so to me like that kind 0:24:36.160 --> 0:24:42.000 of dedication and commitment to craft, right, despite the odds. 0:24:42.480 --> 0:24:45.720 I don't see that I don't see that today. So 0:24:45.840 --> 0:24:49.480 I was very much inspired by everything that Maddie Moss 0:24:49.520 --> 0:24:53.639 Clark stood for and if I could do justice in 0:24:53.760 --> 0:24:58.879 any to bringing their story to light and them that 0:24:59.000 --> 0:25:02.840 I want that shot. Wow, And I got it, you know. 0:25:03.080 --> 0:25:06.480 And you know, There's so much I could talk about 0:25:06.560 --> 0:25:11.000 in terms of the production part of it. But a 0:25:11.000 --> 0:25:14.280 lot of the reason why this this movie is going 0:25:14.320 --> 0:25:19.960 to pop two reasons. Two things. One is the incomparable 0:25:21.119 --> 0:25:22.399 congenue Ellis. 0:25:22.680 --> 0:25:26.000 Oh my god, Oh my god, such a fan. 0:25:27.080 --> 0:25:31.200 I mean yeah, And I just say this, Tracy, because 0:25:31.240 --> 0:25:34.879 I've yes, you can, I've come you know, I you know, 0:25:34.920 --> 0:25:37.000 I was, I was. I was away from the industry 0:25:37.040 --> 0:25:40.800 for about fifteen years raising my children. I've kind of 0:25:40.840 --> 0:25:43.280