WEBVTT - The Spirited Actor - Michael "Boogie" Pinckney (08/04/2020) 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 0:00:28.280 --> 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 --> 0:00:41.159 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 --> 0:00:57.120 that room. Now I know, I know actors want to 0:00:57.160 --> 0:01:00.240 get the job. I get that, but being remembered by 0:01:00.360 --> 0:01:05.080 casting director that is powerful. And now it's time for 0:01:05.200 --> 0:01:09.039 meditation of the day. Though I am not naturally honest, 0:01:09.440 --> 0:01:13.720 I am so sometimes by chance. William Shakespeare, I used 0:01:13.760 --> 0:01:16.360 to have a big problem being honest with others about 0:01:16.360 --> 0:01:20.200 how I felt. This problem developed in my childhood because 0:01:20.280 --> 0:01:22.880 I was the kid who people enjoyed making fun of. 0:01:23.920 --> 0:01:27.920 I wore a size ten shoe in third grade and 0:01:28.000 --> 0:01:32.320 I was five six. In a strange way, I became popular. 0:01:33.160 --> 0:01:35.800 Instead of letting them know the pain inside of me, 0:01:36.200 --> 0:01:39.000 I went along with them and thought of myself as 0:01:39.040 --> 0:01:42.840 a joke. As I grew older, I realized how important 0:01:42.880 --> 0:01:46.440 it is to be honest with yourself. If you don't, 0:01:46.760 --> 0:01:49.360 you will allow pain and anger to make a home 0:01:49.680 --> 0:01:53.800 in your heart, and they don't make good company. Today, 0:01:54.000 --> 0:01:57.040 I will learn to be honest with myself and express 0:01:57.120 --> 0:02:00.440 my true feelings so I can learn to live in freedom. 0:02:02.560 --> 0:02:07.960 Welcome to the Spirited Actor Podcast with me Tracy Moore. 0:02:08.720 --> 0:02:13.200 And I can't even tell you how I always tell 0:02:13.240 --> 0:02:17.720 you how excited I am with my guests, and today 0:02:18.120 --> 0:02:21.840 is no exception, and so I just want you all 0:02:21.919 --> 0:02:25.880 to put your hands together for my dear friend and 0:02:26.080 --> 0:02:36.160 director extraordinaire, Michael Boogie. Pick me yeay, Michael, I'm having 0:02:36.240 --> 0:02:37.880 some technical difficulties with. 0:02:37.840 --> 0:02:39.600 My phone right now. Do you guys see me? 0:02:39.760 --> 0:02:40.000 Good? 0:02:40.080 --> 0:02:41.200 You guys see me? Okay? 0:02:41.200 --> 0:02:41.440 Good? 0:02:41.600 --> 0:02:44.800 All right, yay, I see you, Boogie, So Boogie, welcome 0:02:44.840 --> 0:02:48.320 to the show, Welcome to this thank you, thank you 0:02:48.400 --> 0:02:52.360 so much for being on the show. I wanted you 0:02:52.400 --> 0:02:55.880 on the show for so many reasons. Because ladies and gentlemen, 0:02:55.919 --> 0:02:57.160 we go way back. 0:02:57.840 --> 0:02:59.000 They'll tell them how far back. 0:02:59.360 --> 0:03:02.680 I will tell a commercial. 0:03:03.520 --> 0:03:05.720 It was a Spike commercial, I think the first time. 0:03:06.200 --> 0:03:09.120 That's how I was gonna just say that project. I 0:03:09.200 --> 0:03:10.239 wasn't gonna say the year. 0:03:10.240 --> 0:03:14.600 Nothing okay, because we look good, you know, black one crack. 0:03:15.120 --> 0:03:18.320 I'm just saying we have and as you could tell 0:03:18.919 --> 0:03:22.280 with our banter, we've known each other for quite some time. 0:03:22.520 --> 0:03:25.640 And I do want to say this about you, Boogie. 0:03:26.000 --> 0:03:30.560 One thing that I've always admired. I met Boogie doing 0:03:30.560 --> 0:03:33.560 a Spike Lee commercial and Boogie was working. 0:03:34.960 --> 0:03:36.440 At forty acrecent a mule. 0:03:36.480 --> 0:03:39.320 He was already implanted there when I came, I was freelancing. 0:03:39.640 --> 0:03:42.440 He was really working at right. 0:03:42.720 --> 0:03:48.520 And you have always like you know, there's so much 0:03:48.600 --> 0:03:52.080 pressure and energy on a set, and especially when you 0:03:52.120 --> 0:03:57.320 have a crew over fifty and Boogie man like you 0:03:57.560 --> 0:04:02.960 maintain control, you maintain professionalism, and. 0:04:02.880 --> 0:04:05.280 Even when you know like it would get a little tense, 0:04:05.320 --> 0:04:09.360 sometimes you have to use your voice, even when you right. 0:04:09.480 --> 0:04:14.160 But even when you did that, Boogie, it was digestible 0:04:14.280 --> 0:04:17.440 because you know, growing up in this business, because Boogie 0:04:17.560 --> 0:04:20.000 was when I met him, he was a second ad 0:04:20.800 --> 0:04:23.800 second assistant director for actors out there who don't know 0:04:24.160 --> 0:04:27.440 the terminology, and he rose. 0:04:27.480 --> 0:04:28.880 So we're going to talk about his career. 0:04:29.440 --> 0:04:33.280 But there's just a certain way you can handle people, 0:04:33.360 --> 0:04:37.520 and I just always respected the way you handled people, 0:04:37.640 --> 0:04:41.480 and especially I dealt with extras, casting all of. 0:04:41.360 --> 0:04:45.200 Those extras right, and we know the history of that 0:04:45.360 --> 0:04:49.560 and how the AD department sometimes unfortunately deal with actors 0:04:49.560 --> 0:04:52.640 and background actors right, you know, as if they're not humans. 0:04:52.640 --> 0:04:56.160 So that that was always something for me, you know, everybody, 0:04:56.440 --> 0:04:58.880 you know, was important to the sect from my body 0:04:59.480 --> 0:05:01.200 from the top about them. You know, that was just 0:05:01.279 --> 0:05:04.800 my you know, my my my way of looking at things. 0:05:04.839 --> 0:05:07.119 So that's how I poached it well. 0:05:07.200 --> 0:05:10.559 And I think that that was important, you said, teach 0:05:10.680 --> 0:05:12.719 treating them like humans. Because when I was on New 0:05:12.800 --> 0:05:17.800 York and the cover extras were addressed as skins, that 0:05:17.920 --> 0:05:18.920 was the first time I. 0:05:18.920 --> 0:05:20.960 Left us for the right. 0:05:21.120 --> 0:05:23.680 The paper that they named the own is called Skins, 0:05:23.760 --> 0:05:26.479 which is I never knew where it came from. 0:05:26.760 --> 0:05:29.479 Wow, that was I was like, you know, because I 0:05:29.520 --> 0:05:31.440 was like, oh, where do you want my actors? And 0:05:31.520 --> 0:05:34.280 they're like, the skins can go over there, Like oh 0:05:34.360 --> 0:05:35.000 my god. 0:05:35.520 --> 0:05:35.800 You know. 0:05:36.520 --> 0:05:41.880 So one of the things that I also want actors 0:05:41.920 --> 0:05:46.080 to understand is the power that ads have because as 0:05:46.120 --> 0:05:49.919 a second ad, you know, you have a lot of jobs, 0:05:49.960 --> 0:05:53.800 but I know one specifically, my relationship with you was 0:05:54.000 --> 0:05:56.880 making sure that the actors were in place for the 0:05:56.960 --> 0:05:57.640 day of the shoot. 0:05:57.680 --> 0:05:58.120 All of that. 0:06:00.080 --> 0:06:05.960 But sometimes a director may need someone that has not been. 0:06:05.920 --> 0:06:11.240 Cast right right, he's good for that, and. 0:06:11.240 --> 0:06:16.279 They go to the the first assistant director will communicate 0:06:16.360 --> 0:06:19.200 that to you, and it's your job if you could 0:06:19.279 --> 0:06:22.320 just explain to actors, you know, because you know how 0:06:22.360 --> 0:06:25.359 actors are, Oh it's just extra work. Oh it's not important, 0:06:25.400 --> 0:06:27.520 but you can tell them the importance of it. 0:06:28.080 --> 0:06:32.119 I mean, you know, because sometimes some doing background extra 0:06:32.120 --> 0:06:34.000 workt has led the principal work. You know, if you 0:06:34.040 --> 0:06:36.119 have a right look, if you you know, sometimes things 0:06:36.120 --> 0:06:36.960 are spontaneous. 0:06:37.000 --> 0:06:37.920 Sometimes people have. 0:06:37.839 --> 0:06:40.440 A very distinct look that they want to kind of 0:06:40.440 --> 0:06:43.640 position or place, you know. So it is a living, 0:06:43.640 --> 0:06:46.280 breathing animal when you're shooting, so you know, you got 0:06:46.320 --> 0:06:49.000 to be present at every moment because things can change, 0:06:49.000 --> 0:06:51.200 and you you know, I think actors need to really 0:06:51.240 --> 0:06:54.240 look at the set and really understand what's going on, 0:06:54.360 --> 0:06:56.960 the moving pieces of it, because they are integral part 0:06:57.000 --> 0:06:59.719 of it. They're not just a problem, you know, so 0:07:00.080 --> 0:07:02.400 you can you can take advantage of that, you know, 0:07:02.400 --> 0:07:03.640 and like a collaborative thing. 0:07:03.600 --> 0:07:05.000 With the director and with the ad. 0:07:05.160 --> 0:07:08.640 So if your present, sometimes your presence could be felt, 0:07:09.440 --> 0:07:11.920 somebody else could feel that presence and gravitate to you, 0:07:12.000 --> 0:07:13.760 and then all of a sudden you got upgrade to 0:07:13.800 --> 0:07:14.400 your principle. 0:07:15.360 --> 0:07:18.360 That's great, That's an important I used to stress actors 0:07:18.360 --> 0:07:21.160 on New York Undercover. Don't bring your you know, Joan 0:07:21.240 --> 0:07:24.360 Collins novels, you know, like you know, because you know, 0:07:24.440 --> 0:07:26.880 we didn't have back then, we didn't have iPhones, So 0:07:27.440 --> 0:07:31.320 you know, actors were doing puzzles on set, and I'm like, you, guys, 0:07:32.320 --> 0:07:35.520 every set is the same, the protocol is and the 0:07:35.640 --> 0:07:36.600 process is the same. 0:07:36.960 --> 0:07:38.040 The crew just shifts. 0:07:38.640 --> 0:07:43.120 So understand what that template is, Understand the relationship between 0:07:43.400 --> 0:07:47.440 the ads, and you know, how you can get upgraded 0:07:47.480 --> 0:07:51.680 on a set. What were some of the in situations 0:07:51.720 --> 0:07:55.800 where you, as an eighth an ad did upgrade actors. 0:07:56.000 --> 0:07:59.480 What was this specifically that you were looking for besides 0:07:59.520 --> 0:08:03.680 actors being present that drew you to them and said, 0:08:03.800 --> 0:08:06.680 you know what, let's grab this person to bump into 0:08:06.680 --> 0:08:07.760 Denzel Washington. 0:08:08.320 --> 0:08:10.480 I mean, you know some you know when when the 0:08:10.520 --> 0:08:14.760 background actor is understands that they're an actor. You know, 0:08:14.800 --> 0:08:17.920 some background actors they really focus on the background as 0:08:17.960 --> 0:08:20.520 opposed to the actors. Some background actors are actors, you know, 0:08:20.560 --> 0:08:23.560 the actors. They move Black actors the attention. They pay 0:08:23.600 --> 0:08:26.840 attention like actors. They'll hit a mark like they'll do 0:08:26.880 --> 0:08:30.720 a background action the same every time. You know, they'll 0:08:30.760 --> 0:08:33.560 be present, they're they're paying attention, and they they look 0:08:33.600 --> 0:08:34.800 and see what's needed. 0:08:34.679 --> 0:08:36.480 Before you have to tell them, you know. And that's 0:08:36.520 --> 0:08:37.199 what you want to work with. 0:08:37.320 --> 0:08:39.520 You want to work with people that could speak shorthand 0:08:39.559 --> 0:08:41.520 with you because there's not a lot of time, you know, 0:08:41.720 --> 0:08:45.520 So just be present and be collaborative, be you know, 0:08:45.600 --> 0:08:46.400 see see it. 0:08:46.440 --> 0:08:49.040 If you see a need, you know, and ask questions, 0:08:49.080 --> 0:08:51.120 Hey should I go? You know what I'm saying. 0:08:51.160 --> 0:08:54.199 Just be communicative and understand that you know, we all 0:08:54.320 --> 0:08:56.240 we we don't know it all as ads, you know, 0:08:56.280 --> 0:08:57.960 we listen to the director with us to the DP. 0:08:58.320 --> 0:08:59.960 There's all this noise going on. We need as much 0:09:00.080 --> 0:09:00.839 help us we can get. 0:09:01.000 --> 0:09:03.120 And if the background actor has a great idea can 0:09:03.160 --> 0:09:05.640 do something to make our job easier, you're going to 0:09:05.679 --> 0:09:08.080 remember them, and we're gonna d if there's somebody that 0:09:08.080 --> 0:09:08.840 could be upgraded. 0:09:08.960 --> 0:09:11.880 They're the first person that we're going to go wow, 0:09:12.080 --> 0:09:12.280 you know. 0:09:13.080 --> 0:09:17.960 So, but can you share with our audience, like, tell 0:09:18.040 --> 0:09:22.120 us how your journey began and and how. 0:09:23.640 --> 0:09:27.319 You your work at forty acres and everywhere. Lets tell 0:09:27.400 --> 0:09:28.719 us what you've been up to. 0:09:28.800 --> 0:09:33.200 Many moons ago, you know, as you know on the 0:09:33.240 --> 0:09:33.840 Spike job. 0:09:34.000 --> 0:09:37.200 You know, I start out as a intern and rose 0:09:37.280 --> 0:09:41.480 up the ranks through production assistant, you know for many years, 0:09:41.640 --> 0:09:45.320 you know, and then transitioned into being an assistant director 0:09:45.360 --> 0:09:48.040 and joining the director's guild with with you know, director 0:09:48.040 --> 0:09:50.000 and the AD is all part of the same deal. 0:09:51.120 --> 0:09:54.080 And while I was a DING, I was always writing 0:09:54.120 --> 0:09:56.720 and directing on the side anyway, So then I was 0:09:56.760 --> 0:09:59.800 able to kind of transition out of a ding to 0:09:59.840 --> 0:10:02.760 the directing because what I thought when I first started 0:10:02.840 --> 0:10:03.440 was being an AD. 0:10:04.160 --> 0:10:06.240 Next up was being a director. But that's not how 0:10:06.280 --> 0:10:06.960 it works. 0:10:06.960 --> 0:10:12.120 Typically, assistant directors don't become directors because assistant directing position 0:10:12.200 --> 0:10:15.800 is such a logistical managerial position. A lot of producers 0:10:15.800 --> 0:10:19.400 and network execs don't see ads as a creative position. 0:10:19.559 --> 0:10:20.560 It's not a creative position. 0:10:20.880 --> 0:10:24.040 It's easier for a script supervisor or director of photography 0:10:24.640 --> 0:10:27.160 to move into the directing position before an a D 0:10:27.280 --> 0:10:31.240 because the AD is it's in their mind. It's strictly logistical, 0:10:31.520 --> 0:10:33.959 you know, So they don't they don't understand that they 0:10:34.000 --> 0:10:35.960 also can have a creative vision. So that's what I 0:10:35.960 --> 0:10:37.640 thought in the beginning. I said, I'll be an assistant 0:10:37.679 --> 0:10:39.640 director and then I'll be a director. And they was like, no, 0:10:39.679 --> 0:10:42.040 that's not how it typically works. Why are you in 0:10:42.080 --> 0:10:45.480 a direct you know, because so it's different tracks, you know. 0:10:45.520 --> 0:10:48.040 But I thank god I was directing while it was 0:10:48.080 --> 0:10:50.120 a D. I was writing a directing So that was 0:10:50.160 --> 0:10:53.480 when I got to use what I was learning that 0:10:53.559 --> 0:10:55.600 I didn't even know that I learned being on said, 0:10:55.920 --> 0:10:58.960 whether on with Spike or with Lee Daniels on pressures, 0:10:58.960 --> 0:11:02.400 it's like you just taking information and then until you apply, 0:11:02.480 --> 0:11:03.000 you didn't. 0:11:02.760 --> 0:11:04.680 Even know that you have it. You're like, oh, yeah, 0:11:04.720 --> 0:11:05.240 I've seen that. 0:11:05.320 --> 0:11:07.680 I know how you know, saybe because you've been doing 0:11:07.679 --> 0:11:09.880 it for so many years, you've seen it done that. 0:11:10.080 --> 0:11:13.440 It just it's just instinct after a while, right you know. 0:11:14.440 --> 0:11:17.400 And so while you were writing, you read your first film. 0:11:17.880 --> 0:11:19.359 Let yeah, talk about. 0:11:19.080 --> 0:11:23.200 That, well, my first feature, you know, yes, yeah, I 0:11:23.240 --> 0:11:25.880 was writing short films leading up to that, and then 0:11:25.880 --> 0:11:27.760 I wrote my first feature film. You know, nobody said 0:11:27.800 --> 0:11:31.040 somebody kills Me and I was working on Inside Man. 0:11:31.160 --> 0:11:33.040 I finished the script. I working on Inside Man at the. 0:11:33.000 --> 0:11:38.480 Second ad and Uh, Detective Neil Carter restling Wrestling Peace 0:11:38.800 --> 0:11:42.599 he just passed last year. He was a technical advisor. 0:11:42.679 --> 0:11:45.920 He was a homicide detective. That was, he was tasked 0:11:45.960 --> 0:11:49.240 with teaching Denzel how to be a detective, basically how 0:11:49.280 --> 0:11:52.720 to do so. And I gave to Detective Neil the 0:11:52.760 --> 0:11:54.320 script and I was like, hey, just read this. I 0:11:54.360 --> 0:11:57.360 want to make sure my detective verbiage is great. He 0:11:57.440 --> 0:11:59.200 read it, He's like, I love it. I love the script. 0:11:59.240 --> 0:12:01.040 I want to help you get it made. And we 0:12:01.160 --> 0:12:03.520 raised the money and that's how it happened, you know, 0:12:03.640 --> 0:12:06.080 and Spike came on to EPA and it just you know, 0:12:06.160 --> 0:12:08.720 and that's that's how that that happened, you know, that 0:12:08.840 --> 0:12:09.480 feature journey. 0:12:09.520 --> 0:12:11.240 You know, you're doing your first feature. You have no 0:12:11.320 --> 0:12:12.720 idea what's. 0:12:12.600 --> 0:12:15.480 Happening the whole time the audience. 0:12:15.600 --> 0:12:18.839 Let me just say, because there's some humility here, Michael K. 0:12:19.000 --> 0:12:20.480 Williams was in this as. 0:12:20.280 --> 0:12:26.200 The star, so you know Nick Shawn Curse, Yeah, McCullen, 0:12:26.559 --> 0:12:31.600 you know, Daniel was is a great cast. You know, 0:12:31.679 --> 0:12:32.959 we didn't have a ton of money, but it was 0:12:32.960 --> 0:12:35.240 a great cast, and it was it was my first feature. 0:12:35.280 --> 0:12:37.439 I'm still working on the second one. The first one 0:12:37.520 --> 0:12:40.760 is always the hardest, you know, and coming from the 0:12:41.200 --> 0:12:44.120 world that I came from, unions and big movies and 0:12:44.160 --> 0:12:48.280 having to kind of skim down, you know, was what's tough, 0:12:49.120 --> 0:12:53.800 you know, just because unions. I'm a DJ, we got DJ, 0:12:54.360 --> 0:12:57.160 we got sad people, we got at union, you know, 0:12:57.240 --> 0:12:59.840 say so but kind of you know, gets used up 0:12:59.840 --> 0:13:03.040 really quickly. Yeah, So that's why I'm a lot meaner, 0:13:03.120 --> 0:13:04.160 leaner and meaner now. 0:13:05.200 --> 0:13:09.280 M after that experience, right, and and and working on 0:13:09.400 --> 0:13:14.800 such amazing films. He just he mentioned Inside Man you 0:13:14.920 --> 0:13:17.560 worked on. 0:13:17.160 --> 0:13:22.560 Malcolm, I'm best man. That's the first best Man. Yeah, 0:13:23.400 --> 0:13:26.560 addition to second second. That's when I first joined the guild, 0:13:27.200 --> 0:13:28.640 you know, around that time. 0:13:28.960 --> 0:13:31.680 And I didn't work with you on that, but I 0:13:31.760 --> 0:13:34.240 coached Monica Calhoun on Best Man. 0:13:35.640 --> 0:13:38.760 But you know, I mean, like I always. 0:13:38.960 --> 0:13:42.480 Encourage, I don't even encourage, I stress my listeners to 0:13:42.559 --> 0:13:46.880 go to IMDb dot com and to do their due 0:13:46.920 --> 0:13:51.920 diligence on you know who you are in terms of 0:13:52.160 --> 0:13:54.880 I have so many questions, but I want to zoom in. 0:13:54.920 --> 0:13:58.000 I do, because, like you, there's just so much you guys, 0:13:58.240 --> 0:14:03.880 please go to IMDb dot com and look at his credits. 0:14:02.320 --> 0:14:04.160 Because we I want to talk. 0:14:04.040 --> 0:14:07.920 About, like, you know, the Denzel Washington and working with 0:14:08.000 --> 0:14:09.600 such a great. 0:14:09.360 --> 0:14:13.560 Actor, and what is it that. 0:14:15.120 --> 0:14:19.280 Because I I've never worked with Denzel before, and I've 0:14:19.360 --> 0:14:22.000 had the pleasure of working with the Viola Davis. So 0:14:22.360 --> 0:14:26.960 what is in the beginning of perfect what is what? 0:14:26.960 --> 0:14:30.000 What do you walk away with on a set? 0:14:30.080 --> 0:14:34.120 What do you learn about watching such a phenomenal actor? 0:14:34.400 --> 0:14:35.320 I mean, it's it's crazy. 0:14:35.360 --> 0:14:37.160 You know, I worked on He Got Game with, then 0:14:37.240 --> 0:14:38.920 Zel's First Time and then Inside Man. 0:14:39.000 --> 0:14:42.360 But what I walk away is that you know his preparation, that. 0:14:42.360 --> 0:14:46.720 He's always ready, he can he turned it on so quickly, 0:14:47.400 --> 0:14:49.960 you know, laughing and talking in one minute. And when 0:14:49.960 --> 0:14:53.680 you're ready, he's it's like so quick, it's so so 0:14:53.800 --> 0:14:58.320 much Shorthand's sout on. He just so present and intentional 0:14:58.720 --> 0:15:02.120 that like he's like surgeon. He's like a surgeon. And 0:15:02.160 --> 0:15:04.680 it's like it's kind of like when you you're watching 0:15:04.720 --> 0:15:07.800 a ball player just play and they just they move 0:15:07.880 --> 0:15:09.600 with such face, you. 0:15:09.560 --> 0:15:10.520 Know, and it's and it's easy. 0:15:10.640 --> 0:15:13.120 You know, people are yelling his name, Hey, come run, 0:15:13.160 --> 0:15:16.000 making hugs, turn around, boom now the scene. It's like 0:15:16.080 --> 0:15:19.480 it's it's he can just turn it on and it's 0:15:20.080 --> 0:15:22.640 and he's just such a given spirit, you know, it 0:15:22.800 --> 0:15:25.200 doesn't he'll make them in. He'll make them in to 0:15:25.240 --> 0:15:28.160 greet somebody, just he'll make them. And he's so humble 0:15:28.880 --> 0:15:31.600 and it's so seamless. It's just kind of like, you know, 0:15:32.080 --> 0:15:35.760 and I've worked with actors that are not as successful, 0:15:36.120 --> 0:15:38.720 that aren't that giving and don't have a bigger heart, 0:15:38.760 --> 0:15:40.840 and you you know, and you you're like, he has 0:15:40.840 --> 0:15:42.720 a big such a big heart and he's so giving 0:15:43.160 --> 0:15:45.360 and he's so amazing, you know, and. 0:15:45.320 --> 0:15:48.160 He doesn't have to be He's Donzel, right, but he is, 0:15:49.080 --> 0:15:49.280 you know. 0:15:49.440 --> 0:15:53.240 So it's just it from what I got, it just 0:15:53.360 --> 0:15:55.560 it made me step up my game to know that, Okay, 0:15:55.560 --> 0:15:58.240 I can be who I am. I could be Bookie, 0:15:58.240 --> 0:16:00.000 I could be giving. I don't have to be someone else. 0:16:00.080 --> 0:16:03.800 I could be however I am and excel and do 0:16:03.920 --> 0:16:05.760 it how I do it and be successful. I don't 0:16:05.800 --> 0:16:09.080 have to imitate someone, you know, because and if I'm 0:16:09.080 --> 0:16:11.920 a given person, if I'm a soft spoken person, whatever 0:16:11.960 --> 0:16:14.400 that is, I can be me and be successful. 0:16:14.680 --> 0:16:14.880 You know. 0:16:15.080 --> 0:16:16.680 That's what I got from it because it was just 0:16:16.760 --> 0:16:19.480 it was unlike any other actor, because the room changed 0:16:19.480 --> 0:16:21.800 when he walked in it, right, you know. 0:16:22.520 --> 0:16:25.040 Well, I can honestly say that, I mean, you've been 0:16:25.120 --> 0:16:28.960 consistent you you are. When I met you, I felt 0:16:29.000 --> 0:16:31.960 like and still feel like, you've always been yourself. But 0:16:32.040 --> 0:16:36.080 that's what I have respected about your work. Even like 0:16:36.120 --> 0:16:38.400 I said, like, I mean, I've worked with yellers. I 0:16:38.400 --> 0:16:45.560 came in this industry with your what and so to 0:16:45.920 --> 0:16:51.080 work with someone who's still you know, who engages with 0:16:51.120 --> 0:16:54.560 you one as a human being, but you know you 0:16:54.680 --> 0:16:57.320 have that power and force and assertiveness, but you don't. 0:16:57.520 --> 0:17:01.400 You just don't have to yell you know, you get. 0:17:01.200 --> 0:17:04.359 It, you know, just to say the a D. I 0:17:04.359 --> 0:17:06.200 worked with an ad call named Joe Reading. 0:17:06.840 --> 0:17:07.520 I was a PA. 0:17:07.640 --> 0:17:11.200 I was an additional PA on this film called Sleeper 0:17:11.320 --> 0:17:12.840 for Brad Pitt. 0:17:12.560 --> 0:17:15.200 Was My job. 0:17:15.119 --> 0:17:17.800 Was to be on the roof and let them know 0:17:17.800 --> 0:17:21.239 when helicopters are coming and no helicopter coming, we can 0:17:21.280 --> 0:17:24.440 shoot in helicopter because we're near a heliport. 0:17:24.880 --> 0:17:27.040 And he was the most. 0:17:26.800 --> 0:17:30.720 Soft spoken and he he ads for all scort safety films, 0:17:31.280 --> 0:17:32.040 you know, Causina. 0:17:32.320 --> 0:17:36.240 He was the most humble and soft spoken from safety. 0:17:36.280 --> 0:17:37.240 And I was amazed. 0:17:37.280 --> 0:17:40.920 I was just like, very gracious, thank you very much, guys. 0:17:41.240 --> 0:17:43.880 And I was amazed because I came from a world 0:17:43.880 --> 0:17:44.360 of screamers. 0:17:44.400 --> 0:17:47.000 I was like, this work and there's two hundred people 0:17:47.000 --> 0:17:47.440 on the crew. 0:17:48.359 --> 0:17:51.080 And that was when I was like, Okay, you know, 0:17:51.119 --> 0:17:52.439 there's so many different ways to do it. 0:17:52.480 --> 0:17:54.440 You just have to be you in the midst of it. 0:17:55.000 --> 0:17:58.720 I you know, because I thought, in coming into this 0:17:58.760 --> 0:18:02.720 business initially that that's what the process was. They're just yellers. 0:18:02.880 --> 0:18:06.520 And it wasn't until I was on Kiss of Death 0:18:07.200 --> 0:18:10.040 and I worked with the a D and her name 0:18:10.080 --> 0:18:10.600 was Marlene. 0:18:10.640 --> 0:18:12.120 I don't remember her lassing. 0:18:11.880 --> 0:18:16.040 But same way, same way. And I was like, oh wait, 0:18:16.119 --> 0:18:17.560 you don't have to yell all us out. 0:18:18.119 --> 0:18:18.720 You don't give me. 0:18:18.760 --> 0:18:21.919 Let me tell you another story I worked on. I 0:18:21.920 --> 0:18:23.800 forgot the name of the TV show. The TV show 0:18:23.840 --> 0:18:26.359 that came to New York from LA and so I 0:18:26.400 --> 0:18:28.280 first died the five days in New York. 0:18:28.960 --> 0:18:30.000 And so we're shooting. 0:18:30.119 --> 0:18:32.639 We shot in the studio and the key grip came 0:18:32.720 --> 0:18:36.359 up to me one day and he's his father was 0:18:36.400 --> 0:18:38.080 the key grip on the Honeymoons. 0:18:38.240 --> 0:18:39.720 That's how long his lineage. You went. 0:18:40.000 --> 0:18:41.679 And he told me he loved me. 0:18:41.760 --> 0:18:44.600 He said, you know the A D. 0:18:45.000 --> 0:18:48.000 I love how you ad because people don't understand that 0:18:48.040 --> 0:18:50.000 the AD's voice shouldn't be the loudest in the room 0:18:50.040 --> 0:18:50.600 because once the. 0:18:50.560 --> 0:18:53.560 AD goes loud, everybody else goes loud, you know. 0:18:53.600 --> 0:18:56.320 And he says he liked how I managed the room, 0:18:56.720 --> 0:18:58.479 and I just you know, So it was just interesting. 0:18:58.520 --> 0:19:01.240 I was like, your dad was the key grip on Honeymoon? Wow, 0:19:01.400 --> 0:19:01.920 what the hell? 0:19:02.040 --> 0:19:02.520 Crazy? 0:19:02.720 --> 0:19:02.919 You know? 0:19:03.040 --> 0:19:04.719 So that was funny. 0:19:05.240 --> 0:19:11.040 Yeah, So in terms of your relationship with actors as 0:19:11.080 --> 0:19:15.520 a director, you know, we're moving more and more out 0:19:15.560 --> 0:19:18.199 of the live auditions and you know we're on the 0:19:18.280 --> 0:19:19.080 self tape. 0:19:19.200 --> 0:19:21.879 What advice can you give actors. 0:19:21.560 --> 0:19:25.720 To stand out you know on those because I mean, 0:19:25.880 --> 0:19:27.120 you know, I'm always. 0:19:26.800 --> 0:19:28.000 Honest with actors. 0:19:28.040 --> 0:19:30.920 And if I'm getting you know, six hundred to seven 0:19:31.040 --> 0:19:35.160 hundred submissions per character, and I got ten characters. 0:19:34.880 --> 0:19:37.600 Right right, So I mean for me, it's almost the 0:19:37.640 --> 0:19:39.880 same as when they come in the room. Just be present. 0:19:39.960 --> 0:19:43.240 Just you know, nothing matters but that moment, you know, 0:19:43.680 --> 0:19:48.239 to me, I find actor to be so distracted, just 0:19:48.280 --> 0:19:50.640 it's just so distracted. It's like you had you work 0:19:50.680 --> 0:19:52.880 your whole life, you paid money for headshots to take 0:19:52.920 --> 0:19:56.800 classes off of this three minutes and you can't shut 0:19:56.800 --> 0:20:00.880