WEBVTT - The Spirited Actor - Roger Bobb 3/23/2021 0:00:00.080 --> 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 0:00:06.480 --> 0:00:10.600 TV and commercials for over thirty years. I transitioned to 0:00:10.680 --> 0:00:14.200 a celebrity acting coach after I cast a film New 0:00:14.280 --> 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 --> 0:00:32.560 transitioning to acting. My clients consist of musical artists from 0:00:32.760 --> 0:00:37.400 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 0:00:41.240 --> 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 --> 0:00:51.320 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 --> 0:01:05.360 casting director that is powerful. And now it's time for 0:01:05.480 --> 0:01:10.520 meditation of the day. You're off to great places. Today 0:01:10.800 --> 0:01:16.600 is your day. Your mountain is waiting, so get up 0:01:16.959 --> 0:01:21.840 and get on your way, doctor Seuss. I don't care 0:01:21.959 --> 0:01:25.479 how old I get. I'm always going to find time 0:01:25.560 --> 0:01:29.720 to play. If you are not having fun, what's the 0:01:29.800 --> 0:01:33.200 point If you aren't sharing a laugh or smile with 0:01:33.280 --> 0:01:34.360 someone every day? 0:01:34.800 --> 0:01:38.920 Catch up? Life is supposed to be fun. 0:01:40.200 --> 0:01:45.320 Never lose sight of the kid in you Today, I 0:01:45.400 --> 0:01:50.520 will play and have fun. Before we get started, I'd 0:01:50.560 --> 0:01:54.080 like to remind everyone to look out for my new show, 0:01:54.440 --> 0:01:57.480 Inside the Black Box. I'll be co hosting with the 0:01:57.560 --> 0:02:01.720 great Joe Morton. We'll be on Crack Network real soon. 0:02:02.200 --> 0:02:06.440 I'll keep you posted. Welcome to the Spirited Actor Podcast 0:02:06.480 --> 0:02:11.000 with me Tracy Moore. Man, Man, Man, you are in 0:02:11.200 --> 0:02:19.640 for an amazing, riveting, phenomenal, every just outstanding adjective I 0:02:19.680 --> 0:02:22.760 can think to describe this human being that I'm about. 0:02:22.440 --> 0:02:23.079 To bring on. 0:02:23.720 --> 0:02:26.160 I'd like to say he's one of my really super 0:02:26.200 --> 0:02:32.880 dear friends. We'll let him say it, but ladies and gentlemen, 0:02:33.520 --> 0:02:37.120 I've been on this journey for quite some time, and 0:02:37.240 --> 0:02:38.919 to see this. 0:02:38.880 --> 0:02:43.320 Man rise to the heights and. 0:02:43.360 --> 0:02:47.440 Raisin bars in this entertainment business, I am proud and 0:02:47.560 --> 0:02:53.920 honored to bring on this show. Producer director extorted Mayor 0:02:54.280 --> 0:02:55.680 mister Roger Bob. 0:02:59.040 --> 0:03:00.600 My own lost track. 0:03:03.080 --> 0:03:03.640 I heard it. 0:03:03.720 --> 0:03:07.200 I was like, Tracy, how you doing. 0:03:07.400 --> 0:03:10.760 Roger, Oh my god, thank you so. 0:03:10.720 --> 0:03:12.160 Much for having me. I appreciate it. 0:03:12.400 --> 0:03:15.200 No, this is history. We need to have you on. 0:03:16.240 --> 0:03:20.040 There's just so so many conversations that we can have, 0:03:20.639 --> 0:03:23.480 and I like the fact that they all evolve around 0:03:23.600 --> 0:03:28.040 actors because you can give them a plethora of just 0:03:28.280 --> 0:03:31.320 tips and diamonds and pearls. So we're going to jump in. 0:03:32.480 --> 0:03:35.640 I want the audience to know. I don't even know 0:03:35.680 --> 0:03:37.680 what year it was, Roger, but I'm sure you do. 0:03:38.640 --> 0:03:39.160 Snipes. 0:03:40.040 --> 0:03:41.520 Was that the first time we met on Snipe? 0:03:41.560 --> 0:03:45.960 First time we met, that was what Nelly Nelly in Philadelphia? 0:03:46.040 --> 0:03:50.600 Yep, it was crazy, yeah, and that Fat Joe. 0:03:50.760 --> 0:03:56.600 Yeah ok right, yeah, yeah, it was crazy. It was 0:03:56.640 --> 0:03:59.440 like a little movie that could. It's one of those 0:03:59.440 --> 0:04:02.400 actually hidden gems. It's actually pretty Yeah. 0:04:02.400 --> 0:04:02.760 But that was. 0:04:04.640 --> 0:04:07.480 We sell Donna. That's right, that's right. I totally forgot 0:04:07.520 --> 0:04:08.400 about that, that's right. 0:04:08.560 --> 0:04:11.560 Yeah. Yeah. So it was just one of those great experiences. 0:04:11.600 --> 0:04:13.400 And I had never. 0:04:14.760 --> 0:04:19.400 Produced a film with an acting coach before on set, 0:04:19.560 --> 0:04:21.160 so I didn't even know. I didn't even know at 0:04:21.200 --> 0:04:23.720 that point, and we're not going to say the year, right, 0:04:24.080 --> 0:04:25.200 it was just it. 0:04:25.200 --> 0:04:28.760 Was a while. I'll say it. I don't even know 0:04:28.800 --> 0:04:30.440 what it was. It was a while ago. 0:04:31.120 --> 0:04:33.640 And you know, I didn't I didn't even know how 0:04:33.800 --> 0:04:37.000 at that point how acting coach functioned on set, because 0:04:37.279 --> 0:04:39.800 it was still a relatively new thing to have acting 0:04:39.839 --> 0:04:44.560 coaches come actually on set at that point. And and uh, 0:04:44.720 --> 0:04:49.240 you know, and it was Nelly's first film, so he 0:04:49.360 --> 0:04:51.400 needed coach. 0:04:51.440 --> 0:04:52.360 I was gonna be real. 0:04:53.839 --> 0:04:56.400 And then but you know, here's Tracy and she came 0:04:56.440 --> 0:04:59.039 on set and she you know, she's just this bright 0:04:59.279 --> 0:05:00.640 bundle energy. 0:05:01.360 --> 0:05:03.279 She came and she you know, she did her thing. 0:05:03.760 --> 0:05:05.720 And I'll be honest, at first, I was like, oh 0:05:05.800 --> 0:05:07.040 my god, it's going to take time. 0:05:07.120 --> 0:05:08.440 We're going to act every take. 0:05:08.480 --> 0:05:11.760 We gotta you know, go in, you know, have a 0:05:11.800 --> 0:05:15.200 conversation and a whole meeting. But you know, the great 0:05:15.200 --> 0:05:17.000 thing about you is that you know production too, so 0:05:17.040 --> 0:05:19.800 you know, time is money. And so yeah, it was 0:05:20.080 --> 0:05:22.839 a great experience when when the first of many with 0:05:23.000 --> 0:05:24.560 you and I it. 0:05:24.480 --> 0:05:25.520 Was so much fun. 0:05:25.680 --> 0:05:29.080 I love the fact that I remember the interview and 0:05:29.120 --> 0:05:32.159 I remember you being in the office, and I remember 0:05:32.680 --> 0:05:35.479 Rick saying we don't know what rapper we have. We're 0:05:35.520 --> 0:05:38.720 just going to get a wrapper and I'm like, okay, 0:05:39.640 --> 0:05:41.920 but I didn't know it's going to be Nelly. And 0:05:42.040 --> 0:05:45.960 in his trailer I saw the blueprint of his place 0:05:46.040 --> 0:05:52.120 that eventually landed on MTV The Cribs. The Cribs, Yeah, 0:05:52.520 --> 0:05:56.640 one of my highlights with him. Let me ask you 0:05:56.760 --> 0:05:59.120 as a as a director, I want to talk to 0:05:59.200 --> 0:06:04.640 you from your and because man Roger, I would say, 0:06:04.680 --> 0:06:08.120 like in the past decade and a half, the talent 0:06:08.600 --> 0:06:15.280 that has come under like like around you and because 0:06:15.320 --> 0:06:19.280 of you, how do you know you have an actor 0:06:19.320 --> 0:06:22.760 in the room or now in the age of self tapes, how. 0:06:22.680 --> 0:06:23.080 Do you know? 0:06:23.520 --> 0:06:27.279 Well, you know, it's actually just a feeling. And here's 0:06:27.320 --> 0:06:29.240 the funny thing. And I'm actually in the middle of 0:06:30.000 --> 0:06:33.039 casting right now for a project in Canada, right, so 0:06:34.480 --> 0:06:37.240 you know it's it's you know, it's just a feeling. 0:06:37.560 --> 0:06:40.040 You actually can't even put a finger on it. But 0:06:40.160 --> 0:06:43.000 it's one of the things that's consistent. It's a person 0:06:43.000 --> 0:06:45.080 who just owns the role. You know, they're not just 0:06:45.080 --> 0:06:47.920 saying the words, they're not auditioning, they're actually becoming that 0:06:48.000 --> 0:06:51.159 person in the audition. Like they're making that commitment even 0:06:51.240 --> 0:06:52.880 during the audition. I'm going to give it my all 0:06:53.160 --> 0:06:54.800 and you know it and you see it, you know, 0:06:54.880 --> 0:06:56.120 and when you see. 0:06:55.880 --> 0:06:58.480 It, you know, it's like boom. And It's funny is. 0:06:58.400 --> 0:07:03.960 We go through casting and people, producers and directors and 0:07:04.000 --> 0:07:07.000 they basically everyone involved. They always get nervous about the 0:07:07.040 --> 0:07:09.360 casting process, you know, and if you have a production 0:07:09.440 --> 0:07:11.280 that you get close to production, you haven't cast it 0:07:11.320 --> 0:07:14.040 and people getting there. I never get nervous because every 0:07:14.080 --> 0:07:17.400 single project I've ever worked on, whoever was supposed to 0:07:17.400 --> 0:07:20.400 get throw got the role, whether that's the day before, 0:07:21.040 --> 0:07:25.520 hours before, at much time which I've done that person 0:07:25.560 --> 0:07:28.360 who ever gets the role, they deserve the role. 0:07:28.600 --> 0:07:32.480 So but do you test that to the fact that 0:07:33.280 --> 0:07:37.600 you come from independent filmmaking correct? Yeah, And I was 0:07:37.640 --> 0:07:41.200 saying earlier that that's the best training that you can get. 0:07:41.400 --> 0:07:43.680 You know. I didn't go to film school. I didn't 0:07:43.680 --> 0:07:44.400 have that luxury. 0:07:44.440 --> 0:07:46.880 But I feel like every project that I've been a 0:07:46.880 --> 0:07:51.400 part of has been a tremendous learning experience. 0:07:51.160 --> 0:07:52.200 And continues to be. 0:07:53.720 --> 0:07:53.800 So. 0:07:53.960 --> 0:07:58.800 Coming out of that world, you know, because you've worked. 0:07:58.480 --> 0:08:01.720 With a lot of unknown actors or aspiring actors, that 0:08:01.760 --> 0:08:04.440 we just didn't know their names at that time, right, 0:08:05.160 --> 0:08:07.560 But how were you able you know now we know, 0:08:07.960 --> 0:08:14.120 But how were you able to convince producers if you found, 0:08:14.360 --> 0:08:17.240 you know, this actor who was dynamic as opposed to 0:08:17.280 --> 0:08:19.280 a working actor who had a name that they were 0:08:19.320 --> 0:08:19.960 pushing for. 0:08:20.440 --> 0:08:23.600 Right. Well, that's the thing about you know, directors and actors. 0:08:23.640 --> 0:08:25.960 You know, they have this bond that I don't even 0:08:26.040 --> 0:08:28.760 think actors really realize because we're in the room fighting 0:08:28.760 --> 0:08:31.400 for you before you even come on on set, you know. 0:08:32.280 --> 0:08:35.640 And so part of a director, you know, half half 0:08:35.679 --> 0:08:38.240 of filmmaking is casting, probably even more so, to be 0:08:38.360 --> 0:08:41.319 quite honest with you, because you know, obviously, if you 0:08:41.320 --> 0:08:43.559 don't cast the right person, you don't get the right performance. 0:08:43.880 --> 0:08:47.240 You basically don't. Look, I can have a dope script 0:08:47.280 --> 0:08:50.320 and I could have beautiful cinematography and everything, but you know, 0:08:50.400 --> 0:08:53.839 if the actors aren't on par, then I don't really 0:08:53.880 --> 0:08:56.360 have a good movie. So you know, fifty percent of 0:08:56.720 --> 0:09:00.319 of you know, filmmaking is truly casting it, I mean 0:09:00.440 --> 0:09:03.840 it truly is. And so you know, it's funny how 0:09:04.360 --> 0:09:07.520 directors have this relationship with actors, and I always call 0:09:07.559 --> 0:09:10.880 it a false relationship because you know, we see your picture, right, 0:09:11.120 --> 0:09:13.959 and then we see your your audition tape, and then 0:09:14.000 --> 0:09:16.080 you might audition you know, in the room for a 0:09:16.080 --> 0:09:16.800 few minutes, but. 0:09:16.760 --> 0:09:18.520 That's about it, right, And then we go back to 0:09:18.520 --> 0:09:19.280 the audition tape. 0:09:19.280 --> 0:09:21.440 Then we look at your headshot, and then we see 0:09:21.480 --> 0:09:23.079 what you've done, and then we might look at other 0:09:23.120 --> 0:09:25.920 things that you've done, right, And so then we almost 0:09:25.920 --> 0:09:29.000 have this relationship with you before you even come on set. 0:09:29.240 --> 0:09:30.960 It's like, Okay, this is my person. You know, I'm 0:09:30.960 --> 0:09:32.559 going to fight for this person. I don't want her, 0:09:32.600 --> 0:09:34.800 I want her. I want her right. And then you 0:09:34.840 --> 0:09:36.640 come on set, and then we make the movie. But 0:09:36.679 --> 0:09:39.760 then after the movie, I spend another six weeks every 0:09:39.840 --> 0:09:44.000 day in the editing room looking at your face, looking 0:09:44.040 --> 0:09:46.040 at your face, looking at your face. And now I've 0:09:46.080 --> 0:09:49.200 spent you know, anywhere from three to four to five 0:09:49.240 --> 0:09:51.760 to six to seven months almost every day looking at 0:09:51.760 --> 0:09:53.800 this person's face. So it's like you almost develop this 0:09:54.000 --> 0:09:56.480 relationship with the actor. 0:09:57.160 --> 0:09:57.960 You know that. 0:09:58.320 --> 0:10:01.040 That and then and the funny thing is you see 0:10:01.080 --> 0:10:04.880 them at the premiere. They haven't seen you in like, 0:10:05.400 --> 0:10:08.000 you know, however, long four or five months when you 0:10:08.000 --> 0:10:10.280 look at them every day you're like hey, they're like, hey, 0:10:10.400 --> 0:10:10.960 how you doing. 0:10:13.240 --> 0:10:15.880 So, you know, there's this there's this weird. 0:10:15.679 --> 0:10:18.920 Relationship between directors and actors that you know, actors, I 0:10:19.080 --> 0:10:21.360 don't even think you realize that, but you know, we're 0:10:21.400 --> 0:10:24.400 always in there and they're fighting for you and and 0:10:24.440 --> 0:10:27.920 it's kind of like when you know, so, you know, 0:10:28.040 --> 0:10:29.319 making a movie obviously. 0:10:29.080 --> 0:10:31.200 It's an expensive process. It's a difficult process. 0:10:31.240 --> 0:10:32.920 It's a long process, and so you want all the 0:10:32.920 --> 0:10:35.880 pieces of the pie to make the pie great. 0:10:35.960 --> 0:10:37.800 And so when you see that actor that you want, 0:10:38.320 --> 0:10:39.720 you know, you got to fight for them. You know, 0:10:39.880 --> 0:10:41.600 that's part of being a director is you know, it's 0:10:41.640 --> 0:10:42.600 just fighting for your vision. 0:10:42.640 --> 0:10:46.240 If you see an actor that truly, you know, encapsulates 0:10:46.280 --> 0:10:48.079 your vision, got to fight for them. 0:10:48.200 --> 0:10:52.080 Well, you know that's that's what I tell the actors. 0:10:52.120 --> 0:10:54.920 The callback is about, is that you like them. You 0:10:55.000 --> 0:10:57.000 just want to make sure you want them right. 0:10:57.440 --> 0:10:59.000 And so even in that. 0:10:59.040 --> 0:11:02.640 Process, there's a relationship that has evaulved because you might 0:11:02.720 --> 0:11:06.160 not remember the actor's name, which is the casting director's 0:11:06.240 --> 0:11:09.880 job to say that, but you have a relationship like 0:11:10.160 --> 0:11:12.600 you know, as soon as the actor this is during 0:11:12.640 --> 0:11:14.720 live auditions, but as soon as the actor will walk. 0:11:14.600 --> 0:11:15.000 Through the door. 0:11:15.080 --> 0:11:17.760 Director is like, hey, you know, and the actor. 0:11:17.600 --> 0:11:23.200 Is kind of like, okay, I know, but you you know, 0:11:24.360 --> 0:11:28.960 repetition and then the idea to wear the same thing 0:11:29.040 --> 0:11:31.439 to the callback that you would wear to the audition. 0:11:31.559 --> 0:11:34.520 All these things connect the dots for you as the director. 0:11:36.000 --> 0:11:39.520 Training Roger like, I don't know about your. 0:11:39.360 --> 0:11:44.679 Experience, but in my experience in teaching and with this 0:11:44.760 --> 0:11:49.520 club house phenomena, you know, been on some in some rooms, 0:11:50.480 --> 0:11:55.160 training is something that is not really discussed, or if it. 0:11:55.120 --> 0:11:56.360 Is, it's like lightly. 0:11:56.880 --> 0:11:58.839 Anthony Matthew is on our show and he gave this 0:11:58.960 --> 0:12:01.880 great analogy. He was like, if you needed surgery, would 0:12:01.960 --> 0:12:04.760 you go to the guy in the strip mall and 0:12:05.320 --> 0:12:09.960 you know doesn't have a free right exactly. 0:12:09.679 --> 0:12:10.959 To study our craft? 0:12:11.120 --> 0:12:14.160 How important is yeah? I mean acting is a muscle. 0:12:14.240 --> 0:12:16.920 It's like everything else. It's a muscle that needs to 0:12:16.960 --> 0:12:19.280 constantly be exercised. And whether you're in front of the 0:12:19.320 --> 0:12:21.640 camera or not, whether they're on a project or not, 0:12:21.880 --> 0:12:25.439 you used to have to constantly exercise that muscle. And obviously, 0:12:25.760 --> 0:12:29.040 you know, actor's life is you know, you work and 0:12:29.080 --> 0:12:31.480 then you don't work, and then you work and then 0:12:31.520 --> 0:12:32.120 you don't work. 0:12:32.320 --> 0:12:34.120 It's important to you. 0:12:34.240 --> 0:12:37.080 If you value yourself as a commodity, as a serious actor, 0:12:37.400 --> 0:12:41.600 to work during those times when you're not working. Should 0:12:41.600 --> 0:12:45.400 I know actors who have gone to a class after set, 0:12:45.760 --> 0:12:48.160 you know, because they just, you know, they. 0:12:48.040 --> 0:12:49.280 Just they just have to do it. They have to 0:12:49.360 --> 0:12:50.960 do it. They have to do it. And the thing 0:12:50.960 --> 0:12:53.240 about it is, and you know this is you know, and. 0:12:53.160 --> 0:12:56.240 I'll use I'll use this analogy with you know, our 0:12:56.280 --> 0:13:00.400 friend Tasha Smith, right, So she's you know, she's to. 0:13:01.000 --> 0:13:03.640 Have an acting class out in La right, and. 0:13:03.600 --> 0:13:06.280 So people would come into the class like I used 0:13:06.280 --> 0:13:09.080 to come into your classes as well, and you know, 0:13:09.200 --> 0:13:13.120 just kind of observe and things like that. This is 0:13:13.160 --> 0:13:14.880 an anecdote about always being on point. 0:13:14.960 --> 0:13:15.120 Right. 0:13:15.280 --> 0:13:17.920 So she had this young man in the class and 0:13:17.960 --> 0:13:19.480 you know, he was kind of killing it. And then 0:13:19.559 --> 0:13:21.520 one of her friends came and visited the class one 0:13:21.559 --> 0:13:24.760 day and noticed this guy. And basically two years later, 0:13:24.840 --> 0:13:28.120 that guy who ended up being Tyler Perry came to 0:13:28.160 --> 0:13:30.360 me who I was. We were about to produce a 0:13:30.440 --> 0:13:33.560 television show, and he was like, you know, I saw 0:13:33.640 --> 0:13:36.400 this guy in this class a couple of years ago. 0:13:37.559 --> 0:13:39.840 We should get him, and I'm like, really, you saw 0:13:39.880 --> 0:13:42.160 a guy in an ad class a. 0:13:42.080 --> 0:13:46.559 Few years ago, you wanted me to cast him in 0:13:46.640 --> 0:13:48.240 this ensemble comedy piece. 0:13:48.480 --> 0:13:51.800 Well that guy was Lance Gross and he had. 0:13:51.800 --> 0:13:54.800 Never done anything, and he got cast in House of 0:13:54.840 --> 0:13:59.560 Pain because Tyler saw him in an acting class acting 0:13:59.600 --> 0:14:01.960 his ass. So I say that to say, you just 0:14:02.080 --> 0:14:05.040 never know, you know, you just never know, So you 0:14:05.080 --> 0:14:08.520 know you should always always, regardless of the situation, whether 0:14:08.640 --> 0:14:11.480 again it's a fifty million dollar movie, a two million 0:14:11.480 --> 0:14:14.240 dollar movie, a half million dollar movie, a student film, 0:14:14.360 --> 0:14:18.800 and acting class, thinking seriously because it's a representation of you. 0:14:19.160 --> 0:14:22.680 And you know, connecting the dots radiance. My daughter, ladies 0:14:22.720 --> 0:14:27.560 and gentlemen went to Howard with Lance did it on 0:14:27.600 --> 0:14:30.520 my couch one day and he's like, how can I 0:14:30.560 --> 0:14:33.480 get ano acting? We're talking about acting. Next thing you know, 0:14:34.360 --> 0:14:36.040 he doesn't afford commercial. 0:14:36.320 --> 0:14:39.680 And then next thing you know, he's gone, like everybody 0:14:39.760 --> 0:14:40.240 knows him. 0:14:40.320 --> 0:14:46.240 So and Roger, because we have these same, these similar experiences, 0:14:46.480 --> 0:14:50.240 how does it feel to you know, see like, well 0:14:50.280 --> 0:14:52.520 you didn't see Lance, but if. 0:14:52.360 --> 0:14:54.520 You were to see someone like in my class. 0:14:54.720 --> 0:14:58.920 I have a laundry list of working actors and then 0:14:59.040 --> 0:15:02.200 to see them, you know, do great work film. 0:15:02.120 --> 0:15:05.680 Or your babies or your babies, you know, and you know, 0:15:05.720 --> 0:15:07.560 and I follow all of them, you know, in terms 0:15:07.600 --> 0:15:10.680 of the trajectory of their career, and it's just amazing 0:15:10.720 --> 0:15:12.400 to see and you just you know, you take pride 0:15:12.400 --> 0:15:13.440 and you take ownership. 0:15:13.640 --> 0:15:15.800 Not only that, but you know, look, this is a 0:15:16.040 --> 0:15:17.040 this is a tough business. 0:15:17.480 --> 0:15:20.040 And you want to work with people who you want 0:15:20.080 --> 0:15:22.720 to work with, you know, because you know, if you're 0:15:22.720 --> 0:15:25.360 going to go to quote unquote war on this movie set, 0:15:25.400 --> 0:15:26.560 you know, you want to go to people that you 0:15:26.560 --> 0:15:29.880 can depend on. You know, people have great personalities, you know, 0:15:30.320 --> 0:15:33.160 once going when the camera is rolling or not. You know, 0:15:33.400 --> 0:15:37.680 people who get it and when I say get it, here's. 0:15:37.480 --> 0:15:40.360 What they had to get that. You know, I personally 0:15:40.400 --> 0:15:42.560 feel like filmmaking is a privilege. 0:15:42.960 --> 0:15:46.560 You know, it's something we get, you know, paid most 0:15:46.600 --> 0:15:51.680 of the time too, you know, to make movies. You know, 0:15:51.920 --> 0:15:54.720 that's an awesome thing, you know, and it really shouldn't 0:15:54.840 --> 0:15:57.280 feel like a job, you know, and I consider it 0:15:57.280 --> 0:15:57.920 a privilege. 0:15:57.960 --> 0:16:00.640 And so you know, with that mind said, you. 0:16:00.600 --> 0:16:04.440 Know, I want people who feel the same way, who 0:16:04.440 --> 0:16:06.760 feel like, wow, this is amazing this is a great thing. 0:16:06.800 --> 0:16:08.920 You do it. I don't want people who just punch 0:16:08.960 --> 0:16:11.720 in as a nine to five, and I want people who. 0:16:11.640 --> 0:16:15.080 Always thinking about the next job or something else, or 0:16:15.320 --> 0:16:18.560 what they didn't get or what you know, all that nonsense. 0:16:18.600 --> 0:16:21.240 I just want people to, you know, realize that this 0:16:21.360 --> 0:16:24.440 is an incredible opportunity what we're doing. You know, we're 0:16:24.440 --> 0:16:30.320 making movies, we're creating content. You know, we're telling stories, 0:16:30.440 --> 0:16:33.280 and you know, it's an awesome and amazing thing that 0:16:33.680 --> 0:16:35.320 not a lot of people get to do. So you know, 0:16:35.360 --> 0:16:37.880 you need to cherish it and take it seriously and 0:16:38.000 --> 0:16:40.040 really want to do it, because, to be honity with you, 0:16:40.320 --> 0:16:41.840 it's a tough business and there's a lot of other 0:16:41.840 --> 0:16:42.720 ways to make money. 0:16:43.560 --> 0:16:47.640 Well, I've been waiting to say this because my whole 0:16:47.680 --> 0:16:52.280 crew knows this, but this is Roger Bob. Without Roger 0:16:52.400 --> 0:16:55.960 Bob inside, which is now inside the black Box, the 0:16:56.000 --> 0:16:59.440 TV show that I recently sold, would not have happened 0:16:59.800 --> 0:17:03.200 because all this is what I remember bringing it to 0:17:03.320 --> 0:17:06.600 Roger Roger like, all right, Chasey, let's do this Manhattan 0:17:07.040 --> 0:17:11.720 studios on thirty fourth Street, looking through studios, talking about 0:17:11.760 --> 0:17:16.240 the guest, and then a gentleman named Tyler Perry called 0:17:16.280 --> 0:17:18.920 you and that was the last I saw with you. 0:17:19.040 --> 0:17:19.320 Roger. 0:17:22.240 --> 0:17:25.200 I was like, no, our show. 0:17:25.560 --> 0:17:30.080 And then you got literally about I want to say, 0:17:30.119 --> 0:17:33.200 around eight years ago when I came down to Atlanta 0:17:33.359 --> 0:17:36.760 to Sea Miles. We went to lunch and you were like, 0:17:36.800 --> 0:17:38.679 you should just do that show, Chasey, you. 0:17:38.680 --> 0:17:39.560 Should just do it. 0:17:40.080 --> 0:17:43.880 And I literally told my friend who's a producer, Cassidy Arkins, 0:17:44.200 --> 0:17:47.719 I believe you know, and Cassidy introduced me a spruce. 0:17:47.800 --> 0:17:51.200 The rest is history and we start filming in April. 0:17:51.400 --> 0:17:53.920 Boom, look at that. And that's the way it happens, 0:17:54.080 --> 0:17:57.440 you know. That's that's the way. It's all about relationships. Yeah, 0:17:57.560 --> 0:18:00.000 it's all about relationships. 0:17:59.640 --> 0:18:02.240 And that's another thing that you actors should know. You know. 0:18:02.320 --> 0:18:07.080 It's it's people talk. You know, people talk, and so 0:18:07.640 --> 0:18:09.360 you know, you want to have good relationship. That's why, 0:18:09.400 --> 0:18:11.280 I mean, you know, you should always be a pleasant, 0:18:11.480 --> 0:18:14.560 good human being anyway, but is even more so because 0:18:14.600 --> 0:18:15.560 you just never know. 0:18:15.960 --> 0:18:16.879 Yeah, you just never know. 0:18:16.960 --> 0:18:20.080 I mean how I even got to Tyler was that 0:18:20.160 --> 0:18:23.040 I was at the then it's called the Acapolco Black 0:18:23.040 --> 0:18:29.639 Film Festival, and I just happened to meet Ruben Cannon, 0:18:29.680 --> 0:18:33.720 who's you know, the cast guru and now incredible producer. 0:18:33.840 --> 0:18:37.639 And you know, we we were talking film, just talking shop, 0:18:37.800 --> 0:18:40.320 and and then we went out mary Way. 0:18:40.520 --> 0:18:43.880 And then at that point I was an assistant director. 0:18:44.840 --> 0:18:48.040 And so then he had gotten together with Tyler, and 0:18:48.080 --> 0:18:50.360 then Tyler was farming his company and then. 0:18:50.480 --> 0:18:51.960 You know, he wanted to do this first movie. 0:18:52.040 --> 0:18:53.879 He wanted to have black crew members and not a 0:18:53.880 --> 0:18:55.280 lot of at that point, they weren't a lot of 0:18:55.280 --> 0:18:58.880 black first AD's Oh I met one at Acapoco. 0:18:59.040 --> 0:18:59.880 Ruben called me. 0:19:00.119 --> 0:19:02.840 I went over there and basically never left. 0:19:04.440 --> 0:19:04.880 Whatever. 0:19:05.240 --> 0:19:07.560 But that's but that's you know, that's how a lot 0:19:07.560 --> 0:19:09.760 of business is done in this industry. You know, it's 0:19:09.960 --> 0:19:12.399 it's just a relationship base, even when it comes to acting, 0:19:12.440 --> 0:19:16.159 even when it comes to casting directors. So again, you know, 0:19:16.320 --> 0:19:18.280 a reason to just always be you know what the 0:19:18.320 --> 0:19:20.680 good thing about this industry is it's cleansing like you're 0:19:20.720 --> 0:19:22.439 really literally only as good as. 0:19:22.320 --> 0:19:23.160 Your last job. 0:19:23.359 --> 0:19:24.600 You know, that's true. 0:19:24.760 --> 0:19:27.000 That's why you just got to keep bringing it in it. 0:19:27.160 --> 0:19:29.800 You know, I constantly have to keep proving myself, you know, 0:19:29.880 --> 0:19:32.159 and I just look at my last project, and I 0:19:32.240 --> 0:19:34.000 just said, Okay, look, I got to do better this 0:19:34.080 --> 0:19:36.840 project and just just try to build a good quality 0:19:36.840 --> 0:19:37.160 of work. 0:19:37.480 --> 0:19:41.320 Yeah. And you know, I mean, even though you left 0:19:41.600 --> 0:19:44.080 and you left me and you left the black Box, 0:19:45.040 --> 0:19:46.640 I will still always credit you for that. 0:19:48.000 --> 0:19:51.200 I was so I mean, it was like watching one 0:19:51.200 --> 0:19:53.720 of my kids, because I was so proud of your work. 0:19:53.800 --> 0:19:56.359 And like, man, I thought when I was at forty 0:19:56.400 --> 0:19:59.760 Acres working with Fight that they produced a lot of 0:19:59.800 --> 0:20:03.080 things that just kept coming out. But the way you 0:20:03.119 --> 0:20:07.760 guys were manufacturing, and man were you guys in terms 0:20:07.760 --> 0:20:11.560 of because the films that I worked with with Carl Weber, 0:20:11.640 --> 0:20:13.679 we did seventeen and twenty one days. 0:20:14.080 --> 0:20:15.400 But did that start. 0:20:16.800 --> 0:20:19.159 I wouldn't say that didn't start with but I tell 0:20:19.160 --> 0:20:20.879 you what did start with us? Like we were the 0:20:20.960 --> 0:20:25.720 total innovators of this of shooting an episode of sitcom 0:20:25.760 --> 0:20:28.240