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. You're off to great places. Today
Speaker 1: is your day. Your mountain is waiting, so get up
Speaker 1: and get on your way, doctor Seuss. I don't care
Speaker 1: how old I get. I'm always going to find time
Speaker 1: to play. If you are not having fun, what's the
Speaker 1: point If you aren't sharing a laugh or smile with
Speaker 1: someone every day?
Speaker 2: Catch up? Life is supposed to be fun.
Speaker 1: Never lose sight of the kid in you Today, I
Speaker 1: will play and have fun. Before we get started, I'd
Speaker 1: like to remind everyone to look out for my new show,
Speaker 1: Inside the Black Box. I'll be co hosting with the
Speaker 1: great Joe Morton. We'll be on Crack Network real soon.
Speaker 1: I'll keep you posted. Welcome to the Spirited Actor Podcast
Speaker 1: with me Tracy Moore. Man, Man, Man, you are in
Speaker 1: for an amazing, riveting, phenomenal, every just outstanding adjective I
Speaker 1: can think to describe this human being that I'm about.
Speaker 2: To bring on.
Speaker 1: I'd like to say he's one of my really super
Speaker 1: dear friends. We'll let him say it, but ladies and gentlemen,
Speaker 1: I've been on this journey for quite some time, and
Speaker 1: to see this.
Speaker 2: Man rise to the heights and.
Speaker 1: Raisin bars in this entertainment business, I am proud and
Speaker 1: honored to bring on this show. Producer director extorted Mayor
Speaker 1: mister Roger Bob.
Speaker 3: My own lost track.
Speaker 2: I heard it.
Speaker 3: I was like, Tracy, how you doing.
Speaker 2: Roger, Oh my god, thank you so.
Speaker 3: Much for having me. I appreciate it.
Speaker 2: No, this is history. We need to have you on.
Speaker 1: There's just so so many conversations that we can have,
Speaker 1: and I like the fact that they all evolve around
Speaker 1: actors because you can give them a plethora of just
Speaker 1: tips and diamonds and pearls. So we're going to jump in.
Speaker 1: I want the audience to know. I don't even know
Speaker 1: what year it was, Roger, but I'm sure you do.
Speaker 2: Snipes.
Speaker 3: Was that the first time we met on Snipe?
Speaker 4: First time we met, that was what Nelly Nelly in Philadelphia?
Speaker 3: Yep, it was crazy, yeah, and that Fat Joe.
Speaker 4: Yeah ok right, yeah, yeah, it was crazy. It was
Speaker 4: like a little movie that could. It's one of those
Speaker 4: actually hidden gems. It's actually pretty Yeah.
Speaker 3: But that was.
Speaker 4: We sell Donna. That's right, that's right. I totally forgot
Speaker 4: about that, that's right.
Speaker 3: Yeah. Yeah. So it was just one of those great experiences.
Speaker 3: And I had never.
Speaker 4: Produced a film with an acting coach before on set,
Speaker 4: so I didn't even know. I didn't even know at
Speaker 4: that point, and we're not going to say the year, right,
Speaker 4: it was just it.
Speaker 3: Was a while. I'll say it. I don't even know
Speaker 3: what it was. It was a while ago.
Speaker 4: And you know, I didn't I didn't even know how
Speaker 4: at that point how acting coach functioned on set, because
Speaker 4: it was still a relatively new thing to have acting
Speaker 4: coaches come actually on set at that point. And and uh,
Speaker 4: you know, and it was Nelly's first film, so he
Speaker 4: needed coach.
Speaker 3: I was gonna be real.
Speaker 4: And then but you know, here's Tracy and she came
Speaker 4: on set and she you know, she's just this bright
Speaker 4: bundle energy.
Speaker 3: She came and she you know, she did her thing.
Speaker 4: And I'll be honest, at first, I was like, oh
Speaker 4: my god, it's going to take time.
Speaker 3: We're going to act every take.
Speaker 4: We gotta you know, go in, you know, have a
Speaker 4: conversation and a whole meeting. But you know, the great
Speaker 4: thing about you is that you know production too, so
Speaker 4: you know, time is money. And so yeah, it was
Speaker 4: a great experience when when the first of many with
Speaker 4: you and I it.
Speaker 2: Was so much fun.
Speaker 1: I love the fact that I remember the interview and
Speaker 1: I remember you being in the office, and I remember
Speaker 1: Rick saying we don't know what rapper we have. We're
Speaker 1: just going to get a wrapper and I'm like, okay,
Speaker 1: but I didn't know it's going to be Nelly. And
Speaker 1: in his trailer I saw the blueprint of his place
Speaker 1: that eventually landed on MTV The Cribs. The Cribs, Yeah,
Speaker 1: one of my highlights with him. Let me ask you
Speaker 1: as a as a director, I want to talk to
Speaker 1: you from your and because man Roger, I would say,
Speaker 1: like in the past decade and a half, the talent
Speaker 1: that has come under like like around you and because
Speaker 1: of you, how do you know you have an actor
Speaker 1: in the room or now in the age of self tapes, how.
Speaker 5: Do you know?
Speaker 4: Well, you know, it's actually just a feeling. And here's
Speaker 4: the funny thing. And I'm actually in the middle of
Speaker 4: casting right now for a project in Canada, right, so
Speaker 4: you know it's it's you know, it's just a feeling.
Speaker 4: You actually can't even put a finger on it. But
Speaker 4: it's one of the things that's consistent. It's a person
Speaker 4: who just owns the role. You know, they're not just
Speaker 4: saying the words, they're not auditioning, they're actually becoming that
Speaker 4: person in the audition. Like they're making that commitment even
Speaker 4: during the audition. I'm going to give it my all
Speaker 4: and you know it and you see it, you know,
Speaker 4: and when you see.
Speaker 3: It, you know, it's like boom. And It's funny is.
Speaker 4: We go through casting and people, producers and directors and
Speaker 4: they basically everyone involved. They always get nervous about the
Speaker 4: casting process, you know, and if you have a production
Speaker 4: that you get close to production, you haven't cast it
Speaker 4: and people getting there. I never get nervous because every
Speaker 4: single project I've ever worked on, whoever was supposed to
Speaker 4: get throw got the role, whether that's the day before,
Speaker 4: hours before, at much time which I've done that person
Speaker 4: who ever gets the role, they deserve the role.
Speaker 1: So but do you test that to the fact that
Speaker 1: you come from independent filmmaking correct? Yeah, And I was
Speaker 1: saying earlier that that's the best training that you can get.
Speaker 2: You know. I didn't go to film school. I didn't
Speaker 2: have that luxury.
Speaker 1: But I feel like every project that I've been a
Speaker 1: part of has been a tremendous learning experience.
Speaker 2: And continues to be.
Speaker 3: So.
Speaker 2: Coming out of that world, you know, because you've worked.
Speaker 1: With a lot of unknown actors or aspiring actors, that
Speaker 1: we just didn't know their names at that time, right,
Speaker 1: But how were you able you know now we know,
Speaker 1: But how were you able to convince producers if you found,
Speaker 1: you know, this actor who was dynamic as opposed to
Speaker 1: a working actor who had a name that they were
Speaker 1: pushing for.
Speaker 3: Right. Well, that's the thing about you know, directors and actors.
Speaker 4: You know, they have this bond that I don't even
Speaker 4: think actors really realize because we're in the room fighting
Speaker 4: for you before you even come on on set, you know.
Speaker 4: And so part of a director, you know, half half
Speaker 4: of filmmaking is casting, probably even more so, to be
Speaker 4: quite honest with you, because you know, obviously, if you
Speaker 4: don't cast the right person, you don't get the right performance.
Speaker 4: You basically don't. Look, I can have a dope script
Speaker 4: and I could have beautiful cinematography and everything, but you know,
Speaker 4: if the actors aren't on par, then I don't really
Speaker 4: have a good movie. So you know, fifty percent of
Speaker 4: of you know, filmmaking is truly casting it, I mean
Speaker 4: it truly is. And so you know, it's funny how
Speaker 4: directors have this relationship with actors, and I always call
Speaker 4: it a false relationship because you know, we see your picture, right,
Speaker 4: and then we see your your audition tape, and then
Speaker 4: you might audition you know, in the room for a
Speaker 4: few minutes, but.
Speaker 3: That's about it, right, And then we go back to
Speaker 3: the audition tape.
Speaker 4: Then we look at your headshot, and then we see
Speaker 4: what you've done, and then we might look at other
Speaker 4: things that you've done, right, And so then we almost
Speaker 4: have this relationship with you before you even come on set.
Speaker 4: It's like, Okay, this is my person. You know, I'm
Speaker 4: going to fight for this person. I don't want her,
Speaker 4: I want her. I want her right. And then you
Speaker 4: come on set, and then we make the movie. But
Speaker 4: then after the movie, I spend another six weeks every
Speaker 4: day in the editing room looking at your face, looking
Speaker 4: at your face, looking at your face. And now I've
Speaker 4: spent you know, anywhere from three to four to five
Speaker 4: to six to seven months almost every day looking at
Speaker 4: this person's face. So it's like you almost develop this
Speaker 4: relationship with the actor.
Speaker 3: You know that.
Speaker 4: That and then and the funny thing is you see
Speaker 4: them at the premiere. They haven't seen you in like,
Speaker 4: you know, however, long four or five months when you
Speaker 4: look at them every day you're like hey, they're like, hey,
Speaker 4: how you doing.
Speaker 3: So, you know, there's this there's this weird.
Speaker 4: Relationship between directors and actors that you know, actors, I
Speaker 4: don't even think you realize that, but you know, we're
Speaker 4: always in there and they're fighting for you and and
Speaker 4: it's kind of like when you know, so, you know,
Speaker 4: making a movie obviously.
Speaker 3: It's an expensive process. It's a difficult process.
Speaker 4: It's a long process, and so you want all the
Speaker 4: pieces of the pie to make the pie great.
Speaker 3: And so when you see that actor that you want,
Speaker 3: you know, you got to fight for them. You know,
Speaker 3: that's part of being a director is you know, it's
Speaker 3: just fighting for your vision.
Speaker 4: If you see an actor that truly, you know, encapsulates
Speaker 4: your vision, got to fight for them.
Speaker 1: Well, you know that's that's what I tell the actors.
Speaker 1: The callback is about, is that you like them. You
Speaker 1: just want to make sure you want them right.
Speaker 2: And so even in that.
Speaker 1: Process, there's a relationship that has evaulved because you might
Speaker 1: not remember the actor's name, which is the casting director's
Speaker 1: job to say that, but you have a relationship like
Speaker 1: you know, as soon as the actor this is during
Speaker 1: live auditions, but as soon as the actor will walk.
Speaker 6: Through the door.
Speaker 2: Director is like, hey, you know, and the actor.
Speaker 1: Is kind of like, okay, I know, but you you know,
Speaker 1: repetition and then the idea to wear the same thing
Speaker 1: to the callback that you would wear to the audition.
Speaker 1: All these things connect the dots for you as the director.
Speaker 2: Training Roger like, I don't know about your.
Speaker 1: Experience, but in my experience in teaching and with this
Speaker 1: club house phenomena, you know, been on some in some rooms,
Speaker 1: training is something that is not really discussed, or if it.
Speaker 2: Is, it's like lightly.
Speaker 1: Anthony Matthew is on our show and he gave this
Speaker 1: great analogy. He was like, if you needed surgery, would
Speaker 1: you go to the guy in the strip mall and
Speaker 1: you know doesn't have a free right exactly.
Speaker 2: To study our craft?
Speaker 4: How important is yeah? I mean acting is a muscle.
Speaker 4: It's like everything else. It's a muscle that needs to
Speaker 4: constantly be exercised. And whether you're in front of the
Speaker 4: camera or not, whether they're on a project or not,
Speaker 4: you used to have to constantly exercise that muscle. And obviously,
Speaker 4: you know, actor's life is you know, you work and
Speaker 4: then you don't work, and then you work and then
Speaker 4: you don't work.
Speaker 3: It's important to you.
Speaker 4: If you value yourself as a commodity, as a serious actor,
Speaker 4: to work during those times when you're not working. Should
Speaker 4: I know actors who have gone to a class after set,
Speaker 4: you know, because they just, you know, they.
Speaker 3: Just they just have to do it. They have to
Speaker 3: do it. They have to do it. And the thing
Speaker 3: about it is, and you know this is you know, and.
Speaker 4: I'll use I'll use this analogy with you know, our
Speaker 4: friend Tasha Smith, right, So she's you know, she's to.
Speaker 3: Have an acting class out in La right, and.
Speaker 4: So people would come into the class like I used
Speaker 4: to come into your classes as well, and you know,
Speaker 4: just kind of observe and things like that. This is
Speaker 4: an anecdote about always being on point.
Speaker 3: Right.
Speaker 4: So she had this young man in the class and
Speaker 4: you know, he was kind of killing it. And then
Speaker 4: one of her friends came and visited the class one
Speaker 4: day and noticed this guy. And basically two years later,
Speaker 4: that guy who ended up being Tyler Perry came to
Speaker 4: me who I was. We were about to produce a
Speaker 4: television show, and he was like, you know, I saw
Speaker 4: this guy in this class a couple of years ago.
Speaker 3: We should get him, and I'm like, really, you saw
Speaker 3: a guy in an ad class a.
Speaker 4: Few years ago, you wanted me to cast him in
Speaker 4: this ensemble comedy piece.
Speaker 3: Well that guy was Lance Gross and he had.
Speaker 4: Never done anything, and he got cast in House of
Speaker 4: Pain because Tyler saw him in an acting class acting
Speaker 4: his ass. So I say that to say, you just
Speaker 4: never know, you know, you just never know, So you
Speaker 4: know you should always always, regardless of the situation, whether
Speaker 4: again it's a fifty million dollar movie, a two million
Speaker 4: dollar movie, a half million dollar movie, a student film,
Speaker 4: and acting class, thinking seriously because it's a representation of you.
Speaker 1: And you know, connecting the dots radiance. My daughter, ladies
Speaker 1: and gentlemen went to Howard with Lance did it on
Speaker 1: my couch one day and he's like, how can I
Speaker 1: get ano acting? We're talking about acting. Next thing you know,
Speaker 1: he doesn't afford commercial.
Speaker 2: And then next thing you know, he's gone, like everybody
Speaker 2: knows him.
Speaker 1: So and Roger, because we have these same, these similar experiences,
Speaker 1: how does it feel to you know, see like, well
Speaker 1: you didn't see Lance, but if.
Speaker 2: You were to see someone like in my class.
Speaker 1: I have a laundry list of working actors and then
Speaker 1: to see them, you know, do great work film.
Speaker 4: Or your babies or your babies, you know, and you know,
Speaker 4: and I follow all of them, you know, in terms
Speaker 4: of the trajectory of their career, and it's just amazing
Speaker 4: to see and you just you know, you take pride
Speaker 4: and you take ownership.
Speaker 3: Not only that, but you know, look, this is a
Speaker 3: this is a tough business.
Speaker 4: And you want to work with people who you want
Speaker 4: to work with, you know, because you know, if you're
Speaker 4: going to go to quote unquote war on this movie set,
Speaker 4: you know, you want to go to people that you
Speaker 4: can depend on. You know, people have great personalities, you know,
Speaker 4: once going when the camera is rolling or not. You know,
Speaker 4: people who get it and when I say get it, here's.
Speaker 3: What they had to get that. You know, I personally
Speaker 3: feel like filmmaking is a privilege.
Speaker 4: You know, it's something we get, you know, paid most
Speaker 4: of the time too, you know, to make movies. You know,
Speaker 4: that's an awesome thing, you know, and it really shouldn't
Speaker 4: feel like a job, you know, and I consider it
Speaker 4: a privilege.
Speaker 3: And so you know, with that mind said, you.
Speaker 4: Know, I want people who feel the same way, who
Speaker 4: feel like, wow, this is amazing this is a great thing.
Speaker 3: You do it. I don't want people who just punch
Speaker 3: in as a nine to five, and I want people who.
Speaker 4: Always thinking about the next job or something else, or
Speaker 4: what they didn't get or what you know, all that nonsense.
Speaker 4: I just want people to, you know, realize that this
Speaker 4: is an incredible opportunity what we're doing. You know, we're
Speaker 4: making movies, we're creating content. You know, we're telling stories,
Speaker 4: and you know, it's an awesome and amazing thing that
Speaker 4: not a lot of people get to do. So you know,
Speaker 4: you need to cherish it and take it seriously and
Speaker 4: really want to do it, because, to be honity with you,
Speaker 4: it's a tough business and there's a lot of other
Speaker 4: ways to make money.
Speaker 1: Well, I've been waiting to say this because my whole
Speaker 1: crew knows this, but this is Roger Bob. Without Roger
Speaker 1: Bob inside, which is now inside the black Box, the
Speaker 1: TV show that I recently sold, would not have happened
Speaker 1: because all this is what I remember bringing it to
Speaker 1: Roger Roger like, all right, Chasey, let's do this Manhattan
Speaker 1: studios on thirty fourth Street, looking through studios, talking about
Speaker 1: the guest, and then a gentleman named Tyler Perry called
Speaker 1: you and that was the last I saw with you.
Speaker 3: Roger.
Speaker 2: I was like, no, our show.
Speaker 1: And then you got literally about I want to say,
Speaker 1: around eight years ago when I came down to Atlanta
Speaker 1: to Sea Miles. We went to lunch and you were like,
Speaker 1: you should just do that show, Chasey, you.
Speaker 3: Should just do it.
Speaker 1: And I literally told my friend who's a producer, Cassidy Arkins,
Speaker 1: I believe you know, and Cassidy introduced me a spruce.
Speaker 1: The rest is history and we start filming in April.
Speaker 4: Boom, look at that. And that's the way it happens,
Speaker 4: you know. That's that's the way. It's all about relationships. Yeah,
Speaker 4: it's all about relationships.
Speaker 3: And that's another thing that you actors should know. You know.
Speaker 4: It's it's people talk. You know, people talk, and so
Speaker 4: you know, you want to have good relationship. That's why,
Speaker 4: I mean, you know, you should always be a pleasant,
Speaker 4: good human being anyway, but is even more so because
Speaker 4: you just never know.
Speaker 3: Yeah, you just never know.
Speaker 4: I mean how I even got to Tyler was that
Speaker 4: I was at the then it's called the Acapolco Black
Speaker 4: Film Festival, and I just happened to meet Ruben Cannon,
Speaker 4: who's you know, the cast guru and now incredible producer.
Speaker 4: And you know, we we were talking film, just talking shop,
Speaker 4: and and then we went out mary Way.
Speaker 3: And then at that point I was an assistant director.
Speaker 4: And so then he had gotten together with Tyler, and
Speaker 4: then Tyler was farming his company and then.
Speaker 3: You know, he wanted to do this first movie.
Speaker 4: He wanted to have black crew members and not a
Speaker 4: lot of at that point, they weren't a lot of
Speaker 4: black first AD's Oh I met one at Acapoco.
Speaker 3: Ruben called me.
Speaker 4: I went over there and basically never left.
Speaker 3: Whatever.
Speaker 4: But that's but that's you know, that's how a lot
Speaker 4: of business is done in this industry. You know, it's
Speaker 4: it's just a relationship base, even when it comes to acting,
Speaker 4: even when it comes to casting directors. So again, you know,
Speaker 4: a reason to just always be you know what the
Speaker 4: good thing about this industry is it's cleansing like you're
Speaker 4: really literally only as good as.
Speaker 3: Your last job.
Speaker 2: You know, that's true.
Speaker 4: That's why you just got to keep bringing it in it.
Speaker 4: You know, I constantly have to keep proving myself, you know,
Speaker 4: and I just look at my last project, and I
Speaker 4: just said, Okay, look, I got to do better this
Speaker 4: project and just just try to build a good quality
Speaker 4: of work.
Speaker 2: Yeah. And you know, I mean, even though you left
Speaker 2: and you left me and you left the black Box,
Speaker 2: I will still always credit you for that.
Speaker 1: I was so I mean, it was like watching one
Speaker 1: of my kids, because I was so proud of your work.
Speaker 1: And like, man, I thought when I was at forty
Speaker 1: Acres working with Fight that they produced a lot of
Speaker 1: things that just kept coming out. But the way you
Speaker 1: guys were manufacturing, and man were you guys in terms
Speaker 1: of because the films that I worked with with Carl Weber,
Speaker 1: we did seventeen and twenty one days.
Speaker 2: But did that start.
Speaker 4: I wouldn't say that didn't start with but I tell
Speaker 4: you what did start with us? Like we were the
Speaker 4: total innovators of this of shooting an episode of sitcom
Speaker 4: a day. They would they never did that until we
Speaker 4: start doing it. And I'll tell you why. So he
Speaker 4: said he wanted to do this sitcom. My sitcom experience
Speaker 4: at that point was I worked as a DGA trainee
Speaker 4: on the Second Cosby Show with Dougie Doug Remember that one? Yeah, yes, yeah,
Speaker 4: So wait, was she on the second one?
Speaker 3: I don't think she was on the second one.
Speaker 1: Oh okay, because that's the one where they were like,
Speaker 1: weren't they Did they have a business or something.
Speaker 3: Or something like that.
Speaker 4: I can't remember, but anyway, so you know, I had
Speaker 4: worked on that and that was my limited sitcom experience
Speaker 4: that he wants to do to say, I'm okay, fine,
Speaker 4: And so I went to LA and I had a
Speaker 4: bunch of friends who had sitcoms on the ear and
Speaker 4: they all did like one.
Speaker 3: Episode a week. And I came back I was like, Okay,
Speaker 3: this is how it's done.
Speaker 4: He was like, well, why do we have to do
Speaker 4: it like that? And I really couldn't give him an answer.
Speaker 4: I was like, well, we really don't have to do
Speaker 4: it like that. We can eliminate the process. And so
Speaker 4: we were able to do that, and so we just
Speaker 4: streamlined it down to one episode a day versus one
Speaker 4: episode a week, which is what they do typically do
Speaker 4: in Los Angeles. And the truth is the only reason
Speaker 4: it takes that long is because one you just have
Speaker 4: a whole bunch of network notes, network notes.
Speaker 3: And come back and come back and come back.
Speaker 4: And so we were able to eliminate that process specifically
Speaker 4: on House of Pain because we really didn't have any
Speaker 4: network and us we were able to make the show
Speaker 4: that we wanted to make.
Speaker 3: And so, but the.
Speaker 4: Trick with that is you got to get actors who
Speaker 4: can get book quickly and adapt because you know, he'll
Speaker 4: literally change a whole script in the morning and expect
Speaker 4: us to shoot it the after lunch. So you know,
Speaker 4: I'm not sure what muscle actors use to memorize scripts,
Speaker 4: but to get in to get into and he's doing
Speaker 4: it now still, so to get into that type of world,
Speaker 4: you know, we really need to have that muscle memory
Speaker 4: to be able to memorize scripts and just and just
Speaker 4: roll with the flow.
Speaker 3: You know.
Speaker 1: That's great, that's great training ground for that. So you
Speaker 1: guys would do a table read in the morning and
Speaker 1: then block and then shoot.
Speaker 3: Yep, so here we go.
Speaker 4: So we'll do a table We'll do a table read, right,
Speaker 4: and then we'll block it all before lunch. We'll just
Speaker 4: go to each each scene, we'll rehearse it maybe two
Speaker 4: or three times.
Speaker 3: Next scene, the next scene, next scene, next scene.
Speaker 4: Okay, we go to lunch and then we'll just after
Speaker 4: lunch we just shoot it scene by scene, scene by scene, and.
Speaker 3: After lunch we're done.
Speaker 4: And then at that point we're shooting Monday, Wednesday, and Friday,
Speaker 4: and then on.
Speaker 3: UH on Tuesdays and Thursdays. You know, we work with
Speaker 3: the writers on the script and then go right back
Speaker 3: at it.
Speaker 4: And then at one point we were doing Monday, Wednesday,
Speaker 4: and Thursday we're doing House of Pain, and then Tuesday
Speaker 4: and Thursday we're doing Meet Brown.
Speaker 3: So we were you know, my head was exploding at
Speaker 3: that point. It was an awesome experience.
Speaker 4: And the funny thing is, you know, we've we've had
Speaker 4: seasoned actors as guest stars on the show, and because
Speaker 4: they were so used to this, they actually had trouble
Speaker 4: keeping up.
Speaker 3: You know, their mind was blowing, you know.
Speaker 4: But I feel like that's really the new norm because
Speaker 4: now when I look at sitcoms, they are being shot
Speaker 4: very quickly. It was because of the economics of it.
Speaker 4: So you know, that's another thing that our spirited actors
Speaker 4: have to learn is to really be the off book
Speaker 4: really quickly.
Speaker 1: And what about now with the COVID Because I was
Speaker 1: looking at your.
Speaker 2: On TV dot com, like this was a couple of.
Speaker 1: Months ago, and I was like, twenty twenty was a
Speaker 1: busy year for you at least all these films, right,
Speaker 1: how were you shooting these films?
Speaker 4: Well, the good thing is the films that came out
Speaker 4: in twenty twenty, I had shot mostly in twenty nineteen, right,
Speaker 4: So but you know I've done too. We call it
Speaker 4: post COVID films. They're tough, you know, they're tough and
Speaker 4: they take longer. But ultimately you can't really focus on that.
Speaker 4: You know, you just got to really focus on on
Speaker 4: what you're doing. It's really from the from the producer's side,
Speaker 4: where it's it's very demanding. Like for example, I'm actually
Speaker 4: leaving to go to Ottawa tomorrow and I have to
Speaker 4: quarantine for two weeks, like literally sit in my hotel room,
Speaker 4: not see any locations, not rehearse with any actors. So
Speaker 4: you know, from that standpoint, and then when the actors come,
Speaker 4: it's the same thing.
Speaker 3: They have to, you know, quarantine.
Speaker 4: So it's really a matter of what you do with
Speaker 4: that quarantine time, right, So you.
Speaker 3: Know, you call the you call the actors, you talk.
Speaker 4: You know about the actors, You use zoom things like that,
Speaker 4: so it's basically, you know, the zoom generation at the
Speaker 4: So it's a little different, but you know, like everything
Speaker 4: else in life, you just it is what it is
Speaker 4: and you just get used to it and knock it out.
Speaker 1: I know that when they talked about COVID, they were
Speaker 1: talking about an intimacy coach.
Speaker 2: Is someone that that was correct? Yes, how does that work?
Speaker 3: So that that was actually pre COVID.
Speaker 4: That was more of me to kind of fallout with
Speaker 4: the film industry. So basically, they just want to make
Speaker 4: sure that the actors, whenever they have a love scene
Speaker 4: or a sex scene or any type of intimate scene,
Speaker 4: that it's handled professionally.
Speaker 3: You know, minimal people on.
Speaker 4: The set, that the director is clear about, you know,
Speaker 4: his vision, that there's somebody is there to champion the
Speaker 4: actor if they don't feel comfortable with something, that they
Speaker 4: have somebody to go to and say, hey, I don't
Speaker 4: feel like this. Uh, you know, and you know some
Speaker 4: of them because I mean, if you don't have a
Speaker 4: lot of experience as a director directing love scenes, they're
Speaker 4: actually very helpful because they can tell you, you know, well,
Speaker 4: if you put your arm here, if they.
Speaker 3: Do that is core. So yeah, it's choreo.
Speaker 4: It's like having a dance choreography, except except it's love
Speaker 4: scene choreography. But you know, I find that the actors
Speaker 4: really really do appreciate these intimacy, coordinate and good as
Speaker 4: a producer is just something else that we got to
Speaker 4: pay for. But on the flip side, you know, anything
Speaker 4: you can do to make your actors more comfortable as work,
Speaker 4: work the money.
Speaker 2: So now you are you have your own company.
Speaker 3: But broadcast films, YEP films.
Speaker 1: And you are doing your own thing, like correct, what
Speaker 1: what is it like? Because you know, for a lot
Speaker 1: of people did not hear about Tyler Perry, you know,
Speaker 1: until the films and the television shows came out. But
Speaker 1: you know, there was definitely your core audience and supporters
Speaker 1: about the place.
Speaker 2: That's where I was first introduced.
Speaker 1: And you know, we were on a set even I
Speaker 1: were on barbershop and I was like, oh my god,
Speaker 1: you got to get in touch with that dude.
Speaker 2: I don't know who he is, but he.
Speaker 1: Does these plays right, ye because we used to watch them.
Speaker 1: What and and so many groundbreaking things like you said,
Speaker 1: you know, shooting a signam a day. What's the takeaway
Speaker 1: from the place, like Tyler Perry Studios.
Speaker 3: Quite quite a bit.
Speaker 4: I mean, first of all, I mean, I wouldn't be
Speaker 4: where I am now without that experience. So you know,
Speaker 4: it's just like everything in life, you build on, your
Speaker 4: build on your build on it. But you know, the
Speaker 4: main thing he taught me is this, you got to
Speaker 4: believe in yourself, you know. I mean he put his money,
Speaker 4: he bet on himself, and so the reason why, you know,
Speaker 4: and you know in Vegas they say scared money, don't
Speaker 4: make money. So it's like, you know, he constantly constantly
Speaker 4: bets on himself. And the other thing is, you know,
Speaker 4: he's dedicated to working with and building up a community
Speaker 4: of African American you know, producers, directors, writers, talent and so.
Speaker 4: But the main thing I would just say is one,
Speaker 4: he's a very hard worker. You know, I came in
Speaker 4: with a hard work work ethic, but you know, he
Speaker 4: basically bluted out the water, you know. Oh so so
Speaker 4: you know, I mean my two takeaways is to work
Speaker 4: hard and be prepared to bet on yourself because obviously,
Speaker 4: if you don't believe in yourself, nobody else is gonna
Speaker 4: believe in me.
Speaker 2: That's right.
Speaker 1: And now, like going into this new I mean, you've
Speaker 1: been at your film company for ten years. Yes, it
Speaker 1: is all right, and so the next chapter, what does
Speaker 1: that look like for you? Because you've done it all
Speaker 1: right directing a d R.
Speaker 4: I think I've done every job in the film, honestly,
Speaker 4: I really do, because even when I started out, I
Speaker 4: used to you know, write, I used to produce and
Speaker 4: direct low budget videos videos, and I used to do
Speaker 4: craft service, make up, wardrobe.
Speaker 3: But it's great because you know, it just teaches.
Speaker 4: You the entire gamut of filmmaking and and and to
Speaker 4: be honest with you, you know, as an actor, I
Speaker 4: think when you see you know the actors right now,
Speaker 4: you know, if your actor really has vision and you
Speaker 4: have had some sort of success, the first thing you
Speaker 4: want to get as a production deal so that you
Speaker 4: create your own content, because you know, as an actor,
Speaker 4: you can be the actor who just goes on auditions
Speaker 4: and then you know it has no control over their career,
Speaker 4: or you can be the type of actor who once
Speaker 4: they get to a certain status, like I'm going to
Speaker 4: take control of my career. I'm going to start creating
Speaker 4: opportunities not just for myself, but you know, but for
Speaker 4: other people.
Speaker 3: And that's why I always say, but whose actors? You know,
Speaker 3: if you have downtime, you know, stay on set. You know,
Speaker 3: see how it goes down. You know, you know, see
Speaker 3: what it actually takes. Talk to the producers, ask questions.
Speaker 3: You know what I mean, because those are the actors that, like, I.
Speaker 4: Know, you had Terry vaughn On who now is a
Speaker 4: travel director and yeah, you see all these you know,
Speaker 4: Sally Richardson, you know, an incredible an addition is still acting.
Speaker 4: So it just creates another opportunity for you. Because let's
Speaker 4: say you know, you're an actor, but for whatever reason,
Speaker 4: your career is not going where you want it to be,
Speaker 4: but you still have this love des I had been
Speaker 4: the arch. There's no reason why you can't direct, there's
Speaker 4: no reason why you can't produce, there's no reason why
Speaker 4: you can't write. So it just, you know, creates other opportunities.
Speaker 4: So I always encourage actors when they're on set. You know,
Speaker 4: if you have downtime, man, just hang out on set.
Speaker 4: That's where the action is. Nothing's going on in trailer,
Speaker 4: that's right, The action is on set. You know, that's
Speaker 4: where the money gets made.
Speaker 2: That is it's like a golf course.
Speaker 3: You make the yeah, make the deal exactly exactly listen.
Speaker 1: Roger twenty eight minutes is up. My heart is broken
Speaker 1: because I don't get these opportunities people to spend time
Speaker 1: with Roger.
Speaker 2: Bob, you don't understand my hero.
Speaker 1: But I have to say this what I took away
Speaker 1: from you, Roger when you left, because I really I
Speaker 1: was really sad. You know, it's like my friend is
Speaker 1: gone to Atlanta. It didn't feel like you were coming back.
Speaker 3: And I never did.
Speaker 7: No, you didn't.
Speaker 2: You never did. That's the thing. I'm bar broken.
Speaker 1: But one of the things that you said to me,
Speaker 1: you wanted to direct commercials.
Speaker 2: And I remember you said you are to direct commercials
Speaker 2: and I was like, so, what are you.
Speaker 3: Going to do it?
Speaker 2: You were like, I'm just gonna do it. I'm just
Speaker 2: creating my own commercial.
Speaker 3: And then shoot it.
Speaker 2: And and that's something that.
Speaker 4: That commercial got me other commercials.
Speaker 3: Right. I bet on myself, you know, that's.
Speaker 2: And that's how I was going to bring a full circle.
Speaker 1: So you've done it for me. Yes, you bet on yourself.
Speaker 1: And look at where you are, man, ladies and gentlemen.
Speaker 1: You are so blessed, so blessed to have this amazing,
Speaker 1: dynamic person.
Speaker 2: And I'm your best friend.
Speaker 4: Right, Yes, you are absolutely you. Spruce and doctor Dave, Well, we.
Speaker 1: Are so happy to be your best friend and we're
Speaker 1: happy that you're going to stick around for classic sessions.
Speaker 3: Okay, so we'll be.
Speaker 1: Back with the Spirited act your podcast with me Tracy Moore,
Speaker 1: and we will be back with class and Session. Welcome
Speaker 1: back to the Spirited Actor Podcast with Me Tracy Moore
Speaker 1: and Roger.
Speaker 2: Bob is still here. You are blessed today, So sit back.
Speaker 2: I want you to listen.
Speaker 1: He's gonna give you some more diamonds and jewels, so
Speaker 1: you need to get your treasure test together.
Speaker 2: Okay.
Speaker 1: So we have our Spirited Actor loved, our writer in
Speaker 1: residence leaenn Amado Haleyan, and.
Speaker 2: We have our actors.
Speaker 1: We have Sam Brice was Evan Sam and coming off
Speaker 1: of mute, mister Miles Marrable.
Speaker 7: Hey, how you doing?
Speaker 1: Okay, so you're gonna mute Miles. I'm gonna get off
Speaker 1: and let you guys do your thing. So it's all
Speaker 1: on you, Roger. After they finished the scene, you could
Speaker 1: give them whatever love feedback you.
Speaker 2: Want to give them. Okay, let's do it all right,
Speaker 2: you guys. I'm going to meet.
Speaker 8: Big Blue exterior street corner Harlem day Officer Lamar's post
Speaker 8: across the streets, Lee meet his boys outside the bodega.
Speaker 8: Lee makes a quick sale and dapts his boys goodbye
Speaker 8: when he realizes Officer Lamar watching all along. Unfazed, he
Speaker 8: keeps him moving Lee. Officer Lamar yells out as he
Speaker 8: cuts across the street, meetingly on his way.
Speaker 3: How you been boy?
Speaker 7: Well Bill, I don't you have Let's ship. You couldn't run.
Speaker 9: And you should wash your mouth after I just let
Speaker 9: the ship that I just seen go se let off
Speaker 9: with Dominn.
Speaker 6: Lee proceeds to walk. Officer Lamar follows.
Speaker 5: I don't give a shit about the bag we're seeing.
Speaker 3: What with you?
Speaker 10: I don't ask you to check on me? Yeah, so
Speaker 10: on my shit. I don't get in because I know
Speaker 10: that you're better than what you're doing right now.
Speaker 3: Lee.
Speaker 11: Oh, you think you can hold with me because you've
Speaker 11: seen me grow love.
Speaker 7: Like like you say.
Speaker 9: You don't know shit. I know that you want to
Speaker 9: be on this side, and you let these fools talk
Speaker 9: you out of doing what it is that you really
Speaker 9: wanted to do. I thought you were a leader.
Speaker 6: Lee picks up his pace as he gets under his skin.
Speaker 11: Nah, I ain't following nobody. This is easy for me
Speaker 11: out here. So why can't you just leave me be?
Speaker 11: Because I see you, Lee, and I.
Speaker 7: Care I was you. If you can't so much, why'd
Speaker 7: you let them take many from me? Huh?
Speaker 3: Listen, that wasn't my case, Lee.
Speaker 9: I couldn't do anything about that, but I can do
Speaker 9: something when it comes to you. So stop running from
Speaker 9: me and get what I have the chance.
Speaker 3: Give it a chance.
Speaker 7: Man.
Speaker 12: Look, I'd love to, but your track record ain't the
Speaker 12: best with me. Your words don't mean shit. Help many
Speaker 12: out income for me come see me.
Speaker 6: So, Lamar chuckles to himself.
Speaker 5: You have a lot of lift. You should lose it right.
Speaker 5: Help comes far and few don't take it for granted.
Speaker 8: He looks him and eye and salute him.
Speaker 7: Ah ah holler.
Speaker 6: Lee heads off, leaving office and Lamar visibly frustrated.
Speaker 2: Good joby, guys, job, Yeah, that would be going.
Speaker 3: First of all, who wrote that? What movie is that?
Speaker 3: From your film?
Speaker 2: Call everything?
Speaker 3: Good? Good job, good job.
Speaker 4: There were a couple of times where I felt like
Speaker 4: a dialogue. There was a little space that I feel
Speaker 4: like you guys could have probably jumped on each other
Speaker 4: to make it a little bit more conversational. But other
Speaker 4: than that, Bryce, I'll start with you, Bryce, who's nice.
Speaker 4: You know, love your love, your annunciation, love your addiction.
Speaker 4: I definitely felt, you know, new York Street cop, you know,
Speaker 4: from you. I felt from your performance there that you
Speaker 4: really cared about this guy, you know, you, you know,
Speaker 4: I felt like you were one of those cops who
Speaker 4: you know, uh, trying to make a difference, and that
Speaker 4: came out. Love your tone, tone of your voice, strength,
Speaker 4: a little little vulnerability there.
Speaker 3: So good job, good job on that. Miles my man
Speaker 3: definitely felt Street Streets. I don't know how because I
Speaker 3: know what's up.
Speaker 4: But I definitely felt you know, you know, I felt
Speaker 4: Streets from you. You know, you got a little gruffness
Speaker 4: in your voice, which is which is great, which has
Speaker 4: definitely worked for this particular role.
Speaker 3: Again, just just be aware of the pauses.
Speaker 4: Because I know, you know, when you're acting, you want
Speaker 4: to give the actor, you know, time to do his thing.
Speaker 4: But conversations don't necessarily always work like that, especially something
Speaker 4: like this as it because it built up and built
Speaker 4: up and built up, so I felt like towards the end,
Speaker 4: you guys could have just been a little bit over each.
Speaker 3: Other, so you can make your points.
Speaker 4: But other than that, I felt that I thought it
Speaker 4: was a good job from both both parties.
Speaker 3: And it was a very good audition piece. By the way.
Speaker 1: Wow, yay, give it up for Roger, Bob leading to gentlemen,
Speaker 1: Thank you, Lianne, thank you Sam and Miles. You guys
Speaker 1: did a great job. Roger, you got to come back
Speaker 1: on when finish the Canada uh huh, so that we
Speaker 1: could talk about it, because I've been to your premieeres.
Speaker 4: Yes, yes, I promise you. This is my next film
Speaker 4: that comes out. I'm going to premiere right here and
Speaker 4: talk about it on The Spirited Actor.
Speaker 1: Okay, good, And while you making promises, you know you
Speaker 1: could call me you know my number, I could, I
Speaker 1: could work, I could.
Speaker 3: Work, yep, yep.
Speaker 4: And the time you'll get me, you'll get me Sam
Speaker 4: and Miles's information.
Speaker 13: Yes as well, and and Lisa too. Yes, yes, yes,
Speaker 13: I will get you all.
Speaker 2: Of the information. Roger.
Speaker 1: I can't thank you enough because I do know how
Speaker 1: valuable your time is, even though I complain.
Speaker 2: That I don't get a lot of it, but I.
Speaker 1: Know in your spirit and deepen your heart right here
Speaker 1: in your heart. There is a place that says Tracy. Yes, absolutely,
Speaker 1: ladies and gentleman, I told you, I told you this
Speaker 1: is going to be a riveting, a riveting interview. I
Speaker 1: want you all to put your hands together for a director, actor,
Speaker 1: the actor, director, producer.
Speaker 2: Well maybe maybe I could get you to do something.
Speaker 2: I'm excited because I'm writing.
Speaker 1: We're crazy and I love it. And oh man, you know,
Speaker 1: I got mad love for you. Roger Bob, thank you
Speaker 1: so much for coming on the Spirited Actor Podcast.
Speaker 3: Very welcome, Tracy anytime.
Speaker 2: Thank you everybody giving up for Roger bub and we
Speaker 2: will be back on.
Speaker 1: The Spirited Actor Podcast with me Tracy Moore to give love,
Speaker 1: and now it's time forgive love. Being a grandmother feels
Speaker 1: like a do over. I can teach Sarria all the
Speaker 1: things she needs to grow up to be happy and healthy. However,
Speaker 1: I do make sure that we play in the snow,
Speaker 1: we run in the park, and we eat ice cream
Speaker 1: whenever we get a chance. I love to laugh with
Speaker 1: her and tell jokes. I love to listen to her
Speaker 1: jokes and watch her paint on canvas. I love the
Speaker 1: fun of being her grandmother, and never ever forgetting to play.
Speaker 2: 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.
Speaker 2: We'll be streaming on the Crackle network. I'll keep you posted.
Speaker 1: Thank you for joining us on the Spear. You'it an
Speaker 1: actor podcast with me Tracy Moore. I look forward to
Speaker 1: our next Spirited podcast.
Speaker 2: Thank you.