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 producer 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: a casting director that is powerful. And now it's time
Speaker 1: for meditation of the day. Maybe happiness isn't.
Speaker 2: What you believe, but who you believe.
Speaker 1: Phoebe walker Bridge, I want to talk about happiness being
Speaker 1: the central location of happiness is inside of you.
Speaker 2: It's not in an air men's bag, it's not in.
Speaker 1: A car, it's not in a house, it's not in
Speaker 1: any thing because those things are temporary and those things
Speaker 1: as I watch my eleven year old granddaughter get something
Speaker 1: new and then ten minutes later, it's like it never existed.
Speaker 1: We have to find happiness within ourselves first. It's just
Speaker 1: like they say on the airplane, you have to put
Speaker 1: your oxygen on before you can assist someone else. If
Speaker 1: you don't know what happiness is for you, then you're
Speaker 1: going to spend a great deal of time chasing it
Speaker 1: through people, through things, through circumstances. And that is not
Speaker 1: the journey to happiness. The journey to happiness is knowing
Speaker 1: that inside you you're enough. There's no one out here
Speaker 1: that can be you look like you nothing, and your
Speaker 1: uniqueness is your greatness and it is a contribution to
Speaker 1: the world.
Speaker 2: Whatever you do.
Speaker 1: You are a contribution to the world, and you have
Speaker 1: purpose to live in it. Today I will understand and
Speaker 1: accept my purpose and live it through happiness. Before we
Speaker 1: get started, I'd like to remind everyone to look out
Speaker 1: for my new show, Inside the Black Box. I'll be
Speaker 1: co hosting with the great Joe Morton. We'll be on
Speaker 1: Crackle Network real soon. I'll keep you posted. Welcome to
Speaker 1: the Spirited Actor Podcast with me Tracy Moore.
Speaker 2: You have a double blessing. We have heart too.
Speaker 1: You know her, you know her, award winning actress, writer, producer, overall,
Speaker 1: just great spiritual being. Ladies and gentlemen, Please put your
Speaker 1: hands together for Yvette.
Speaker 2: Hi.
Speaker 3: Tracy, Hi, everybody. It's so good to be back here
Speaker 3: with you again. Thank you for having me back, and
Speaker 3: thank you for that wonderful introduction.
Speaker 1: It is true, you know I told you of part one,
Speaker 1: my favorite actress in the whole wide world. Never ever,
Speaker 1: there's just certain people who are embedded in my brain.
Speaker 1: Like when I think of you, I think of Ken Brockington,
Speaker 1: I think of Rosalind Coleman, I think of just so
Speaker 1: many actresses that, oh, y'all just move my soul when
Speaker 1: I saw you, so Yvette Gangne embedded you, guys, I've
Speaker 1: known her at least twenty five years writing.
Speaker 4: That at least something like that.
Speaker 1: Okay, but Eve is much younger than me, much I
Speaker 1: am an elder in her world.
Speaker 2: I am an elder, so.
Speaker 4: But we look exactly the same.
Speaker 3: That's when I first met you, Ronny aj but a number,
Speaker 3: you know what I mean. It is real, it's real.
Speaker 3: You keep reinventing yourself. So that's keeping the youth, you
Speaker 3: know what I mean.
Speaker 4: So that's what's up.
Speaker 1: And then you get a granddaughter and you just stin't
Speaker 1: have any choice.
Speaker 2: So you know, at eleven, they fourt you. But it's okay.
Speaker 2: I'm learning a lot.
Speaker 4: That's a blessing.
Speaker 1: Absolutely, I say, you know, being a grandmother to me
Speaker 1: is like a do over. And it's like in a
Speaker 1: way that certain things that I saw worked with Radiance
Speaker 1: and Miles I incorporate with Sorayah.
Speaker 2: For instance.
Speaker 1: This is a sidebar, you guys, but this, this is
Speaker 1: how crazy I am and always happened.
Speaker 2: I taught my children through songs.
Speaker 1: Songs were very important to me when I was growing
Speaker 1: up in the late sixties and the seventies, so Earth,
Speaker 1: Wind and Fire. I would say to my daughter, keep
Speaker 1: your head to the sky. We are mighty people. And
Speaker 1: I would say the words to the songs. So when
Speaker 1: I was taking Radiance to Howard Hu, I had Miles
Speaker 1: in the back seat, in his car seat because they're
Speaker 1: twelve years apart, right, And one of the songs I
Speaker 1: used to em bet in Radiance's head was they smile
Speaker 1: in your face all the time. They want to take
Speaker 1: your place, the backstabbers.
Speaker 2: Right. So we're driving and the radio.
Speaker 1: Dun dun dun, dun, dun, dun dun dun dun.
Speaker 2: Du dun dun what they do?
Speaker 1: And Radiance looked at me and said, Mommy, you taught
Speaker 1: me from songs.
Speaker 3: So those are the poets and the philosophers and you know,
Speaker 3: and so of our time. And yeah, they used to
Speaker 3: be and yes, absolutely the.
Speaker 1: Messages Isley Brothers, your positive motivating force within my light?
Speaker 4: What wow? Yes.
Speaker 1: So I'm just saying like, and so I've learned to
Speaker 1: just sort of, you know, crop some of those words
Speaker 1: and adjust them for Soriah so that she doesn't tell
Speaker 1: her mother I'm doing the same thing with her.
Speaker 3: I'm sure she's probably doing some of that, because that's
Speaker 3: that's a good that's.
Speaker 4: A good way to learn and a good way to teach.
Speaker 1: I mean, just words, man, and I just want a
Speaker 1: good segue here talking about words.
Speaker 2: When I was reading your rereading your bio after part one.
Speaker 2: I was like, you know, you guys, in film and TV.
Speaker 1: They break the scripts down to one eighths, right, and
Speaker 1: so I really just did one eighth of your bio.
Speaker 4: Okay, And that's why we called it.
Speaker 1: That's why we haven't part to you guys, because that's gratefully.
Speaker 1: We'll get to two eighths today because she has a
Speaker 1: bio for you, okay. So I want to start the evet.
Speaker 1: I want to start with Kidney and your London experience
Speaker 1: because I always encourage actors to go outside of America
Speaker 1: to shoot. When I was in Amsterdam, Tim Roth and
Speaker 1: Octavia Butler, I mean Octavia Spencer, they had a film
Speaker 1: posters everywhere, but when I came back to New York,
Speaker 1: they didn't even know about the film. So just really
Speaker 1: and you know, I didn't get a chance to see it,
Speaker 1: but it looked like a really solid story.
Speaker 2: So but just encouraging that experience.
Speaker 4: What was that like, you know, for you it was.
Speaker 3: One of the best experiences of my theatrical career to
Speaker 3: go over to London and having admired so many of
Speaker 3: the British actors and television programs and seeing them on stage.
Speaker 4: And in film and on TV.
Speaker 3: I was like, oh my goodness, I'm going to the
Speaker 3: mecca of theater in a lot of ways, because those
Speaker 3: actors are so well trained and get a chance to
Speaker 3: really practice the crack a lot, right, And how they
Speaker 3: transitioned from from theater to TV and film is a
Speaker 3: lesson is to be studied, you know, to see them
Speaker 3: on stage and then to see them Actually mine was
Speaker 3: reversed to see them on camera.
Speaker 4: And then see them on stage. It was amazing experience.
Speaker 3: But my experience we were at the Royal National Theater
Speaker 3: they call it the National Theater, right, and we were
Speaker 3: in and so having my experience in America in theater Broadway,
Speaker 3: off Broadway and professional theater, when I went to London,
Speaker 3: it was pretty much the same thing.
Speaker 4: It just was in a different a different language, and.
Speaker 3: It was an ease about it. It was a gentleness
Speaker 3: of that. It was like, oh, yeah, I've landed in
Speaker 3: the right place. And the whole setup of the National
Speaker 3: Theater is huge.
Speaker 4: It is well funded.
Speaker 3: They have this commissary, amazing bar and like five six
Speaker 3: different theaters, theater going on all the time, and it's
Speaker 3: funded so well by the by the country, you know,
Speaker 3: by the state, by the government. And so the actors
Speaker 3: walking around at the National Theater and performing were actors
Speaker 3: that I would see.
Speaker 4: No, I would see regularly in film and television. So
Speaker 4: when I.
Speaker 3: When I would go to rehearsal and then go to
Speaker 3: the commissary, I'm in there with people who are in
Speaker 3: Harry Potter, you know, James Bond, you know, and all
Speaker 3: these movies that I, you know, seen and grew up seeing,
Speaker 3: you know, And I'm like, wow, this is amazing. And
Speaker 3: they're just very regular, very very down to earth. It's
Speaker 3: just normal to.
Speaker 4: Like be oh, I'm going to do a film and
Speaker 4: now I'm gonna play you know. So so the experience
Speaker 4: was great.
Speaker 3: They treated us really well and we got a chance
Speaker 3: to It was different.
Speaker 4: It was very very different.
Speaker 3: It took a lot of getting used to as far
Speaker 3: as the culture, the food, the lay of the land.
Speaker 4: It was one of the best experiences and the audience,
Speaker 4: the audience.
Speaker 3: How they reacted to us. We were in a huge,
Speaker 3: huge theater, like a thousands, right.
Speaker 2: And this was with kidney ladies and gentlemen just want.
Speaker 4: This now, yeah and Jitney.
Speaker 2: Yeah.
Speaker 3: The play won Best New Play that year, and yeah,
Speaker 3: it was a great experience. And lots of accolades going
Speaker 3: to visit you know, the red graves, and you know,
Speaker 3: the stars came out to see us, and they would
Speaker 3: be at the back door at the stage door, greeting us,
Speaker 3: and it was just wonderful.
Speaker 4: They really really showed us a lot of love.
Speaker 3: And so in America we were used to standing ovations
Speaker 3: right at the current. In the UK, they were very quiet,
Speaker 3: you know, very very quiet and great applause, but listening,
Speaker 3: you know, they listened a lot intently, so it wasn't
Speaker 3: a whole lot of you know, like great applause at
Speaker 3: the end.
Speaker 4: It was great.
Speaker 3: The clause was wonderful, but it wasn't a lot of standovations.
Speaker 3: You got to earn it over there. Wow, they give
Speaker 3: the innovations away now, like okay, right, really deserve a
Speaker 3: standing ovation. Okay, you on that stage. You were on
Speaker 3: that stage, so I guess you get a stand innovation.
Speaker 4: It was just you know what I mean.
Speaker 3: So it was just just the way they reacted to
Speaker 3: the play. We knew that they loved it by the review,
Speaker 3: by the reviews, and by how people showed up, you know,
Speaker 3: at the stage door and greeted us, and how many
Speaker 3: invitations we received and Jitney is a black play rooted
Speaker 3: in the African American experience of the nineteen seventies and
Speaker 3: how economically hard it was.
Speaker 4: For people in the community.
Speaker 3: So we decided as a community in that community they
Speaker 3: would just start their own businesses with with or without
Speaker 3: a license. We're gonna do this, We're gonna make it through.
Speaker 3: We're gonna do what we have to do. And so
Speaker 3: it was very universal in that sense that people, no
Speaker 3: matter where or where they're from, they were able to
Speaker 3: grasp onto the human experience of what the message is
Speaker 3: in that particular play.
Speaker 4: So I just really I just loved London. When I
Speaker 4: was there. They cast me in the Shakespeare play.
Speaker 3: They wanted me to be a part of another part
Speaker 3: of Wow. Yeah. They wanted me to be a part
Speaker 3: another part, a part of another production that they were
Speaker 3: in rehearsal for, and they asked me to join the cast.
Speaker 2: That is awesome, man.
Speaker 4: I was scared.
Speaker 2: Your state was extended after that.
Speaker 4: No, my state.
Speaker 3: No, it was going to be simultaneous at the same time.
Speaker 4: Yeah, Wow yeah yeah.
Speaker 3: And we had understudies, so we got the chance to
Speaker 3: hang out with some of our fellow you know, actors,
Speaker 3: and you know, I met some actors that are now
Speaker 3: stars over there, and it was just, you know, I
Speaker 3: just fell in love. I fell in love over there, honestly,
Speaker 3: I really did. I hope to get back. I hope
Speaker 3: to get back.
Speaker 4: I hope you're going to transition, yeas that transition. Do
Speaker 4: some more work over there. Yeah, I would love it.
Speaker 2: You are, I feel that, I feel that there is.
Speaker 1: I haven't had the experience in London yet, but when
Speaker 1: I was in Amsterdam, there was such a thirst for
Speaker 1: the African American culture because the Dutch don't acknowledge slavery,
Speaker 1: even though they have this replica of the ship in
Speaker 1: the oat in the canal. And the group of African
Speaker 1: Americans that I did because there's a heavy, heavy culture
Speaker 1: of biracial children, and so when I did this workshop, it.
Speaker 2: Was interesting because.
Speaker 1: They wanted to talk more about who they thought they
Speaker 1: were and who I was, because they felt like I
Speaker 1: stood in a place where I knew who I was
Speaker 1: and living in America and being black.
Speaker 2: But for them, they don't.
Speaker 1: Know who they are because they're not It's not so
Speaker 1: much they're not allowed, it's just not discussed and the
Speaker 1: identity right and then the process. I'm saying to you
Speaker 1: because I don't know culturally what it's like in London,
Speaker 1: but they have a system in Amsterdam. If you're an actor,
Speaker 1: it's like you have to register, you have to you know,
Speaker 1: constantly show proof of that you are pursuing this as
Speaker 1: a career. It's a whole government thing that's involved in
Speaker 1: them getting like we have sag after they have something
Speaker 1: else and to get that something else, there's a whole process.
Speaker 1: It's a business because that was their plant, is that
Speaker 1: there are no opportunities to them, Like they can't go
Speaker 1: for white rose kind of because they're not really white.
Speaker 1: They can't go for black roles because they're not really black.
Speaker 1: So where do they fit in? And the diaster over there?
Speaker 3: Yes, I watch all kinds of content and from Sweden, Norway, Iceland, Amsterdam,
Speaker 3: uh and that whole Nordic section of the world. I
Speaker 3: don't know what it is, maybe about the environment, but
Speaker 3: the debt well, I mean Ipsen you know, the playwright
Speaker 3: Ibsen you know, and and so so I'm reminded of
Speaker 3: how heavy and deep there, Uh, the plays are, the
Speaker 3: literature as well as watching these actors and the stories
Speaker 3: that are coming out of those countries and that area
Speaker 3: are so amazingly deep and layered, right, I just I
Speaker 3: connect to it. I just connect to it, And I
Speaker 3: really do I connect to their work.
Speaker 4: No, you do.
Speaker 3: I connect to their work just as a as a fan,
Speaker 3: right and as an actor. And I'm like, oh wow,
Speaker 3: and it makes me want to do that and makes
Speaker 3: me want to be a part of it, the same
Speaker 3: way that I felt when I connected to August Wilson.
Speaker 3: And so watching them and to your question, to your point,
Speaker 3: I do see that many of the actors who are
Speaker 3: non white are often are often they look mixed race, right,
Speaker 3: Yet yet the quality of their work and their relationship
Speaker 3: to the other actors and with their positions and jobs
Speaker 3: are and their characters are all on the same level.
Speaker 4: I don't know how to explain it. I just feel
Speaker 4: like it's great.
Speaker 3: Yeah, yeah, But you do see in the casting what
Speaker 3: I've seen, not that there's that many though, it's not
Speaker 3: that many mixed race or black or African people cast
Speaker 3: in those in those television shows or films that I've watched,
Speaker 3: but they're there and they're often mixed.
Speaker 4: So that's an interesting you know. I mean, it's the same.
Speaker 3: Evolution of what we went through right here with our
Speaker 3: casting and things, you know, like the light in the
Speaker 3: earlier days, the lighter you are, the more opportunities you know,
Speaker 3: people actors.
Speaker 4: So yeah, and that's going on.
Speaker 1: Still transitioning today. I mean, I think it's great. You know,
Speaker 1: I've come from a place of black white other in
Speaker 1: the late eighties to ethnically ambiguous you know, so there
Speaker 1: is there has been, or I remember I was doing
Speaker 1: a commercial with Spike, a soft sheet commercial, and they
Speaker 1: had a hair scientist and their job was to go
Speaker 1: through the women's hair to make sure they didn't have
Speaker 1: any weaves extensions because they wanted women with natural hair.
Speaker 2: Now, mind you, I had locks at the.
Speaker 1: Time, and they still bought hair sheets to show me
Speaker 1: what natural hair were black natural hair work.
Speaker 2: Wow, that was interesting.
Speaker 4: Yeah.
Speaker 3: Yeah, So we just went through like two questions and
Speaker 3: we could go on and on and on about both
Speaker 3: of those subjects. But I have a lot more to
Speaker 3: say about about process that captain process.
Speaker 4: Right.
Speaker 1: Let me say this because what I wanted to say,
Speaker 1: I did want to talk about New Amsterdam, but prior
Speaker 1: to that, I did because I don't know if you
Speaker 1: work with Darnelle Martin.
Speaker 2: Yes, Okay, so that's my girl. Oh my god.
Speaker 4: Yes, you love working with her? What loved working with her?
Speaker 2: Well, let's talk about her.
Speaker 3: Me.
Speaker 1: Let's talk about her, because what I wanted to say
Speaker 1: is that I wanted you to talk about what you.
Speaker 2: Didn't get a chance to talk about.
Speaker 1: I wanted to give you the floor before twenty eight
Speaker 1: minutes flies by us.
Speaker 2: So let's talk about New Amster. Damn you guys.
Speaker 1: On New Amsterdam event played Nurse Lynn Weber and she
Speaker 1: worked with one of my dear friends, my sister Darnelle Martin,
Speaker 1: directed writer Dannielle Martin.
Speaker 4: Yes, I did. So.
Speaker 3: That was my very first pilot that I ever booked
Speaker 3: New Amsterdam and I was in the pilot and then
Speaker 3: I was in the series for all five years and
Speaker 3: I had a recurring role of Nurse Linda Weber.
Speaker 4: And I worked with all of the.
Speaker 3: You know, the the cast and in various scenes.
Speaker 4: And I worked with several directors.
Speaker 3: In television, you will work with several a different director
Speaker 3: every you know episode.
Speaker 4: It's very fast paced and some directors.
Speaker 3: Have this quality uh being able to see everybody on set,
Speaker 3: and especially well Darnell was amazing to work with and
Speaker 3: it was the episode where I did not have a
Speaker 3: lot right and a lot of dialogue, but I was
Speaker 3: there in several of the scenes of major pivotal scenes,
Speaker 3: dramatic scenes, scenes that needed the actors to really bring it.
Speaker 3: And the series regulars they always bring it right. And
Speaker 3: they I love watching them because they'll be in conversation
Speaker 3: with you one second and in the next sect when
Speaker 3: the camera is rolling, they take control over their instrument
Speaker 3: and over everything that they're doing, and I'm like, this
Speaker 3: is so good to watch, even as a student of
Speaker 3: you know, going from theater to television. Uh, there is
Speaker 3: a transition, like there's a different style you know, of
Speaker 3: of working and in television it's fast paced and you
Speaker 3: have to be able.
Speaker 4: To bring it. Darnell is an artist.
Speaker 3: She is a so smart and knows what she wants
Speaker 3: and knows how to control that set.
Speaker 4: She's a black woman controlling this set.
Speaker 3: All of the most of the U the crew is
Speaker 3: white and male, most of them and uh, but they
Speaker 3: but Darnell had the momentum of creating the scenes and
Speaker 3: giving the scenes what they needed and they were so
Speaker 3: required such a depth in the motion from the actor.
Speaker 3: She kept going, she kept going, You know, take after
Speaker 3: take after take until she got what she wanted, and
Speaker 3: she really pushed the actor. It wasn't like, okay, do
Speaker 3: it again? Can you do it again? And he's a
Speaker 3: little bit. She was in there with the actor, working
Speaker 3: with the actor, and this actor was a guest star
Speaker 3: for that episode, and she was having a baby. Wow,
Speaker 3: she was having a baby undertre streadful circumstances, and Darnelle
Speaker 3: needed the emotion to be at a certain level.
Speaker 4: And until she got it, she kept going and so work.
Speaker 3: But she saw me, and I felt very comfortable and
Speaker 3: just being in the room and in the space with her.
Speaker 3: She saw me, and she kept seeing me, and she
Speaker 3: looked at me, and I had a chance to, you know,
Speaker 3: tell her how much I admired her work.
Speaker 4: And she was very appreciative, and she even gave me
Speaker 4: some words of advice. You know.
Speaker 3: At that time, I'm like, I'll take you. I'll take it,
Speaker 3: you know. So I actually was in a meeting with her.
Speaker 3: She was in a meeting with some executives, and I
Speaker 3: was in that meeting with her, not with her, but
Speaker 3: as part of the meeting, and she was actually pitching something.
Speaker 3: So I got a chance to hear her in a
Speaker 3: different light and see her in a different light. And
Speaker 3: I was in a different capacity at that time as well,
Speaker 3: and I'm walking in the room like I'm like, oh
Speaker 3: my god, I can't believe I'm in this room with
Speaker 3: Thank you guy for putting me in this room. But
Speaker 3: with her, I'm like a fangirl you know.
Speaker 4: Now and remember me and we work together. No, that's
Speaker 4: what I do.
Speaker 2: I love I love her. I've known her since. I
Speaker 2: like it like that.
Speaker 1: That's when I met her and she was folded brass
Speaker 1: then and I was like this one here. And then
Speaker 1: when I called her and asked her to do the
Speaker 1: first season of Inside the Black Box, she was like
Speaker 1: yes because I had just spoken her about a conversation out.
Speaker 2: In LA and what she had to deal with, you know, because.
Speaker 1: Appearance wise, you know, and she said this on the show,
Speaker 1: she does not look African American, you guys. She has
Speaker 1: blonde hair, blue eyes, but she said I'm black. Because
Speaker 1: one of my executives was like really, like, I'm like, okay,
Speaker 1: she's not walking around front team like what are you
Speaker 1: talking about? So you know, and just a power I
Speaker 1: want to ask you this because this is super important
Speaker 1: for actors to know because you have done episodic Okay.
Speaker 1: I have several friends who direct episodics, and after COVID
Speaker 1: they all said to me that actors.
Speaker 2: Are getting one take, maybe two takes.
Speaker 1: Is that your experience has that been because then my
Speaker 1: thing to actors is that you have to put your
Speaker 1: toenail in take one. I say to actors, you should
Speaker 1: have at least five to seven different choices to be
Speaker 1: in that scene because you don't know what's coming at you, director,
Speaker 1: co star, whatever.
Speaker 4: But I'm prepared, Oh my goodness. Preparation is you know, preparation.
Speaker 4: I was reading something the other day.
Speaker 3: How you prepare is how you're going to show up
Speaker 3: as an actor. And if you put the time and
Speaker 3: effort and prepare smartly and know how to understand the
Speaker 3: script the text, break it down to where you know
Speaker 3: what your role is, then you can go on the
Speaker 3: set and be as free as you possibly can be.
Speaker 3: So it's it's I think that word preparation is vital
Speaker 3: to an actor. Now sometimes if you have my experience,
Speaker 3: if you have like five lines or less or one
Speaker 3: or two lines, it's not that hard to do right.
Speaker 3: And and so showing up with having to say one
Speaker 3: line or two lines. It's about relaxation and knowing that
Speaker 3: even though you may have one or two lines, you
Speaker 3: work with these people in this environment, in this script,
Speaker 3: whatever the made up.
Speaker 4: World is every day.
Speaker 3: So you know, it's just it's it's sometimes they want
Speaker 3: you to throw the line away, you know, sometimes it's
Speaker 3: In my case, it was a medical show, so there
Speaker 3: was medical jargon. So you have to make sure say
Speaker 3: the word that you know this word, you live this word.
Speaker 4: And I'm just remind.
Speaker 3: Right now all the technical people and the real nurses
Speaker 3: they had on set. I was actually they actually one
Speaker 3: of my episodes they had a real nurse audition.
Speaker 2: Wow.
Speaker 1: Yeah, I was like, well, on New York Undercover, we
Speaker 1: did the same thing. On New York Undercover, we had
Speaker 1: real cops nurses emt you know, off to the side.
Speaker 1: Because and that's another thing that's a great point. Even
Speaker 1: we got to bring that up because one of the
Speaker 1: things that I stress with actors is reading.
Speaker 2: You have to be able to read right, and you.
Speaker 1: Read every day aloud because not everybody writes how you speak,
Speaker 1: and you have to get used to other people's words
Speaker 1: and finding that comfort right. So in in something like
Speaker 1: you know when you said you know a throwaway or
Speaker 1: you know, you get that line and you're in the scene.
Speaker 2: Let's say you have one line and you're in the
Speaker 2: scene with the.
Speaker 4: Star, right, yeah, at a moment.
Speaker 1: Yes, So even if they don't have even if it's
Speaker 1: like Messenger twenty five, you know, I'm hungry and this
Speaker 1: is your last delivery and you just want to get
Speaker 1: out of there, right, you still want to build that
Speaker 1: character right and do that character breakdown and understanding all
Speaker 1: of that to be able to be in that line
Speaker 1: and give that line way.
Speaker 3: Yes, especially if you're an actor who is just starting out,
Speaker 3: an actor with twenty five years experience has a different ability.
Speaker 4: The experience has a way.
Speaker 3: Of teaching you to just show up and always be prepared,
Speaker 3: and you show up as you because that's what they want.
Speaker 3: They want you, right right, I want you and in
Speaker 3: film and TV especially, you know, and sometimes you just
Speaker 3: don't have that time to prepare. So the the truer
Speaker 3: to yourself you are and how you would react and
Speaker 3: say something is is because that's the most honest. Yes,
Speaker 3: when you don't have a lot of time to prepare,
Speaker 3: when you only have one line, but you definitely need
Speaker 3: to read the whole script and know your role, your
Speaker 3: your how your job, what your job is in this
Speaker 3: particular episode, because your one line might the story might
Speaker 3: pivot on your one line. The information that you bring
Speaker 3: might be important to the stars next uh, next, you know,
Speaker 3: next beat so or next moment or to the story.
Speaker 3: The writer wrote that line for a reason, right, So
Speaker 3: the preparation part for one line is going to be
Speaker 3: different than the preparation for uh for if you have
Speaker 3: you know, five scenes, it's going to be different, you know,
Speaker 3: So it's going to take a lot more preparation. But
Speaker 3: it is important to know who you are in that scene,
Speaker 3: what your job is, and to be able to.
Speaker 4: Deliver that line. And yes, if the director says can
Speaker 4: you do it this way.
Speaker 3: You have to be able to adjust. Can you do
Speaker 3: it another way? You have to be able to say, okay,
Speaker 3: I can adjust to that. And also it's it's uh,
Speaker 3: I say, don't be afraid.
Speaker 4: To ask questions if you don't understand, you.
Speaker 3: Know, and the environment, depending on how the director is
Speaker 3: and how the environment is set up, the hierarchy, the
Speaker 3: temperature on the set, you know, if it's okay to
Speaker 3: ask ask questions to all of that. You a is
Speaker 3: what an actor is negotiating when you you know, you're
Speaker 3: always negotiating relationships and your position and what the hierarchy is,
Speaker 3: and so all those things can be swirling through your
Speaker 3: mind when you're on set, right, But if you're zoned
Speaker 3: into your character, and you're zoned into your lines and
Speaker 3: what you're there for, then it's all that noise will
Speaker 3: go away, you know, as soon as because you know,
Speaker 3: I remember that when the camera started rolling, it was like, Okay,
Speaker 3: I'm nurseling the weber.
Speaker 4: You know, I'm.
Speaker 3: I'm an emergent, I'm an emergency room nurse, Like I
Speaker 3: am important in this in this thing, right, and you
Speaker 3: remember one of the stars came came up to me
Speaker 3: and Freema and a beautiful person and spirit and she's
Speaker 3: from the UK and she's like, I love your work.
Speaker 4: I was like, I love your what I'm like, He's like,
Speaker 4: I love your word.
Speaker 3: And they were very kind often, but then they have
Speaker 3: things on their minds, right, you have your.
Speaker 4: One line, your two lines of five lines.
Speaker 3: They got so much more, right, Yeah, and uh, and
Speaker 3: I watched I had a lot of scenes with Janet
Speaker 3: and Janet would say, I love you she's from the
Speaker 3: UK as well, I love I love your hair, and
Speaker 3: Ryan echoed, he was just the most fun.
Speaker 1: Wow, he looks fun, he looks he just looks like
Speaker 1: he's a character off the camera.
Speaker 3: Yeah, he came up through the ranks and you could
Speaker 3: tell his experience gave him, you know, a down to
Speaker 3: earth quality with people that he wanted to make people
Speaker 3: feel welcomed on the.
Speaker 4: Set and that's how he made me feel. I love that.
Speaker 4: I just loved working on New Amsterdam. Honey. I'm like,
Speaker 4: can y'all give me a little bit more please?
Speaker 2: Yeah.
Speaker 1: Yeah, there's another series I'm putting out in the universe
Speaker 1: that you will have a content will. They will offer
Speaker 1: you a contract, you will be one of the key
Speaker 1: players and it'll be in a place convenient for you. Yes,
Speaker 1: I put that out in the universe for Evan.
Speaker 5: You had.
Speaker 2: Of course, the time flew away when I asked no
Speaker 2: worrying about it.
Speaker 1: Yes, it has, but you gave the advice. I was
Speaker 1: going to ask you that and you gave some advice.
Speaker 1: But you're still here. We're not moving you guys.
Speaker 2: I'm going to.
Speaker 1: Bring Elsa Lathan, who's the co executive producer of the
Speaker 1: Spirited Actor podcast, and she's.
Speaker 2: Going to bring on two actors who have questions for you.
Speaker 4: Okay from here?
Speaker 5: Yes, Hello, that was to hear the on set experience
Speaker 5: was wonderful. Thank you so much you wel So today
Speaker 5: we have two of our Spirited actors. We have miss
Speaker 5: Alexa Butler, Alexa, you can come on him. And we
Speaker 5: have mister Randall Holloway Randall, Hi, Alexi ya he.
Speaker 2: Hello, Hi Randall.
Speaker 1: Wow you feel you feel so I feel like a
Speaker 1: mind commercial with you right now.
Speaker 2: Randall, you know, like you know beautiful.
Speaker 5: So since Randall is on RANDO, you can ask your
Speaker 5: question first.
Speaker 6: Yes, First, thank you Tracy for just you know, allowing
Speaker 6: this opportunity for us. My question to you you that is,
Speaker 6: I just want to know about your process as an artist,
Speaker 6: as an actor.
Speaker 2: What was one of your most challenging roles that you portrayed.
Speaker 6: What was your process to become that character, and what
Speaker 6: was your process to get out of that character?
Speaker 2: I think that that's very important.
Speaker 3: Yeah, thank you for your question. And I process process, process,
Speaker 3: and that is one of the things that I love
Speaker 3: about preparing for a role is the process and again
Speaker 3: process for film is different from process for the stage.
Speaker 4: Process. For film, you are spending a lot more time
Speaker 4: alone in your process right before the camera's role.
Speaker 3: You need to get those eight twelve three months, you know,
Speaker 3: four weeks in your own work process right learning your
Speaker 3: line so that you can forget them, you know, learning
Speaker 3: as much about your character that you can to show
Speaker 3: up as character. The thing is is that you don't
Speaker 3: always get that time with film and TV. It's just
Speaker 3: the reality of it. With theater, you have a lot
Speaker 3: more time to do research, to do script analysis, which
Speaker 3: is very important to get everything out of the script
Speaker 3: that talks about your character, everything that's said about your character,
Speaker 3: and then create your whole world and your moments before
Speaker 3: you start to act, before you open your mouth, before
Speaker 3: you say anything, know where and why and where you're
Speaker 3: coming from, to be able to respond to who you're
Speaker 3: talking to and what and always I look at scenes, well,
Speaker 3: right now, I'm auditioning for a lot of television right
Speaker 3: and it's important to still bring to the table the
Speaker 3: actor experience of action. What I want, what I need,
Speaker 3: whom I'm talking to and what do I make them feel?
Speaker 3: And so I feel like the preparation has uh It's
Speaker 3: like it's like the duck. You see the duck right
Speaker 3: swimming and look so beautiful, But underneath those feed of working,
Speaker 3: those feed of working, and so it's kind of like that.
Speaker 4: It's like, you do a lot of preparation. People don't
Speaker 4: see what you what you're doing. You just show up
Speaker 4: ready to go.
Speaker 3: So I don't know if I answered your question, but
Speaker 3: that's some of that's some of, you know, the preparation.
Speaker 3: I do a lot of reading, you know, I will
Speaker 3: you know, research, go online, find out who i'm you know,
Speaker 3: things that may help me to let you on to
Speaker 3: the character.
Speaker 4: Things like that, you know.
Speaker 3: But television sometimes you just got to make choices like that.
Speaker 4: You have to be like, Okay, this is what it is, right, excellent.
Speaker 1: I mean, I'm glad you asked that, Randall, because it
Speaker 1: answered it's it was something that I wanted her to
Speaker 1: talk about.
Speaker 2: So that's great, okay, Elsa.
Speaker 5: Thanks you awesome, awesome. So Alexa you are next up.
Speaker 5: What's your question? Hello?
Speaker 1: How are you?
Speaker 2: Thank you for having us and thank you for being here.
Speaker 2: What excites you most about producing your own work?
Speaker 4: The future, the moment, the present.
Speaker 3: That's where I'm in right now, and what excites me
Speaker 3: is the control, the power, the ability.
Speaker 4: To make something that comes out of me that has
Speaker 4: not been.
Speaker 3: Seen before, and that tells a story that has, you know,
Speaker 3: interesting characters that come.
Speaker 4: From my lived experiences. So what makes me? What makes me?
Speaker 3: I'm just excited to produce my own work. I'm excited
Speaker 3: to write it. I don't have to worry about how
Speaker 3: I show up.
Speaker 4: I get it on my laptop.
Speaker 3: I'm with my writing partner, were chopping it up. It
Speaker 3: doesn't matter how I look, you know, I can just
Speaker 3: like create and write. And then what's coming out of
Speaker 3: me though, is like surprising me. The creativity like it
Speaker 3: all because when I'm writing, when I'm creating my own work,
Speaker 3: I'm actually doing everything. I'm acting because I'm I'm creating dialogue,
Speaker 3: I'm I'm directing because now and when I see how
Speaker 3: my I want my characters to move. So I'm writing
Speaker 3: from all of those experiences. I'm putting it all into
Speaker 3: my characters and all into the stories onto the page.
Speaker 3: So when an actor and a director look at my script, they're.
Speaker 4: Gonna get all of that.
Speaker 3: They're gonna get an actor and a character who's motivated,
Speaker 3: a character who has needs.
Speaker 4: You know, a character who wants something, a.
Speaker 3: Character who's feeling, and they're gonna be able to see
Speaker 3: the movement of that character from the beginning, the middle,
Speaker 3: the end, and all the confusion in between.
Speaker 4: So I love your.
Speaker 3: Question because I'm excited about that part of it, you know,
Speaker 3: And it's been a journey.
Speaker 4: It's been a journey. It's been a journey.
Speaker 1: But when you that's such a great question, Alexa, because
Speaker 1: when you're in control of your stuff. I was talking
Speaker 1: to somebody yesterday who invested a substantial amount.
Speaker 2: Of money in their film.
Speaker 1: But when you do it, that's when this you got
Speaker 1: to take a chance, you got to take a risk.
Speaker 2: I'm not saying this is for everybody, but producing this
Speaker 2: and doing this on your own put you and the
Speaker 2: power seat and it's your work. You got the masters.
Speaker 2: Is that?
Speaker 3: Is that where you see yourself, Alexa, being a person
Speaker 3: who creates work of content, writing, directing, maybe writing.
Speaker 7: I don't know about everything else because it's so much
Speaker 7: and I tend to get fixated, but I admire people
Speaker 7: who do.
Speaker 3: Okay well writing about yeah yeah it began personally thinks.
Speaker 1: You should do a one woman show. That's just in
Speaker 1: my opinion. I think there's a one woman showing her
Speaker 1: I do.
Speaker 5: I do.
Speaker 1: I think that the way as an actress. The thing
Speaker 1: that I love about watching her work is that she
Speaker 1: allows her opinion to stay in her character. She's her
Speaker 1: characters are very opinionated in their own individual way.
Speaker 2: And I think that, you know, like when.
Speaker 1: You see like that's, you know, you're able to go
Speaker 1: into the character and allegedly get in the mind of
Speaker 1: the character. You know, I feel like you really know
Speaker 1: that character. But you know, a lot of people don't
Speaker 1: think about that. And the stance with Randall. Randall has
Speaker 1: a stance that is just un unbelievable, unbelievable, like the
Speaker 1: power I was telling them on Saturday, the power in
Speaker 1: a stance.
Speaker 4: Presence, what presence.
Speaker 2: Both of them, both of the presents next generations.
Speaker 4: That's all I got to say.
Speaker 3: Beautiful, Well, congratulations of both of you guys, and I
Speaker 3: would definitely encourage you to continue writing and you know,
Speaker 3: keeping up the mindset of as an actor. Yes, but
Speaker 3: then there's so much more that actors can do right.
Speaker 3: Actors usually are the ones who know best in a room. Now,
Speaker 3: don't tell nobody I said this, but actors are usually
Speaker 3: the ones who know best because we're always researching and
Speaker 3: observing and taking the temperature of this one and that one,
Speaker 3: and the story is like, oh, they should do this
Speaker 3: or they should do that. But however, that's that's above
Speaker 3: our pay grade if you're just an actor, right. So
Speaker 3: sometimes in the discussion in a room in a rehearsal process, yes,
Speaker 3: the director, if they're smart, wants to hear from the
Speaker 3: actor and what the actor is thinking and about the process,
Speaker 3: you know. But I have been in rooms with actors
Speaker 3: and we'll chop it up and we really usually do
Speaker 3: know best, right, So.
Speaker 1: I agree, And I have to say that directors have
Speaker 1: ciphered off ideas, writers have ciphered off ideas in live
Speaker 1: auditions that they've seen and incorporated in the film or
Speaker 1: TV show. And that's coming from you, because I agree nine.
Speaker 1: I would say seventy percent of the directors don't know
Speaker 1: what they want until you walk in the room where
Speaker 1: your submission stops them in their tracks. So it really
Speaker 1: is that's why you guys have the power. Because there's
Speaker 1: delete liquid paper. I don't know if that's around, but
Speaker 1: you know any erasers, changes happen all the.
Speaker 3: Time, and we could talk a lot about power as
Speaker 3: well as an actor. Where is an actor's power in
Speaker 3: the industry today?
Speaker 5: Right?
Speaker 3: And that's why I'm creating my own content and writing. Yeah,
Speaker 3: because I have been in positions where I have been
Speaker 3: that person in the room who knew better but or
Speaker 3: best and wasn't allowed the voice or the power to
Speaker 3: be able to And I put it in my performance.
Speaker 3: And yes, a lot of stuff that it was in
Speaker 3: my performance ended up on somebody's page and some director
Speaker 3: would have gotten credit for it.
Speaker 4: So yeah, you.
Speaker 3: Gotta have a tough skin. You got to develop it.
Speaker 3: You don't have it, you know, and stay all been
Speaker 3: pretty at the same time, like who does that?
Speaker 4: Nobody?
Speaker 2: But right, I will tell you I learned.
Speaker 1: Thank you guys so much for your great questions. Alexa
Speaker 1: and Randall, thank you so much. Thank you Elsa for
Speaker 1: putting them together. But I do want to say, in
Speaker 1: terms of your power, you do have to know who
Speaker 1: you are. The thing that I learned the most important
Speaker 1: lesson is you have to choose your battle. So you
Speaker 1: have to know don't take your baby out there and
Speaker 1: you were non negotiable on your baby. That's not going
Speaker 1: to be a good look for you. You've got to
Speaker 1: know what you're willing to fight for and what you're
Speaker 1: willing to negotiate before. Okay, all right, when we come
Speaker 1: back on the Spirited Actor Podcast with me Tracy Moore,
Speaker 1: evet Ganie is not going anywhere. She's going to be
Speaker 1: here for class and sessions. So sit back lasting session.
Speaker 1: Welcome back to the Spirited Actor Podcast with me Tracy
Speaker 1: Moore and actress, producer, writer, overall creative being. Evet Gane
Speaker 1: is still with us and teacher. She's a teacher as well.
Speaker 1: Coach guys, we're going to give your information as well.
Speaker 1: So coming up now, you guys.
Speaker 2: We have class and session and so Elsa is going
Speaker 2: to introduce the.
Speaker 1: Actors and the scene and then afterwards Evett is going
Speaker 1: to give them some nuggets because she's been dropping some gems.
Speaker 1: So I hope you have your treasure chest ready, Nelsa.
Speaker 5: Bags full bags fuld. Thank you. So today in class
Speaker 5: in session we have back Miss Alexa Butler. Welcome to
Speaker 5: class and session. Alexa, thank you, thanks you g habving me.
Speaker 5: And we have mister Randall Holloway. Welcome to class and session.
Speaker 2: Randall, thank you thanks for having me as well.
Speaker 5: Yeah, he so today's scene is The Good Doctor, written
Speaker 5: by Reggie Pittman. Interior hospital room, late night, Grayson rushes
Speaker 5: into the hospital room where his wife is lying unconscious.
Speaker 5: A team of nurses rush in and begin to roll
Speaker 5: her into the hallway to take her to surgery. Grayson
Speaker 5: grabs the doctor as she is about to run past
Speaker 5: the doctor. Julia is the cousin of the patient and
Speaker 5: knows Grayson.
Speaker 2: Well, wait, Julia, where are you taking it? She was
Speaker 2: fine last night.
Speaker 5: Philia rips her arm away.
Speaker 2: She has a slow brain bleed. Grason. It just appeared
Speaker 2: on our skins an hour ago. What how could you
Speaker 2: guys miss something like this? Really?
Speaker 7: How do you drive the recklessly down the country road
Speaker 7: with no shoulder and flipped the car, almost killing my cousin?
Speaker 2: Okay, okay, listen, I'm sorry.
Speaker 3: Uh?
Speaker 2: How bad?
Speaker 1: Is it?
Speaker 2: Pretty bad? The bleed was caught late, and it's in
Speaker 2: her prefrontal cortex.
Speaker 7: Those will affect her cognitive skills, personality, and behavior.
Speaker 5: Rayson throws his hands up in anger.
Speaker 2: Rayson listened to me, she's forty three.
Speaker 7: Her brain doesn't have the same healing faculties as it
Speaker 7: did when she was young.
Speaker 2: She'll be lucky if she makes it another year without
Speaker 2: developing dementia? Are something worse?
Speaker 4: Oh my god?
Speaker 2: Are you serious? All right? What are we gonna do?
Speaker 2: What will surgery do? Honestie Grayson? Nothing.
Speaker 7: The most painless thing for her would be too and
Speaker 7: do some medical coma the past.
Speaker 6: No, Julia, please, you have to try something also into that.
Speaker 2: Unethical, Let's do it. This is what's best for her.
Speaker 6: No, no, Julia, no, no, no, I don't care.
Speaker 2: You have to try something.
Speaker 3: Save up, stay, Julia, save her.
Speaker 5: Julia gets into the room and while the assistants are busy,
Speaker 5: she takes a heavy dose of anesthesia and injects it
Speaker 5: into the patient's IV. She brushes her cousin's head gently.
Speaker 2: I'm sorry, cousin. It'll be over soon.
Speaker 5: Scene.
Speaker 4: Okay, that was a turn of events.
Speaker 2: Okay, event, I'm gonna give it all to you.
Speaker 4: Wow, what a scene? What is that from?
Speaker 5: It's an it's an original scene that he wrote.
Speaker 4: Who who's he?
Speaker 5: Reggie Pittman. He's a writer out of DC.
Speaker 4: Oh, okay, it's an original scene. Okay? And is it
Speaker 4: for film or is it film? TV? Or theater?
Speaker 5: He actually wrote it for this for this this segment.
Speaker 3: Oh well, wonderful, wonderful. All right, guys. Well, first of all,
Speaker 3: how do you feel?
Speaker 6: Yeah, I got it done, so you.
Speaker 3: Got it done right right, right right, So Randa, I'm
Speaker 3: gonna start with you where you are right now, knowing
Speaker 3: that this is original piece written for this particular a
Speaker 3: segment and podcasts and zoom platform. How you're framed up
Speaker 3: right now is where.
Speaker 4: You should start.
Speaker 2: Okay, okay, thank you.
Speaker 4: Yeah, this is the medium.
Speaker 3: Always consider the medium that you're in, right, So the
Speaker 3: medium that you're in is a zoom platform.
Speaker 4: You are framed so nicely right.
Speaker 3: Now, right, and your scene partner is that is the
Speaker 3: camera spot where you see me looking into right now.
Speaker 4: Right there you go, there you go.
Speaker 3: That's you know, and you can be to the you know,
Speaker 3: your eyeline is very important. So your eyeline can be
Speaker 3: to your left or to your right a little bit
Speaker 3: as you're thinking, as you're thinking like you just did now.
Speaker 3: So that's very important to take into consideration when you're
Speaker 3: on this platform. Right as you continue your studies, I
Speaker 3: assume you're going to have some more classes, right.
Speaker 4: Yes, Alexa, you're you're you're looking off to the side.
Speaker 3: I'm not sure what you're looking at You're looking at
Speaker 3: the script? Are you looking at the script or these
Speaker 3: lines memorized? Committed to memory? I know you are, Randall.
Speaker 3: I saw that.
Speaker 5: Oh yeah, I'm not memorized.
Speaker 7: But my camera is off, my camera is away from
Speaker 7: my computer.
Speaker 3: Yes, yes, so you need to make that adjustment for
Speaker 3: the next time you you do.
Speaker 4: Yes, that's much better. Now.
Speaker 3: I know you're talking to me and trying to reach me.
Speaker 3: I'm your audience, right, Randall. I saw your moment before,
Speaker 3: I saw you working up to it, right, and that
Speaker 3: that I saw you preparing, I would say that was good,
Speaker 3: but put.
Speaker 4: A cover on it, okay, let it.
Speaker 3: Drop in more internally, right, And because of who you're
Speaker 3: trying to reach, I'm trying to reach you through this medium,
Speaker 3: and this is who I'm talking to. I have an
Speaker 3: emotional thing going on right now, and the more you
Speaker 3: put a cover on it and try not to feel
Speaker 3: so much, the more I'll be able to see what's
Speaker 3: really going on with you, and your emotions will come out.
Speaker 3: You don't have to perform them or shout them at
Speaker 3: me or hit me over the head with them. I
Speaker 3: need to know what's happening, and it will all because
Speaker 3: the story is so dynamic and really well written that
Speaker 3: it's about the back and forth between you and alexis
Speaker 3: character who you think can.
Speaker 4: Help you in this moment. What do you want from her?
Speaker 3: And wanting from her to help from her is going
Speaker 3: to come out in the language that you're using, so you.
Speaker 4: Don't have to put the too much emotion on it.
Speaker 3: And I would say, like for the stage directions that
Speaker 3: are being read, if it's important to read the stage direction, yes,
Speaker 3: read them. But if a stage direction reads an actor
Speaker 3: raises his hand, that's not something that needs to be read.
Speaker 4: Let the actor do that if the actor feels.
Speaker 3: Like they need to do it in that moment. So actor,
Speaker 3: if a stage direction is being read, don't worry about
Speaker 3: doing it. God bless you, don't worry about doing it.
Speaker 3: Just let it be read, and you stay in your
Speaker 3: moment of what you want. You don't have to build
Speaker 3: up to your emotion, just be in it. Because if
Speaker 3: you believe the situation that you're in, that and the
Speaker 3: situation that your wife or girlfriend was happening with her,
Speaker 3: if you believe it, it's gonna come through.
Speaker 4: It's gonna come through.
Speaker 3: Right, Alexa, I really saw halfway through where you really
Speaker 3: dropped into character. I don't know, it was something happened.
Speaker 3: I was like, Wow, she really just dropped in and
Speaker 3: it was a really beautiful moment when I experienced it.
Speaker 3: I was like, she really dropped in.
Speaker 4: And what what a dynamic that you have to play?
Speaker 3: You have to play a professional and you have to
Speaker 3: play a person a personal.
Speaker 4: Situation, right what what? What what a dynamic?
Speaker 3: So if you're taking consideration that you're of two minds,
Speaker 3: you have to be professional, but this is your family member.
Speaker 4: And it's it's it's.
Speaker 3: Going to come through if you really understand the text
Speaker 3: and the writing. And I think you had a lot
Speaker 3: of subtleties that I liked that I saw that fits
Speaker 3: your character, and and and the smile at the end
Speaker 3: when you said, cousin, you know it's going to be
Speaker 3: all right.
Speaker 4: I thought that was It was interesting to me because
Speaker 4: I wasn't expecting it. Yeah, smile in a situation like that.
Speaker 3: And it seemed to me that that happened because you
Speaker 3: were really listening to to to what it was that
Speaker 3: was happening, you know, listening to yourself or really hearing
Speaker 3: that text and really having your imagination was in that moment, so.
Speaker 4: It was very full. It was very full. Yeah, I agree.
Speaker 1: I want to say though about the action is that
Speaker 1: I emphasize to them when they read the scenes the
Speaker 1: first time to read the action because they don't read
Speaker 1: the action. And a lot of my clients when we
Speaker 1: first read it the first time, I read the action
Speaker 1: so they can hear what's going on, because it's really
Speaker 1: interesting to me that actors will talk over me, you know,
Speaker 1: do their lint whatever, because it's like, you can't just
Speaker 1: understand the scene with the dialogue. You need to understand
Speaker 1: sometimes the dialogue tells you how you're supposed to react
Speaker 1: or what you're supposed to do, you know, So thank
Speaker 1: you for like that is something that you know can
Speaker 1: be used you guys some of those That's an important point.
Speaker 1: But you got to read everything to understand what you're doing.
Speaker 4: Oh yeah, I action. Oh yeah, you definitely have to
Speaker 4: read the action.
Speaker 2: You know, table reads.
Speaker 4: Was this a cole read?
Speaker 2: Yes?
Speaker 4: Well for you?
Speaker 3: Yes, yes, I know a cole read. This is the
Speaker 3: first time they've done this.
Speaker 2: Well, I don't. Did you work with them, Elsa, you're
Speaker 2: on mute, you're on mute.
Speaker 5: Yeah, they got it. Yesterday.
Speaker 8: Okay, okay, yeah, I just when I when I talked,
Speaker 8: when I mean what I mean about the reading the action,
Speaker 8: it's really for the actor.
Speaker 4: If it's going to be read by.
Speaker 3: You know, stage management or management or a reader, then
Speaker 3: if it's being read, the actor doesn't have to do
Speaker 3: it right, you know, I mean especially after the fact, right,
Speaker 3: because it doesn't feel like it's organically coming from the actor.
Speaker 3: So if you're really working on this and you're auditioning
Speaker 3: and you have a scene partner, that's not going to
Speaker 3: be read. So beforehand, the actor would have read that
Speaker 3: stage direction or that that action, and they would have
Speaker 3: incorporated that into their audition or into that performance that
Speaker 3: you know, he raises his hand, right, You see what
Speaker 3: I mean? Because when when when Randall did it, it
Speaker 3: didn't seem connected to Randall.
Speaker 4: Right, that was what I was.
Speaker 2: This is what you're supposed to do, and then it's.
Speaker 3: It's actors when you have a stage direction or a
Speaker 3: action because I'm you know, theater, film, TV, you know,
Speaker 3: different mediums.
Speaker 4: So when you have something telling you.
Speaker 3: Uh, an action that your hand is raised in some way,
Speaker 3: there's a reason for that, right, So you as an
Speaker 3: actor incorporate that into your physicality.
Speaker 2: Excellent.
Speaker 4: Oh my god.
Speaker 1: Once again, you guys stand up, please put your hands
Speaker 1: together for the amazing, the phenomenal.
Speaker 2: Take a bow.
Speaker 3: Ya.
Speaker 4: Thank you so much. This was so much fun. I'm
Speaker 4: gonna plaud your.
Speaker 1: U and thank you Alexis and Randall too. Thank you
Speaker 1: also for bringing the scene classes sessions.
Speaker 2: So you guys, when we come back on.
Speaker 1: The Spirited Actor Podcast with me Tracy Moore, I'm gonna
Speaker 1: give you some love, love, love love. Welcome to Kudo's Corner.
Speaker 1: Kudo's Corner is where we celebrate Spirited Actor alumni, their work,
Speaker 1: what they're currently doing, and just an overall big hug
Speaker 1: and love and support to them.
Speaker 2: This week's Kudodo's.
Speaker 1: Corner puts the spotlight on Spirited actor Gail Turner. Gail
Speaker 1: Turner made her Broadway debut as Dorothy, understudy to Stephanie
Speaker 1: Mills in the original Tony Award winning production of The Whiz.
Speaker 1: She went on to star and be featured in productions
Speaker 1: of Little Shop of Horrors, Nonsense, Smokey Joe's Cafe, and
Speaker 1: Having Our Say, The Delaney Sisters, among many others. Most recently,
Speaker 1: she was in the New York Times critic pick production
Speaker 1: of Prey here in New York City, as well as
Speaker 1: performances with the Broadway Inspirational Voice Gospel Choir. You've seen
Speaker 1: her on television roles on Law and Order SVU and
Speaker 1: season two and just like that, kudos to Gail Turner
Speaker 1: and now it's time to give love. Yesterday I was
Speaker 1: talking to an actor and I asked him because there's
Speaker 1: an exercise that we have in our class where I
Speaker 1: tap into different emotions of the actors.
Speaker 2: We go through life pretty fast.
Speaker 1: Right when people are grieving, they want to get through
Speaker 1: it as opposed to just allow time to heal that.
Speaker 4: But this is the deal.
Speaker 1: When you are going through this journey as an actor,
Speaker 1: you hear a lot of noise, and you hear noise
Speaker 1: from people saying.
Speaker 2: You should get a real job, or when are you
Speaker 2: going to get a role? Are you making money?
Speaker 1: You have to cancel delete that noise, and what you
Speaker 1: need to do is find a way to celebrate yourself,
Speaker 1: because that's the thing. We can chase, run, hustle, grind,
Speaker 1: all these words, all these things. But if we are
Speaker 1: not happy every single living day, then we're missing something.
Speaker 1: You are not going to find happiness outside of yourself.
Speaker 1: When you find happiness within everything, everything you touch, every
Speaker 1: person you speaks to the movement in your life. It
Speaker 1: comes from a positive, happy place, a beautiful manifestation of
Speaker 1: all the things that you dream about and want. Stay
Speaker 1: in your happy place, but before you stay in it.
Speaker 4: Find it.
Speaker 1: And once you find it, hold on to it and
Speaker 1: let it be that happy thought. When those negative and
Speaker 1: dark moments come around, it'll combat that and you'll fall
Speaker 1: right back into your happy place and you'll fall right
Speaker 1: back into your creations.
Speaker 2: Be happy, stay.
Speaker 1: Happy, don't forget to look out for us on our
Speaker 1: new show, Inside the Black Box. My co host will
Speaker 1: be Joe the Legend Morton. It's going to be the
Speaker 1: 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 Spirited Actor p
Speaker 1: Podcast with me Tracy Moore. I look forward to our
Speaker 1: next Spirited Podcast.
Speaker 4: Thank you,