1 00:00:08,840 --> 00:00:13,319 Speaker 1: Welcome to Strictly Business, Varieties weekly podcast featuring conversations with 2 00:00:13,360 --> 00:00:16,720 Speaker 1: industry leaders about the business of media and entertainment. I'm 3 00:00:16,720 --> 00:00:20,159 Speaker 1: Cynthia Littleton, co editor in chief of Variety Today. My 4 00:00:20,200 --> 00:00:22,880 Speaker 1: guest is Wayne Brady. You know him as the affable 5 00:00:22,920 --> 00:00:25,360 Speaker 1: host of Let's Make a Deal and the versatile cast 6 00:00:25,400 --> 00:00:29,400 Speaker 1: member of the improv competition series whose Line Is It Anyway? 7 00:00:29,720 --> 00:00:33,159 Speaker 1: Behind the scenes, Brady has big ambition. He wants to 8 00:00:33,280 --> 00:00:36,440 Speaker 1: use his improv training to help build a consulting business 9 00:00:36,440 --> 00:00:40,280 Speaker 1: with Mandy Takeda, his former wife who remains his business partner. 10 00:00:40,440 --> 00:00:44,320 Speaker 1: Brady sees the tenants of improv, active listening and an 11 00:00:44,360 --> 00:00:48,440 Speaker 1: openness to collaboration as a natural framework for coaching the 12 00:00:48,479 --> 00:00:51,519 Speaker 1: best out of executives and other leaders. He also has 13 00:00:51,520 --> 00:00:54,320 Speaker 1: a vision of improv centers that can help youth develop 14 00:00:54,360 --> 00:00:58,360 Speaker 1: self confidence and critical thinking skills. In our conversation, he 15 00:00:58,440 --> 00:01:01,320 Speaker 1: speaks from the heart about why he's driven to spread 16 00:01:01,360 --> 00:01:05,080 Speaker 1: the wisdom that comes from improv training. It's all coming 17 00:01:05,160 --> 00:01:16,280 Speaker 1: up in this Strictly Business conversation. Welcome back to Strictly Business. 18 00:01:17,240 --> 00:01:21,200 Speaker 1: Wayne Brady a multi hyphenit, if ever there was one 19 00:01:21,360 --> 00:01:24,160 Speaker 1: in the entertainment business. Thank you so much for joining 20 00:01:24,280 --> 00:01:26,800 Speaker 1: us today. Thank you so much for having me. I 21 00:01:26,840 --> 00:01:29,280 Speaker 1: was looking forward to this conversation. The thing I wanted 22 00:01:29,280 --> 00:01:32,200 Speaker 1: to start by talking with you today was I understand, 23 00:01:32,200 --> 00:01:34,240 Speaker 1: of course, you are a master of improv and have 24 00:01:34,680 --> 00:01:38,200 Speaker 1: been doing improv in various forms I know for decades. 25 00:01:38,760 --> 00:01:41,759 Speaker 1: Tell me, as I understand, of late, you have really 26 00:01:41,800 --> 00:01:44,840 Speaker 1: been putting some thought and putting some things down in 27 00:01:44,880 --> 00:01:48,880 Speaker 1: a more formal structure about how the tools, the skills 28 00:01:48,960 --> 00:01:51,880 Speaker 1: of improv, the creativity that it takes to be good 29 00:01:51,880 --> 00:01:55,640 Speaker 1: at improv, how those skills and tools might be applied 30 00:01:55,640 --> 00:01:59,520 Speaker 1: in other sectors for fun and profit. Tell us what, 31 00:02:00,160 --> 00:02:01,760 Speaker 1: tell us what you and Mandy are working on in 32 00:02:01,800 --> 00:02:05,160 Speaker 1: this area. Well, let me start off by saying that 33 00:02:05,160 --> 00:02:08,760 Speaker 1: that the use of improv and the corporate sector. I'm 34 00:02:08,800 --> 00:02:11,280 Speaker 1: not coming up with some you know, uh Um. I 35 00:02:11,320 --> 00:02:14,760 Speaker 1: didn't just hit this great motherload of gold and I'm 36 00:02:14,800 --> 00:02:17,680 Speaker 1: in the hills going look what I did. I founded Eureka. 37 00:02:18,320 --> 00:02:21,639 Speaker 1: It's been there. In fact, people were doing that when 38 00:02:21,639 --> 00:02:24,040 Speaker 1: I first started doing improv. In fact, I joined a 39 00:02:24,040 --> 00:02:27,519 Speaker 1: company called Sack Theater in the I want to say, 40 00:02:27,520 --> 00:02:30,519 Speaker 1: in the early nineties, and it was through sacked. UM, 41 00:02:30,680 --> 00:02:34,440 Speaker 1: I started to learn improv or or the formalized version 42 00:02:34,480 --> 00:02:38,200 Speaker 1: of what I think I've already been doing, and part 43 00:02:38,240 --> 00:02:40,799 Speaker 1: of what I learned from them at that point, they 44 00:02:40,800 --> 00:02:44,760 Speaker 1: were already doing corporate work for for Disney, doing t 45 00:02:45,000 --> 00:02:48,520 Speaker 1: building and showing how the the the principles of yes, 46 00:02:48,720 --> 00:02:50,800 Speaker 1: and you know that we can come into your business 47 00:02:50,840 --> 00:02:53,600 Speaker 1: and we can show you X, Y and Z that 48 00:02:53,639 --> 00:02:57,480 Speaker 1: will help your team work together baby better. And groups 49 00:02:57,520 --> 00:03:01,480 Speaker 1: like Second City and Io and and the Groundlings, They've 50 00:03:01,520 --> 00:03:05,000 Speaker 1: all had their various versions of it. So when I 51 00:03:05,120 --> 00:03:09,840 Speaker 1: say I feel that I have a methodology that will work, 52 00:03:10,440 --> 00:03:13,800 Speaker 1: it's really based on the methodology that I have put 53 00:03:13,880 --> 00:03:18,000 Speaker 1: into play for myself, the way that I have been 54 00:03:18,040 --> 00:03:22,840 Speaker 1: able to maneuver on stage using those tools, then to 55 00:03:23,080 --> 00:03:26,240 Speaker 1: work off stage using those same tools in a pitch meeting, 56 00:03:27,320 --> 00:03:31,280 Speaker 1: using those tools once I already have the job, using 57 00:03:31,280 --> 00:03:35,120 Speaker 1: those tools to help run a show, UM, going to 58 00:03:35,200 --> 00:03:39,880 Speaker 1: other businesses and saying okay, just like on stage, I 59 00:03:39,920 --> 00:03:44,040 Speaker 1: have a relationship with whomever I'm on stage with in 60 00:03:44,200 --> 00:03:48,840 Speaker 1: order to make make a successful improvisational scene work, and 61 00:03:48,880 --> 00:03:51,280 Speaker 1: if not even a scene like my one of my 62 00:03:51,320 --> 00:03:55,440 Speaker 1: specialties is being being able to make an improvisational music 63 00:03:55,480 --> 00:04:00,920 Speaker 1: piece work, which is basically jazz with your body, jazz 64 00:04:00,960 --> 00:04:03,800 Speaker 1: with your body and jazz with your mind, and and 65 00:04:03,880 --> 00:04:06,680 Speaker 1: being able to have the give and take to ebb 66 00:04:06,720 --> 00:04:10,520 Speaker 1: and flow, the the listening skills to be able to 67 00:04:10,560 --> 00:04:13,880 Speaker 1: take in everything that the person is saying as they're 68 00:04:13,920 --> 00:04:18,279 Speaker 1: taking it in process it not jumping the gun to 69 00:04:18,360 --> 00:04:21,000 Speaker 1: come to my own conclusions immediately and going this is 70 00:04:21,000 --> 00:04:23,680 Speaker 1: what the song is about, listening to what they say, 71 00:04:23,880 --> 00:04:26,120 Speaker 1: taking the pieces of it, going okay, I see what 72 00:04:26,200 --> 00:04:28,919 Speaker 1: you're going with, and and then we put the rules 73 00:04:28,920 --> 00:04:32,440 Speaker 1: into play up yes and yes. I like this line 74 00:04:32,520 --> 00:04:38,200 Speaker 1: of of of of you know, Boba Fett. It should 75 00:04:38,360 --> 00:04:40,920 Speaker 1: should stay out of the cantina because it's a Star 76 00:04:41,000 --> 00:04:45,080 Speaker 1: Wars scene. So that's great. Now I'm gonna take that yes, 77 00:04:45,440 --> 00:04:48,400 Speaker 1: but let's add this so on top of it in 78 00:04:48,480 --> 00:04:50,600 Speaker 1: order to do the yes. And I did listen to you. 79 00:04:51,080 --> 00:04:53,880 Speaker 1: I didn't come in with any preconceived notions. I didn't 80 00:04:53,880 --> 00:04:56,400 Speaker 1: block you by going no, no, no, this is better 81 00:04:56,640 --> 00:04:59,520 Speaker 1: Han Solo's mom. I walked into the no no, no, 82 00:04:59,520 --> 00:05:02,200 Speaker 1: I didn't do it. I took in everything that you said. 83 00:05:03,400 --> 00:05:05,440 Speaker 1: I'm going to take it, and I'm going to add 84 00:05:05,440 --> 00:05:07,560 Speaker 1: on to what you just gave me, and if we 85 00:05:07,640 --> 00:05:10,159 Speaker 1: keep doing this back and forth, by the time we 86 00:05:10,200 --> 00:05:13,960 Speaker 1: are finished, we should have an end product that sounds good, 87 00:05:14,279 --> 00:05:18,760 Speaker 1: that is incredibly funny, and that has kept the audience guessing, 88 00:05:18,880 --> 00:05:21,680 Speaker 1: but it satisfies them at the end of the day. 89 00:05:22,040 --> 00:05:26,320 Speaker 1: That's how I feel a business should run. Now, that's 90 00:05:26,320 --> 00:05:29,599 Speaker 1: in its most simplistic way, of course, when we know 91 00:05:29,720 --> 00:05:32,200 Speaker 1: there's so many things that goes in that that go 92 00:05:32,279 --> 00:05:35,200 Speaker 1: into making a successful business. But I think the one 93 00:05:35,240 --> 00:05:37,760 Speaker 1: thing that can be spoken of in a universal sense 94 00:05:37,920 --> 00:05:45,479 Speaker 1: is a boss, employees, product or services rendered. Those things 95 00:05:45,520 --> 00:05:48,719 Speaker 1: have to be done successfully in order for this business 96 00:05:48,720 --> 00:05:52,039 Speaker 1: to continue to operate. One of the things about a 97 00:05:52,080 --> 00:05:55,120 Speaker 1: business is when someone hears, oh you're you're a boss, 98 00:05:55,279 --> 00:05:57,960 Speaker 1: So all these people work for me, I pay them, 99 00:05:58,000 --> 00:06:00,440 Speaker 1: they should just do what the hell I said. That's 100 00:06:00,480 --> 00:06:02,560 Speaker 1: one way to do it. That's one way to have 101 00:06:02,600 --> 00:06:05,960 Speaker 1: a bunch of unhappy people rousing about you, you know, 102 00:06:06,120 --> 00:06:09,919 Speaker 1: next to the water cooler and and potentially not having 103 00:06:09,960 --> 00:06:12,600 Speaker 1: your workflow be as smooth as it could be. You 104 00:06:12,600 --> 00:06:16,000 Speaker 1: could lord over them and be a draconian boss, or 105 00:06:16,640 --> 00:06:20,560 Speaker 1: you could take the cue from improvisation and you recognize 106 00:06:20,560 --> 00:06:23,880 Speaker 1: that you have a team. You can take in various ideas. 107 00:06:24,560 --> 00:06:26,960 Speaker 1: You can say yes and to them. You don't have 108 00:06:27,040 --> 00:06:30,200 Speaker 1: to say yes, these are all the best ideas and 109 00:06:30,200 --> 00:06:32,120 Speaker 1: and this is what our company is going to do. 110 00:06:32,320 --> 00:06:34,800 Speaker 1: But you can make people feel that they've been listened to. 111 00:06:35,440 --> 00:06:39,120 Speaker 1: You can acknowledge that they've been listened to. And the 112 00:06:39,160 --> 00:06:42,200 Speaker 1: best thing about improvisation, unless you're doing a scene by yourself, 113 00:06:42,240 --> 00:06:45,040 Speaker 1: I'm very capable of walking on stage and doing an 114 00:06:45,080 --> 00:06:48,520 Speaker 1: hour and a half by myself. That's great, that's fun, 115 00:06:48,600 --> 00:06:52,800 Speaker 1: and it's a great parlor trick. But but you know, 116 00:06:52,839 --> 00:06:55,160 Speaker 1: when I have the most fun and when I think 117 00:06:55,200 --> 00:06:57,640 Speaker 1: I shine the most, it's just like on whose line 118 00:06:57,680 --> 00:06:59,080 Speaker 1: is in any way? Or when I'm on tour with 119 00:06:59,120 --> 00:07:04,520 Speaker 1: my best friend Nathan Mangum, when I'm playing, when I 120 00:07:04,600 --> 00:07:07,880 Speaker 1: when I can just play, when I take in your ideas, 121 00:07:08,200 --> 00:07:12,400 Speaker 1: I'm better in that show because my buddy Jonathan has 122 00:07:12,480 --> 00:07:15,560 Speaker 1: set me up. I'm better in that show than when 123 00:07:15,600 --> 00:07:21,960 Speaker 1: I'm spinning by myself and just just uh the the 124 00:07:22,040 --> 00:07:25,600 Speaker 1: center of attention and generating all of those ideas. There 125 00:07:25,640 --> 00:07:29,400 Speaker 1: are no checks and balances. So in a business sense, 126 00:07:29,480 --> 00:07:32,320 Speaker 1: what I'm what I would like to set is set 127 00:07:32,400 --> 00:07:34,880 Speaker 1: up is is well because there's so many things I 128 00:07:34,920 --> 00:07:36,600 Speaker 1: want to do with this. But in the first place, 129 00:07:36,840 --> 00:07:39,840 Speaker 1: be able to show showing a business setting, whether it's 130 00:07:39,840 --> 00:07:43,040 Speaker 1: your coworker or whether it's boss, to get to employee, 131 00:07:43,440 --> 00:07:46,680 Speaker 1: the yes and aspect, the listening aspect. That's a great 132 00:07:46,720 --> 00:07:51,320 Speaker 1: way to to up your productivity simply by listening. It 133 00:07:51,400 --> 00:07:54,239 Speaker 1: costs you nothing to just listen and make someone feel 134 00:07:54,280 --> 00:07:57,440 Speaker 1: like they've been heard. You take the same skill and 135 00:07:57,520 --> 00:08:00,560 Speaker 1: you give it to someone who may feel unimport like 136 00:08:00,640 --> 00:08:04,120 Speaker 1: their voice doesn't matter in that company. That's the that's 137 00:08:04,160 --> 00:08:08,040 Speaker 1: the weak link in your company chain, because that's the 138 00:08:08,080 --> 00:08:11,040 Speaker 1: person sending back at the machine going all I do 139 00:08:11,120 --> 00:08:14,320 Speaker 1: all damn day is pull this lever. They don't care 140 00:08:14,320 --> 00:08:18,560 Speaker 1: if a paper from one box, whatever, they don't care. 141 00:08:19,080 --> 00:08:21,720 Speaker 1: If that person thinks that I don't care, then they 142 00:08:21,720 --> 00:08:24,840 Speaker 1: don't care, and at some point mistakes will be made. 143 00:08:25,360 --> 00:08:28,920 Speaker 1: No one is invested in your scene or or in 144 00:08:29,000 --> 00:08:32,680 Speaker 1: your company, right, everyone of the team feel that they're 145 00:08:32,679 --> 00:08:36,640 Speaker 1: pulling the same way that that they're invested, that they 146 00:08:36,760 --> 00:08:39,960 Speaker 1: want to to work towards the same common goal of 147 00:08:40,000 --> 00:08:44,280 Speaker 1: finishing that scene or delivering a product or having having 148 00:08:44,679 --> 00:08:48,680 Speaker 1: uh aid and an effort made. How do you learn 149 00:08:48,720 --> 00:08:52,200 Speaker 1: how to be a good listener. It's a muscle. It 150 00:08:52,360 --> 00:08:55,800 Speaker 1: is an active muscle. I will say that. And if 151 00:08:55,800 --> 00:09:00,359 Speaker 1: you're not used to using that muscle, it's just like I, 152 00:09:00,360 --> 00:09:05,560 Speaker 1: I consider myself to be a socially awkward person, or 153 00:09:05,640 --> 00:09:09,280 Speaker 1: like you know, an interviewer will go, Wayne, you must 154 00:09:09,280 --> 00:09:12,199 Speaker 1: be a hoot at home, or they'll talk to my daughter. 155 00:09:12,480 --> 00:09:15,760 Speaker 1: Your dad must make you laugh all day long. She goes, No, absolutely, 156 00:09:16,600 --> 00:09:20,120 Speaker 1: because the person that I am when I'm not on stage, 157 00:09:20,960 --> 00:09:23,800 Speaker 1: the narrative that I've told myself since I was a 158 00:09:23,840 --> 00:09:28,000 Speaker 1: young child is I'm awkward when I'm dealing with more 159 00:09:28,000 --> 00:09:32,880 Speaker 1: than one person, and I don't UH on stage. I 160 00:09:32,960 --> 00:09:37,520 Speaker 1: have no problem taking in information, sitting on it for 161 00:09:37,559 --> 00:09:41,040 Speaker 1: a millisecond, and putting something out that uses the information 162 00:09:41,080 --> 00:09:44,800 Speaker 1: that comes in. I have no problem being open. I 163 00:09:44,880 --> 00:09:47,600 Speaker 1: think to be an active listener, the thing that we 164 00:09:47,640 --> 00:09:50,160 Speaker 1: need to do is to be open. So the narrative 165 00:09:50,160 --> 00:09:52,320 Speaker 1: that I tell myself in real life when I'm here 166 00:09:52,400 --> 00:09:55,199 Speaker 1: is I can't really talk to these people right now. 167 00:09:55,280 --> 00:09:57,360 Speaker 1: But no, I don't know, I don't don't I don't 168 00:09:57,360 --> 00:09:59,640 Speaker 1: want to go to this this event is because I'm 169 00:09:59,640 --> 00:10:04,520 Speaker 1: closing myself off, so I haven't any space to listen, 170 00:10:05,360 --> 00:10:08,280 Speaker 1: and I haven't any space to take anything in. So 171 00:10:08,360 --> 00:10:10,719 Speaker 1: that's even something in my personal life that I had 172 00:10:10,760 --> 00:10:14,319 Speaker 1: to learn to change that and to activate that. That's 173 00:10:14,320 --> 00:10:16,800 Speaker 1: why I say it's an active muscle. Wayne at home 174 00:10:17,080 --> 00:10:24,120 Speaker 1: has to actively practice let me hear you Okay, as 175 00:10:24,160 --> 00:10:26,560 Speaker 1: it's coming in, Wayne, I really need to talk about 176 00:10:26,880 --> 00:10:29,800 Speaker 1: the da da da da. Yes, I have to cogitate 177 00:10:29,840 --> 00:10:33,199 Speaker 1: and form something. But if if I take the extra 178 00:10:33,280 --> 00:10:37,960 Speaker 1: second to just take everything in before I'm ready to answer, 179 00:10:38,240 --> 00:10:42,360 Speaker 1: before I'm defensive, before I have to explain myself, before 180 00:10:42,400 --> 00:10:46,320 Speaker 1: I have to make my point, right, I have to 181 00:10:46,400 --> 00:10:49,680 Speaker 1: actively It's almost like the way that I pick picture 182 00:10:49,720 --> 00:10:52,480 Speaker 1: it is is I have to actually just keep my 183 00:10:52,559 --> 00:10:59,120 Speaker 1: hands down and and go okay mm hmm and really 184 00:10:59,160 --> 00:11:02,719 Speaker 1: hear you yeah and I and I cannot allow myself 185 00:11:03,120 --> 00:11:07,360 Speaker 1: to move into that relaxed space until I take it 186 00:11:07,480 --> 00:11:13,160 Speaker 1: in and I really and And that's the that's the 187 00:11:13,160 --> 00:11:15,600 Speaker 1: way that we can learn it. How do you learn 188 00:11:15,679 --> 00:11:19,040 Speaker 1: to be an active listener? You really have to listen. 189 00:11:19,520 --> 00:11:22,520 Speaker 1: You have to take in everything that person says, that 190 00:11:22,520 --> 00:11:25,480 Speaker 1: that other piece of the machinery that as they're saying, look, 191 00:11:25,480 --> 00:11:31,040 Speaker 1: I want to talk to you about something some now. Well, 192 00:11:31,040 --> 00:11:32,679 Speaker 1: and you know what if you're mad at me, well 193 00:11:32,720 --> 00:11:35,560 Speaker 1: I'm mad at you too. I mean, as soon as 194 00:11:35,559 --> 00:11:40,360 Speaker 1: you're doing this, this isn't happening. So just like on stage, 195 00:11:41,040 --> 00:11:43,679 Speaker 1: I have to do both. I have to take it 196 00:11:43,720 --> 00:11:47,520 Speaker 1: in and as it's in, I'm I'm taking it and 197 00:11:47,679 --> 00:11:50,920 Speaker 1: adding to it. That's the difference. Most people want to 198 00:11:50,960 --> 00:11:54,040 Speaker 1: take it in or not and just give You have 199 00:11:54,120 --> 00:11:58,320 Speaker 1: to take in, add give back. That's the one step 200 00:11:58,400 --> 00:12:01,240 Speaker 1: that that most of us miss. What do you want 201 00:12:01,280 --> 00:12:04,960 Speaker 1: to do with the kind of improv for business idea? Well, 202 00:12:05,000 --> 00:12:06,720 Speaker 1: there are a few things. I'm going to be writing 203 00:12:06,760 --> 00:12:12,439 Speaker 1: a book called called you know, making Ship Up, which 204 00:12:12,480 --> 00:12:15,000 Speaker 1: is which has been my brand for years. It was 205 00:12:15,000 --> 00:12:17,240 Speaker 1: the title of my Vegas show and and my other 206 00:12:17,559 --> 00:12:21,800 Speaker 1: production companies that um, because we really just that's all 207 00:12:21,840 --> 00:12:23,680 Speaker 1: that we ever do, you know, in business and in life, 208 00:12:23,679 --> 00:12:26,559 Speaker 1: we're all just making it up as we go along 209 00:12:26,679 --> 00:12:31,640 Speaker 1: and hoping that it's not a spectacular failure by the 210 00:12:31,640 --> 00:12:35,480 Speaker 1: time that our show is over. So so in terms 211 00:12:35,520 --> 00:12:37,760 Speaker 1: of writing, writing a book and laying out of course 212 00:12:38,360 --> 00:12:40,880 Speaker 1: and it and and it being a course where I 213 00:12:40,920 --> 00:12:44,320 Speaker 1: feel that it overlaps business, but it also at the 214 00:12:44,400 --> 00:12:49,560 Speaker 1: root of it, it overlaps our interpersonal relationships. Because in business, 215 00:12:50,480 --> 00:12:54,000 Speaker 1: just like in life and family, family and leisure, it's 216 00:12:54,000 --> 00:13:00,560 Speaker 1: our relationships that can propel you to success or that 217 00:13:00,640 --> 00:13:04,320 Speaker 1: can sink you. It's how you deal with the people 218 00:13:04,360 --> 00:13:07,840 Speaker 1: around you. It's how it's how you talk to people, 219 00:13:08,040 --> 00:13:10,160 Speaker 1: it's how you listen to people. It's how you make 220 00:13:10,160 --> 00:13:14,000 Speaker 1: the people around you feel. Talent in this business just 221 00:13:14,080 --> 00:13:18,240 Speaker 1: is not enough. It has to be talent mixed with 222 00:13:18,640 --> 00:13:23,240 Speaker 1: your relationships. And when I say relationships, I don't mean 223 00:13:24,440 --> 00:13:26,959 Speaker 1: what's the I'm trying to think of the proper term. 224 00:13:27,000 --> 00:13:31,800 Speaker 1: I don't mean mean me personally. I'm not a super network. 225 00:13:32,280 --> 00:13:35,360 Speaker 1: There are people that are amazing at that, and they 226 00:13:35,400 --> 00:13:38,240 Speaker 1: know everybody's phone numbers, and that's great. I'm not necessarily 227 00:13:38,240 --> 00:13:41,560 Speaker 1: talking about that. I'm talking about how do you make 228 00:13:41,600 --> 00:13:45,200 Speaker 1: the people around you feel so that when you leave 229 00:13:46,520 --> 00:13:49,440 Speaker 1: the impression that you've left behind that's out of your control. 230 00:13:49,679 --> 00:13:52,560 Speaker 1: But what is in your control is when you're in 231 00:13:52,600 --> 00:13:55,280 Speaker 1: the room. And I truly believe that the skills that 232 00:13:55,360 --> 00:13:58,200 Speaker 1: improv give you give you an upper hand when you're 233 00:13:58,200 --> 00:14:00,200 Speaker 1: in the room, and if someone doesn't like you at 234 00:14:00,200 --> 00:14:02,600 Speaker 1: the end of the day, they don't like you, you 235 00:14:02,679 --> 00:14:06,280 Speaker 1: keep it moving. But on the average, if you're able 236 00:14:06,280 --> 00:14:09,760 Speaker 1: to practice these skills, whether at home or or in business. 237 00:14:10,040 --> 00:14:12,360 Speaker 1: So so the first part of that is going to 238 00:14:12,400 --> 00:14:15,559 Speaker 1: be be the book, and the second piece, which I'm 239 00:14:15,679 --> 00:14:17,520 Speaker 1: very proud of, is I'm going to be starting my 240 00:14:17,559 --> 00:14:21,400 Speaker 1: own theater company slash school along the lines of an 241 00:14:21,440 --> 00:14:25,040 Speaker 1: io or a second city here in Los Angeles and 242 00:14:25,120 --> 00:14:28,800 Speaker 1: later one in my hometown of Orlando, Florida. And and 243 00:14:28,840 --> 00:14:31,240 Speaker 1: the basis of that. Recently, Mandy and I had a 244 00:14:31,280 --> 00:14:33,320 Speaker 1: show on a network called b y U t V 245 00:14:33,880 --> 00:14:37,320 Speaker 1: called Wayne Brady's Comedy I Q and and it was 246 00:14:37,480 --> 00:14:40,280 Speaker 1: kind of the pilot program for what I want to 247 00:14:40,320 --> 00:14:43,120 Speaker 1: work out in the real world, where where we took 248 00:14:43,760 --> 00:14:47,280 Speaker 1: teenagers from all over the US and we had them compete. 249 00:14:47,760 --> 00:14:50,720 Speaker 1: And we took these kids who were actors, singers. Some 250 00:14:50,800 --> 00:14:52,480 Speaker 1: of them had in prompt training, some of them had 251 00:14:52,480 --> 00:14:55,880 Speaker 1: sketch training, but most of them were at at the 252 00:14:56,120 --> 00:15:00,280 Speaker 1: very basic level for that. And I said, I'm gonna 253 00:15:00,280 --> 00:15:04,080 Speaker 1: teach you these rules. Not not only are these my 254 00:15:04,280 --> 00:15:07,120 Speaker 1: rules for on stage, but these are my performance rules 255 00:15:07,120 --> 00:15:09,080 Speaker 1: for in life. And I'm going to teach you these 256 00:15:09,160 --> 00:15:12,120 Speaker 1: rules and whatever you do with them, let's see if 257 00:15:12,160 --> 00:15:15,520 Speaker 1: they enhance your skills. I can't teach you be funny, 258 00:15:15,560 --> 00:15:18,880 Speaker 1: but I can teach you the rules. Improv only works 259 00:15:19,000 --> 00:15:22,080 Speaker 1: in in a grid or in a framework to it 260 00:15:22,240 --> 00:15:26,720 Speaker 1: to hang it on the shows a success and using that. Now, 261 00:15:26,760 --> 00:15:29,040 Speaker 1: I'm going to start doing the schools where I'm going 262 00:15:29,080 --> 00:15:35,720 Speaker 1: to be teaching adult classes, um teaching sketch, improv, the 263 00:15:35,720 --> 00:15:39,080 Speaker 1: these rules, putting, putting together a corporate sector that that 264 00:15:39,120 --> 00:15:42,960 Speaker 1: will go into businesses and and consult I'll also have 265 00:15:43,040 --> 00:15:46,760 Speaker 1: an advertising wing. Some of the best ideas come from 266 00:15:46,760 --> 00:15:49,880 Speaker 1: the people who are fast on their feet and being 267 00:15:49,920 --> 00:15:54,640 Speaker 1: able to go into these companies and come up with 268 00:15:54,640 --> 00:15:57,920 Speaker 1: with ads for for them, showing them how to think 269 00:15:58,800 --> 00:16:02,640 Speaker 1: less critically sometimes times and more creatively. And then the 270 00:16:02,680 --> 00:16:04,640 Speaker 1: third piece of that is it will also be a 271 00:16:04,720 --> 00:16:08,080 Speaker 1: school for teenagers to to be able to help them 272 00:16:08,080 --> 00:16:12,200 Speaker 1: take the skill into adulthood and go into certain neighborhoods 273 00:16:12,240 --> 00:16:16,160 Speaker 1: like a South Central, like a Watts, places where people 274 00:16:16,160 --> 00:16:18,560 Speaker 1: that look like me, where these kids that look like 275 00:16:18,640 --> 00:16:24,800 Speaker 1: me haven't haven't been taught the skills that I was 276 00:16:24,840 --> 00:16:30,800 Speaker 1: able to take in terms of improvisation and character building. 277 00:16:30,880 --> 00:16:33,240 Speaker 1: And someone might might look at it from a distance 278 00:16:33,280 --> 00:16:35,400 Speaker 1: and go, well, why do they need that? Well, I 279 00:16:35,480 --> 00:16:37,800 Speaker 1: tell you why. If someone can stand in front of 280 00:16:37,840 --> 00:16:40,880 Speaker 1: a crowd and have a conversation and feel confident in 281 00:16:40,880 --> 00:16:45,280 Speaker 1: who they are using the skills of uh if I 282 00:16:45,280 --> 00:16:47,920 Speaker 1: can listen to you and I can tell you clearly 283 00:16:47,960 --> 00:16:50,440 Speaker 1: and exactly who I am, and not only can I 284 00:16:50,480 --> 00:16:55,720 Speaker 1: think critically, but I can think creatively and fast. You're 285 00:16:55,800 --> 00:16:58,600 Speaker 1: you are prepping them for a life on stage, You're 286 00:16:58,640 --> 00:17:01,840 Speaker 1: prepping them for a life that Those are life skills, 287 00:17:02,840 --> 00:17:05,240 Speaker 1: and I wish that I would have had someone to 288 00:17:05,359 --> 00:17:08,919 Speaker 1: help me with those when I was younger. I I 289 00:17:08,960 --> 00:17:13,240 Speaker 1: think everything worked out well for me, but the but, 290 00:17:13,440 --> 00:17:21,080 Speaker 1: the but, the crushing self doubt, the the lack of 291 00:17:21,160 --> 00:17:24,080 Speaker 1: sense of self that I had growing up until I 292 00:17:24,200 --> 00:17:28,600 Speaker 1: found these skills. I want to impart them earlier. And 293 00:17:29,000 --> 00:17:31,760 Speaker 1: so that's the dream, that's the rollout, and all of 294 00:17:31,800 --> 00:17:34,399 Speaker 1: this is we are starting now. We have hit the 295 00:17:34,440 --> 00:17:38,040 Speaker 1: ground running, and I'm hoping to have the first first 296 00:17:38,119 --> 00:17:44,200 Speaker 1: company up in in less than a year. We'll take 297 00:17:44,240 --> 00:17:46,879 Speaker 1: a pause here and be back with more from Wayne 298 00:17:46,880 --> 00:17:57,760 Speaker 1: Brady and we're back with Wayne Brady. As you're talking. 299 00:17:57,920 --> 00:18:01,840 Speaker 1: What's also great about this is that improved this kind 300 00:18:01,840 --> 00:18:05,040 Speaker 1: of creativity. It's the same with writing, you know, with 301 00:18:05,119 --> 00:18:08,680 Speaker 1: that rudimentary it's a it's a great leveler. You don't 302 00:18:08,680 --> 00:18:10,440 Speaker 1: have to have an arm like a cannon, you don't 303 00:18:10,440 --> 00:18:13,480 Speaker 1: have to be built like a linebacker to All you 304 00:18:13,520 --> 00:18:18,879 Speaker 1: need is just to spark that spark, that creative, creative gene. 305 00:18:18,920 --> 00:18:21,359 Speaker 1: And I've also heard other actors say that that kind 306 00:18:21,359 --> 00:18:25,080 Speaker 1: of this kind of work also helps with rejection, because 307 00:18:25,080 --> 00:18:28,680 Speaker 1: there is a lot of rejection in the entertainment business. 308 00:18:28,760 --> 00:18:31,480 Speaker 1: And when you realize that, you know you're looking at 309 00:18:31,520 --> 00:18:35,280 Speaker 1: one of you could go any direction in any split 310 00:18:35,359 --> 00:18:37,760 Speaker 1: second decision, and you go this way, and you know, 311 00:18:38,200 --> 00:18:40,240 Speaker 1: you kind of come to know that you know there 312 00:18:40,240 --> 00:18:42,960 Speaker 1: were many paths, and maybe maybe one path might have 313 00:18:43,000 --> 00:18:46,560 Speaker 1: been more successful, but it was your choice, and it 314 00:18:47,000 --> 00:18:49,399 Speaker 1: was your choice in the moment in a way that 315 00:18:49,720 --> 00:18:51,960 Speaker 1: in a way that I think that can help people, 316 00:18:51,960 --> 00:18:53,919 Speaker 1: and I can, I can, I can really see an 317 00:18:53,920 --> 00:18:57,320 Speaker 1: application here for teenagers for all the reasons you said, 318 00:18:57,359 --> 00:19:00,480 Speaker 1: to be able to stand up and speak articulately. And 319 00:19:00,680 --> 00:19:04,040 Speaker 1: although this sounds like a cliche. Truly find your voice 320 00:19:04,200 --> 00:19:08,800 Speaker 1: in a in a setting of where people come together 321 00:19:08,880 --> 00:19:11,680 Speaker 1: and agree. You know, there's not gonna be any stupid choices. 322 00:19:11,760 --> 00:19:13,639 Speaker 1: There's not going to be there's such an ethos of 323 00:19:14,040 --> 00:19:16,800 Speaker 1: all the actors that have been involved in this, there's 324 00:19:16,920 --> 00:19:19,879 Speaker 1: there's also it seems like a very healthy ethos around 325 00:19:19,880 --> 00:19:24,200 Speaker 1: the around the improv community. Absolutely, and and I think 326 00:19:24,280 --> 00:19:28,520 Speaker 1: some something that it also helps teach is accountability m 327 00:19:29,320 --> 00:19:32,800 Speaker 1: because when you're on stage and you have to make 328 00:19:32,840 --> 00:19:37,479 Speaker 1: a choice. One of the things that was drilled into 329 00:19:37,520 --> 00:19:41,160 Speaker 1: me when when I was learning was in theater sports, 330 00:19:41,520 --> 00:19:44,840 Speaker 1: which is another improv type thing that I was involved in. 331 00:19:45,119 --> 00:19:49,080 Speaker 1: UM it's an improv competition and I and I got 332 00:19:49,119 --> 00:19:51,040 Speaker 1: involved in Orlando, but also did it out here in 333 00:19:51,080 --> 00:19:54,879 Speaker 1: Los Angeles. UM is one of the rule rules is 334 00:19:55,160 --> 00:19:58,920 Speaker 1: no waffling. And the waffling was you've got to make 335 00:19:58,920 --> 00:20:01,880 Speaker 1: a decision. It's especially in that split second. You've got 336 00:20:01,880 --> 00:20:05,240 Speaker 1: to make a decision, and you know what, sometimes it 337 00:20:05,280 --> 00:20:09,000 Speaker 1: will not be the best decision, but you've got to 338 00:20:09,000 --> 00:20:12,160 Speaker 1: pick a course and go with it as opposed to well, 339 00:20:12,280 --> 00:20:14,520 Speaker 1: I mean, I guess I can do that. And oh 340 00:20:15,600 --> 00:20:18,399 Speaker 1: and in the world of business, just like in real world, 341 00:20:18,720 --> 00:20:20,879 Speaker 1: you have to make decisions sometimes. And the reason that 342 00:20:20,920 --> 00:20:23,919 Speaker 1: it teaches accountability is because if if I'm on stage 343 00:20:24,359 --> 00:20:28,639 Speaker 1: and and I decide, guys, I'm taking the scene in 344 00:20:28,720 --> 00:20:34,080 Speaker 1: this in this direction, Let's say the scene tanks. Okay, fine, 345 00:20:35,560 --> 00:20:37,840 Speaker 1: when we get off stage, I'm not gonna turn around 346 00:20:37,880 --> 00:20:40,560 Speaker 1: and go why didn't you guys back me up? You 347 00:20:40,600 --> 00:20:43,920 Speaker 1: guys sucked? Why did you do Why did you know? 348 00:20:44,960 --> 00:20:48,200 Speaker 1: I made that choice. You guys made the choice to 349 00:20:48,320 --> 00:20:50,600 Speaker 1: yes and me and go with me. But I made 350 00:20:50,640 --> 00:20:53,960 Speaker 1: the choice to do this thing. I stick by that, 351 00:20:54,560 --> 00:20:57,240 Speaker 1: and I had no chance in the moment to back 352 00:20:57,280 --> 00:20:59,439 Speaker 1: off from it. I had to commit to that choice 353 00:20:59,760 --> 00:21:03,399 Speaker 1: and go and And there are so many situations in 354 00:21:03,440 --> 00:21:07,320 Speaker 1: business where instead of just passing the buck, instead of 355 00:21:07,359 --> 00:21:08,959 Speaker 1: just going, oh, well, I don't want to do it, 356 00:21:09,480 --> 00:21:12,880 Speaker 1: I'll give it to Johnson teaching that if you can 357 00:21:12,920 --> 00:21:16,919 Speaker 1: make a choice knowing that someone's got your back, that 358 00:21:17,040 --> 00:21:19,240 Speaker 1: the rest of your team has yes handed you, and 359 00:21:19,320 --> 00:21:22,280 Speaker 1: they have had your back you, you can make a 360 00:21:22,320 --> 00:21:25,040 Speaker 1: clear and decisive choice, and you can be accountable to 361 00:21:25,119 --> 00:21:27,480 Speaker 1: that choice whether it pans out or whether it does not. 362 00:21:27,880 --> 00:21:30,560 Speaker 1: And if it doesn't, what are you gonna do when 363 00:21:30,600 --> 00:21:34,320 Speaker 1: it doesn't no time to sit, because when we're on stage, 364 00:21:34,720 --> 00:21:37,000 Speaker 1: we have to go, oh, you didn't get a laugh 365 00:21:37,040 --> 00:21:40,400 Speaker 1: with that thing, Okay, I've got something else. Or from 366 00:21:40,440 --> 00:21:44,399 Speaker 1: an on in an audition and they tell me to pivot, okay, cool. Um, 367 00:21:44,440 --> 00:21:46,800 Speaker 1: I can do this voice, or I can make this choice, 368 00:21:47,119 --> 00:21:49,359 Speaker 1: or I can give you an eighty seven year old man. 369 00:21:49,680 --> 00:21:52,800 Speaker 1: What I can be a little blonde girl from from Malibu. 370 00:21:52,920 --> 00:21:55,960 Speaker 1: Whatever you need right now, Wayne Brady can do that 371 00:21:56,000 --> 00:21:58,920 Speaker 1: for you right now before I leave this room. That's 372 00:21:58,960 --> 00:22:02,880 Speaker 1: the type of thing that that you have to have. 373 00:22:03,359 --> 00:22:06,000 Speaker 1: And all of those come from that grid of improv 374 00:22:07,320 --> 00:22:09,520 Speaker 1: and there's a there's a sense of you gotta be game, 375 00:22:09,960 --> 00:22:12,879 Speaker 1: and that is for sure, it's business. You gotta be 376 00:22:12,920 --> 00:22:14,760 Speaker 1: game to be on that you know, to get out 377 00:22:14,760 --> 00:22:18,280 Speaker 1: there on the stage. Tell me how young Wayne Brady, 378 00:22:18,440 --> 00:22:22,560 Speaker 1: growing up in Orlando, Florida, got interested in improv and performing. 379 00:22:23,880 --> 00:22:29,240 Speaker 1: Young Wayne Brady started performing when he was sixteen. Um 380 00:22:29,520 --> 00:22:33,080 Speaker 1: sixty fifteen ish Um. I was a junior in high 381 00:22:33,080 --> 00:22:38,879 Speaker 1: school and I had a moment like fame. I'd always 382 00:22:38,920 --> 00:22:41,760 Speaker 1: fantasized in my head about being a performer, but in 383 00:22:41,840 --> 00:22:45,280 Speaker 1: my household, I was raised by my by my grandmother 384 00:22:45,320 --> 00:22:48,240 Speaker 1: and grandfather who are from the Virgin Islands, very strict 385 00:22:48,640 --> 00:22:53,760 Speaker 1: island upbringing. It was all about school and manners and 386 00:22:53,800 --> 00:22:57,159 Speaker 1: how you present yourself topped off on top of my 387 00:22:57,280 --> 00:23:00,439 Speaker 1: father was in the military, so I was rayed with 388 00:23:00,520 --> 00:23:05,280 Speaker 1: a military work ethos. So it was all about you 389 00:23:05,440 --> 00:23:07,639 Speaker 1: keep you keep your head down and you do what 390 00:23:07,680 --> 00:23:11,040 Speaker 1: you're told, and you don't talk out, you don't disrespect people. 391 00:23:11,320 --> 00:23:13,320 Speaker 1: You keep your mouth shut unless you're spoken to when 392 00:23:13,320 --> 00:23:20,120 Speaker 1: you go. So none of that is very conducive towards 393 00:23:20,160 --> 00:23:23,760 Speaker 1: the arts. So I harbored any love that I had 394 00:23:23,800 --> 00:23:26,280 Speaker 1: for any of that stuff. I kept it to myself. 395 00:23:27,200 --> 00:23:29,520 Speaker 1: Home from school, I would go in my room, I 396 00:23:29,520 --> 00:23:31,520 Speaker 1: would close close the door, and I had a little 397 00:23:31,520 --> 00:23:33,399 Speaker 1: black and white TV. And I watched a lot of 398 00:23:33,400 --> 00:23:35,920 Speaker 1: PBS because one of the only channels that that I got, 399 00:23:36,400 --> 00:23:38,879 Speaker 1: and PVS. I watched a lot of old specials. I 400 00:23:38,880 --> 00:23:41,200 Speaker 1: watched Sammy Davis Jr. In the rat Pack. I always 401 00:23:41,200 --> 00:23:43,920 Speaker 1: wanted to be like Sammy. I was old sketch shows. 402 00:23:43,920 --> 00:23:50,520 Speaker 1: I'm talking old old um like uh Ernie Kovacs, the show, 403 00:23:50,760 --> 00:23:54,840 Speaker 1: the Show of Shows, Sids Caesar. I would see British 404 00:23:54,880 --> 00:23:59,520 Speaker 1: sketch shows, uh, Benny Hill, Monty Python, the Goodies. I 405 00:23:59,520 --> 00:24:02,600 Speaker 1: would see old black and white movies with Sydney Poitier, 406 00:24:03,080 --> 00:24:07,600 Speaker 1: the old MGM musicals. Um. So I grew up having 407 00:24:07,640 --> 00:24:11,000 Speaker 1: this foundation of if only I can do any of 408 00:24:11,000 --> 00:24:13,520 Speaker 1: those things, or or I could sing and dance like 409 00:24:13,560 --> 00:24:17,720 Speaker 1: in West Side Story or in Black and Blue and 410 00:24:17,720 --> 00:24:20,760 Speaker 1: and um. But I kept that to myself until my 411 00:24:20,840 --> 00:24:24,119 Speaker 1: junior year, where as an elective, I was able to 412 00:24:24,160 --> 00:24:27,399 Speaker 1: take theater and I got a part in the school 413 00:24:27,440 --> 00:24:31,119 Speaker 1: play because one of my r OTC brothers he dropped 414 00:24:31,119 --> 00:24:32,960 Speaker 1: out of the school play and I had to play 415 00:24:33,000 --> 00:24:36,160 Speaker 1: it off. He's like, hey, guys, um, I'm gonna drop 416 00:24:36,160 --> 00:24:39,640 Speaker 1: out of this play because I've got a crew tournament. Uh. 417 00:24:39,760 --> 00:24:41,679 Speaker 1: It shows you what kind of school I was in, 418 00:24:41,760 --> 00:24:44,840 Speaker 1: because we had a crew team. He said, we've got 419 00:24:44,880 --> 00:24:47,560 Speaker 1: a crew tournament. Does somebody want to take over? I've 420 00:24:47,560 --> 00:24:50,840 Speaker 1: got like two lines or something, and everyone's like no, man, 421 00:24:50,960 --> 00:24:55,520 Speaker 1: players are stupid. And then I say, yeah, um, you 422 00:24:55,560 --> 00:24:58,480 Speaker 1: know what, I'll do it. It'll be so funny because 423 00:24:58,480 --> 00:25:03,920 Speaker 1: I'll be making fun of him super the theater geeks, right, yeah, 424 00:25:04,160 --> 00:25:06,480 Speaker 1: all right, Like oh my god, I did to be 425 00:25:06,560 --> 00:25:10,800 Speaker 1: on stage. So I walked in and it was like 426 00:25:10,920 --> 00:25:15,600 Speaker 1: fame and so these kids laughing, talking, dancing on top 427 00:25:15,600 --> 00:25:19,240 Speaker 1: of the piano. Everyone's doing voices, and it was the 428 00:25:19,280 --> 00:25:23,320 Speaker 1: happiest that I'd been in all of my years up 429 00:25:23,320 --> 00:25:26,400 Speaker 1: to that point in school. And I met my tribe, 430 00:25:26,720 --> 00:25:30,080 Speaker 1: I met my people, and I fell in love, and 431 00:25:30,119 --> 00:25:34,320 Speaker 1: I dropped RTC after two years in Of course, we 432 00:25:34,359 --> 00:25:36,359 Speaker 1: have to have a family talk about that, because we 433 00:25:36,400 --> 00:25:38,399 Speaker 1: all thought that I was going to be in the 434 00:25:38,440 --> 00:25:41,960 Speaker 1: military and go in as an officer. It happened the 435 00:25:41,960 --> 00:25:43,720 Speaker 1: only time that I want to hold a gun in 436 00:25:43,800 --> 00:25:47,040 Speaker 1: marches if you're paying me to do it on TV. UM. 437 00:25:47,119 --> 00:25:51,399 Speaker 1: So that's how I got started. And about two years later, 438 00:25:51,960 --> 00:25:57,000 Speaker 1: uh after I graduated, I met a woman named Claire 439 00:25:57,000 --> 00:26:01,080 Speaker 1: Sarah who now was a successful screenwriter and runs a 440 00:26:01,119 --> 00:26:06,600 Speaker 1: program called Right Girl. Sure. Yeah, So Claire Claire was 441 00:26:06,600 --> 00:26:09,800 Speaker 1: my mentor. Got me started an improv and she said, 442 00:26:09,840 --> 00:26:11,679 Speaker 1: you're really funny, because I did and I did a 443 00:26:12,359 --> 00:26:15,639 Speaker 1: did a did an industrial film with her, and of 444 00:26:15,680 --> 00:26:19,880 Speaker 1: course I was a young whipper snapper and and she said, oh, 445 00:26:19,920 --> 00:26:21,959 Speaker 1: that's so cute, and pad me on my head and said, hey, 446 00:26:22,000 --> 00:26:25,240 Speaker 1: I'm married. And be you're you're you're funny. You want 447 00:26:25,240 --> 00:26:27,560 Speaker 1: to come and take class from my husband and I. 448 00:26:27,640 --> 00:26:30,160 Speaker 1: We do a proversations. I said, a provisation. What's that? 449 00:26:30,320 --> 00:26:33,040 Speaker 1: She goes, it's it's theater that that we make up 450 00:26:33,240 --> 00:26:35,560 Speaker 1: right then on the spot when oh, like when I'm 451 00:26:35,560 --> 00:26:37,879 Speaker 1: playing make Believe in my room, which is weird for 452 00:26:37,920 --> 00:26:42,600 Speaker 1: a for a twenty year old to say, but then, uh, 453 00:26:42,640 --> 00:26:45,480 Speaker 1: my life has changed forever. And I got involved with 454 00:26:45,560 --> 00:26:48,359 Speaker 1: Zack Theater and then seven of us moved out to 455 00:26:48,400 --> 00:26:50,080 Speaker 1: Los Angeles a couple of years later, and we formed 456 00:26:50,080 --> 00:26:52,800 Speaker 1: a group called the House Full of Punkys and we 457 00:26:52,960 --> 00:26:55,800 Speaker 1: played shows all around town and we started doing a 458 00:26:55,840 --> 00:26:57,960 Speaker 1: regular show with the ACME over on the Bray or 459 00:26:58,000 --> 00:27:01,000 Speaker 1: the Old act Me first of course, and we got 460 00:27:01,040 --> 00:27:05,439 Speaker 1: best best improv comedy group in l A. And we 461 00:27:05,640 --> 00:27:08,320 Speaker 1: got the interest of the producers of Whose line is 462 00:27:08,320 --> 00:27:10,520 Speaker 1: it any Way? And when they were holding the auditions, 463 00:27:11,119 --> 00:27:13,919 Speaker 1: we auditioned, and when the smoke cleared, I had the 464 00:27:14,040 --> 00:27:17,280 Speaker 1: job and changed my life forever. I know that you 465 00:27:17,440 --> 00:27:21,200 Speaker 1: and Mandy also, do you also have some content production going? 466 00:27:21,320 --> 00:27:23,720 Speaker 1: Tell tell us about what you're working on in that space. 467 00:27:25,000 --> 00:27:27,920 Speaker 1: I'm so excited about it. It's it's uh the move 468 00:27:28,000 --> 00:27:30,720 Speaker 1: I think that you make when your desire is to 469 00:27:30,880 --> 00:27:34,040 Speaker 1: not just be the guy they pay, but the person 470 00:27:34,080 --> 00:27:37,280 Speaker 1: who one day becomes the one who pays others. And 471 00:27:37,280 --> 00:27:41,960 Speaker 1: and to create jobs, to create opportunities, to create a space. 472 00:27:42,520 --> 00:27:46,800 Speaker 1: So Mandy and I our company a Wayne and Mandy Creative. 473 00:27:47,200 --> 00:27:52,760 Speaker 1: Our mission is to create product and entertainment that not 474 00:27:53,000 --> 00:27:57,199 Speaker 1: just makes you laugh or makes you feel something, but 475 00:27:57,359 --> 00:28:01,640 Speaker 1: moves the needle and I feel. And I can't speak 476 00:28:01,640 --> 00:28:03,679 Speaker 1: for anyone else because I can only speak for Wayne. 477 00:28:04,680 --> 00:28:11,880 Speaker 1: And now we are heading into a world where entertainment 478 00:28:13,800 --> 00:28:17,640 Speaker 1: is more important than ever. And I'm not overvaluing it 479 00:28:17,800 --> 00:28:21,200 Speaker 1: because Lord knows, there are people doing jobs that are 480 00:28:22,280 --> 00:28:27,119 Speaker 1: so important. But I mean entertainment because so much of 481 00:28:27,160 --> 00:28:32,080 Speaker 1: what happens in the culture, in the zeitgeist, is pushed 482 00:28:32,160 --> 00:28:38,640 Speaker 1: from entertainment. We get our our escapism from entertainment. He 483 00:28:38,760 --> 00:28:43,560 Speaker 1: sometimes get our news from entertainment, like Stephen Colbert and 484 00:28:43,600 --> 00:28:48,160 Speaker 1: Trevor Noah. You get intelligent news from comedic sources because 485 00:28:48,160 --> 00:28:50,760 Speaker 1: the jesters, since since the days of the Kings, were 486 00:28:50,800 --> 00:28:53,880 Speaker 1: the ones that brain bring the bad news and sometimes 487 00:28:53,920 --> 00:28:58,000 Speaker 1: talk the king down from from chopping someone's head off job. 488 00:28:58,720 --> 00:29:02,120 Speaker 1: So instead of put hang out negative things into a 489 00:29:02,160 --> 00:29:07,120 Speaker 1: world that is already filled to the brim with negativity, 490 00:29:07,240 --> 00:29:09,840 Speaker 1: we wanted to be able to help and move the needle, 491 00:29:09,880 --> 00:29:14,760 Speaker 1: whether it's with race, whether it's with talking the gender 492 00:29:14,800 --> 00:29:18,520 Speaker 1: space and sexuality, UM to be able to have have 493 00:29:18,640 --> 00:29:20,880 Speaker 1: those thoughts. So we have a few shows. We have 494 00:29:20,920 --> 00:29:24,640 Speaker 1: a show with Jerry Bruckheimer that's in development for CBS 495 00:29:24,720 --> 00:29:29,200 Speaker 1: All Access now Paramount plus UM called UM called Barstow, 496 00:29:29,240 --> 00:29:34,840 Speaker 1: a f about a young gay Polynesian kid who leaves 497 00:29:35,200 --> 00:29:39,800 Speaker 1: leaves Hawaii and comes to Barstow, California, and then to 498 00:29:39,880 --> 00:29:42,040 Speaker 1: Barstow it is. It is that would be quite a 499 00:29:42,080 --> 00:29:45,640 Speaker 1: culture shock from Hawaii. Get it, and he has to 500 00:29:45,720 --> 00:29:49,880 Speaker 1: change everything about himself. He has to completely take that 501 00:29:50,000 --> 00:29:52,800 Speaker 1: light and put it under a bushel and become a 502 00:29:52,840 --> 00:29:55,800 Speaker 1: different dude during the day. But then in his mind 503 00:29:56,200 --> 00:29:59,160 Speaker 1: we get to see how fabulous he is. And there's 504 00:29:59,160 --> 00:30:02,000 Speaker 1: a bunch of story story connected with it. But but 505 00:30:02,120 --> 00:30:05,840 Speaker 1: that's something that we am sold sold with je Bruckheimer UM. 506 00:30:05,880 --> 00:30:08,440 Speaker 1: We also have a novel that is in development right 507 00:30:08,480 --> 00:30:11,800 Speaker 1: now with a producer called Tommy Lynch by an author 508 00:30:11,920 --> 00:30:16,840 Speaker 1: named April Daniels um called called Dreadnot, which is about 509 00:30:16,840 --> 00:30:22,000 Speaker 1: a trans superhero. So not only does this young hero 510 00:30:22,960 --> 00:30:30,120 Speaker 1: have to navigate this change within themselves, but then it's 511 00:30:30,160 --> 00:30:33,680 Speaker 1: for the world to see as they're trying to protect 512 00:30:33,760 --> 00:30:38,720 Speaker 1: us from all these uh world crushing um you know, 513 00:30:38,760 --> 00:30:41,840 Speaker 1: the same things that Superman Man would deal with, except 514 00:30:41,960 --> 00:30:45,680 Speaker 1: this person is dealing with with a great change within 515 00:30:45,760 --> 00:30:50,040 Speaker 1: them them themselves and how a super identity plays with 516 00:30:50,120 --> 00:30:54,600 Speaker 1: the idea of the Clark Kent nature, uh identity? Who 517 00:30:54,640 --> 00:30:56,720 Speaker 1: am I? Who? Who do I want you to see 518 00:30:56,720 --> 00:30:59,400 Speaker 1: me as? And how does the world accept that person? 519 00:30:59,800 --> 00:31:02,360 Speaker 1: And we and and what I love about April in 520 00:31:02,360 --> 00:31:04,880 Speaker 1: the book is it is it's a great superhero book, 521 00:31:04,880 --> 00:31:07,560 Speaker 1: which I'm a superhero geek um um, I love it. 522 00:31:07,800 --> 00:31:10,640 Speaker 1: But it also is a commentary on how we treat 523 00:31:11,160 --> 00:31:13,120 Speaker 1: and how the world has treated those that they look 524 00:31:13,160 --> 00:31:17,800 Speaker 1: at as other, whether it be black, white, trans, gay, lesbian, 525 00:31:18,600 --> 00:31:22,680 Speaker 1: anything that doesn't fit the status quo. So that's in 526 00:31:22,800 --> 00:31:27,160 Speaker 1: development right now. Um and uh. We have a sitcom 527 00:31:27,320 --> 00:31:30,120 Speaker 1: based on our life at c at CBS right now 528 00:31:30,960 --> 00:31:34,400 Speaker 1: about a blended family of myself, my ex wife who 529 00:31:34,520 --> 00:31:39,480 Speaker 1: is Asian and Caucasian, and me being black, our daughter 530 00:31:39,600 --> 00:31:43,360 Speaker 1: being mixed race, and Mandy's boyfriend being mixed race, and 531 00:31:43,400 --> 00:31:47,000 Speaker 1: all of us being one family, and what are the 532 00:31:47,040 --> 00:31:50,400 Speaker 1: conversations that happened with that? So everything that we're doing 533 00:31:50,960 --> 00:31:54,000 Speaker 1: has an agenda. What you're gonna have fun? While we 534 00:31:54,040 --> 00:31:57,240 Speaker 1: pushed the agenda forward and nobody would. We would all 535 00:31:57,320 --> 00:31:59,280 Speaker 1: forgive you if you call, if you gave it the 536 00:31:59,280 --> 00:32:03,640 Speaker 1: working title the Brady Bunch, which thank you for the forgiveness. 537 00:32:03,640 --> 00:32:05,960 Speaker 1: But just know that I shall never commit that crime. 538 00:32:07,280 --> 00:32:13,480 Speaker 1: Those of Sherwood Schwartz will come. I'm sorry, Mr Schlwretz. No, no, no, 539 00:32:13,520 --> 00:32:17,080 Speaker 1: I promise it will happen, will be Brady. But my goodness, 540 00:32:17,200 --> 00:32:19,680 Speaker 1: well it sounds like quite a bit going on under 541 00:32:19,720 --> 00:32:23,400 Speaker 1: the under the Brady umbrella these days. Thank you so 542 00:32:23,480 --> 00:32:25,560 Speaker 1: much for taking the time to talk with us. I 543 00:32:25,600 --> 00:32:28,760 Speaker 1: will absolutely look for your book because I can tell you, 544 00:32:28,800 --> 00:32:31,400 Speaker 1: in my line of work, I'm still working on being 545 00:32:31,440 --> 00:32:33,800 Speaker 1: a better listener. In my line of work, as the 546 00:32:34,200 --> 00:32:37,959 Speaker 1: as a mother, as a partner to there, there is 547 00:32:38,040 --> 00:32:41,520 Speaker 1: no greater skill than being able to truly listen and 548 00:32:42,000 --> 00:32:44,520 Speaker 1: have that empathy. And I think you really talked us 549 00:32:44,560 --> 00:32:49,680 Speaker 1: through really really important reasons why the improv form is 550 00:32:50,360 --> 00:32:53,080 Speaker 1: so great for that. I I can't wait to see 551 00:32:53,080 --> 00:32:56,600 Speaker 1: what what becomes of your two books and your UM 552 00:32:56,880 --> 00:32:59,320 Speaker 1: and all your other endeavors. Wayne, thank you so much 553 00:32:59,320 --> 00:33:01,840 Speaker 1: for your time. Thank you so much for having me. 554 00:33:01,880 --> 00:33:10,920 Speaker 1: Thank you, I really appreciate you. Thanks for doing some 555 00:33:11,080 --> 00:33:14,360 Speaker 1: active listening with Strictly Business today. Be sure to leave 556 00:33:14,440 --> 00:33:17,480 Speaker 1: us a review at Apple Podcasts. We love to hear 557 00:33:17,520 --> 00:33:20,200 Speaker 1: from listeners, and be sure to tune in next week 558 00:33:20,280 --> 00:33:22,200 Speaker 1: for another episode of Strictly Business