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Speaker 1: At school, I was shy, but when it came to performing,

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Speaker 1: there was this other person that would just come out

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Speaker 1: of me. And I remember we were doing a play

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Speaker 1: Scrooge and the little boy that was supposed to play

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Speaker 1: Scrooge couldn't get it right, and I was so upset

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Speaker 1: and I just stood up and passed and said I

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Speaker 1: should be Scrooge. And they said, but you're a girl,

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Speaker 1: so it doesn't matter.

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Speaker 2: It doesn't matter.

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Speaker 1: And then I started trying to direct him and they

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Speaker 1: were like, Angela, sit down, and I was like, this

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Speaker 1: isn't fair. So I guess that was the beginning of

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Speaker 1: me having my voice.

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Speaker 3: Hi. This is Angela Gibbs. I'm so excited at being

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Speaker 3: on this show.

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Speaker 1: I am an actor and an acting coach and I'm

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Speaker 1: recently on a new show called Not Dead.

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Speaker 3: Yet on ABC. I'm excited to be here.

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Speaker 2: Hi, everybody, and welcome back to this week's episode of

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Speaker 2: Off the Beat. This is Brian Baumgartner and this is

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Speaker 2: me very very excited, as you just heard. My guest

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Speaker 2: today is Angela Gibbs. Now let me tell you something.

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Speaker 2: I did not know Angela personally before speaking with her

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Speaker 2: earlier today. But let me say this She is why

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Speaker 2: I do this podcast. Having conversations with her specifically, and

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Speaker 2: people like her, It's why I do this. I had

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Speaker 2: so much fun today. I hope you hear that in

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Speaker 2: the conversation, and I learned so much. So fun and

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Speaker 2: learning equals awesome. Angela, despite being on ABC's new hit

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Speaker 2: show Not Dead Yet, she is very much live and

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Speaker 2: well and she has been crushing the game for years.

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Speaker 2: You might know her from Oh Straight out of Compton, Insecure,

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Speaker 2: Black Jesus, or one of my favorite shows over the

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Speaker 2: last couple of years, Hacks with Gene Smart. She is

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Speaker 2: such a pro that she's also gone on to be

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Speaker 2: an acting coach, a director, a theater artistic director. She's

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Speaker 2: a producer. She has worked with everyone from Janelle Monnet

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Speaker 2: to Oscar winner and legendary director Alejandro Gonzalez in Yurito.

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Speaker 2: She's amazing, all right. I hope you enjoy this as

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Speaker 2: much as I enjoyed talking to her. She has great

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Speaker 2: things to say about confidence, about network television, and about

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Speaker 2: finding the comedy out of drama. Here she is my

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Speaker 2: new friend. Angela Gibbs, Bubble and Squeak. I love it,

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Speaker 2: Bubble and Squeak, Bubble, and Squeak cook get every month

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Speaker 2: lift over.

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Speaker 3: From the night before.

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Speaker 2: Hi, Angela, Hey Brian, how are you?

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Speaker 3: I'm good?

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Speaker 1: I love that morning smiler. Is it an afternoon smile?

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Speaker 1: Where are you in New York?

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Speaker 2: No, I'm in I'm in California.

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Speaker 3: All right, you're with me.

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Speaker 2: I'm with you. I am such a big fan of yours. Angela,

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Speaker 2: thank you so much. Thank you, Yes, thank you so

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Speaker 2: much for coming on. We're going to talk about as

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Speaker 2: much as we can fatally, but I do want to

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Speaker 2: start back. Your career is so fascinating and when I

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Speaker 2: was going through this research, I'm like, wait, she did

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Speaker 2: what she wait with how when did this?

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Speaker 1: What?

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Speaker 2: Bird band? What are we talking about talking about? So

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Speaker 2: I can't wait to get into it. You grew up

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Speaker 2: in Detroit, Yes, am I right?

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Speaker 1: That's right during the time of Motown and the Motor

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Speaker 1: city was flourishing, and it was a great It was

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Speaker 1: a great time to come up in Detroit. People talking

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Speaker 1: about my city and I don't know what they give

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Speaker 1: us such a bad rep but it was such an

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Speaker 1: It was the neighborhood, Brian. You know, I could sit

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Speaker 1: on my porch and name everybody up and down the street.

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Speaker 3: It was.

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Speaker 1: I did get a chance to fill that small town

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Speaker 1: even though it was Detroit kind of neighborhood community, if

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Speaker 1: you will, growing up and uh, you know, if I

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Speaker 1: was bad, parent down the street spanked me, you know,

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Speaker 1: back days they could do that. And then when I

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Speaker 1: got home, I did another one.

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Speaker 4: You know.

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Speaker 3: We were pig cherries off of people's trees. You know,

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Speaker 3: it run high, you know. But anyway, it was a

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Speaker 3: great childhood. It really was a great time to come up.

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Speaker 1: I'll tell you about my story about the Montelettes and

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Speaker 1: wanting to be a supreme that's another story.

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Speaker 2: Well, but so music was a very big deal, absolutely

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Speaker 2: in Detroit at that time. It was for you as well.

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Speaker 1: Absolutely, we all wanted to be Well, let me say this.

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Speaker 1: I grew up next door to the mother of Levi Stubbs.

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Speaker 3: Now Levi Stubbs was the leader of the Four Tops.

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Speaker 1: I didn't know this, but his brother was the leader

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Speaker 1: of the Contours, Joe Stubbs and recent and so I

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Speaker 1: grew up. So since that was the mother, I e

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Speaker 1: grandmother of his kids. His kids were over there all

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Speaker 1: the time. So I grew up with Levi's kids.

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Speaker 3: Right, and we had a ball We always wanted to sing.

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Speaker 3: You know, there was there what do you call it,

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Speaker 3: the mot So we started this group cause the Montellettes.

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Speaker 1: And my mother, you know, wasn't on TV any of that.

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Speaker 1: She worked for the airlines. She was our manager. Now

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Speaker 1: she got it a little twisted. We wanted to be

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Speaker 1: arm and B singers. She had us singing tall and

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Speaker 1: tan and yeah, she had us sing and all the

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Speaker 1: stuff she wanted us to see, right Sinatra, Oh my god. Anyway,

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Speaker 1: we were shortening, but we did go to We did

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Speaker 1: a couple.

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Speaker 3: Of what was it back then, the y w c A.

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Speaker 3: And we never made it to the motome.

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Speaker 2: Let's just say that, okay.

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Speaker 1: But they had street parties, you know how they block

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Speaker 1: off the street and all the neighbors would cook and

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Speaker 1: we'd have music and I would sing there.

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Speaker 2: That is awesome. I love that. And so was that?

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Speaker 2: That was your earliest performing, Yes, early.

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Speaker 3: Performing, that's right. And then I went to Catholic school.

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Speaker 3: I went to Saint Gregory's.

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Speaker 1: It's gone now, but in Saint Gregory's they had drama

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Speaker 1: and Brian. You know, I had no idea because basically

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Speaker 1: believing or not, even though I was a tomboy and

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Speaker 1: you know, the oldest of two brothers and so kind

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Speaker 1: of the leader that at school, I was shy, but

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Speaker 1: when it came to performing, there was this other person

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Speaker 1: that would just come out of me. And I remember

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Speaker 1: we were doing a play Scrooge and the little boy

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Speaker 1: that was supposed to play Scrooge couldn't get it right,

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Speaker 1: and I was so upset and I just stood up

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Speaker 1: and passed and said I should be Scrooge.

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Speaker 3: And they said, but you're a girl.

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Speaker 2: It doesn't matter, it doesn't matter.

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Speaker 1: And then I started trying to direct him and they

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Speaker 1: were like, Angela, sit down, and I was like, this

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Speaker 1: isn't fair. So I guess that was the beginning of

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Speaker 1: me having my voice. I didn't get to play screw

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Speaker 1: all right, but that's okay. Later down the line, I

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Speaker 1: began acting. But I started acting then and I was

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Speaker 1: in like, I want.

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Speaker 3: To say, fifth grade, you know. So they'd have little recidos.

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Speaker 1: I would play music, nothing, no big deals really, you know,

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Speaker 1: but that was kind of like the beginning.

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Speaker 2: Your mom was an actress, Yes, yes, your mom was

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Speaker 2: Marla Gibbs.

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Speaker 3: Spoiler is Marla Gibbs.

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Speaker 2: Is Marla Gibbs.

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Speaker 3: He's still around honey.

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Speaker 2: Your mom is Marla Gibbs. Yes, I know she still is.

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Speaker 2: I just went back into her bio as well talking

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Speaker 2: to you. I mean, we're not going to make this

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Speaker 2: about your mom, by the way. Okay, that's okay, though

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Speaker 2: I'm not going to do that. But let me just

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Speaker 2: say this. When I think about my childhood, I think

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Speaker 2: about those shows that work because I was still young

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Speaker 2: when The Jeffersons was on, and no joke, I believe

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Speaker 2: that your mom was the first person for me looking

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Speaker 2: back where I went, Oh, she is funny, Yeah she is.

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Speaker 2: Like there was something about her and her performance that

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Speaker 2: I just loved her, like with a passion idea.

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Speaker 3: Do you think it was? You know?

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Speaker 4: One of the things that we kind of picked up

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Speaker 4: early on was my mother was the domestic who inhabited

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Speaker 4: everyone's aunt or grandma, Like there was somebody in the family.

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Speaker 3: That, as the kids say, now clap back, you know.

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Speaker 1: And there was something about her clapping back at her

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Speaker 1: boss that made her kind of like everyone's person, you know.

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Speaker 1: And I only asked that because even though she wasn't.

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Speaker 3: A real maid.

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Speaker 1: There was a group of people nationally called National something

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Speaker 1: of household technicians, and these were maids and butlers, et cetera,

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Speaker 1: and they honored her right, So there was something about

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Speaker 1: her humanity and the way she dealt with that boss

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Speaker 1: of hers who was hysterical and obnoxious. On all of that,

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Speaker 1: I wonder if that's what it was, that she just

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Speaker 1: kind of spoke her mind and she bumped up against

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Speaker 1: the establishment, if you will, I just wondering.

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Speaker 2: Yeah, No, I think I think that that is absolutely true.

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Speaker 2: But I also think her there was something about her.

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Speaker 2: I mean, there was Isabelle Saffort and all of they

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Speaker 2: were all so great, yes, but all playing this very

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Speaker 2: traditional sitcom style, and yet she took her time. She

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Speaker 2: took her time. She would take those pauses, yes, and

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Speaker 2: she would deliver things in an unexpected way, not this

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Speaker 2: traditional way. And for me, I think just in terms

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Speaker 2: of comedy, yeah, like I appreciated that as a performer.

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Speaker 1: Listen, I've been Mather's daughter sometimes painfully all my you know,

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Speaker 1: like you know the way we want your mom or

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Speaker 1: Marla Junior or they will introduced everyone by name.

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Speaker 3: When they get to me, they're like, oh, that's Marther's daughter.

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Speaker 1: So so there's been that, but there's also this other

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Speaker 1: side that I'm very, very proud of and proud of

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Speaker 1: being her daughter, and so I want to just share

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Speaker 1: this when you talk about her style was different when

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Speaker 1: she was doing that role, Brian, she was brand new, right,

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Speaker 1: she'd been enacting only a few years, but she was

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Speaker 1: in her forties.

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Speaker 3: Also raised three kids.

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Speaker 1: We had a great escape from my stepfather who was

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Speaker 1: at that time, you know, it was a crazy marriage,

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Speaker 1: and she gathered us up and when he went to work,

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Speaker 1: we took off and came to La, right. So she

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Speaker 1: was bold and brave in that way, and she took

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Speaker 1: that kind of fierceness.

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Speaker 3: And being a grown woman because she's like forty four,

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Speaker 3: she just looked young for her age.

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Speaker 1: When she went into that. She still worked at Unana Airlines,

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Speaker 1: so she had a backup, she had a job. She

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Speaker 1: was bold, and they loved her. You know, she had

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Speaker 1: that line. How come we overcame and nobody told me?

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Speaker 1: And that was the line and everyone I was there

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Speaker 1: for that delivery and the audience they had a hole

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Speaker 1: for like five minutes, and the word is the producer said,

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Speaker 1: who is that? Because they had already contracted a maid.

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Speaker 1: There was already someone who was supposed to play that role.

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Speaker 1: She was only a guest, right, she was supposed to

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Speaker 1: say that line, and then Louisa's. The story was that

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Speaker 1: Louise's friend, who was a maid, was going to become

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Speaker 1: the maid.

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Speaker 3: Right.

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Speaker 1: But they loved my mother so much. So now she's

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Speaker 1: getting a couple of shows. I think she maybe had

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Speaker 1: six or seven. And the first one, she sits at

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Speaker 1: the table. They do the table read and then all

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Speaker 1: the actors are supposed to get up, and she sits there,

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Speaker 1: and Norman and the producers.

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Speaker 3: They're like, this is the black woman sitting at the table.

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Speaker 3: They don't want to hurt their feelings and tell them

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Speaker 3: to get up.

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Speaker 1: They're figuring she'll get the hint, so they start talking

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Speaker 1: to each other.

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Speaker 3: They're not looking at.

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Speaker 1: Her, and the actors are like, you know, come on,

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Speaker 1: come on, like get up, right, we don't tell them,

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Speaker 1: they tell us we get up.

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Speaker 3: And she's like, yeah, but I don't know what they're saying.

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Speaker 3: I don't know what they're talking about.

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Speaker 1: I don't want to know what they're talking about, right,

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Speaker 1: So she says and then she starts interrupting.

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Speaker 3: She's like, wait, excuse me, Can I say something?

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Speaker 1: And they're like, okay, you know we're gonna pacify this woman.

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Speaker 1: And she said, glad, people don't talk like that. And

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Speaker 1: they said, oh, okay, well what would you say right?

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Speaker 3: And she said, we have our own rhythm.

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Speaker 1: Every culture Hispanics have their rhythm, Jewish culture has their rhythm.

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Speaker 3: We have our rhythm.

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Speaker 1: We throw stuff away, you know. And they said, well,

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Speaker 1: how would you say it? And Brian, and then I'll

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Speaker 1: you know, leave it on the table.

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Speaker 3: Brian.

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Speaker 1: They listened to her. They were smart enough to listen,

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Speaker 1: and they started moving those lines around so they fit

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Speaker 1: in her mouth, and she started a culture because after

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Speaker 1: that they let all the actors sit at the table

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Speaker 1: after the table and discuss their lines. So even back then, Trailblazer,

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Speaker 1: you know, so all right, enough about mama.

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Speaker 2: No, that's awesome, but that that has to help make

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Speaker 2: up who.

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Speaker 3: You are, oh, without a doubt, and.

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Speaker 2: Your entree if you will, you know, into the business.

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Speaker 2: So yes, yes, she's working. And it sounds like not

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Speaker 2: too far after you start working.

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Speaker 1: Well, here's the funny story that people are just starting

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Speaker 1: to realize. I actually started acting first first okay, yeah.

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Speaker 3: Yeah, well we came out here.

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Speaker 1: I got into drama in high school, Miss Asimov, I'll

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Speaker 1: never forget her at LA High and Miss Asthma was

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Speaker 1: my girl, right, and and you know, I falled in

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Speaker 1: that class. Me and this other student became the people

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Speaker 1: that they would say, I need an example answer, get

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Speaker 1: up and show them what I'm talking about.

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Speaker 3: So I had some confidence there.

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Speaker 1: And my mother found a workshop called past LA and

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Speaker 1: it stood for Performing Art Society of Los Angeles.

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Speaker 3: On Vermont in Manchester.

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Speaker 1: And there and Roger Moseley was there at the time,

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Speaker 1: and so we and he was getting started. So yeah,

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Speaker 1: he was a little beyond us in terms of summer credits.

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Speaker 1: But anyway, it didn't cost anything.

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Speaker 3: You know, they were they were funneling a lot of

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Speaker 3: money into Watts because of the riots, and they were

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Speaker 3: trying to do some enhancement and artistic kind of endeavors

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Speaker 3: to make sure that that community had something. And so

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Speaker 3: we benefited from that.

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Speaker 1: And then from so I was in school acting, but

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Speaker 1: I'm in this workshop, and then I go to Fairfax High.

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Speaker 1: I get in their drama department, and then I get

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Speaker 1: an agent. Right, Roger Moseley sent Max Julian, who recently passed.

283
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Speaker 3: I don't know if you remember Max Julan.

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Speaker 1: He was the mac back in the day film called

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Speaker 1: Cleopatrick Jones, and he wanted his woman at the time,

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00:16:22,920 --> 00:16:26,600
Speaker 1: Bananda McGee to play it, but the studios wanted the

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Speaker 1: tall tamra Adobson. But they gave him some perps and

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Speaker 1: one of them was he could cast a couple of

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Speaker 1: smaller roles. So Roger told him come out and see

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Speaker 1: this young girl. She's in this play. We made up

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00:16:39,720 --> 00:16:42,560
Speaker 1: the play and it was me and I was playing

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Speaker 1: Angela Davis and he just fell in love and I

293
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Speaker 1: reminded him of a younger version of Banetta mcgeek and

294
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Speaker 1: Honey Bray. I'm working at a boutique right and I

295
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Speaker 1: come from lunch and my boss says, Warner Brothers just called.

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Speaker 1: I don't know how they got my number. My brothers

297
00:17:00,560 --> 00:17:03,480
Speaker 1: just called and you got a part in the movie.

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Speaker 1: And I'm like, we're playing, you.

299
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Speaker 3: Know, And she's like, no, I'm serious, I'm serious.

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Speaker 1: Call this number. And I called and they asked me

301
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Speaker 1: to come out. They told me you've already got the role.

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00:17:15,000 --> 00:17:17,399
Speaker 1: We just want to meet you. Max Julian wants you.

303
00:17:18,200 --> 00:17:21,880
Speaker 1: I got in the union. Roger Mosey gave me his agent.

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Speaker 1: It was yes, it was, you know, one of those

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Speaker 1: kind of like yeah, and it was seventy or seventy one,

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00:17:29,040 --> 00:17:31,400
Speaker 1: and that's when I got my sad car. My mother

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00:17:31,480 --> 00:17:34,399
Speaker 1: starts teasing me because she's like her and her friends.

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Speaker 1: They were still like trying to get on the lot,

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Speaker 1: knocking on doors.

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Speaker 3: And I had a dressing room. I'm like, oh, come

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Speaker 3: by and visit me in my dressing room. Right.

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Speaker 2: Oh.

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Speaker 1: I was very political. I was a hippie slash revolutionary.

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Speaker 1: Remember my name is Angela. They were looking for Ashla Davis.

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Speaker 1: You know, I thought it was it was on me

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Speaker 1: to carry on, you know, And so I went to

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Speaker 1: Africa changed my name Totamu. Don't tease me, and you

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Speaker 1: know it was Tamu.

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Speaker 2: Yes, and why why wait, I'm not just let it go?

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Speaker 3: Oh come on now?

321
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Speaker 2: Why?

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Speaker 1: Well you know what back then? Yeah, yeah, well here's okay.

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Speaker 1: This is where it gets worse. The story starts to

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Speaker 1: go downhill because my name was U Tamu, and that was,

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Speaker 1: you know, taking on my African culture and heritage. And

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Speaker 1: I wanted a new name to kind of, you know,

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Speaker 1: express my connection to Africa.

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Speaker 3: The problem was the friend who gave me the name.

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Speaker 3: The problem was this.

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Speaker 1: People would say, oh, TMU, what does that mean? And

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Speaker 1: I said, sweetness, can you imagine I'm a young woman,

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Speaker 1: not bad looking.

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Speaker 3: The guys are like, yeah, I think you are. I'm

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Speaker 3: this has nothing to do with revolution. I want a

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Speaker 3: new name.

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Speaker 1: So my son teases me, I got a name changed

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Speaker 1: to Aoka, and then they call me a Yoka for

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00:19:11,960 --> 00:19:14,840
Speaker 1: a while that meant light. She comes with light. Turns

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00:19:14,880 --> 00:19:17,479
Speaker 1: out my middle name, Elaine, means the same thing. So

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00:19:17,520 --> 00:19:20,640
Speaker 1: I eventually just trapped it all. You know, my mother

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Speaker 1: knew what she was doing because I came from Africa

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Speaker 1: and I said my name was Utamo and she said

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Speaker 1: I named I said, well, I'm not answering anything but

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00:19:29,440 --> 00:19:33,480
Speaker 1: utamol and I'm a vegetarian. My mother says she has

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00:19:33,560 --> 00:19:37,679
Speaker 1: lost her mind. But I digressed. I digressed, so I

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00:19:37,800 --> 00:19:40,159
Speaker 1: came back, and back then there weren't a lot of

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Speaker 1: roles that we could pay as black women. So I

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00:19:43,720 --> 00:19:46,840
Speaker 1: decided to go away to college. And she teases me

349
00:19:46,960 --> 00:19:50,840
Speaker 1: because she's still knocking down doors. I've worked with John Foresight,

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00:19:51,040 --> 00:19:53,760
Speaker 1: I've had a pilot, I've had some things. I've been

351
00:19:53,800 --> 00:19:56,840
Speaker 1: on Samford and Son, I've done the film and I

352
00:19:56,960 --> 00:20:01,000
Speaker 1: left I left, you know, and I'm don't look back now.

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Speaker 3: I used to regret it.

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Speaker 1: I used to think it was a mistake because when

355
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Speaker 1: I came back my mother was Florence.

356
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Speaker 3: But I like, maybe I made a mistake, maybe I

357
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Speaker 3: should have stayed in La.

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Speaker 1: But I'm glad because I wanted to have a purpose

359
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Speaker 1: even as a young woman.

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Speaker 3: I wanted my life to matter. I wanted to be

361
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Speaker 3: involved in things that made a difference in the community

362
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Speaker 3: and ended.

363
00:20:24,320 --> 00:20:27,280
Speaker 1: Up coming back and opening up a theater. So it

364
00:20:27,359 --> 00:20:30,080
Speaker 1: was meant to be, Not Bryan, I didn't know it

365
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Speaker 1: was gonna take me this long.

366
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Speaker 3: I mean, man, didn't take a long time.

367
00:20:37,520 --> 00:20:42,520
Speaker 2: You wanted to break and a little bit locker.

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00:20:43,119 --> 00:20:44,240
Speaker 3: That's right, That's right.

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Speaker 1: So you know Suirlee Ralph, she's singing my song when

370
00:20:47,320 --> 00:20:50,159
Speaker 1: she said don't give up. You know, my saying is

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Speaker 1: if you stay in line, your turn will come. So

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00:20:53,080 --> 00:20:55,479
Speaker 1: when I came back, I realized I loved this so

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Speaker 1: much that, hey, brother, I make it or not, and

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Speaker 1: you know, make it meaning that I make a living

375
00:21:01,080 --> 00:21:01,639
Speaker 1: at it or not.

376
00:21:01,880 --> 00:21:03,119
Speaker 3: I got to keep back it.

377
00:21:03,160 --> 00:21:06,719
Speaker 1: And I think when I finally got there, things started

378
00:21:06,760 --> 00:21:07,280
Speaker 1: to change.

379
00:21:07,480 --> 00:21:10,280
Speaker 3: You know. That's my story, and I'm sticking to it.

380
00:21:29,520 --> 00:21:33,359
Speaker 2: You founded a theater when you returned, I did because

381
00:21:33,400 --> 00:21:35,320
Speaker 2: you had fallen in love with the theater.

382
00:21:36,040 --> 00:21:39,720
Speaker 3: I did. I loved theater. You know. I started with theater.

383
00:21:39,800 --> 00:21:42,399
Speaker 2: Me too, by the way, Yeah, theater.

384
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Speaker 3: Is it is.

385
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Speaker 1: It's the best, and it's a great training ground because

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Speaker 1: it's intimate, it's.

387
00:21:47,480 --> 00:21:48,240
Speaker 3: Right in the moment.

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00:21:48,640 --> 00:21:50,760
Speaker 1: If you make a mistake, you've got to figure it out,

389
00:21:50,920 --> 00:21:53,560
Speaker 1: you know, it's And I want to do theater now, Brian,

390
00:21:53,600 --> 00:21:55,520
Speaker 1: I'm just trying to figure it out because now with

391
00:21:55,680 --> 00:21:57,959
Speaker 1: TV and all of that, and you know, it's such

392
00:21:58,000 --> 00:21:58,720
Speaker 1: an l a thing.

393
00:21:58,960 --> 00:22:01,600
Speaker 3: But I know you make good money. What are you

394
00:22:01,760 --> 00:22:02,520
Speaker 3: doing TV?

395
00:22:03,680 --> 00:22:07,560
Speaker 2: Wait and wait what? You make more money doing television

396
00:22:07,560 --> 00:22:08,399
Speaker 2: than you do theater.

397
00:22:09,600 --> 00:22:14,800
Speaker 1: I'm sorry to say, but holy holy moly.

398
00:22:14,680 --> 00:22:15,520
Speaker 3: Yes indeed.

399
00:22:16,119 --> 00:22:19,120
Speaker 1: And so you know, it's like it's hard because when

400
00:22:19,119 --> 00:22:21,600
Speaker 1: you do a play, you want to commit and you

401
00:22:21,600 --> 00:22:23,680
Speaker 1: want to commit to your cast members and you don't

402
00:22:23,720 --> 00:22:27,040
Speaker 1: want to just pull out, and you know it's it's hard.

403
00:22:27,080 --> 00:22:28,880
Speaker 1: But I am going to figure out a way. I'm

404
00:22:28,880 --> 00:22:30,800
Speaker 1: in a class right now. That's one of the things

405
00:22:30,840 --> 00:22:33,200
Speaker 1: I do if I stay in the class. Even though

406
00:22:33,240 --> 00:22:36,840
Speaker 1: I coach actors too. It just keeps me out of

407
00:22:36,880 --> 00:22:39,320
Speaker 1: my own bubble and keeps me on the edge of

408
00:22:39,359 --> 00:22:42,680
Speaker 1: my craft. But it's there's just nothing like Bitter. And

409
00:22:42,840 --> 00:22:46,000
Speaker 1: I did Bitter, you know, in school, came back out.

410
00:22:46,040 --> 00:22:48,560
Speaker 1: And the thing about going to an HBCU on to

411
00:22:48,640 --> 00:22:51,640
Speaker 1: Howard University is they challenge you.

412
00:22:52,080 --> 00:22:53,240
Speaker 3: What are you going to do?

413
00:22:53,560 --> 00:22:56,080
Speaker 1: What are you going to bring, you know, back to

414
00:22:56,160 --> 00:22:58,800
Speaker 1: your community, How are you going to make a difference?

415
00:22:59,240 --> 00:23:03,359
Speaker 1: And my thought was what I do is theater and acts,

416
00:23:03,480 --> 00:23:07,120
Speaker 1: so maybe I can take that back. Ironically, my mother

417
00:23:07,200 --> 00:23:10,000
Speaker 1: had a building by this time, she's on TV. She

418
00:23:10,119 --> 00:23:13,200
Speaker 1: had a building that was a print shop right down

419
00:23:13,200 --> 00:23:16,280
Speaker 1: the street, literally two blocks from where we started on

420
00:23:16,520 --> 00:23:21,119
Speaker 1: Vermont in Manchester. So I turned that building into a

421
00:23:21,200 --> 00:23:24,280
Speaker 1: theater little by little, you know, and it.

422
00:23:24,160 --> 00:23:26,000
Speaker 3: Was called Crossroads.

423
00:23:26,000 --> 00:23:28,760
Speaker 1: Interesting enough, I would find out later as I started

424
00:23:28,800 --> 00:23:30,919
Speaker 1: learning how to write grants and things like that, that

425
00:23:31,080 --> 00:23:34,720
Speaker 1: there was some kind of collective consciousness and a movement

426
00:23:34,840 --> 00:23:38,240
Speaker 1: going on because right at that same time, there was

427
00:23:38,280 --> 00:23:41,480
Speaker 1: a theater that was being founded in New Jersey called

428
00:23:41,480 --> 00:23:45,600
Speaker 1: Crossroads in Black Theater. There was a theater in Saint

429
00:23:45,680 --> 00:23:49,040
Speaker 1: Louis called Saint Louis Blackbreath and it was a theater

430
00:23:49,119 --> 00:23:50,800
Speaker 1: in Atlanta called Jimondi.

431
00:23:50,960 --> 00:23:53,440
Speaker 3: So we when we all met, we realized.

432
00:23:53,119 --> 00:23:56,440
Speaker 1: We were all picking up that signal from that consciousness

433
00:23:56,440 --> 00:23:58,840
Speaker 1: of its time to have a theater in the community, right,

434
00:23:59,160 --> 00:24:00,920
Speaker 1: and we all kind of became friends.

435
00:24:01,080 --> 00:24:04,639
Speaker 2: I remember, Timandi, I'm from Atlanta. I remember, yeah, So

436
00:24:04,760 --> 00:24:07,480
Speaker 2: I remember that. Let me ask you this, do you

437
00:24:07,520 --> 00:24:11,960
Speaker 2: do you feel like historic Black collegists that there is

438
00:24:12,200 --> 00:24:17,320
Speaker 2: more of an emphasis there preparing you for when you

439
00:24:17,520 --> 00:24:23,000
Speaker 2: leave to do something in and for your community.

440
00:24:23,520 --> 00:24:27,920
Speaker 3: Absolutely absolutely, I still am. Listen.

441
00:24:28,040 --> 00:24:30,280
Speaker 1: I went to n YU to their boot camp for

442
00:24:30,359 --> 00:24:35,800
Speaker 1: film AFI American from institute, you know, studied some at

443
00:24:35,880 --> 00:24:39,640
Speaker 1: UCLA as well. I didn't finish college, so I had

444
00:24:39,640 --> 00:24:43,280
Speaker 1: a B A b y he's forty five now EXEID

445
00:24:43,320 --> 00:24:47,040
Speaker 1: but BA. So I went back and finished later at Antioch.

446
00:24:47,400 --> 00:24:50,719
Speaker 1: And I named these other universities because what I absolutely

447
00:24:50,800 --> 00:24:53,199
Speaker 1: did learn and see is that there's more resources than

448
00:24:53,200 --> 00:24:58,639
Speaker 1: these other these larger colleges. More resources however, and I

449
00:24:58,680 --> 00:25:01,919
Speaker 1: don't know so much new, but especially back then, you

450
00:25:01,960 --> 00:25:04,920
Speaker 1: can feel like a number as an African American, especially

451
00:25:04,960 --> 00:25:08,480
Speaker 1: back then as a female, a black female, because you're

452
00:25:08,520 --> 00:25:11,720
Speaker 1: kind of being overlooked. There's this idea that science math

453
00:25:11,800 --> 00:25:14,240
Speaker 1: if you're not really ever going to really excel in that,

454
00:25:14,359 --> 00:25:17,159
Speaker 1: so you feel like a number. But when you go

455
00:25:17,240 --> 00:25:20,080
Speaker 1: to an HBCU first, and kind of my deal is

456
00:25:20,119 --> 00:25:23,359
Speaker 1: like go there first, get grounded, you know, find out

457
00:25:23,440 --> 00:25:27,040
Speaker 1: who you are, and get a real sense of community

458
00:25:27,080 --> 00:25:28,880
Speaker 1: and what you want to do and that your life

459
00:25:28,920 --> 00:25:32,159
Speaker 1: will matter, and then transfer to one of the larger

460
00:25:32,240 --> 00:25:35,880
Speaker 1: colleges because then you're footing strong. No one can tell

461
00:25:35,920 --> 00:25:37,680
Speaker 1: you that you no one, you know, can make you

462
00:25:37,720 --> 00:25:39,840
Speaker 1: feel inferior without your consent.

463
00:25:40,080 --> 00:25:42,560
Speaker 3: Eleanor Roosevelt. You know, I love that saying.

464
00:25:43,760 --> 00:25:46,440
Speaker 1: And then you can you know, there's more resources available

465
00:25:46,440 --> 00:25:49,879
Speaker 1: and things like that, but yes, you know, and I

466
00:25:49,960 --> 00:25:53,200
Speaker 1: literally was asked by professors, you know, what are you

467
00:25:53,280 --> 00:25:53,880
Speaker 1: going to do?

468
00:25:54,040 --> 00:25:54,520
Speaker 3: You know that?

469
00:25:54,880 --> 00:25:57,600
Speaker 1: And I think it comes from just that whole idea

470
00:25:57,760 --> 00:26:01,359
Speaker 1: of segregation and not being able to go to the

471
00:26:01,400 --> 00:26:06,359
Speaker 1: white schools and you know, us becoming teachers and knowing

472
00:26:06,400 --> 00:26:08,400
Speaker 1: that the only way we were going to survive as

473
00:26:08,400 --> 00:26:10,640
Speaker 1: a race was to make sure that we were educated

474
00:26:11,320 --> 00:26:16,399
Speaker 1: and that we had community organizations, that we had you know,

475
00:26:16,560 --> 00:26:19,960
Speaker 1: ways for our youth to express themselves where they saw

476
00:26:20,000 --> 00:26:24,239
Speaker 1: their value and so yeah, I absolutely agree with that.

477
00:26:24,480 --> 00:26:28,160
Speaker 3: Yes, I think we're prepared well to make a difference.

478
00:26:29,119 --> 00:26:33,679
Speaker 2: So you found this theater or you become the founder

479
00:26:33,720 --> 00:26:38,160
Speaker 2: of this theater? A crossroads and when do you start

480
00:26:38,800 --> 00:26:40,080
Speaker 2: doing coaching?

481
00:26:41,080 --> 00:26:44,320
Speaker 1: Coaching came way after, you know, coaching was something I

482
00:26:44,359 --> 00:26:47,399
Speaker 1: didn't want to do. I was because you know, and

483
00:26:47,480 --> 00:26:49,560
Speaker 1: let me say this, I founded it with my mother.

484
00:26:49,800 --> 00:26:50,920
Speaker 3: She was a co founder.

485
00:26:51,200 --> 00:26:53,840
Speaker 1: She was on TV and she was opening a jazz

486
00:26:53,880 --> 00:26:57,280
Speaker 1: supper club and she said, I don't want to open

487
00:26:57,320 --> 00:26:59,879
Speaker 1: the theater right now, and I'm like, I do and

488
00:27:00,119 --> 00:27:02,080
Speaker 1: I need your money.

489
00:27:03,560 --> 00:27:04,920
Speaker 3: I don't want to do that right now.

490
00:27:04,960 --> 00:27:08,160
Speaker 1: And so she calls me the great manipulator because I said, well,

491
00:27:08,240 --> 00:27:08,679
Speaker 1: just give.

492
00:27:08,560 --> 00:27:11,199
Speaker 3: Me a little money for a dance floor. We'll just

493
00:27:11,200 --> 00:27:13,119
Speaker 3: give me a little money for some theater seats.

494
00:27:13,480 --> 00:27:15,679
Speaker 1: I just get, you know, And I would put her

495
00:27:15,760 --> 00:27:17,560
Speaker 1: name on the press release and she's like, why is

496
00:27:17,600 --> 00:27:19,280
Speaker 1: my name on the press release. I'm like, I have

497
00:27:19,480 --> 00:27:24,240
Speaker 1: no idea, Manna gives the fice he made floorings of

498
00:27:24,280 --> 00:27:25,879
Speaker 1: the Jeffersons is opening the school.

499
00:27:26,000 --> 00:27:28,840
Speaker 2: She's like, stop that.

500
00:27:29,080 --> 00:27:31,080
Speaker 1: But you know she did say, you know, you keep

501
00:27:31,080 --> 00:27:33,120
Speaker 1: that up. And people are not going to know what

502
00:27:33,160 --> 00:27:34,840
Speaker 1: you're doing. They're going to give me all the credit,

503
00:27:34,840 --> 00:27:37,679
Speaker 1: which is what happened. And it's okay because those that

504
00:27:37,800 --> 00:27:42,000
Speaker 1: know no the Regina Kings, for instance, Regina was in the.

505
00:27:41,960 --> 00:27:44,040
Speaker 3: Play two two seven. It was a play.

506
00:27:43,760 --> 00:27:47,879
Speaker 1: First, and I yeah, and I talked my mother into

507
00:27:47,920 --> 00:27:49,879
Speaker 1: doing it, and she was so busy she did not

508
00:27:50,000 --> 00:27:52,520
Speaker 1: want to do it. And I get it because she

509
00:27:52,600 --> 00:27:55,080
Speaker 1: was doing the Jeffersons. She was opening the nightclub, which

510
00:27:55,160 --> 00:28:00,680
Speaker 1: was very popular for a time. And once again, mama,

511
00:28:00,920 --> 00:28:02,120
Speaker 1: you just got a being there for.

512
00:28:02,080 --> 00:28:05,920
Speaker 3: A couple of weeks, you know, and it became a hit.

513
00:28:06,640 --> 00:28:09,840
Speaker 1: Norman never heard about it. Brandon Tartakoff was alive. He

514
00:28:09,840 --> 00:28:12,359
Speaker 1: heard about it, and you know, the story goes on.

515
00:28:12,520 --> 00:28:16,360
Speaker 1: They came, bought it. My mother became ep and you know,

516
00:28:16,800 --> 00:28:20,600
Speaker 1: but I ran into Regina years later and she said,

517
00:28:20,640 --> 00:28:23,119
Speaker 1: you were twenty five years old with a baby on

518
00:28:23,160 --> 00:28:25,080
Speaker 1: your hip. I had a little boy and I was

519
00:28:25,119 --> 00:28:27,320
Speaker 1: a single mom, and you know, he grew up in

520
00:28:27,320 --> 00:28:27,720
Speaker 1: the theater.

521
00:28:27,880 --> 00:28:29,720
Speaker 3: Right. But it was a play first.

522
00:28:29,840 --> 00:28:34,160
Speaker 1: Nea Long was also understudy, and she alternated, i should say,

523
00:28:34,200 --> 00:28:38,040
Speaker 1: with Regina, and then we started some careers from that play, right.

524
00:28:38,440 --> 00:28:43,719
Speaker 2: But yeah, yes, two two seven, groundbreaking television show for

525
00:28:43,760 --> 00:28:48,040
Speaker 2: which you are the recipient of an NAACP Image Award.

526
00:28:48,360 --> 00:28:50,160
Speaker 3: That's right, that's right.

527
00:28:50,480 --> 00:28:54,480
Speaker 2: That's for producing that. That's that's amazing. I did not

528
00:28:54,720 --> 00:28:57,080
Speaker 2: know that. I did not know. That started as a play.

529
00:28:57,240 --> 00:28:58,920
Speaker 1: It started as a play, and it was It was

530
00:28:59,000 --> 00:29:02,560
Speaker 1: really funny because originally it was written by Christy Houston

531
00:29:03,080 --> 00:29:07,880
Speaker 1: of Chicago, and it takes place on stoop and it's

532
00:29:07,920 --> 00:29:10,640
Speaker 1: two people, my mother and it really originally it was

533
00:29:10,680 --> 00:29:13,520
Speaker 1: a layer. But you know, in the in the cast

534
00:29:13,520 --> 00:29:16,200
Speaker 1: there was another woman and they sit on the stoop

535
00:29:16,280 --> 00:29:21,000
Speaker 1: and play numbers. They played the numbers, and my mother

536
00:29:21,120 --> 00:29:25,200
Speaker 1: talks about everybody in the building. I mean, she had

537
00:29:25,240 --> 00:29:28,760
Speaker 1: one woman. She said, look at her dress. So she said,

538
00:29:28,960 --> 00:29:31,120
Speaker 1: a skirt so tight, a soft froight to blow a

539
00:29:31,120 --> 00:29:31,720
Speaker 1: hole through it.

540
00:29:31,800 --> 00:29:34,280
Speaker 3: I mean, he was mean.

541
00:29:34,600 --> 00:29:37,880
Speaker 1: She was bad, right, and uh, it was funny, but

542
00:29:37,960 --> 00:29:40,920
Speaker 1: when it got to television, she wanted to clean it

543
00:29:41,000 --> 00:29:43,440
Speaker 1: up a bit, right. And I brought that up to say,

544
00:29:43,520 --> 00:29:45,960
Speaker 1: I worked with so many actors as a young producer.

545
00:29:46,400 --> 00:29:49,800
Speaker 1: Remember I'm twenty five. I've got these grown ass actors

546
00:29:50,000 --> 00:29:53,920
Speaker 1: excuse my language, and they just they're running me.

547
00:29:54,240 --> 00:29:56,000
Speaker 3: You know what I mean. I need this.

548
00:29:56,280 --> 00:29:58,840
Speaker 1: My cactter needs Chanelle and I need And I was

549
00:29:58,880 --> 00:30:02,040
Speaker 1: to sit sometimes upstair with my partner, Shae Wafer. I

550
00:30:02,080 --> 00:30:03,840
Speaker 1: had a girlfriend I went to Howard with, and she

551
00:30:03,960 --> 00:30:06,120
Speaker 1: went on to go to Yell and get a master's

552
00:30:06,160 --> 00:30:10,040
Speaker 1: in theater management. So she's she's actually running Waco, which

553
00:30:10,080 --> 00:30:14,000
Speaker 1: is Beyonce's mom, Tina Knowles and Richard Lawson's theater. But

554
00:30:14,280 --> 00:30:16,480
Speaker 1: so she ran a lot of theaters over the years.

555
00:30:16,520 --> 00:30:20,200
Speaker 1: But we started together. Anyway, we would sit upstairs. You know,

556
00:30:20,560 --> 00:30:22,480
Speaker 1: I shouldn't tell you this, but I'm gonna tell you. Anyway,

557
00:30:22,640 --> 00:30:26,400
Speaker 1: we had, you know, concessions during intermission, and we had

558
00:30:26,440 --> 00:30:28,560
Speaker 1: these little bottles of white wine.

559
00:30:28,080 --> 00:30:31,720
Speaker 3: We took a couple of those, Brian and we would

560
00:30:31,760 --> 00:30:37,760
Speaker 3: sit upstairs and cry. Nobody listens to us. We were good,

561
00:30:37,960 --> 00:30:40,040
Speaker 3: we were young, we were good, but we just, you know,

562
00:30:40,120 --> 00:30:42,240
Speaker 3: we were worn out. So I knew I did not

563
00:30:42,320 --> 00:30:44,280
Speaker 3: want to deal with actors. I didn't think I had

564
00:30:44,320 --> 00:30:45,520
Speaker 3: the I was.

565
00:30:45,600 --> 00:30:47,040
Speaker 1: I felt like I was too much of a people

566
00:30:47,080 --> 00:30:50,000
Speaker 1: pleaser and I would not, you know, be a good coach.

567
00:30:50,040 --> 00:30:53,360
Speaker 1: But it turned out it was actually my lane.

568
00:30:53,440 --> 00:30:56,360
Speaker 2: Well, how long did cross Roads last?

569
00:30:56,800 --> 00:30:58,400
Speaker 3: About almost ten years.

570
00:30:58,440 --> 00:30:59,040
Speaker 2: Ten years.

571
00:30:59,280 --> 00:31:02,200
Speaker 1: Yeah, yeah, my mother bought a theater in le Merray

572
00:31:02,280 --> 00:31:05,360
Speaker 1: Park called Park, called the Vision Theater, and she was

573
00:31:05,840 --> 00:31:08,800
Speaker 1: we housed Crossroads in there, but there was so much,

574
00:31:10,480 --> 00:31:13,560
Speaker 1: There was so much in terms of keeping that huge

575
00:31:13,600 --> 00:31:17,200
Speaker 1: building and facility afloat that Crossroads kind of got lost.

576
00:31:17,800 --> 00:31:21,520
Speaker 1: And I after ten years, and you know, a lot

577
00:31:21,520 --> 00:31:24,120
Speaker 1: of that's a lot of time and being a mom,

578
00:31:24,880 --> 00:31:27,680
Speaker 1: I started having other interests and one of them was

579
00:31:27,720 --> 00:31:30,200
Speaker 1: filmed and I got invited to go to I de

580
00:31:30,240 --> 00:31:33,280
Speaker 1: scided I would just give it a shot. And actually

581
00:31:33,360 --> 00:31:35,520
Speaker 1: Richard lost in a friend of mine. He said, ask me,

582
00:31:35,600 --> 00:31:37,520
Speaker 1: if I really wanted it, I would go for it.

583
00:31:37,800 --> 00:31:41,280
Speaker 1: And I applied and I couldn't believe it. I kept saying,

584
00:31:41,960 --> 00:31:45,840
Speaker 1: Angela Gibbs, Did they mean Dips? Did they mean Angela Bibbs?

585
00:31:45,840 --> 00:31:48,760
Speaker 1: Like they let me in right, But I had gone

586
00:31:48,800 --> 00:31:54,000
Speaker 1: to NYU's boot camp and had you know, gotten bit

587
00:31:54,120 --> 00:31:56,600
Speaker 1: by the buck. So I got there and that's when

588
00:31:56,640 --> 00:32:00,400
Speaker 1: things started changing for me. And then Crossroads eventually died

589
00:32:00,440 --> 00:32:02,840
Speaker 1: along with the Vision. You know, my mother put a

590
00:32:02,880 --> 00:32:05,080
Speaker 1: lot of money in the community but lost a lot,

591
00:32:05,280 --> 00:32:06,040
Speaker 1: you know, just.

592
00:32:06,480 --> 00:32:08,160
Speaker 3: I guess it just wasn't the time. You know.

593
00:32:08,440 --> 00:32:10,280
Speaker 1: Now there's a lot of people over in the murder

594
00:32:10,320 --> 00:32:12,440
Speaker 1: Park trying to resurrect her vision.

595
00:32:12,520 --> 00:32:15,120
Speaker 3: They get it now, you know, right.

596
00:32:15,640 --> 00:32:19,720
Speaker 1: But yeah, so you know, being there kind of I

597
00:32:19,840 --> 00:32:22,760
Speaker 1: pivoted in a way where I had more confidence.

598
00:32:23,560 --> 00:32:24,080
Speaker 3: Uh.

599
00:32:24,160 --> 00:32:26,920
Speaker 1: And I told my agent, you know, I want to

600
00:32:27,160 --> 00:32:30,120
Speaker 1: maybe be a line reader. Well, I just run lines

601
00:32:30,120 --> 00:32:33,240
Speaker 1: with actors. And they said, what about coaching? And I'm like, nah,

602
00:32:33,520 --> 00:32:37,720
Speaker 1: I just run lines. And I took a class with

603
00:32:37,800 --> 00:32:41,680
Speaker 1: the woman named Judith Weston. She's amazing. She's got great

604
00:32:41,720 --> 00:32:42,280
Speaker 1: books out.

605
00:32:42,520 --> 00:32:45,280
Speaker 3: She's you know, coaches The Life of Laura Dern and

606
00:32:45,440 --> 00:32:49,840
Speaker 3: Matthew McConaughey, and she worked with all she coaches directors,

607
00:32:49,880 --> 00:32:54,160
Speaker 3: and she worked with Alexandro on Babbo and twenty one Grams.

608
00:32:54,280 --> 00:32:57,600
Speaker 3: And it just so happened out of all the students

609
00:32:57,680 --> 00:33:01,400
Speaker 3: she's had. She calls me one day and I wasn't

610
00:33:01,400 --> 00:33:05,400
Speaker 3: even in her class anymore, and she said, I look,

611
00:33:05,520 --> 00:33:08,000
Speaker 3: do you know who Alejandro in that E two is? Now?

612
00:33:08,040 --> 00:33:11,920
Speaker 3: Of course I did, because at AFI you study everyone

613
00:33:12,480 --> 00:33:15,000
Speaker 3: and I've loved his film, So it could have been

614
00:33:15,040 --> 00:33:17,160
Speaker 3: any a list director, Brian. But the fact that it

615
00:33:17,200 --> 00:33:19,360
Speaker 3: was Alejandro. It felt like it was the.

616
00:33:19,360 --> 00:33:23,640
Speaker 1: Universe, right, and she said, he's doing a new movie.

617
00:33:23,640 --> 00:33:26,440
Speaker 3: It's going to be revolutionary and blah blah blah, you know,

618
00:33:26,560 --> 00:33:29,600
Speaker 3: no cuts, and he's working with Michael Keaton and he

619
00:33:29,640 --> 00:33:31,920
Speaker 3: needs somebody to help him. And at this point I

620
00:33:31,960 --> 00:33:34,760
Speaker 3: have my phone, you know, and I'm like, you know.

621
00:33:34,840 --> 00:33:35,520
Speaker 1: Like who is this.

622
00:33:35,720 --> 00:33:39,280
Speaker 3: Who's like quick plan, you know, And I'm like, are

623
00:33:39,320 --> 00:33:42,080
Speaker 3: you serious? She said yeah, She said yeah. She said,

624
00:33:42,120 --> 00:33:44,160
Speaker 3: I'm not just doing you a favor, I'm doing them

625
00:33:44,160 --> 00:33:47,040
Speaker 3: one as well. She said, you're talented and you need

626
00:33:47,080 --> 00:33:48,040
Speaker 3: to be doing this.

627
00:33:48,640 --> 00:33:51,320
Speaker 1: So that afternoon, well then right after that, I'm on

628
00:33:51,360 --> 00:33:54,320
Speaker 1: the phone with Alejandro. Can't believe it, and I just

629
00:33:54,400 --> 00:33:56,800
Speaker 1: love his passion. And he had this movie called bird Man.

630
00:33:56,840 --> 00:33:57,800
Speaker 1: He's explaining it.

631
00:33:57,720 --> 00:34:00,160
Speaker 3: To me, and he wants me to meet Michael, you know,

632
00:34:00,400 --> 00:34:03,040
Speaker 3: to meet Michael, you know. And I go out there

633
00:34:03,280 --> 00:34:04,800
Speaker 3: and Michael can I say.

634
00:34:05,720 --> 00:34:08,440
Speaker 1: I ran into him recently at grandparents Stay at my

635
00:34:08,520 --> 00:34:09,480
Speaker 1: grandson's school.

636
00:34:09,680 --> 00:34:11,920
Speaker 3: He's got a grandson there as well. We just hugged.

637
00:34:12,640 --> 00:34:16,480
Speaker 1: Michael Keaton has got to be one of the most

638
00:34:16,600 --> 00:34:20,279
Speaker 1: generous human beings I've met. Beyond the fact that he's

639
00:34:20,360 --> 00:34:24,080
Speaker 1: so freaking talented, right, And when I met him, I

640
00:34:24,600 --> 00:34:26,920
Speaker 1: just remember I called a girlfriend on the way to

641
00:34:26,960 --> 00:34:29,279
Speaker 1: his house, like, what is happening right now?

642
00:34:29,480 --> 00:34:29,799
Speaker 3: You know?

643
00:34:31,280 --> 00:34:33,479
Speaker 1: And I'm looking at the ocean and the ocean because

644
00:34:33,520 --> 00:34:35,600
Speaker 1: you know, I'm out towards Santa Monica and I'm looking

645
00:34:35,600 --> 00:34:37,759
Speaker 1: at the ocean, which always gives me peace. It's kind

646
00:34:37,760 --> 00:34:40,960
Speaker 1: of just like that's the space, you know, where God

647
00:34:41,080 --> 00:34:41,759
Speaker 1: is if you will.

648
00:34:41,840 --> 00:34:44,600
Speaker 3: And she said, honey, you wouldn't be in that car

649
00:34:44,920 --> 00:34:46,600
Speaker 3: if God didn't want you in that car. You're right

650
00:34:46,640 --> 00:34:49,520
Speaker 3: where you're supposed to be. And I said, okay.

651
00:34:49,320 --> 00:34:53,160
Speaker 1: And I decided to go and not pretend to be

652
00:34:53,440 --> 00:34:55,720
Speaker 1: anything other than who.

653
00:34:55,600 --> 00:34:57,719
Speaker 3: I was and where I was right and I meet him.

654
00:34:58,080 --> 00:34:59,759
Speaker 2: Love that, yeah, man.

655
00:35:00,040 --> 00:35:02,560
Speaker 1: You know it's like it's like knowing you're enough, just

656
00:35:02,600 --> 00:35:05,120
Speaker 1: knowing you're enough, right, And if it's yours, it's yours.

657
00:35:05,160 --> 00:35:08,280
Speaker 3: If it's not, it's not. I don't need to pretend.

658
00:35:09,160 --> 00:35:11,279
Speaker 3: And when I met Michael, I was like, hey, you know,

659
00:35:11,400 --> 00:35:15,080
Speaker 3: let me just say I love your work, which I did.

660
00:35:15,600 --> 00:35:17,359
Speaker 1: And when I told my mother I was going out there,

661
00:35:17,480 --> 00:35:20,279
Speaker 1: did you tell him he's your favorite batman? I'm like, Mom,

662
00:35:20,320 --> 00:35:24,080
Speaker 1: I'm not going to have that conversation, but he was

663
00:35:24,120 --> 00:35:29,080
Speaker 1: my favorite. But she I just loved his work, and

664
00:35:29,239 --> 00:35:33,480
Speaker 1: so I just said, your credits wrap around mind about a.

665
00:35:33,520 --> 00:35:35,319
Speaker 3: Hundred times, you know.

666
00:35:35,719 --> 00:35:37,640
Speaker 1: So I'm not going to tell you anything you don't know,

667
00:35:38,280 --> 00:35:40,680
Speaker 1: but I love to ask questions. I love to dig

668
00:35:41,280 --> 00:35:44,759
Speaker 1: the work I do with Judith Judith Western has you know,

669
00:35:45,040 --> 00:35:46,400
Speaker 1: I think it has a lot of value.

670
00:35:46,440 --> 00:35:48,399
Speaker 3: And he said, hey, I love that. So we ended

671
00:35:48,480 --> 00:35:50,360
Speaker 3: up just chatting and then we're about the same age.

672
00:35:50,520 --> 00:35:54,319
Speaker 1: And when I leave him, Alejandro calls.

673
00:35:54,360 --> 00:35:57,080
Speaker 3: Within five minutes. I wondered, was there like a camera

674
00:35:57,160 --> 00:35:59,640
Speaker 3: in there? Like how did he know? You know? And

675
00:35:59,680 --> 00:36:01,759
Speaker 3: I just he says, oh, what does he say? You know?

676
00:36:01,840 --> 00:36:03,759
Speaker 3: And I'm like, you'll have to call him.

677
00:36:04,440 --> 00:36:06,719
Speaker 1: The next phone call I get is we want to

678
00:36:06,719 --> 00:36:08,759
Speaker 1: book a ticket for you to come to New York.

679
00:36:08,960 --> 00:36:11,520
Speaker 1: Now Michael could have said, hey, there's a coach I

680
00:36:11,560 --> 00:36:15,320
Speaker 1: worked with already, you know anything.

681
00:36:15,800 --> 00:36:18,200
Speaker 3: He said, bring her to LA. I'm into New York.

682
00:36:18,239 --> 00:36:21,719
Speaker 3: I like her, right, So I don't say so much,

683
00:36:21,760 --> 00:36:24,439
Speaker 3: even though I have credit for coaching. And he told

684
00:36:24,440 --> 00:36:26,280
Speaker 3: me the other days, I steal use some of the things.

685
00:36:26,280 --> 00:36:28,080
Speaker 1: You you know, we talked about and you showed me,

686
00:36:28,360 --> 00:36:32,680
Speaker 1: which amazing. But I walked the walk with him because

687
00:36:32,680 --> 00:36:35,440
Speaker 1: there was so much that Alejandro had going on, and

688
00:36:35,520 --> 00:36:39,040
Speaker 1: there was this kind of non stop camera movement, you

689
00:36:39,080 --> 00:36:42,120
Speaker 1: know that if the camera was here on one scene,

690
00:36:42,160 --> 00:36:44,120
Speaker 1: by the time it got to Michael, he had to

691
00:36:44,160 --> 00:36:46,520
Speaker 1: be ready, and then it would go after him, say

692
00:36:46,600 --> 00:36:48,879
Speaker 1: to zad Gallipanakis, and then it would go right back

693
00:36:48,920 --> 00:36:51,560
Speaker 1: to him. And so it was just running lines, running lines,

694
00:36:51,560 --> 00:36:52,600
Speaker 1: walking and running them.

695
00:36:52,600 --> 00:36:55,880
Speaker 3: Talking about it, talking about subtexts, what was really happening

696
00:36:55,960 --> 00:36:56,920
Speaker 3: underneath the scene.

697
00:36:57,280 --> 00:37:00,640
Speaker 1: And then Michael taught me some things, of course, you know,

698
00:37:01,200 --> 00:37:03,960
Speaker 1: it was just a beautiful exchange. And then of course

699
00:37:03,960 --> 00:37:07,160
Speaker 1: from there all bets were off. Suddenly my coach and

700
00:37:07,200 --> 00:37:09,399
Speaker 1: I had started coaching. Prior to that, my agent would

701
00:37:09,440 --> 00:37:11,839
Speaker 1: send me people, so I was coaching people, and then

702
00:37:11,920 --> 00:37:13,880
Speaker 1: managers would hear and they would send me people.

703
00:37:13,920 --> 00:37:16,800
Speaker 3: The actors would tell their friends. So I was already

704
00:37:16,880 --> 00:37:20,320
Speaker 3: doing it, but this made me made my status just rise.

705
00:37:20,640 --> 00:37:23,399
Speaker 3: And after that they were like, you know, she coached,

706
00:37:24,040 --> 00:37:27,120
Speaker 3: you know, you know, so I'm getting So then I

707
00:37:27,360 --> 00:37:30,360
Speaker 3: became and then he asked me to coach.

708
00:37:31,200 --> 00:37:33,759
Speaker 1: Alejandra came back and asked me to coach on the

709
00:37:33,840 --> 00:37:37,640
Speaker 1: revenue and sent me around the country and to Canada

710
00:37:37,680 --> 00:37:41,239
Speaker 1: to meet Native Americans that he'd seen their tape and

711
00:37:41,320 --> 00:37:42,200
Speaker 1: he trusted me.

712
00:37:42,760 --> 00:37:44,080
Speaker 3: It just blew my mind.

713
00:37:43,920 --> 00:37:46,440
Speaker 1: He said, I want you to tell me what you think,

714
00:37:46,840 --> 00:37:48,359
Speaker 1: telling me if you think they can do this role.

715
00:37:48,680 --> 00:37:51,200
Speaker 1: And there is nothing like looking at Alejandro and him

716
00:37:51,200 --> 00:37:52,319
Speaker 1: saying can they do it?

717
00:37:52,719 --> 00:37:59,359
Speaker 3: And I'm going, h yeah.

718
00:37:57,680 --> 00:38:00,959
Speaker 1: And I'm paying hands hands collapsed together in prayer. Yes,

719
00:38:01,239 --> 00:38:04,680
Speaker 1: yes they can do it. But you know it's I'll

720
00:38:04,719 --> 00:38:07,239
Speaker 1: say this, Brian, I feel like I feel like the

721
00:38:07,320 --> 00:38:09,000
Speaker 1: gift I hear.

722
00:38:09,120 --> 00:38:10,839
Speaker 3: I have people tell me all the time you got

723
00:38:10,840 --> 00:38:11,240
Speaker 3: this gift.

724
00:38:12,120 --> 00:38:15,840
Speaker 1: Because it took me so long to kind of resurrect

725
00:38:15,880 --> 00:38:18,960
Speaker 1: my career, and because my mother was a star and

726
00:38:18,960 --> 00:38:21,520
Speaker 1: people would kind of push me aside. I had a

727
00:38:21,560 --> 00:38:25,319
Speaker 1: real struggle with confidence, and a lot of times this

728
00:38:25,360 --> 00:38:29,160
Speaker 1: game is about confidence and knowing you are enough.

729
00:38:29,239 --> 00:38:30,200
Speaker 3: I mean, it's.

730
00:38:30,040 --> 00:38:33,040
Speaker 1: About that's life's game, to be honest with you, you know,

731
00:38:33,800 --> 00:38:36,319
Speaker 1: and in acting it's you.

732
00:38:36,400 --> 00:38:38,920
Speaker 3: I should have studied a little more or you know,

733
00:38:39,080 --> 00:38:40,520
Speaker 3: if I had more.

734
00:38:40,440 --> 00:38:42,680
Speaker 1: Roles, I would be you know, there's always some reason

735
00:38:42,800 --> 00:38:43,920
Speaker 1: why we're not ready.

736
00:38:45,040 --> 00:38:47,719
Speaker 3: But if the role comes to you, perhaps and you

737
00:38:47,800 --> 00:38:50,080
Speaker 3: get the role, perhaps you are ready. You just thought,

738
00:38:50,080 --> 00:38:52,440
Speaker 3: it's like that car rides to meet Michael.

739
00:38:52,680 --> 00:38:54,400
Speaker 1: With Michael, he hadn't done stuff in a little bit,

740
00:38:54,440 --> 00:38:56,120
Speaker 1: and it was just really about running it and just

741
00:38:56,239 --> 00:39:01,640
Speaker 1: remembering how good he was, right and uh oh, you know,

742
00:39:02,120 --> 00:39:06,319
Speaker 1: the first rehearsal, he killed it, killed it just in rehearsal,

743
00:39:06,480 --> 00:39:09,640
Speaker 1: you know. Alejandra was so happy. The same thing with

744
00:39:10,320 --> 00:39:13,040
Speaker 1: the Revenant. I worked with people who had never acted before,

745
00:39:13,280 --> 00:39:16,640
Speaker 1: and it was but they had lived a life and

746
00:39:16,680 --> 00:39:20,560
Speaker 1: that life informed the character. And I learned that also

747
00:39:20,600 --> 00:39:23,640
Speaker 1: from my mother. She hadn't been acting that long, but

748
00:39:23,760 --> 00:39:26,480
Speaker 1: she's been around maids. Her aunt was a maid.

749
00:39:26,560 --> 00:39:29,080
Speaker 3: You know what I mean. She knew who that was.

750
00:39:29,280 --> 00:39:32,720
Speaker 1: And so it was about trusting yourself enough to allow

751
00:39:33,239 --> 00:39:34,120
Speaker 1: that expression.

752
00:39:34,920 --> 00:39:37,719
Speaker 3: And part of your humanity is there too to come

753
00:39:37,719 --> 00:39:38,719
Speaker 3: through and.

754
00:39:38,640 --> 00:39:41,480
Speaker 1: Not editing, you know, so you know, you can't be

755
00:39:41,520 --> 00:39:43,640
Speaker 1: on the outside of yourself looking and wondering are you

756
00:39:43,680 --> 00:39:44,560
Speaker 1: good while you're in it.

757
00:39:44,600 --> 00:39:45,799
Speaker 3: You got to be in it, you know.

758
00:39:46,440 --> 00:39:51,800
Speaker 1: So Revenant then I got the reputation of coaching newcomers.

759
00:39:52,120 --> 00:39:54,240
Speaker 1: So then I coached the young man who played Tupac

760
00:39:54,560 --> 00:39:57,160
Speaker 1: and man, I mean they came for us, like.

761
00:39:57,160 --> 00:39:59,760
Speaker 3: Who's playing Tupac? He bet not mess so we loved

762
00:39:59,760 --> 00:40:02,239
Speaker 3: to and they just say mess up. They said that

763
00:40:02,320 --> 00:40:06,040
Speaker 3: other word. Yeah right, we left you, but don't you

764
00:40:06,239 --> 00:40:10,440
Speaker 3: f up? And I'm like, oh, Lord, right, Jesus.

765
00:40:10,040 --> 00:40:13,200
Speaker 2: It occurs to me. You know, we just had the

766
00:40:13,239 --> 00:40:19,120
Speaker 2: Oscars a few nights ago, Brendan Frasier winning after you know,

767
00:40:19,200 --> 00:40:23,640
Speaker 2: a period of time not working with a beautiful performance,

768
00:40:23,680 --> 00:40:26,880
Speaker 2: and not that Michael was exactly the same way, but

769
00:40:27,120 --> 00:40:31,080
Speaker 2: he had he had had some time and was duly

770
00:40:31,160 --> 00:40:36,680
Speaker 2: celebrated for his unbelievable performance in Birdman. Yes, what is

771
00:40:36,760 --> 00:40:41,280
Speaker 2: that feeling like for you when you see him being

772
00:40:41,360 --> 00:40:43,000
Speaker 2: recognized for that work?

773
00:40:44,000 --> 00:40:48,560
Speaker 1: It is, oh, you know, I think, to be honest

774
00:40:48,600 --> 00:40:53,000
Speaker 1: with you, it's what gave me the confidence to stay

775
00:40:53,080 --> 00:40:57,200
Speaker 1: with it. It warmed, It warms my heart to the

776
00:40:57,239 --> 00:41:01,400
Speaker 1: point of tears. When I saw him, I teared up,

777
00:41:02,000 --> 00:41:05,360
Speaker 1: without question. It was it was my win as well,

778
00:41:05,560 --> 00:41:08,000
Speaker 1: you know. And and he let me know that, Michael

779
00:41:08,080 --> 00:41:10,680
Speaker 1: so generous and sweet. He'd let me know, he said,

780
00:41:10,680 --> 00:41:11,520
Speaker 1: this is you.

781
00:41:11,520 --> 00:41:12,120
Speaker 3: You know you.

782
00:41:12,239 --> 00:41:15,480
Speaker 1: I couldn't have done this without you, you know, Alejandro.

783
00:41:15,680 --> 00:41:17,759
Speaker 3: He reached out and said, you put the heart in

784
00:41:17,800 --> 00:41:18,440
Speaker 3: this film.

785
00:41:18,640 --> 00:41:21,680
Speaker 1: So to get that kind of feedback as a confirmation,

786
00:41:22,600 --> 00:41:26,120
Speaker 1: it's wonderful. However, just within my own heart, it was

787
00:41:26,239 --> 00:41:30,400
Speaker 1: my celebration as well. I love seeing people win and

788
00:41:30,440 --> 00:41:31,960
Speaker 1: I love seeing actors win.

789
00:41:32,360 --> 00:41:35,560
Speaker 3: And it's kind of like my story. If you will,

790
00:41:35,920 --> 00:41:36,319
Speaker 3: you know.

791
00:41:54,840 --> 00:41:59,560
Speaker 2: You're an artistic director, you're a director, you're an acting coach,

792
00:42:00,120 --> 00:42:04,480
Speaker 2: an actor. I mean, you go truly everywhere. You've been

793
00:42:04,600 --> 00:42:08,839
Speaker 2: in some amazing projects. But because I'm taking up your

794
00:42:09,000 --> 00:42:11,640
Speaker 2: entire day, unfortunately I can't go into them as much

795
00:42:11,640 --> 00:42:20,200
Speaker 2: as I had anticipated. But Black Jesus really really really fun, uh,

796
00:42:20,360 --> 00:42:23,759
Speaker 2: straight out of Compton as well, So it's not just

797
00:42:23,880 --> 00:42:29,799
Speaker 2: comedies here in the GIFs family, real real serious and

798
00:42:29,960 --> 00:42:33,680
Speaker 2: important work as well. You're a coach, so I'll ask

799
00:42:33,760 --> 00:42:38,000
Speaker 2: you one. Do you have a preference dramatic roles or

800
00:42:38,160 --> 00:42:43,640
Speaker 2: comedic roles? And do you feel like there's a difference

801
00:42:43,760 --> 00:42:46,759
Speaker 2: in approach for you. This is a little bit of

802
00:42:46,800 --> 00:42:49,759
Speaker 2: a loaded question because I have an opinion myself, so

803
00:42:50,120 --> 00:42:51,040
Speaker 2: but you're the expert.

804
00:42:51,239 --> 00:42:54,520
Speaker 3: So Rian, you have just whoa let me. I'll give you,

805
00:42:54,560 --> 00:42:57,680
Speaker 3: give me a day. I'm gonna come back such a

806
00:42:57,880 --> 00:42:59,000
Speaker 3: great question.

807
00:43:00,239 --> 00:43:02,440
Speaker 1: Well, and you know, I'm on a comedy now not

808
00:43:02,520 --> 00:43:06,320
Speaker 1: dead yet, and the creators of that show come from

809
00:43:06,360 --> 00:43:09,480
Speaker 1: the This is Us world, and I did do a

810
00:43:09,560 --> 00:43:12,440
Speaker 1: role on this as Us well still and Kate Brown's mother.

811
00:43:13,480 --> 00:43:19,160
Speaker 3: I who I gravitate towards drama.

812
00:43:19,239 --> 00:43:21,680
Speaker 2: As a performer or as a viewer or what do

813
00:43:21,760 --> 00:43:23,360
Speaker 2: you mean as a performer?

814
00:43:23,600 --> 00:43:28,839
Speaker 3: Okay, I gravitate more towards drama. I love. I think

815
00:43:28,840 --> 00:43:31,520
Speaker 3: that's why Alejandro and I got along so well. I'm

816
00:43:31,520 --> 00:43:32,720
Speaker 3: not afraid of the dark.

817
00:43:32,880 --> 00:43:36,760
Speaker 1: I love the resilience that we find in the dark.

818
00:43:37,560 --> 00:43:41,840
Speaker 1: I love the light that's always there somewhere in the dark.

819
00:43:41,880 --> 00:43:44,799
Speaker 1: And I love it when I see someone find it,

820
00:43:44,960 --> 00:43:51,160
Speaker 1: you know, and resurrect if you will, themselves comedy. And

821
00:43:51,239 --> 00:43:54,360
Speaker 1: I'm lucky that I have a role that and I

822
00:43:54,440 --> 00:43:58,680
Speaker 1: bring up, bring up you know David Windsor and Casey

823
00:43:58,880 --> 00:44:01,719
Speaker 1: Johnson because you know they're they're This is Us. You

824
00:44:01,760 --> 00:44:04,280
Speaker 1: know they come from that family, because they have found

825
00:44:04,280 --> 00:44:06,920
Speaker 1: a way to put heart in this comedy. And so

826
00:44:07,520 --> 00:44:12,160
Speaker 1: for me, the answer is when it's blended, it's it's perfect.

827
00:44:12,600 --> 00:44:15,240
Speaker 1: I don't like real silly, over the top. I'll watch

828
00:44:15,280 --> 00:44:17,879
Speaker 1: it and I'll laugh, And it depends on how good

829
00:44:17,920 --> 00:44:20,360
Speaker 1: it is, you know. Sometimes I just it's.

830
00:44:20,200 --> 00:44:22,000
Speaker 3: Just too corny and too forced.

831
00:44:22,200 --> 00:44:25,080
Speaker 1: I love the comedy that comes out of drama or

832
00:44:25,120 --> 00:44:27,719
Speaker 1: the comedy that comes out of something off into in

833
00:44:27,719 --> 00:44:30,880
Speaker 1: the reel, and it's organic, right, that is that's the

834
00:44:30,960 --> 00:44:31,439
Speaker 1: laugh out.

835
00:44:31,440 --> 00:44:32,760
Speaker 3: Like, you know, I'll give you a moment.

836
00:44:32,880 --> 00:44:36,320
Speaker 1: You know what was that movie Still Magnolia's And Sally

837
00:44:36,400 --> 00:44:39,839
Speaker 1: Field is having this moment where she's just crying and

838
00:44:39,920 --> 00:44:42,799
Speaker 1: crying because her daughter has been buried. And in the

839
00:44:42,800 --> 00:44:46,640
Speaker 1: middle of Oh, I just want to hit somebody, you know, Uh,

840
00:44:47,760 --> 00:44:51,920
Speaker 1: she's given Shirley McClay him hit her. And I have

841
00:44:52,120 --> 00:44:55,000
Speaker 1: never laughed so hard in my life, you know. But

842
00:44:55,680 --> 00:44:58,360
Speaker 1: so I love those kind of twists and turns. However,

843
00:44:59,480 --> 00:45:03,280
Speaker 1: when you say, is there a difference in approach as.

844
00:45:03,160 --> 00:45:07,919
Speaker 2: An actor, I don't think so. I don't either.

845
00:45:08,320 --> 00:45:09,719
Speaker 3: I don't think so. I don't.

846
00:45:10,120 --> 00:45:15,400
Speaker 2: I don't either. It's about approaching and creating the character

847
00:45:15,760 --> 00:45:23,680
Speaker 2: as written, regardless of what genre or style is. Now.

848
00:45:24,239 --> 00:45:30,520
Speaker 2: Style plays into it, genre plays into it. The choices

849
00:45:30,560 --> 00:45:35,080
Speaker 2: that you make are maybe a little bigger or smaller,

850
00:45:35,360 --> 00:45:39,240
Speaker 2: or you know what, at the times are faster or slower.

851
00:45:39,280 --> 00:45:42,359
Speaker 2: The timing becomes different depending on what that is. Right,

852
00:45:42,680 --> 00:45:46,000
Speaker 2: But yeah, no, I agree, it's about it's about ultimately,

853
00:45:46,000 --> 00:45:48,959
Speaker 2: it's about the material and the choices that you make.

854
00:45:49,320 --> 00:45:52,000
Speaker 1: That's right, that's right. I still got to do a

855
00:45:52,040 --> 00:45:55,360
Speaker 1: bio and research on my character. I still need to

856
00:45:55,400 --> 00:45:57,759
Speaker 1: know what the subtext is, what I want, what the

857
00:45:57,840 --> 00:46:01,560
Speaker 1: scene is about. And then if it's honest. I think

858
00:46:01,600 --> 00:46:03,839
Speaker 1: the thing that was so funny about my mother was

859
00:46:03,880 --> 00:46:07,759
Speaker 1: she was honest. Yes, you know, and you could see

860
00:46:07,760 --> 00:46:13,560
Speaker 1: it actually happening, you know, Otherwise you start playing for laughs,

861
00:46:14,080 --> 00:46:17,160
Speaker 1: and then those are the ones that are not that's funny.

862
00:46:17,440 --> 00:46:21,799
Speaker 2: Yeah, I know, yes, I know. I've read. I've read

863
00:46:21,880 --> 00:46:22,359
Speaker 2: quite a few.

864
00:46:22,560 --> 00:46:25,360
Speaker 1: And I'll say this real quick. People tell me I

865
00:46:25,480 --> 00:46:27,439
Speaker 1: mean to cut you off, but just really. People tell

866
00:46:27,480 --> 00:46:30,799
Speaker 1: me I'm funny all the time, and I don't see it.

867
00:46:31,280 --> 00:46:31,920
Speaker 2: Well you are.

868
00:46:32,120 --> 00:46:34,680
Speaker 3: I don't want to mess with it. I don't, but

869
00:46:34,719 --> 00:46:35,839
Speaker 3: I don't want to mess with it.

870
00:46:35,960 --> 00:46:38,839
Speaker 2: Well, don't mess it. Don't you don't mess with it.

871
00:46:39,000 --> 00:46:42,520
Speaker 2: You're you're making my transition even better here. You gravitate

872
00:46:43,480 --> 00:46:47,319
Speaker 2: toward the dark. You don't think you're funny. Let me

873
00:46:47,400 --> 00:46:54,759
Speaker 2: tell you, hacks the show. You play Marcus's mom and

874
00:46:54,920 --> 00:46:55,759
Speaker 2: Hacks with.

875
00:46:55,800 --> 00:46:56,800
Speaker 3: That nut Blunell.

876
00:46:57,040 --> 00:47:02,920
Speaker 2: By the way, yes, let me tell you, I really

877
00:47:03,040 --> 00:47:06,640
Speaker 2: enjoyed that show. I mean, I really enjoy that show.

878
00:47:06,920 --> 00:47:09,920
Speaker 2: Your performance. How did that show come about?

879
00:47:10,160 --> 00:47:12,600
Speaker 3: It's funny because Lunella and I were together and think

880
00:47:12,719 --> 00:47:14,760
Speaker 3: like a man one and two. That's how we met.

881
00:47:15,160 --> 00:47:17,480
Speaker 3: And then we did Black Jesus together. I get to

882
00:47:17,560 --> 00:47:18,200
Speaker 3: jump on her.

883
00:47:18,120 --> 00:47:21,319
Speaker 1: And Jesus yeah, And she's like, I don't know how

884
00:47:21,360 --> 00:47:24,239
Speaker 1: my fans are gonna feel about getting hit. Then she said, well,

885
00:47:24,239 --> 00:47:26,640
Speaker 1: I'm getting hit by miss Touty, So I guess it's okay.

886
00:47:27,760 --> 00:47:30,279
Speaker 3: I love this Tuti. And then I used to tell

887
00:47:30,280 --> 00:47:31,759
Speaker 3: you are they gonna like me? They're like, oh, they're

888
00:47:31,760 --> 00:47:32,440
Speaker 3: gonna love you.

889
00:47:32,719 --> 00:47:35,880
Speaker 1: And so Harry Care comes Hacks and we're together again. Okay,

890
00:47:35,920 --> 00:47:38,160
Speaker 1: so there's something about the universe. He keeps putting us together.

891
00:47:38,600 --> 00:47:41,000
Speaker 1: But you know, I just auditioned for it, and then

892
00:47:41,040 --> 00:47:44,000
Speaker 1: it was quiet. I didn't know I had it. And

893
00:47:44,000 --> 00:47:45,840
Speaker 1: then I get a call from my agent. Remember that

894
00:47:45,920 --> 00:47:48,120
Speaker 1: audition you did, you know? And here comes to show

895
00:47:48,160 --> 00:47:51,000
Speaker 1: and they want you, and I was overjoyed.

896
00:47:51,160 --> 00:47:56,120
Speaker 3: And of course Jeane Smart is a freaking master class

897
00:47:56,280 --> 00:48:00,640
Speaker 3: that woman right there. And but I didn't know how

898
00:48:00,719 --> 00:48:03,279
Speaker 3: big this show was going to be, you know. And

899
00:48:03,320 --> 00:48:06,720
Speaker 3: then you know Marcus carl Is, he's an amazing talent.

900
00:48:06,800 --> 00:48:09,000
Speaker 1: You know, he was in Hamilton and he's done so much.

901
00:48:09,440 --> 00:48:14,800
Speaker 1: But playing his mother, the immediate connection between myself, Marcus

902
00:48:14,880 --> 00:48:17,560
Speaker 1: and Lounell, Luna and I already kind of we've become friends.

903
00:48:17,880 --> 00:48:21,520
Speaker 1: It was just golden, just golden, and we fed off

904
00:48:21,560 --> 00:48:26,160
Speaker 1: of each other. And Paul and Lucia and Jen they

905
00:48:26,280 --> 00:48:29,480
Speaker 1: loved us, and Lucilla and they loved us, and they're like,

906
00:48:29,520 --> 00:48:30,359
Speaker 1: we're bringing you back.

907
00:48:30,640 --> 00:48:32,759
Speaker 3: So I'm doing the third season now.

908
00:48:33,400 --> 00:48:35,399
Speaker 2: Oh, congratulations, thank you.

909
00:48:35,640 --> 00:48:39,800
Speaker 1: That is amazing, all these nominations, I mean nominations and wins.

910
00:48:39,920 --> 00:48:40,720
Speaker 3: I'm so proud.

911
00:48:41,239 --> 00:48:45,360
Speaker 2: Yes, you know, I'm struck by your character there that

912
00:48:45,520 --> 00:48:51,040
Speaker 2: is very clearly a comedic character and is very funny.

913
00:48:51,320 --> 00:48:55,360
Speaker 2: Yet there was a moment there in the second season

914
00:48:56,120 --> 00:49:01,560
Speaker 2: where Marcus is going through something very real, very difficult,

915
00:49:02,560 --> 00:49:06,200
Speaker 2: and you see it. Yeah, and you drop into that

916
00:49:06,400 --> 00:49:10,520
Speaker 2: place and have a really beautiful scene between the two

917
00:49:10,560 --> 00:49:10,879
Speaker 2: of you.

918
00:49:11,160 --> 00:49:16,320
Speaker 3: That's where I kiss him on the head. Yeah, where there's.

919
00:49:16,520 --> 00:49:18,400
Speaker 1: That kiss just came well, I didn't know he was

920
00:49:18,400 --> 00:49:20,000
Speaker 1: going to put his head on my shoulder, but I

921
00:49:20,160 --> 00:49:21,680
Speaker 1: just like my big baby.

922
00:49:24,160 --> 00:49:29,280
Speaker 2: What do you think the show says about women specifically

923
00:49:29,880 --> 00:49:33,920
Speaker 2: in the industry who are at I guess either end,

924
00:49:34,080 --> 00:49:37,360
Speaker 2: the end and the beginning.

925
00:49:37,680 --> 00:49:41,120
Speaker 3: You know, I I this monk Brian. What I love

926
00:49:42,080 --> 00:49:45,319
Speaker 3: is that, you know, women, we've been pushing for our

927
00:49:45,400 --> 00:49:47,160
Speaker 3: voices to be heard for a while. Now.

928
00:49:47,840 --> 00:49:51,560
Speaker 1: You know, we've got agism, you know, and general identity

929
00:49:51,600 --> 00:49:55,240
Speaker 1: and and you know, of course, you know, black lives

930
00:49:55,320 --> 00:49:58,479
Speaker 1: matter and these kinds of things. And in the midst

931
00:49:58,520 --> 00:50:02,640
Speaker 1: of this is also the idea of women's agency, right

932
00:50:03,360 --> 00:50:07,160
Speaker 1: and that and agism is real. You know, they're ready

933
00:50:07,239 --> 00:50:10,120
Speaker 1: to put us away after a certain age, but we're still.

934
00:50:10,080 --> 00:50:14,400
Speaker 3: Vital and valuable. And even in our families where matriarchs

935
00:50:14,400 --> 00:50:16,960
Speaker 3: people come to us. In my own life, I have

936
00:50:17,000 --> 00:50:19,640
Speaker 3: a lot of young people, male and female, because even

937
00:50:19,680 --> 00:50:22,200
Speaker 3: with my coaching clients who become you know, like can

938
00:50:22,239 --> 00:50:23,080
Speaker 3: I just talk to you?

939
00:50:23,600 --> 00:50:27,480
Speaker 1: My son his friends call me mom. So to not

940
00:50:28,200 --> 00:50:32,520
Speaker 1: show that, to not honor that on screen, there's a

941
00:50:32,640 --> 00:50:35,840
Speaker 1: huge piece of our story missing. So what I love

942
00:50:36,040 --> 00:50:40,280
Speaker 1: is that in Hacks, we're dealing with multi generational relationships.

943
00:50:40,960 --> 00:50:44,439
Speaker 1: You've got Jane's character who is supposed to be washed

944
00:50:44,520 --> 00:50:46,720
Speaker 1: up and it's time for her to go out to pastor.

945
00:50:47,280 --> 00:50:49,480
Speaker 1: And then you have this young writer who's messed up

946
00:50:49,880 --> 00:50:53,920
Speaker 1: and needs help, you know, and they inform each other.

947
00:50:54,080 --> 00:50:58,400
Speaker 1: Their exchange is beautiful and it's real and there's nothing

948
00:50:58,480 --> 00:51:01,239
Speaker 1: forced about it. It's all can and when they had

949
00:51:01,280 --> 00:51:01,680
Speaker 1: I mean.

950
00:51:01,520 --> 00:51:05,040
Speaker 3: They're funny because they're both can be at each other's throats,

951
00:51:05,080 --> 00:51:07,319
Speaker 3: you know. And you know, younger people, when we're young,

952
00:51:07,320 --> 00:51:09,160
Speaker 3: we think we know it all we do.

953
00:51:09,239 --> 00:51:11,319
Speaker 1: You know, and you can't tell me anything, and then

954
00:51:11,360 --> 00:51:13,319
Speaker 1: we mess up and then that older person is there

955
00:51:13,360 --> 00:51:17,719
Speaker 1: and say, well, in Jean's case, I told you, but

956
00:51:17,800 --> 00:51:20,719
Speaker 1: that she's also there for the hug. And so I'm

957
00:51:21,040 --> 00:51:25,479
Speaker 1: really happy to see more of this. And I think

958
00:51:25,600 --> 00:51:28,960
Speaker 1: all of it also is happening, Brian, because more women

959
00:51:29,080 --> 00:51:33,720
Speaker 1: writers and older women writers are being invited to the table,

960
00:51:34,400 --> 00:51:36,680
Speaker 1: you know, like this one show that I love, you know,

961
00:51:36,840 --> 00:51:40,840
Speaker 1: Jane Fonda and that crazy Lily Tomlin. You know, I

962
00:51:40,920 --> 00:51:44,120
Speaker 1: love that show and I was so proud to see

963
00:51:44,160 --> 00:51:46,239
Speaker 1: it being produced, you know, So.

964
00:51:46,640 --> 00:51:48,040
Speaker 3: We're seeing more of that now.

965
00:51:48,239 --> 00:51:48,400
Speaker 4: You know.

966
00:51:48,440 --> 00:51:50,399
Speaker 1: It's kind of like the Golden Girls back in the day,

967
00:51:50,440 --> 00:51:53,160
Speaker 1: it was key. We need more of that now and

968
00:51:53,200 --> 00:51:55,600
Speaker 1: I'm starting to see it. So I think it's important,

969
00:51:55,760 --> 00:51:57,960
Speaker 1: and I think what it says about women is that.

970
00:51:57,840 --> 00:52:01,440
Speaker 3: We're here and we're here to stay, and our stories

971
00:52:01,440 --> 00:52:07,120
Speaker 3: are valuable and funny, and there's an audience, definitely an audience.

972
00:52:07,200 --> 00:52:12,560
Speaker 2: Oh absolutely, not dead yet came out. I read that

973
00:52:12,640 --> 00:52:19,000
Speaker 2: it is ABC's most watched comedy debut in over four years.

974
00:52:19,239 --> 00:52:19,839
Speaker 3: There you go.

975
00:52:20,520 --> 00:52:25,279
Speaker 2: I heard network television was dead, but no it is not.

976
00:52:25,600 --> 00:52:30,680
Speaker 2: It is a lot thriving. It is not dead yet. God,

977
00:52:30,760 --> 00:52:33,920
Speaker 2: you made the pun better than I did. Did you

978
00:52:33,960 --> 00:52:35,239
Speaker 2: think it was going to be a big hit?

979
00:52:35,960 --> 00:52:36,720
Speaker 3: I was hoping.

980
00:52:37,200 --> 00:52:39,520
Speaker 1: First of all, Gina Rodriguez. You know, she's coming from

981
00:52:39,600 --> 00:52:41,560
Speaker 1: Jane the Version and so many other things. She's a

982
00:52:41,680 --> 00:52:45,560
Speaker 1: boss and she's just a spitfire. She really is so talented.

983
00:52:45,920 --> 00:52:48,600
Speaker 1: And then you know we've got Lauren ash and you

984
00:52:48,640 --> 00:52:52,799
Speaker 1: know from ESU Hysterical, from Superstore and Hannah, you know,

985
00:52:53,200 --> 00:52:54,520
Speaker 1: just everyone on that.

986
00:52:54,560 --> 00:52:55,720
Speaker 3: Show has a history.

987
00:52:55,880 --> 00:52:58,279
Speaker 1: And then of course I think with Casey and with

988
00:52:58,360 --> 00:53:02,040
Speaker 1: David and Dean Holland team good team. You know, Mary

989
00:53:02,080 --> 00:53:04,759
Speaker 1: Biola's also and Corey Marsh they bought for the show.

990
00:53:04,960 --> 00:53:06,400
Speaker 1: So when I looked at the team and looked at

991
00:53:06,400 --> 00:53:08,760
Speaker 1: their background, I'm like, they all got a great history.

992
00:53:09,040 --> 00:53:11,000
Speaker 3: So I was praying.

993
00:53:11,040 --> 00:53:13,239
Speaker 1: I can't say that I knew it for sure, but

994
00:53:13,360 --> 00:53:16,120
Speaker 1: I thought it had a great chance to be a

995
00:53:16,160 --> 00:53:19,720
Speaker 1: big kid. So it's exciting and this is my first

996
00:53:19,760 --> 00:53:22,520
Speaker 1: network series, so it's a dream come true.

997
00:53:23,400 --> 00:53:25,160
Speaker 2: How did you become a part of it? Did you

998
00:53:25,200 --> 00:53:25,760
Speaker 2: just audition?

999
00:53:26,200 --> 00:53:29,239
Speaker 1: I auditioned and they probably knew my work from This

1000
00:53:29,400 --> 00:53:32,920
Speaker 1: is Us. I've auditioned and they loved it, and I

1001
00:53:32,960 --> 00:53:35,719
Speaker 1: got to tell you, they made an they you know,

1002
00:53:36,120 --> 00:53:39,239
Speaker 1: David and Casey were talking about this. They said that

1003
00:53:39,600 --> 00:53:44,720
Speaker 1: I was the first one hired, and I guess because

1004
00:53:44,760 --> 00:53:48,640
Speaker 1: at that time some players were moving around. But little

1005
00:53:48,680 --> 00:53:50,880
Speaker 1: did I know they had already auditioned me, and so

1006
00:53:50,920 --> 00:53:53,040
Speaker 1: they kind of had me on the hold. And I

1007
00:53:53,040 --> 00:53:54,719
Speaker 1: didn't know if I had it or not. But they said,

1008
00:53:54,760 --> 00:53:56,800
Speaker 1: you were the first one hired, and when.

1009
00:53:56,600 --> 00:53:59,520
Speaker 3: We saw you, there was never a question that there

1010
00:53:59,600 --> 00:54:02,080
Speaker 3: was we were to even see anyone else. I was like,

1011
00:54:02,120 --> 00:54:04,320
Speaker 3: oh my, that's a great story.

1012
00:54:04,640 --> 00:54:08,080
Speaker 1: So I auditioned and then it was quiet, and then

1013
00:54:08,120 --> 00:54:11,200
Speaker 1: they asked to see me again, but this time they

1014
00:54:11,320 --> 00:54:14,680
Speaker 1: wanted me to read with Gina. We did a chemistry read.

1015
00:54:14,920 --> 00:54:18,279
Speaker 1: Gina and I connected immediately. It was over zoomed. And

1016
00:54:18,320 --> 00:54:20,280
Speaker 1: then the next thing I know, I had to offer

1017
00:54:20,760 --> 00:54:23,160
Speaker 1: you know, and it's it's I'll say this. Out of

1018
00:54:23,200 --> 00:54:25,680
Speaker 1: all the you know shows I've done and all the

1019
00:54:25,800 --> 00:54:29,360
Speaker 1: you know shows I've lost, this was probably one of

1020
00:54:29,400 --> 00:54:33,439
Speaker 1: the smoothest transitions into a show effort. So when it's

1021
00:54:33,480 --> 00:54:35,960
Speaker 1: your time, honey, it is your time.

1022
00:54:36,080 --> 00:54:36,319
Speaker 3: You know.

1023
00:54:36,520 --> 00:54:40,120
Speaker 2: They love that. Well, you're working with one of my

1024
00:54:40,239 --> 00:54:45,440
Speaker 2: old pals, Dean Holland worked with me on the office

1025
00:54:45,800 --> 00:54:47,240
Speaker 2: for so many years.

1026
00:54:47,440 --> 00:54:49,239
Speaker 3: And I love you and I get to say it now.

1027
00:54:49,320 --> 00:54:52,720
Speaker 3: Can I just tell you how much I love you much?

1028
00:54:52,840 --> 00:54:53,720
Speaker 3: I love you?

1029
00:54:54,120 --> 00:55:01,719
Speaker 2: Oh stop keep going stop. Yeah, I love him. I'm

1030
00:55:01,760 --> 00:55:07,000
Speaker 2: so happy for his and now your success. So playing

1031
00:55:07,480 --> 00:55:11,919
Speaker 2: cricket free spirited, talk to me about your process as

1032
00:55:12,480 --> 00:55:16,759
Speaker 2: is your coaching yourself getting ready to play her. How

1033
00:55:16,800 --> 00:55:19,839
Speaker 2: do you go about approaching getting prepared on a week

1034
00:55:19,880 --> 00:55:20,960
Speaker 2: by week basis for her?

1035
00:55:21,360 --> 00:55:21,960
Speaker 3: So I did it.

1036
00:55:22,040 --> 00:55:24,359
Speaker 1: I did it, and I got coached because I as

1037
00:55:24,400 --> 00:55:26,480
Speaker 1: a coach, I like to just step outside of my

1038
00:55:26,520 --> 00:55:29,440
Speaker 1: bubble as I said, and here's somebody else's opinion.

1039
00:55:29,600 --> 00:55:31,840
Speaker 2: So I did, even as a coach, you have a

1040
00:55:31,920 --> 00:55:32,640
Speaker 2: coach oh.

1041
00:55:32,719 --> 00:55:36,759
Speaker 1: Heck, yeah, yeah, because there's there's the coach muscle, but

1042
00:55:36,800 --> 00:55:39,440
Speaker 1: then there's the acting muscle. And it's a little different

1043
00:55:39,480 --> 00:55:42,879
Speaker 1: because when you're coaching, you're outside of it, watching when

1044
00:55:42,920 --> 00:55:44,840
Speaker 1: you're and so there's of course I got to do

1045
00:55:44,920 --> 00:55:46,680
Speaker 1: what I tell my clients to do.

1046
00:55:46,760 --> 00:55:48,880
Speaker 3: So that helps, without a doubt, tremendously.

1047
00:55:49,080 --> 00:55:52,080
Speaker 1: But there's something about having someone else watch me and

1048
00:55:52,160 --> 00:55:55,200
Speaker 1: dig and poke around, you know. And so I work

1049
00:55:55,280 --> 00:55:58,560
Speaker 1: with a guy named Guy Camilary and he's great, pushed

1050
00:55:58,600 --> 00:56:02,000
Speaker 1: me around a little bit, you know. And so so

1051
00:56:02,080 --> 00:56:05,080
Speaker 1: what I my process is this I I did. I

1052
00:56:05,120 --> 00:56:08,320
Speaker 1: did a bio, you know, a lot of research on cricket,

1053
00:56:08,680 --> 00:56:10,480
Speaker 1: and I talked to a couple of my girlfriends who

1054
00:56:10,520 --> 00:56:13,000
Speaker 1: were married to men, white men.

1055
00:56:13,719 --> 00:56:16,319
Speaker 3: I just kind of talked about what that was like for.

1056
00:56:16,400 --> 00:56:18,919
Speaker 1: Both of them, and you know, out in the world

1057
00:56:19,000 --> 00:56:21,920
Speaker 1: and how people judge them or not accept them, et cetera.

1058
00:56:23,000 --> 00:56:25,680
Speaker 3: Looked at looked up Monty. I was so, you know,

1059
00:56:25,800 --> 00:56:28,200
Speaker 3: tickled to be with Martin mull and you know all

1060
00:56:28,280 --> 00:56:31,640
Speaker 3: that he's accomplished, he's iconic and I, you know, and

1061
00:56:31,680 --> 00:56:36,160
Speaker 3: so I allow myself to continue to let that bio

1062
00:56:36,320 --> 00:56:39,879
Speaker 3: evolve based on what I learned about the story. And

1063
00:56:39,960 --> 00:56:42,160
Speaker 3: by the way, they're so great, Dean and them.

1064
00:56:42,239 --> 00:56:44,680
Speaker 1: They let me meet with the writers and we got

1065
00:56:44,719 --> 00:56:48,520
Speaker 1: to talk, and from my personality and that exchange, they

1066
00:56:48,560 --> 00:56:51,440
Speaker 1: came up with some things that I had shared. So

1067
00:56:51,640 --> 00:56:53,680
Speaker 1: week two week, it's, you know, I kind of always

1068
00:56:53,719 --> 00:56:56,000
Speaker 1: go back and read that bio and try to stay

1069
00:56:56,040 --> 00:56:59,960
Speaker 1: on tasks of who Cricket is. And then I did

1070
00:57:00,080 --> 00:57:02,120
Speaker 1: with it the same way I would with anything else.

1071
00:57:02,480 --> 00:57:05,120
Speaker 3: What am I really saying? What do I need? How

1072
00:57:05,120 --> 00:57:08,280
Speaker 3: do I feel about Gina? You know? And I sometimes

1073
00:57:08,280 --> 00:57:11,520
Speaker 3: make personal connections, but now I don't have to anymore

1074
00:57:11,560 --> 00:57:14,799
Speaker 3: because she and I have our real connection. So it's,

1075
00:57:14,840 --> 00:57:17,400
Speaker 3: you know, it's it's always what is the story? What

1076
00:57:17,560 --> 00:57:21,480
Speaker 3: is the story I'm telling? Yeah, and what's my part

1077
00:57:21,640 --> 00:57:23,880
Speaker 3: in it? You know? What? Boys do I have in this?

1078
00:57:24,000 --> 00:57:25,280
Speaker 3: In this kind of like.

1079
00:57:27,000 --> 00:57:30,919
Speaker 1: Tapestry if you will, of this episode, because it's about

1080
00:57:30,920 --> 00:57:31,840
Speaker 1: being a team player.

1081
00:57:31,880 --> 00:57:35,439
Speaker 3: It's not about trying to outdo outshine, you know, show

1082
00:57:35,480 --> 00:57:38,720
Speaker 3: them I'm good, and you know, it's it's just stick

1083
00:57:38,800 --> 00:57:39,520
Speaker 3: with the story.

1084
00:57:40,120 --> 00:57:42,920
Speaker 1: The role has been written, it's been written well, and

1085
00:57:43,160 --> 00:57:45,360
Speaker 1: just what is the piece? What's the piece that they

1086
00:57:45,400 --> 00:57:46,080
Speaker 1: need from you?

1087
00:57:46,720 --> 00:57:49,560
Speaker 2: Yeah, you know it occurs to me based on our

1088
00:57:49,680 --> 00:57:55,200
Speaker 2: earlier conversation. You know, the show deals with the dark, right,

1089
00:57:55,360 --> 00:57:59,959
Speaker 2: death and break up obituary, but you know it does

1090
00:58:00,240 --> 00:58:04,600
Speaker 2: it with with a lighter tone. Yes, do you think

1091
00:58:04,640 --> 00:58:11,120
Speaker 2: that that enables us to address some difficult topics a

1092
00:58:11,160 --> 00:58:16,560
Speaker 2: little easier or a little deeper even than maybe dramas can.

1093
00:58:17,240 --> 00:58:18,600
Speaker 3: I'm so glad you said that.

1094
00:58:18,720 --> 00:58:22,760
Speaker 1: I think the comedy, that this blend of comedy and then,

1095
00:58:22,800 --> 00:58:27,600
Speaker 1: like we said, the dark is the perfect medium or

1096
00:58:27,800 --> 00:58:32,760
Speaker 1: or genre, if you yeah, in addressing some of those

1097
00:58:32,800 --> 00:58:35,800
Speaker 1: things that it is hard to address in real life.

1098
00:58:36,160 --> 00:58:37,680
Speaker 3: And you know, my son is funny.

1099
00:58:37,720 --> 00:58:41,960
Speaker 1: He's like my buddy, and he's you know, watched me

1100
00:58:42,680 --> 00:58:45,800
Speaker 1: since he's was born, you know, and he talks about

1101
00:58:46,520 --> 00:58:49,680
Speaker 1: he talks about how there are other ghost movies on

1102
00:58:49,880 --> 00:58:52,080
Speaker 1: and there's dark movies, and there's the vampires, and not

1103
00:58:52,120 --> 00:58:53,160
Speaker 1: putting any of that down.

1104
00:58:53,160 --> 00:58:56,800
Speaker 3: There's a place for everything, right, But he said, you know, Mom,

1105
00:58:56,840 --> 00:58:58,400
Speaker 3: while there's there's so much going.

1106
00:58:58,240 --> 00:59:00,960
Speaker 1: On in this world and so much darkness, it's nice

1107
00:59:01,000 --> 00:59:04,280
Speaker 1: to be on the show. He's so happy that I'm

1108
00:59:04,320 --> 00:59:06,920
Speaker 1: on the show that takes darkness and brings it to

1109
00:59:06,960 --> 00:59:09,800
Speaker 1: the light, you know, And oh, we find a light

1110
00:59:09,920 --> 00:59:12,680
Speaker 1: in the darkness, absolutely, you know. And I come from

1111
00:59:12,720 --> 00:59:15,680
Speaker 1: a family my grandmother, my mother's mother was Claire Boyant,

1112
00:59:15,680 --> 00:59:16,600
Speaker 1: and she was a preacher.

1113
00:59:17,120 --> 00:59:19,480
Speaker 3: She kind of believed in spirits and things like that,

1114
00:59:19,560 --> 00:59:20,920
Speaker 3: and you know, we're like, wait a minute, who's in

1115
00:59:20,920 --> 00:59:24,600
Speaker 3: the room? You know? You know, you see who, you

1116
00:59:24,640 --> 00:59:28,360
Speaker 3: feel what you know. But I've always been kind of

1117
00:59:28,360 --> 00:59:30,760
Speaker 3: a believer that, you know, we move on and there's

1118
00:59:30,800 --> 00:59:33,320
Speaker 3: this other realm of this, this other existence.

1119
00:59:32,800 --> 00:59:35,280
Speaker 1: Like not to be so arrogant to think that maybe

1120
00:59:35,320 --> 00:59:37,840
Speaker 1: this is just it, that there might be other energies

1121
00:59:37,880 --> 00:59:42,040
Speaker 1: and life beyond us. And this explores it in such

1122
00:59:42,040 --> 00:59:44,120
Speaker 1: a funny way, in such a sweet way.

1123
00:59:44,720 --> 00:59:49,640
Speaker 3: And who better to get life advice from but from

1124
00:59:49,640 --> 00:59:52,240
Speaker 3: those who've already lived it and have no more choices.

1125
00:59:53,080 --> 00:59:55,640
Speaker 1: We still have, and I think the meaning, you know,

1126
00:59:55,640 --> 00:59:59,360
Speaker 1: there's different messages each week, but at the end, at

1127
00:59:59,400 --> 01:00:03,080
Speaker 1: the base of those messages is the idea that we

1128
01:00:03,120 --> 01:00:06,280
Speaker 1: still have choice, we can still make a difference, right,

1129
01:00:06,520 --> 01:00:10,520
Speaker 1: And I think that is hopeful and it's uplifting and

1130
01:00:10,800 --> 01:00:14,320
Speaker 1: it's necessary. So I'm so proud. I actually wrote an

1131
01:00:14,360 --> 01:00:16,640
Speaker 1: affirmation out. I don't know if you've ever done this,

1132
01:00:16,720 --> 01:00:18,080
Speaker 1: Like when I was broken, I was.

1133
01:00:18,040 --> 01:00:20,720
Speaker 3: Like, I don't no mammy ever gonna act again. I quit,

1134
01:00:21,320 --> 01:00:21,880
Speaker 3: I'm done.

1135
01:00:22,120 --> 01:00:23,800
Speaker 1: And then my age is like you got an all this,

1136
01:00:23,840 --> 01:00:28,760
Speaker 1: and I'm like okay, And so someone said, well, write

1137
01:00:28,760 --> 01:00:31,400
Speaker 1: down what you want, and when I tell you, I

1138
01:00:31,440 --> 01:00:34,040
Speaker 1: wrote down two things out share I know, one out

1139
01:00:34,040 --> 01:00:37,000
Speaker 1: of time. One was I thank the universe as if

1140
01:00:37,000 --> 01:00:40,120
Speaker 1: it's already happened, thank you for a role on the

1141
01:00:40,240 --> 01:00:43,600
Speaker 1: show that matters, like this is Us. And then I

1142
01:00:43,680 --> 01:00:46,240
Speaker 1: booked This is Us. And then later I was like,

1143
01:00:46,320 --> 01:00:49,120
Speaker 1: thank you for a show where there's mutual regards between

1144
01:00:49,160 --> 01:00:52,040
Speaker 1: me and the creators and the cast on a show

1145
01:00:52,240 --> 01:00:55,800
Speaker 1: that's meaningful and a role that touches the hearts of

1146
01:00:55,840 --> 01:00:59,160
Speaker 1: my audiences. And then here comes this show right, and

1147
01:00:59,240 --> 01:01:01,920
Speaker 1: people say, oh, cricket is warm and I love cricket

1148
01:01:02,440 --> 01:01:06,480
Speaker 1: and this show matters. People, are you know someone there's

1149
01:01:06,520 --> 01:01:09,800
Speaker 1: a widow's I have a friend whose mother is part

1150
01:01:09,800 --> 01:01:13,640
Speaker 1: of a widow's club, and they are they love cricket,

1151
01:01:13,720 --> 01:01:16,680
Speaker 1: and they're like if they're feeling like every week they're

1152
01:01:16,720 --> 01:01:18,280
Speaker 1: getting some sense of closure.

1153
01:01:18,320 --> 01:01:23,200
Speaker 3: And I was like, wow, you know that's cool. That's cool. Yeah.

1154
01:01:23,240 --> 01:01:25,760
Speaker 3: So I hope that answered your question. But I think

1155
01:01:25,760 --> 01:01:29,040
Speaker 3: it's the perfect avenue to explore.

1156
01:01:28,600 --> 01:01:31,880
Speaker 1: Some of those those feelings, those hurts and maybe come

1157
01:01:31,920 --> 01:01:33,800
Speaker 1: to some place of hope.

1158
01:01:34,080 --> 01:01:36,800
Speaker 2: It was a perfect answer. Let me just let me

1159
01:01:36,840 --> 01:01:39,640
Speaker 2: tell you this, this is true. I was recently asked

1160
01:01:40,640 --> 01:01:47,240
Speaker 2: why I enjoy doing this podcast, and my answer is

1161
01:01:47,640 --> 01:01:51,560
Speaker 2: because of the conversation we just had. Oh, getting to

1162
01:01:51,600 --> 01:01:56,200
Speaker 2: meet you and talk to you, and your incredible career

1163
01:01:56,320 --> 01:01:59,920
Speaker 2: and the diversity of your career what you've been able

1164
01:01:59,960 --> 01:02:05,720
Speaker 2: to accomplish from where you started, and it's just so like,

1165
01:02:06,000 --> 01:02:09,880
Speaker 2: my day is better, My day is better for having

1166
01:02:09,920 --> 01:02:13,560
Speaker 2: had this conversation with you. So I'm going to say

1167
01:02:13,600 --> 01:02:17,360
Speaker 2: to you right now something that I never thought that

1168
01:02:17,440 --> 01:02:22,200
Speaker 2: I would say. Give my best to Dean Holland and

1169
01:02:22,240 --> 01:02:29,280
Speaker 2: Marla Gibbs, your mom, and my old friend Deed, and

1170
01:02:30,040 --> 01:02:34,400
Speaker 2: thank you so so very much for sharing a little

1171
01:02:34,400 --> 01:02:37,280
Speaker 2: bit of your story, a fraction of your story with

1172
01:02:37,400 --> 01:02:39,840
Speaker 2: me and with the listeners and Brian.

1173
01:02:40,360 --> 01:02:44,320
Speaker 1: Again, I'm a huge fan of yours. So when I

1174
01:02:44,400 --> 01:02:47,160
Speaker 1: had this, I thought this opportunity come through. I was

1175
01:02:47,280 --> 01:02:50,200
Speaker 1: so tickled and you have made my day. Thank you

1176
01:02:50,400 --> 01:02:53,600
Speaker 1: so much for having me, great questions about it.

1177
01:02:54,680 --> 01:03:00,000
Speaker 3: A couple of times I'm made me think, thank you.

1178
01:03:00,120 --> 01:03:02,440
Speaker 1: See you have a beautiful week, and thank you so

1179
01:03:02,520 --> 01:03:04,000
Speaker 1: much for having me. Hope you get to meet a

1180
01:03:04,080 --> 01:03:05,000
Speaker 1: real person.

1181
01:03:04,840 --> 01:03:20,920
Speaker 2: Me too, very very soon. Yes, indeed, Angela, thank you

1182
01:03:21,320 --> 01:03:24,080
Speaker 2: so much for joining me today. This is the beginning,

1183
01:03:24,720 --> 01:03:27,720
Speaker 2: It is not the end. I had so much fun.

1184
01:03:28,120 --> 01:03:31,280
Speaker 2: I can't wait now to tune in too. Not dead yet,

1185
01:03:31,320 --> 01:03:35,760
Speaker 2: and listeners, you should do the same and I will

1186
01:03:35,800 --> 01:03:40,320
Speaker 2: catch you all next week for another exciting episode of

1187
01:03:40,320 --> 01:03:43,479
Speaker 2: Off the Beat. We're gonna have more stories, We're gonna

1188
01:03:43,520 --> 01:03:49,960
Speaker 2: have more laughs, more everything. You just call me mister Moore. Well,

1189
01:03:51,120 --> 01:03:54,480
Speaker 2: I like Roger, not Michael Moore. Just you know what,

1190
01:03:54,680 --> 01:03:58,080
Speaker 2: Just just call me more and come back next week.

1191
01:04:06,920 --> 01:04:09,880
Speaker 2: Off the Beat is hosted and executive produced by me

1192
01:04:10,200 --> 01:04:14,720
Speaker 2: Brian Baumgartner, alongside our executive producer, Ling Lee. Our senior

1193
01:04:14,720 --> 01:04:19,400
Speaker 2: producer is Diego Tapia. Our producers are Liz Hayes, Hannah Harris,

1194
01:04:19,440 --> 01:04:23,640
Speaker 2: and Emily Carr. Our talent producer is Ryan Papa Zachary,

1195
01:04:23,840 --> 01:04:27,560
Speaker 2: and our intern is Sammy Katz, our theme song Bubble

1196
01:04:27,640 --> 01:04:31,640
Speaker 2: and Squeak, performed by the one and only Creed Bratton