WEBVTT - The Spirited Actor - Tracey Moore - Working On Set 0:00:00.080 --> 0:00:03.280 Hello, and welcome to the Spirited Actor Podcast with me 0:00:03.520 --> 0:00:06.440 Tracy Moore. I was a casting director for film and 0:00:06.480 --> 0:00:10.600 TV and commercials for over thirty years. I transitioned to 0:00:10.640 --> 0:00:14.200 a celebrity acting coach after I cast a film New 0:00:14.280 --> 0:00:19.400 Jersey Drive with executive producers Spike Lee and director Nick Domez. 0:00:20.040 --> 0:00:24.439 I auditioned every rapper from biggiees Balls to Tupac, and 0:00:24.560 --> 0:00:28.200 I realized that rappers and musical artists they needed help 0:00:28.280 --> 0:00:32.600 transitioning to acting. My clients consist of musical artists from 0:00:32.760 --> 0:00:37.400 Buster Rhymes to Eve, Missy Elliott, Angela Yee from The 0:00:37.440 --> 0:00:41.120 Breakfast Club, and Vanessa Simmons, to name a few. I 0:00:41.240 --> 0:00:45.080 also coach sports stars and host as well. I feel 0:00:45.280 --> 0:00:48.720 I have the best of both worlds. As a casting director, 0:00:48.760 --> 0:00:51.320 I know exactly what they're looking for, and as an 0:00:51.360 --> 0:00:53.800 acting coach, I can coach you to be remembered in 0:00:53.880 --> 0:00:57.080 that room. Now I know, I know actors want to 0:00:57.160 --> 0:01:00.200 get the job. I get that, but being remembered by 0:01:00.360 --> 0:01:05.240 casting director that is powerful. And now it's time for 0:01:05.360 --> 0:01:09.520 meditation of the day. The only thing we have to 0:01:09.760 --> 0:01:18.880 fear is fear itself. Franklin Roosevelt. Fear is an illusion period. 0:01:19.160 --> 0:01:23.080 It doesn't exist when you confront fear head on right 0:01:23.400 --> 0:01:25.320 when you say I'm. 0:01:25.160 --> 0:01:28.039 Going to talk to my landlord, I'm going. 0:01:27.920 --> 0:01:32.080 To talk to the bill collectors that are calling me. 0:01:32.319 --> 0:01:36.039 I'm going to confront a parent at school. When you 0:01:36.200 --> 0:01:43.680 do those things, fear goes away. Courage stands forward. That's 0:01:43.800 --> 0:01:49.000 the poison for fear is courage. Have the courage to 0:01:49.160 --> 0:01:53.480 address all the fears. And sometimes we need help addressing them. 0:01:53.480 --> 0:01:56.720 And I say that in terms of maybe therapy, you know, 0:01:56.800 --> 0:01:59.600 to talking to a good friend that you trust and 0:01:59.640 --> 0:02:04.720 you have safe place, but courage makes all the fear 0:02:04.920 --> 0:02:13.440 go away. Today I will confront fear with courage. Before 0:02:13.440 --> 0:02:16.400 we get started, I like to remind everyone to go 0:02:16.480 --> 0:02:20.040 to Crackle Network to use seasons one and two of 0:02:20.080 --> 0:02:23.680 my show Inside the black Box that I co host 0:02:23.760 --> 0:02:27.720 with the great Emmy Award winning Joe Morton. 0:02:28.880 --> 0:02:32.280 Look out for news on season three soon. 0:02:32.800 --> 0:02:36.840 Welcome to the Spirited Actor Podcast with me Tracy Moore, 0:02:36.960 --> 0:02:42.320 and I am energized. I am on high high alert 0:02:43.040 --> 0:02:48.200 for actors. Today on this show, I am going to 0:02:48.240 --> 0:02:52.520 be teaching you. I'm giving you a prelude of a 0:02:52.560 --> 0:02:55.679 workshop that I have developed and I will be teaching. 0:02:56.320 --> 0:02:59.640 So I'm going to give you the information before the 0:02:59.720 --> 0:03:05.040 end of the show. But this is called working on set. 0:03:05.680 --> 0:03:10.680 This is the name of our show. Today is working 0:03:10.840 --> 0:03:17.120 on set, I have to say, and it's working on 0:03:17.200 --> 0:03:18.040 set with Tracy Moore. 0:03:18.080 --> 0:03:18.920 I just want you to know that. 0:03:19.360 --> 0:03:21.679 For those of you who are just joining us so 0:03:21.840 --> 0:03:25.280 didn't know, today is working on set with Tracy Moore. 0:03:27.600 --> 0:03:31.760 I have to say that as actors, a lot of 0:03:31.800 --> 0:03:34.560 times people say to me, you know, oh, it's just 0:03:34.600 --> 0:03:39.000 saying lines. It's just memorizing lines. And there's so much 0:03:39.080 --> 0:03:44.840 more to acting than just memorizing lines. And when you 0:03:45.640 --> 0:03:50.520 create or follow up templates that I've created for actors, 0:03:51.560 --> 0:03:55.080 there are no shortcuts in this industry. You will be shortchanged. 0:03:55.800 --> 0:03:59.600 But what they are are new insights. And I always 0:03:59.640 --> 0:04:06.480 say that when you guys take classes with acting teachers, 0:04:06.560 --> 0:04:12.120 drama teachers, acting coaches, just make sure that they are current, 0:04:12.840 --> 0:04:16.440 make sure that they are working now in the industry, 0:04:16.680 --> 0:04:23.680 or maybe excuse me, they decided to transition full time 0:04:24.320 --> 0:04:25.800 to teaching and they. 0:04:25.800 --> 0:04:27.960 Just recently started five years ago. 0:04:28.080 --> 0:04:34.440 Wherever they land, make sure that they understand the business 0:04:34.600 --> 0:04:40.600 today because prior to COVID, we never thought about Zoom submissions. 0:04:40.880 --> 0:04:45.320 We were always live. Auditions were live, callbacks are live. 0:04:46.040 --> 0:04:52.000 Producer sessions were live. Now for the majority, everything is soomed, 0:04:53.279 --> 0:04:57.040 So you want to make sure that you're moving with 0:04:57.080 --> 0:05:02.200 the times. You understand the times, irrelevant during the times. 0:05:03.839 --> 0:05:09.039 So I say that to say that I feel extremely 0:05:09.200 --> 0:05:13.719 blessed to have clients who are currently working in this 0:05:13.880 --> 0:05:19.520 industry and relationships where they honestly call on me to. 0:05:19.839 --> 0:05:20.600 Work with them. 0:05:21.000 --> 0:05:25.960 And it just really rocks my soul because I have 0:05:26.080 --> 0:05:28.080 relationships in this business. 0:05:28.160 --> 0:05:28.720 And so. 0:05:30.320 --> 0:05:33.520 I had the pleasure last month of being. 0:05:33.360 --> 0:05:34.880 On the set. Oh now we're in July. 0:05:35.120 --> 0:05:39.800 So in May I was in Atlanta twice. I was 0:05:39.880 --> 0:05:45.640 doing in the film with Newturi, not Lifetime's Abduction at 0:05:45.920 --> 0:05:52.840 HBCUs and this is coming on July twentieth on Lifetime, 0:05:53.000 --> 0:05:59.320 So check that out. Wonderful, wonderful body of work and 0:06:00.279 --> 0:06:07.200 heart wrenching story, but wonderful, I mean, just really dynamic 0:06:07.240 --> 0:06:12.839 performances from all of the actors, and I specifically worked 0:06:12.839 --> 0:06:18.640 with Sunuturi. The shoot was fifteen days, And what I 0:06:18.680 --> 0:06:24.839 want actors to understand is that they're now that and 0:06:24.920 --> 0:06:27.679 this is something for me coming from the Independent world 0:06:27.680 --> 0:06:29.000 that I always knew. 0:06:29.400 --> 0:06:31.000 I always knew we had we. 0:06:31.040 --> 0:06:32.800 Didn't have a budget, so we had to work it 0:06:32.839 --> 0:06:35.960 out by any means necessary. I always knew that we 0:06:36.040 --> 0:06:38.719 had to shoot and run because we didn't we couldn't 0:06:38.760 --> 0:06:44.880 afford the insurance that we needed to get a permit and. 0:06:44.920 --> 0:06:46.120 Be able to shoot freely. 0:06:47.080 --> 0:06:49.880 I come from, you know, independent world, like we made 0:06:49.880 --> 0:06:58.880 it happen. So we were used to no budgets, low budgets, shooting. 0:06:58.640 --> 0:07:02.119 A film in. 0:07:01.720 --> 0:07:07.440 Twelve days, fifteen days, seventeen days, twenty one days. And 0:07:07.520 --> 0:07:11.480 so now everyone else, it appears, has figured that. 0:07:11.520 --> 0:07:13.000 Out as well. 0:07:13.040 --> 0:07:17.320 And so in everybody else figuring that out, what happens 0:07:17.440 --> 0:07:23.520 now is that studios say, huh, well we can shoot 0:07:23.520 --> 0:07:27.680 a featured film in fifteen days. Wow, that means we 0:07:27.720 --> 0:07:31.960 could get more films in here to shoot right now. 0:07:32.360 --> 0:07:36.880 My experience being on the set, wonderful set, wonderful director 0:07:36.920 --> 0:07:44.520 and production. What I felt was lacking was the preparation 0:07:44.760 --> 0:07:46.320 as actors. 0:07:46.080 --> 0:07:47.240 That you guys have. 0:07:48.360 --> 0:07:53.680 I remember being on sets four to six weeks or 0:07:54.240 --> 0:07:59.440 four to eight weeks, ten weeks, and you did have. 0:08:00.240 --> 0:08:04.000 In featured films, there was a certain leisure to maybe 0:08:04.080 --> 0:08:07.680 sit on your trailer's steps with your sides and go 0:08:07.720 --> 0:08:10.960 over your lines to yourself or maybe with someone else 0:08:11.040 --> 0:08:13.320 that is in the scene with you. Your meeting for 0:08:13.400 --> 0:08:18.520 the first time. You do not have that luxury anymore. 0:08:18.960 --> 0:08:24.080 If you're shooting fifteen days, you're shooting pages a day, 0:08:24.920 --> 0:08:28.960 and that means that the takes that you may have 0:08:29.040 --> 0:08:34.760 been accustomed to prior to COVID no longer exists. You 0:08:34.880 --> 0:08:39.480 come on the set volcanic Cot prepared to give it 0:08:39.640 --> 0:08:46.240 your best shot because you may not get another take, 0:08:47.840 --> 0:08:50.600 and when you are an integral part of the story, 0:08:50.720 --> 0:08:54.080 it's very challenging to cut around your performance. 0:08:54.520 --> 0:09:00.680 Your performance will be what your performance is. So it 0:09:00.880 --> 0:09:05.680 starts with the prep time. That's what it starts with. 0:09:06.440 --> 0:09:09.280 So for those of you who have agents want your 0:09:09.320 --> 0:09:13.079 contracts is negotiated, sign the check is on its way 0:09:13.200 --> 0:09:22.840 or the transfer however the money is exchanged legally, what 0:09:22.920 --> 0:09:26.720 you want to do is start preparing for your role. 0:09:27.440 --> 0:09:29.720 The work starts for you there. The work. 0:09:29.760 --> 0:09:32.040 Work doesn't start when you get the call sheet and 0:09:32.080 --> 0:09:33.920 then it says what time you supposed to be on 0:09:34.000 --> 0:09:37.480 set and you think, okay, I'll run my lines during makeup, 0:09:37.760 --> 0:09:40.760 I'll run my lines through hair, and then you know, 0:09:41.240 --> 0:09:44.240 I'll try to find the other character or characters in 0:09:44.240 --> 0:09:47.200 the scene to run lines. So that doesn't work anymore, 0:09:47.640 --> 0:09:52.040 that's not really happening. So the work that you need 0:09:52.080 --> 0:09:54.600 to do, the prep time that you guys need to 0:09:54.640 --> 0:09:57.320 do as actors when you land a role and you 0:09:57.480 --> 0:10:00.760 secured that role, is the character work and what does 0:10:00.800 --> 0:10:04.240 that look like? Well, I just want to dispel some 0:10:04.440 --> 0:10:08.800 myths right now. One is that acting is not pretending, 0:10:09.080 --> 0:10:14.200 imitating or. 0:10:12.600 --> 0:10:16.719 Just you know, throwing out some lines. 0:10:18.000 --> 0:10:21.160 Acting is really embodying the truth of the character and 0:10:21.200 --> 0:10:25.080 their journey. It's about truth. It's about your truth. You 0:10:25.120 --> 0:10:27.360 believe who you are. You are not who you are. 0:10:27.480 --> 0:10:30.200 You are the character and that character has a different 0:10:30.280 --> 0:10:34.240 journey than you, a different walk than you. And the 0:10:34.280 --> 0:10:36.720 beauty to me of acting is that you, as an 0:10:36.760 --> 0:10:40.840 actor can create all of this And how cool is 0:10:41.000 --> 0:10:44.240 that from the information that you get, you get to 0:10:44.360 --> 0:10:47.520 color and say, oh, I think that this is what 0:10:47.559 --> 0:10:50.640 they would wear, and this is how their hair would look, 0:10:50.679 --> 0:10:52.640 and this is what their apartment looks like. 0:10:52.960 --> 0:10:54.480 It's just really. 0:10:54.240 --> 0:10:59.000 Creating based on the truth that you have, the information 0:10:59.160 --> 0:11:02.319 that you have in the script. 0:11:02.880 --> 0:11:07.160 That's how you start to craft this character. Right, So 0:11:07.400 --> 0:11:08.280 the first thing that. 0:11:08.200 --> 0:11:10.679 You want to do is, let's say you have a 0:11:10.840 --> 0:11:14.440 role in a film, and let's say it's when you 0:11:14.480 --> 0:11:15.720 get a call sheet. 0:11:15.920 --> 0:11:18.839 You are no longer referred to as your name. 0:11:19.320 --> 0:11:23.800 You become a number, right, and so depending upon you know, 0:11:23.960 --> 0:11:26.439 number one of course is the star of the film. 0:11:27.240 --> 0:11:30.960 But let's say you're number five. Okay, you're number five 0:11:31.400 --> 0:11:33.720 on the call sheet. That's a pretty. 0:11:33.480 --> 0:11:34.680 High number, right. 0:11:35.440 --> 0:11:41.160 So assuming you have like at least let's say twenty scenes, 0:11:42.800 --> 0:11:46.480 this is where the work comes in. So after you 0:11:46.520 --> 0:11:49.560 have gathered all the information, and this is why I 0:11:49.640 --> 0:11:54.480 highly recommend that actors read every single day, and allowed 0:11:55.440 --> 0:12:00.000 it is recently i've been doing. I did a workshot 0:12:00.200 --> 0:12:05.520 in Springford, Connecticut. Springfield, Connecticut, had such a great time 0:12:05.640 --> 0:12:06.800 with the actors there. 0:12:07.760 --> 0:12:09.800 But I could tell who reads and I could tell 0:12:09.840 --> 0:12:10.680 who doesn't read. 0:12:11.120 --> 0:12:15.160 And it was an interesting connection because there was one. 0:12:15.080 --> 0:12:16.040 Actress that. 0:12:17.880 --> 0:12:21.160 I connected with and I knew that she had an 0:12:21.160 --> 0:12:24.760 experience of reading when she was a kid and the 0:12:24.880 --> 0:12:28.520 class made fun of her or they did something that 0:12:28.679 --> 0:12:33.680 shattered her confidence, and she was nervous reading in front 0:12:33.679 --> 0:12:36.760 of people in her body language. And then afterwards we 0:12:36.800 --> 0:12:40.840 had conversation and she actually confirmed that. No, I'm not 0:12:40.960 --> 0:12:43.480 a psychic, and I know I've been referred to as 0:12:43.520 --> 0:12:44.400 the oracle, but. 0:12:44.559 --> 0:12:45.880 No, I'm just playing with you. 0:12:45.880 --> 0:12:50.040 No, I I've just seen it before. I've seen when actors. 0:12:50.760 --> 0:12:53.560 I know because I have had them experience myself in 0:12:53.640 --> 0:12:57.240 high school, so I know what that feels like. So 0:12:58.000 --> 0:13:02.160 when you were reading, it's effortless. It's not a chore. 0:13:02.360 --> 0:13:05.960 It's this is the part of your job. So you 0:13:06.000 --> 0:13:08.480 want to read the script when you get the first 0:13:08.480 --> 0:13:12.040 script that they send you after all of the contracts 0:13:12.080 --> 0:13:14.760 and everything is done, and you want to read it 0:13:14.800 --> 0:13:18.360 once again, just to be a spectator. No highlighters, No, 0:13:18.960 --> 0:13:22.400 how do I say this line? None of that read 0:13:22.679 --> 0:13:29.320 to comprehend. I cannot stress enough what comprehension means and 0:13:29.360 --> 0:13:35.040 what comprehension looks like. Because when you understand something, you 0:13:35.240 --> 0:13:38.600 understand how to say it, and you can say in 0:13:38.640 --> 0:13:42.880 one hundred different ways. As long as you maintain the 0:13:42.960 --> 0:13:48.000 consistency and the integrity, then you're good. 0:13:48.840 --> 0:13:52.560 You're good, right, And I always use this exercise. It's 0:13:52.679 --> 0:13:54.720 very simple, easy, right. 0:13:55.200 --> 0:13:59.560 So if I say to you, it's your birthday, and 0:13:59.640 --> 0:14:02.840 it's an your birthday, I just need you to answer back, no, 0:14:02.960 --> 0:14:07.440 it's not. And in listening, because acting is listening, you 0:14:07.480 --> 0:14:10.439 will hear I'm not saying it the same way, which 0:14:10.480 --> 0:14:13.640 causes you reaction to react differently. 0:14:14.080 --> 0:14:16.200 You should to each way that I ask. 0:14:16.720 --> 0:14:20.120 Right, So I'm going to show you that I'm going 0:14:20.200 --> 0:14:22.880 to do that quick exercise in class and sessions so 0:14:23.400 --> 0:14:26.360 you can hear how that works, because it really is 0:14:26.400 --> 0:14:33.000 a listening exercise. Okay, but acting is listening. So when 0:14:33.040 --> 0:14:36.440 you are reading these scripts, are reading these sides, you 0:14:36.520 --> 0:14:41.120 are reading to understand, and then you come back and 0:14:41.160 --> 0:14:44.960 have this conversation and self like, okay, okay, so my 0:14:45.200 --> 0:14:49.000 mother loves me, but I have issues with her because 0:14:49.040 --> 0:14:50.520 my sister said blah blah blah blah blah. 0:14:50.520 --> 0:14:54.000 We were born. And you're putting all of these pieces together, 0:14:54.840 --> 0:14:56.880 and the more you read it, the more you understand, 0:14:56.920 --> 0:15:00.960 the more you hear something different. This is fact. 0:15:01.920 --> 0:15:04.840 This is absolute fact that I'm telling you because as 0:15:04.840 --> 0:15:08.120 a casting director, I've at least read a million scripts 0:15:08.160 --> 0:15:10.960 in my lifetime, and in reading a million scripts in 0:15:11.000 --> 0:15:14.359 my lifetime, I'm exaggerated, but I've read a lot of scripts. 0:15:14.560 --> 0:15:18.600 But in reading a million scripts in my lifetime. I 0:15:18.680 --> 0:15:26.720 can tell you this that there's always something new that 0:15:26.800 --> 0:15:31.000 you learn and that you hear each time you read it. 0:15:31.320 --> 0:15:34.160 I have this when I read with my clients, when 0:15:34.160 --> 0:15:37.960 I work with my clients, I always discover something new. 0:15:38.720 --> 0:15:42.120 And so that's how you guys should approach these scripts. 0:15:42.520 --> 0:15:46.720 Once you've read it and you've understood it, you comprehend 0:15:46.840 --> 0:15:52.040 what's going on. Now you can take your highlighter out 0:15:53.040 --> 0:15:58.720 and you can start to go see by theme again, 0:15:59.360 --> 0:16:00.840 really understanding. 0:16:00.960 --> 0:16:03.320 Do not move to another scene if you don't. 0:16:03.200 --> 0:16:07.160 Understand the scene prior to that, because everything is connected. 0:16:07.520 --> 0:16:09.720 There's no oh, I'll just go back to that. This 0:16:09.880 --> 0:16:13.760 is not school, this is not English class. This is 0:16:13.840 --> 0:16:19.040 a script, and the script tells a story, and everything 0:16:19.160 --> 0:16:22.360 on that page in that script is an integral part 0:16:22.600 --> 0:16:24.160 of telling the story. 0:16:24.520 --> 0:16:25.600 You cannot alter that. 0:16:26.440 --> 0:16:31.280 So if your introduction is on page three, how do 0:16:31.400 --> 0:16:36.280 I know it's your introduction Because your name, your character's 0:16:36.360 --> 0:16:41.120 name is in capital letters. So on page three capital letters, 0:16:41.200 --> 0:16:46.440 your diamond, your character shows up right. And I would 0:16:46.440 --> 0:16:50.000 saying the other day to an actor that your name 0:16:50.160 --> 0:16:59.000 means something, your name, and you should you should create 0:16:59.120 --> 0:17:02.040 that define that crafts that know that. And I say 0:17:02.080 --> 0:17:04.320 that because as a writer, I wrote a scene called 0:17:04.359 --> 0:17:09.080 Eggshells and one of the characters name is Phoebe. 0:17:10.119 --> 0:17:10.680 And so. 0:17:13.600 --> 0:17:18.760 I was teaching actually a week ago today, and I 0:17:18.840 --> 0:17:21.800 was saying to the class that, you know, they had never. 0:17:21.680 --> 0:17:23.960 Heard that name Phoebe. Now you know, I'm from a 0:17:24.000 --> 0:17:27.320 different generation and a little older than young. So Phoebe 0:17:27.400 --> 0:17:30.399 is kind of like a sixty seventy name, love piece 0:17:30.440 --> 0:17:32.440 and soul. There was a lot of things happening back 0:17:32.480 --> 0:17:38.040 then and for me in San Francisco. So but to me, 0:17:38.200 --> 0:17:39.840 Phoebe was very liberating. 0:17:40.200 --> 0:17:45.520 Phoebe was she smoked briefas she was in loose clothes 0:17:45.640 --> 0:17:49.720 and barefoot and just chilling like the hippies that I 0:17:49.800 --> 0:17:52.359 used to see and hang out with and you know, 0:17:52.520 --> 0:17:55.600 fillmore District or hate Ashbury. She was just love piece 0:17:55.640 --> 0:17:58.120 and soul. And so when I told them that, they 0:17:58.119 --> 0:18:01.239 could resonate with that. So, you know, the first thing 0:18:01.320 --> 0:18:03.479 you start with is the namely character. What does that 0:18:03.560 --> 0:18:06.040 mean to you? What does does it have a meaning? 0:18:07.040 --> 0:18:11.280 If not, you should create that. Okay, just a small detail. 0:18:12.400 --> 0:18:18.520 So after you start highlighting and you know, see, you know, 0:18:18.960 --> 0:18:22.160 going scene by scene, you want to have a clear 0:18:22.240 --> 0:18:25.760 understanding of all your relationships. And this is something to 0:18:25.840 --> 0:18:28.960 write down if you want to. You know, what's your 0:18:28.960 --> 0:18:32.080 relationship with all of the characters that you're involved in 0:18:33.080 --> 0:18:36.960 and just you know, a one line like your mom. 0:18:36.200 --> 0:18:40.680 Issues with something I did in high school that she 0:18:40.720 --> 0:18:41.320 won't let go. 0:18:42.400 --> 0:18:47.000 Just list all of these things that or or just 0:18:47.600 --> 0:18:51.119 you know, one sentence, summarize what that relationship is so 0:18:51.160 --> 0:18:55.080 that you can have that and just kind of refresh. 0:18:55.400 --> 0:18:59.560 What's challenging for me is when people write scripts and 0:18:59.600 --> 0:19:08.600 they use character names the alphabet right, so they'll say Amy, Andrea, Adrian, Like, 0:19:08.920 --> 0:19:12.040 that's a lot you need to go through a to 0:19:12.200 --> 0:19:15.840 Z when you are naming your characters, Like, there's enough 0:19:15.880 --> 0:19:19.320 alphabet that we could switch it up in a film. 0:19:19.600 --> 0:19:22.320 You know, you could use junior, you'd use the third, 0:19:23.200 --> 0:19:26.520 but that gets a little complicated. 0:19:26.560 --> 0:19:29.320 So it's important that you take the time and really 0:19:29.440 --> 0:19:32.360 list what that relationship is to you. 0:19:32.480 --> 0:19:36.720 To your character. Talking to your character. The second thing 0:19:37.000 --> 0:19:38.120 that you need to do. 0:19:38.440 --> 0:19:42.320 After you have read this script, understood this script and 0:19:42.359 --> 0:19:45.400 the characters, you have to ask yourself, do you have 0:19:45.480 --> 0:19:49.159 this experience of the character, When you have the experience 0:19:49.200 --> 0:19:55.040 of the character. Then it's easy and easy er let's 0:19:55.080 --> 0:19:59.320 say that, right, because let's say the character is a 0:19:59.400 --> 0:20:02.399 mom or a mom. Well, us moms, we know what 0:20:02.560 --> 0:20:05.760 that job is and what that job is, and so 0:20:07.080 --> 0:20:13.640 you would sprinkle your information education experience into this character 0:20:15.200 --> 0:20:19.280 and who this character is in terms of you know 0:20:19.359 --> 0:20:24.000 their breakdown, right, So maybe they're a mean mom and 0:20:24.160 --> 0:20:27.960 you're you've never yelled or screamed at your child. Well 0:20:28.000 --> 0:20:30.800 there's a little challenging now because now you have to 0:20:30.880 --> 0:20:34.119 understand where this meanness comes from. So you have to 0:20:34.200 --> 0:20:37.159 do research, go through layers of your character so that 0:20:37.240 --> 0:20:40.840 you can lock onto that understanding and feel comfortable being 0:20:40.880 --> 0:20:45.240 a mean mom, which you're not, but you're playing someone else, 0:20:46.240 --> 0:20:48.520 so you mesh that all in. 0:20:48.920 --> 0:20:53.200 Right. If you do not have the experience of your character, 0:20:53.440 --> 0:20:54.440 this is when. 0:20:57.720 --> 0:21:02.120 References, and I'm a big reference, this is when references 0:21:02.480 --> 0:21:03.359 come into place. 0:21:03.520 --> 0:21:03.720 Right. 0:21:04.200 --> 0:21:07.320 So let's say your character is a race car driver 0:21:07.560 --> 0:21:10.440 and you are not. You would one. 0:21:10.880 --> 0:21:14.359 Have to understand what it's being like in a male 0:21:15.080 --> 0:21:22.639 dominated industry and a particular demographics and community. 0:21:23.680 --> 0:21:25.520 And you know what's the training. 0:21:25.720 --> 0:21:29.720 All of these integral details of what it means to 0:21:29.760 --> 0:21:34.560 be a race car driver train. You know the matrix 0:21:34.600 --> 0:21:38.120 they all train, and I know that it was at 0:21:38.240 --> 0:21:42.760 least six months at least six months to a couple 0:21:42.800 --> 0:21:49.119 of years that they did training. So when you don't 0:21:49.119 --> 0:21:52.920 have that experience, it's your job to gain that knowledge 0:21:52.960 --> 0:21:57.360 and be so convincing about it that we the audience 0:21:57.480 --> 0:22:00.280 believe you really do know how to I have a 0:22:00.320 --> 0:22:02.440 race car and you really are a racecar driver. That's 0:22:02.480 --> 0:22:09.439 your job, right what I'm in shock? I am in 0:22:09.560 --> 0:22:12.920 complete utter shock. I are you serious? 0:22:13.480 --> 0:22:16.520 Wow? That was warp speed, you guys. That was absolutely 0:22:16.560 --> 0:22:17.080 warp speed. 0:22:17.200 --> 0:22:21.600 And I'm saying that because our engineer Andy gets, you know, 0:22:21.680 --> 0:22:24.359 the famous Andy. He has just warned me that I 0:22:24.400 --> 0:22:28.200 had five minutes. I thought I had fifteen to twenty minutes. 0:22:28.880 --> 0:22:31.679 Oh my god. Okay, well, I'm. 0:22:31.520 --> 0:22:33.720 Going to tell you one more thing and then I'm 0:22:33.720 --> 0:22:38.479 going to encourage you all to check out my IG 0:22:39.680 --> 0:22:48.160 this afternoon and forever. I am going to do a workshop. 0:22:48.680 --> 0:22:52.840 It's a two hour workshop for actors. And this workshop 0:22:52.960 --> 0:22:56.600 is going to be ninety nine dollars two hour online workshop, 0:22:56.720 --> 0:23:01.359 ninety nine dollars. It's going to be on July fourth. 0:23:02.000 --> 0:23:04.600 I'm going to post all the information. I'm going to 0:23:04.640 --> 0:23:07.359 also read the information at the end of the show 0:23:07.760 --> 0:23:10.320 so that you can have the information. But this is 0:23:10.359 --> 0:23:13.320 what I will be teaching working on set and how 0:23:13.400 --> 0:23:18.399 important it is for you guys to understand how to 0:23:18.600 --> 0:23:22.040 work on these sets now because it's different. COVID made 0:23:22.040 --> 0:23:26.760 it different, budgets are making it different. Being able to 0:23:26.760 --> 0:23:29.320 shoot in less time makes it different. And you guys 0:23:29.440 --> 0:23:32.720 need to be prepared and armed. And I have to 0:23:32.760 --> 0:23:34.639 say with this last thing I want to say is 0:23:34.680 --> 0:23:39.160 that you have to find that safe place within you. You 0:23:38.760 --> 0:23:41.639 have to find that safe place where you're okay, where 0:23:42.160 --> 0:23:46.680 you are going to have to instinctually self direct yourself 0:23:46.760 --> 0:23:50.880 at times on that set because a director, you may 0:23:50.960 --> 0:23:53.560 ask the director do you have any adjustments? 0:23:53.640 --> 0:23:54.720 Do you need anything? 0:23:55.040 --> 0:23:58.399 And the director can clearly say to you, no, I'm good, 0:23:58.880 --> 0:24:00.359 I'm good, that was good. 0:24:00.520 --> 0:24:01.240 We're moving on. 0:24:01.760 --> 0:24:08.200 And in some cases you should use your voice and 0:24:08.560 --> 0:24:11.760 say to the director, I don't feel comfortable. I think 0:24:11.800 --> 0:24:16.400 there's another take in me. Try with grace to get 0:24:16.440 --> 0:24:19.560 another take. But if you don't get that take, this 0:24:19.840 --> 0:24:25.120 is your only take. So be prepared, do the work. 0:24:25.920 --> 0:24:30.520 That's your job. There's nothing else. Once you sign that 0:24:30.600 --> 0:24:34.640 contract and cash that check. That's more important for your 0:24:34.720 --> 0:24:38.160 presence to be present on that set. 0:24:38.480 --> 0:24:39.280 So do the work. 0:24:39.320 --> 0:24:39.600 You guess. 0:24:41.920 --> 0:24:43.600 I got some other stuff to tell you, but we 0:24:43.680 --> 0:24:44.440 will come back. 0:24:44.800 --> 0:24:49.159 So I'm gonna bring on Elsa Lathan, and Elsa is 0:24:49.240 --> 0:24:51.760 going to bring on the actors. 0:24:51.880 --> 0:24:53.600 You're gonna ask questions. 0:24:54.240 --> 0:24:57.879 Yes, yes, so many great points, Tracy, thank you, and 0:24:58.240 --> 0:25:00.720 the point you didn't get me. They're just gonna have 0:25:00.760 --> 0:25:05.760 to join us for the. 0:25:03.680 --> 0:25:05.760 They will absolutely have to do that because that's the 0:25:05.800 --> 0:25:08.400 only way I'm zipping my mouth now. I'm not saying 0:25:08.440 --> 0:25:10.800 well after the questions, I'm gonna zip my mouth. 0:25:12.119 --> 0:25:12.639 Okay. 0:25:13.160 --> 0:25:16.920 So today we have two of our spirited actors who 0:25:16.920 --> 0:25:19.199 we haven't seen on here in a while, heard on 0:25:19.280 --> 0:25:23.720 here in a while. We have Miss Stephanie Charles. Welcome back, 0:25:23.760 --> 0:25:25.360 Stephanie can come on camera. 0:25:26.680 --> 0:25:28.920 Who I met MHM. 0:25:29.680 --> 0:25:34.800 And Alfonso Walker Junior Welcome back on Fonzo. 0:25:39.520 --> 0:25:42.920 Crazy Girls. 0:25:45.720 --> 0:25:47.359 Stephanie Europe. First, what's your question? 0:25:48.320 --> 0:25:54.080 So, Tracy, I remember from class, Yes, one of your 0:25:54.080 --> 0:26:02.160 babies you always mentioned about coming on set when you're 0:26:02.320 --> 0:26:04.960 in the and yeah, you said it again today. I 0:26:05.000 --> 0:26:09.360 always remember you saying that in preparation. Now if by 0:26:09.400 --> 0:26:14.720 any chance, you happen to not necessarily not be prepared. 0:26:14.760 --> 0:26:17.240 But let's say it's a let's stay, for instance, a 0:26:17.280 --> 0:26:23.840 love scene and you're just meeting this person on set, okay, 0:26:23.880 --> 0:26:26.600 and you haven't again, it's your first time meeting the 0:26:26.600 --> 0:26:28.640