Speaker 1: Hello, and welcome to the Spirited Actor Podcast with me
Speaker 1: Tracy Moore. I was a casting director for film and
Speaker 1: TV and commercials for over thirty years. I transitioned to
Speaker 1: a celebrity acting coach after I cast a film New
Speaker 1: Jersey Drive with executive producers Spike Lee and director Nick Domez.
Speaker 1: I auditioned every rapper from biggiees Balls to Tupac, and
Speaker 1: I realized that rappers and musical artists they needed help
Speaker 1: transitioning to acting. My clients consist of musical artists from
Speaker 1: Buster Rhymes to Eve, Missy Elliott, Angela Yee from The
Speaker 1: Breakfast Club, and Vanessa Simmons, to name a few. I
Speaker 1: also coach sports stars and host as well. I feel
Speaker 1: I have the best of both worlds. As a casting director,
Speaker 1: I know exactly what they're looking for, and as an
Speaker 1: acting coach, I can coach you to be remembered in
Speaker 1: that room. Now I know, I know actors want to
Speaker 1: get the job. I get that, but being remembered by
Speaker 1: casting director that is powerful. And now it's time for
Speaker 1: meditation of the day. The only thing we have to
Speaker 1: fear is fear itself. Franklin Roosevelt. Fear is an illusion period.
Speaker 1: It doesn't exist when you confront fear head on right
Speaker 1: when you say I'm.
Speaker 2: Going to talk to my landlord, I'm going.
Speaker 1: To talk to the bill collectors that are calling me.
Speaker 1: I'm going to confront a parent at school. When you
Speaker 1: do those things, fear goes away. Courage stands forward. That's
Speaker 1: the poison for fear is courage. Have the courage to
Speaker 1: address all the fears. And sometimes we need help addressing them.
Speaker 1: And I say that in terms of maybe therapy, you know,
Speaker 1: to talking to a good friend that you trust and
Speaker 1: you have safe place, but courage makes all the fear
Speaker 1: go away. Today I will confront fear with courage. Before
Speaker 1: we get started, I like to remind everyone to go
Speaker 1: to Crackle Network to use seasons one and two of
Speaker 1: my show Inside the black Box that I co host
Speaker 1: with the great Emmy Award winning Joe Morton.
Speaker 2: Look out for news on season three soon.
Speaker 1: Welcome to the Spirited Actor Podcast with me Tracy Moore,
Speaker 1: and I am energized. I am on high high alert
Speaker 1: for actors. Today on this show, I am going to
Speaker 1: be teaching you. I'm giving you a prelude of a
Speaker 1: workshop that I have developed and I will be teaching.
Speaker 1: So I'm going to give you the information before the
Speaker 1: end of the show. But this is called working on set.
Speaker 1: This is the name of our show. Today is working
Speaker 1: on set, I have to say, and it's working on
Speaker 1: set with Tracy Moore.
Speaker 2: I just want you to know that.
Speaker 1: For those of you who are just joining us so
Speaker 1: didn't know, today is working on set with Tracy Moore.
Speaker 1: I have to say that as actors, a lot of
Speaker 1: times people say to me, you know, oh, it's just
Speaker 1: saying lines. It's just memorizing lines. And there's so much
Speaker 1: more to acting than just memorizing lines. And when you
Speaker 1: create or follow up templates that I've created for actors,
Speaker 1: there are no shortcuts in this industry. You will be shortchanged.
Speaker 1: But what they are are new insights. And I always
Speaker 1: say that when you guys take classes with acting teachers,
Speaker 1: drama teachers, acting coaches, just make sure that they are current,
Speaker 1: make sure that they are working now in the industry,
Speaker 1: or maybe excuse me, they decided to transition full time
Speaker 1: to teaching and they.
Speaker 2: Just recently started five years ago.
Speaker 1: Wherever they land, make sure that they understand the business
Speaker 1: today because prior to COVID, we never thought about Zoom submissions.
Speaker 1: We were always live. Auditions were live, callbacks are live.
Speaker 1: Producer sessions were live. Now for the majority, everything is soomed,
Speaker 1: So you want to make sure that you're moving with
Speaker 1: the times. You understand the times, irrelevant during the times.
Speaker 1: So I say that to say that I feel extremely
Speaker 1: blessed to have clients who are currently working in this
Speaker 1: industry and relationships where they honestly call on me to.
Speaker 2: Work with them.
Speaker 1: And it just really rocks my soul because I have
Speaker 1: relationships in this business.
Speaker 2: And so.
Speaker 1: I had the pleasure last month of being.
Speaker 2: On the set. Oh now we're in July.
Speaker 1: So in May I was in Atlanta twice. I was
Speaker 1: doing in the film with Newturi, not Lifetime's Abduction at
Speaker 1: HBCUs and this is coming on July twentieth on Lifetime,
Speaker 1: So check that out. Wonderful, wonderful body of work and
Speaker 1: heart wrenching story, but wonderful, I mean, just really dynamic
Speaker 1: performances from all of the actors, and I specifically worked
Speaker 1: with Sunuturi. The shoot was fifteen days, And what I
Speaker 1: want actors to understand is that they're now that and
Speaker 1: this is something for me coming from the Independent world
Speaker 1: that I always knew.
Speaker 2: I always knew we had we.
Speaker 1: Didn't have a budget, so we had to work it
Speaker 1: out by any means necessary. I always knew that we
Speaker 1: had to shoot and run because we didn't we couldn't
Speaker 1: afford the insurance that we needed to get a permit and.
Speaker 2: Be able to shoot freely.
Speaker 1: I come from, you know, independent world, like we made
Speaker 1: it happen. So we were used to no budgets, low budgets, shooting.
Speaker 2: A film in.
Speaker 1: Twelve days, fifteen days, seventeen days, twenty one days. And
Speaker 1: so now everyone else, it appears, has figured that.
Speaker 2: Out as well.
Speaker 1: And so in everybody else figuring that out, what happens
Speaker 1: now is that studios say, huh, well we can shoot
Speaker 1: a featured film in fifteen days. Wow, that means we
Speaker 1: could get more films in here to shoot right now.
Speaker 1: My experience being on the set, wonderful set, wonderful director
Speaker 1: and production. What I felt was lacking was the preparation
Speaker 1: as actors.
Speaker 2: That you guys have.
Speaker 1: I remember being on sets four to six weeks or
Speaker 1: four to eight weeks, ten weeks, and you did have.
Speaker 1: In featured films, there was a certain leisure to maybe
Speaker 1: sit on your trailer's steps with your sides and go
Speaker 1: over your lines to yourself or maybe with someone else
Speaker 1: that is in the scene with you. Your meeting for
Speaker 1: the first time. You do not have that luxury anymore.
Speaker 1: If you're shooting fifteen days, you're shooting pages a day,
Speaker 1: and that means that the takes that you may have
Speaker 1: been accustomed to prior to COVID no longer exists. You
Speaker 1: come on the set volcanic Cot prepared to give it
Speaker 1: your best shot because you may not get another take,
Speaker 1: and when you are an integral part of the story,
Speaker 1: it's very challenging to cut around your performance.
Speaker 2: Your performance will be what your performance is. So it
Speaker 2: starts with the prep time. That's what it starts with.
Speaker 1: So for those of you who have agents want your
Speaker 1: contracts is negotiated, sign the check is on its way
Speaker 1: or the transfer however the money is exchanged legally, what
Speaker 1: you want to do is start preparing for your role.
Speaker 2: The work starts for you there. The work.
Speaker 1: Work doesn't start when you get the call sheet and
Speaker 1: then it says what time you supposed to be on
Speaker 1: set and you think, okay, I'll run my lines during makeup,
Speaker 1: I'll run my lines through hair, and then you know,
Speaker 1: I'll try to find the other character or characters in
Speaker 1: the scene to run lines. So that doesn't work anymore,
Speaker 1: that's not really happening. So the work that you need
Speaker 1: to do, the prep time that you guys need to
Speaker 1: do as actors when you land a role and you
Speaker 1: secured that role, is the character work and what does
Speaker 1: that look like? Well, I just want to dispel some
Speaker 1: myths right now. One is that acting is not pretending,
Speaker 1: imitating or.
Speaker 2: Just you know, throwing out some lines.
Speaker 1: Acting is really embodying the truth of the character and
Speaker 1: their journey. It's about truth. It's about your truth. You
Speaker 1: believe who you are. You are not who you are.
Speaker 1: You are the character and that character has a different
Speaker 1: journey than you, a different walk than you. And the
Speaker 1: beauty to me of acting is that you, as an
Speaker 1: actor can create all of this And how cool is
Speaker 1: that from the information that you get, you get to
Speaker 1: color and say, oh, I think that this is what
Speaker 1: they would wear, and this is how their hair would look,
Speaker 1: and this is what their apartment looks like.
Speaker 2: It's just really.
Speaker 1: Creating based on the truth that you have, the information
Speaker 1: that you have in the script.
Speaker 2: That's how you start to craft this character. Right, So
Speaker 2: the first thing that.
Speaker 1: You want to do is, let's say you have a
Speaker 1: role in a film, and let's say it's when you
Speaker 1: get a call sheet.
Speaker 2: You are no longer referred to as your name.
Speaker 1: You become a number, right, and so depending upon you know,
Speaker 1: number one of course is the star of the film.
Speaker 1: But let's say you're number five. Okay, you're number five
Speaker 1: on the call sheet. That's a pretty.
Speaker 2: High number, right.
Speaker 1: So assuming you have like at least let's say twenty scenes,
Speaker 1: this is where the work comes in. So after you
Speaker 1: have gathered all the information, and this is why I
Speaker 1: highly recommend that actors read every single day, and allowed
Speaker 1: it is recently i've been doing. I did a workshot
Speaker 1: in Springford, Connecticut. Springfield, Connecticut, had such a great time
Speaker 1: with the actors there.
Speaker 2: But I could tell who reads and I could tell
Speaker 2: who doesn't read.
Speaker 1: And it was an interesting connection because there was one.
Speaker 2: Actress that.
Speaker 1: I connected with and I knew that she had an
Speaker 1: experience of reading when she was a kid and the
Speaker 1: class made fun of her or they did something that
Speaker 1: shattered her confidence, and she was nervous reading in front
Speaker 1: of people in her body language. And then afterwards we
Speaker 1: had conversation and she actually confirmed that. No, I'm not
Speaker 1: a psychic, and I know I've been referred to as
Speaker 1: the oracle, but.
Speaker 2: No, I'm just playing with you.
Speaker 1: No, I I've just seen it before. I've seen when actors.
Speaker 1: I know because I have had them experience myself in
Speaker 1: high school, so I know what that feels like. So
Speaker 1: when you were reading, it's effortless. It's not a chore.
Speaker 1: It's this is the part of your job. So you
Speaker 1: want to read the script when you get the first
Speaker 1: script that they send you after all of the contracts
Speaker 1: and everything is done, and you want to read it
Speaker 1: once again, just to be a spectator. No highlighters, No,
Speaker 1: how do I say this line? None of that read
Speaker 1: to comprehend. I cannot stress enough what comprehension means and
Speaker 1: what comprehension looks like. Because when you understand something, you
Speaker 1: understand how to say it, and you can say in
Speaker 1: one hundred different ways. As long as you maintain the
Speaker 1: consistency and the integrity, then you're good.
Speaker 2: You're good, right, And I always use this exercise. It's
Speaker 2: very simple, easy, right.
Speaker 1: So if I say to you, it's your birthday, and
Speaker 1: it's an your birthday, I just need you to answer back, no,
Speaker 1: it's not. And in listening, because acting is listening, you
Speaker 1: will hear I'm not saying it the same way, which
Speaker 1: causes you reaction to react differently.
Speaker 2: You should to each way that I ask.
Speaker 1: Right, So I'm going to show you that I'm going
Speaker 1: to do that quick exercise in class and sessions so
Speaker 1: you can hear how that works, because it really is
Speaker 1: a listening exercise. Okay, but acting is listening. So when
Speaker 1: you are reading these scripts, are reading these sides, you
Speaker 1: are reading to understand, and then you come back and
Speaker 1: have this conversation and self like, okay, okay, so my
Speaker 1: mother loves me, but I have issues with her because
Speaker 1: my sister said blah blah blah blah blah.
Speaker 2: We were born. And you're putting all of these pieces together,
Speaker 2: and the more you read it, the more you understand,
Speaker 2: the more you hear something different. This is fact.
Speaker 1: This is absolute fact that I'm telling you because as
Speaker 1: a casting director, I've at least read a million scripts
Speaker 1: in my lifetime, and in reading a million scripts in
Speaker 1: my lifetime, I'm exaggerated, but I've read a lot of scripts.
Speaker 1: But in reading a million scripts in my lifetime. I
Speaker 1: can tell you this that there's always something new that
Speaker 1: you learn and that you hear each time you read it.
Speaker 1: I have this when I read with my clients, when
Speaker 1: I work with my clients, I always discover something new.
Speaker 1: And so that's how you guys should approach these scripts.
Speaker 1: Once you've read it and you've understood it, you comprehend
Speaker 1: what's going on. Now you can take your highlighter out
Speaker 1: and you can start to go see by theme again,
Speaker 1: really understanding.
Speaker 2: Do not move to another scene if you don't.
Speaker 1: Understand the scene prior to that, because everything is connected.
Speaker 1: There's no oh, I'll just go back to that. This
Speaker 1: is not school, this is not English class. This is
Speaker 1: a script, and the script tells a story, and everything
Speaker 1: on that page in that script is an integral part
Speaker 1: of telling the story.
Speaker 2: You cannot alter that.
Speaker 1: So if your introduction is on page three, how do
Speaker 1: I know it's your introduction Because your name, your character's
Speaker 1: name is in capital letters. So on page three capital letters,
Speaker 1: your diamond, your character shows up right. And I would
Speaker 1: saying the other day to an actor that your name
Speaker 1: means something, your name, and you should you should create
Speaker 1: that define that crafts that know that. And I say
Speaker 1: that because as a writer, I wrote a scene called
Speaker 1: Eggshells and one of the characters name is Phoebe.
Speaker 2: And so.
Speaker 1: I was teaching actually a week ago today, and I
Speaker 1: was saying to the class that, you know, they had never.
Speaker 2: Heard that name Phoebe. Now you know, I'm from a
Speaker 2: different generation and a little older than young. So Phoebe
Speaker 2: is kind of like a sixty seventy name, love piece
Speaker 2: and soul. There was a lot of things happening back
Speaker 2: then and for me in San Francisco. So but to me,
Speaker 2: Phoebe was very liberating.
Speaker 1: Phoebe was she smoked briefas she was in loose clothes
Speaker 1: and barefoot and just chilling like the hippies that I
Speaker 1: used to see and hang out with and you know,
Speaker 1: fillmore District or hate Ashbury. She was just love piece
Speaker 1: and soul. And so when I told them that, they
Speaker 1: could resonate with that. So, you know, the first thing
Speaker 1: you start with is the namely character. What does that
Speaker 1: mean to you? What does does it have a meaning?
Speaker 1: If not, you should create that. Okay, just a small detail.
Speaker 1: So after you start highlighting and you know, see, you know,
Speaker 1: going scene by scene, you want to have a clear
Speaker 1: understanding of all your relationships. And this is something to
Speaker 1: write down if you want to. You know, what's your
Speaker 1: relationship with all of the characters that you're involved in
Speaker 1: and just you know, a one line like your mom.
Speaker 2: Issues with something I did in high school that she
Speaker 2: won't let go.
Speaker 1: Just list all of these things that or or just
Speaker 1: you know, one sentence, summarize what that relationship is so
Speaker 1: that you can have that and just kind of refresh.
Speaker 1: What's challenging for me is when people write scripts and
Speaker 1: they use character names the alphabet right, so they'll say Amy, Andrea, Adrian, Like,
Speaker 1: that's a lot you need to go through a to
Speaker 1: Z when you are naming your characters, Like, there's enough
Speaker 1: alphabet that we could switch it up in a film.
Speaker 2: You know, you could use junior, you'd use the third,
Speaker 2: but that gets a little complicated.
Speaker 1: So it's important that you take the time and really
Speaker 1: list what that relationship is to you.
Speaker 2: To your character. Talking to your character. The second thing
Speaker 2: that you need to do.
Speaker 1: After you have read this script, understood this script and
Speaker 1: the characters, you have to ask yourself, do you have
Speaker 1: this experience of the character, When you have the experience
Speaker 1: of the character. Then it's easy and easy er let's
Speaker 1: say that, right, because let's say the character is a
Speaker 1: mom or a mom. Well, us moms, we know what
Speaker 1: that job is and what that job is, and so
Speaker 1: you would sprinkle your information education experience into this character
Speaker 1: and who this character is in terms of you know
Speaker 1: their breakdown, right, So maybe they're a mean mom and
Speaker 1: you're you've never yelled or screamed at your child. Well
Speaker 1: there's a little challenging now because now you have to
Speaker 1: understand where this meanness comes from. So you have to
Speaker 1: do research, go through layers of your character so that
Speaker 1: you can lock onto that understanding and feel comfortable being
Speaker 1: a mean mom, which you're not, but you're playing someone else,
Speaker 1: so you mesh that all in.
Speaker 2: Right. If you do not have the experience of your character,
Speaker 2: this is when.
Speaker 1: References, and I'm a big reference, this is when references
Speaker 1: come into place.
Speaker 3: Right.
Speaker 2: So let's say your character is a race car driver
Speaker 2: and you are not. You would one.
Speaker 1: Have to understand what it's being like in a male
Speaker 1: dominated industry and a particular demographics and community.
Speaker 2: And you know what's the training.
Speaker 1: All of these integral details of what it means to
Speaker 1: be a race car driver train. You know the matrix
Speaker 1: they all train, and I know that it was at
Speaker 1: least six months at least six months to a couple
Speaker 1: of years that they did training. So when you don't
Speaker 1: have that experience, it's your job to gain that knowledge
Speaker 1: and be so convincing about it that we the audience
Speaker 1: believe you really do know how to I have a
Speaker 1: race car and you really are a racecar driver. That's
Speaker 1: your job, right what I'm in shock? I am in
Speaker 1: complete utter shock. I are you serious?
Speaker 2: Wow? That was warp speed, you guys. That was absolutely
Speaker 2: warp speed.
Speaker 1: And I'm saying that because our engineer Andy gets, you know,
Speaker 1: the famous Andy. He has just warned me that I
Speaker 1: had five minutes. I thought I had fifteen to twenty minutes.
Speaker 2: Oh my god. Okay, well, I'm.
Speaker 1: Going to tell you one more thing and then I'm
Speaker 1: going to encourage you all to check out my IG
Speaker 1: this afternoon and forever. I am going to do a workshop.
Speaker 1: It's a two hour workshop for actors. And this workshop
Speaker 1: is going to be ninety nine dollars two hour online workshop,
Speaker 1: ninety nine dollars. It's going to be on July fourth.
Speaker 1: I'm going to post all the information. I'm going to
Speaker 1: also read the information at the end of the show
Speaker 1: so that you can have the information. But this is
Speaker 1: what I will be teaching working on set and how
Speaker 1: important it is for you guys to understand how to
Speaker 1: work on these sets now because it's different. COVID made
Speaker 1: it different, budgets are making it different. Being able to
Speaker 1: shoot in less time makes it different. And you guys
Speaker 1: need to be prepared and armed. And I have to
Speaker 1: say with this last thing I want to say is
Speaker 1: that you have to find that safe place within you. You
Speaker 1: have to find that safe place where you're okay, where
Speaker 1: you are going to have to instinctually self direct yourself
Speaker 1: at times on that set because a director, you may
Speaker 1: ask the director do you have any adjustments?
Speaker 2: Do you need anything?
Speaker 1: And the director can clearly say to you, no, I'm good,
Speaker 1: I'm good, that was good.
Speaker 2: We're moving on.
Speaker 1: And in some cases you should use your voice and
Speaker 1: say to the director, I don't feel comfortable. I think
Speaker 1: there's another take in me. Try with grace to get
Speaker 1: another take. But if you don't get that take, this
Speaker 1: is your only take. So be prepared, do the work.
Speaker 1: That's your job. There's nothing else. Once you sign that
Speaker 1: contract and cash that check. That's more important for your
Speaker 1: presence to be present on that set.
Speaker 2: So do the work.
Speaker 1: You guess.
Speaker 2: I got some other stuff to tell you, but we
Speaker 2: will come back.
Speaker 1: So I'm gonna bring on Elsa Lathan, and Elsa is
Speaker 1: going to bring on the actors.
Speaker 2: You're gonna ask questions.
Speaker 3: Yes, yes, so many great points, Tracy, thank you, and
Speaker 3: the point you didn't get me. They're just gonna have
Speaker 3: to join us for the.
Speaker 1: They will absolutely have to do that because that's the
Speaker 1: only way I'm zipping my mouth now. I'm not saying
Speaker 1: well after the questions, I'm gonna zip my mouth.
Speaker 2: Okay.
Speaker 3: So today we have two of our spirited actors who
Speaker 3: we haven't seen on here in a while, heard on
Speaker 3: here in a while. We have Miss Stephanie Charles. Welcome back,
Speaker 3: Stephanie can come on camera.
Speaker 2: Who I met MHM.
Speaker 3: And Alfonso Walker Junior Welcome back on Fonzo.
Speaker 2: Crazy Girls.
Speaker 3: Stephanie Europe. First, what's your question?
Speaker 4: So, Tracy, I remember from class, Yes, one of your
Speaker 4: babies you always mentioned about coming on set when you're
Speaker 4: in the and yeah, you said it again today. I
Speaker 4: always remember you saying that in preparation. Now if by
Speaker 4: any chance, you happen to not necessarily not be prepared.
Speaker 4: But let's say it's a let's stay, for instance, a
Speaker 4: love scene and you're just meeting this person on set, okay,
Speaker 4: and you haven't again, it's your first time meeting the
Speaker 4: person you want to come in hot. You've done your
Speaker 4: preparation in your head, but you haven't met this person.
Speaker 4: You don't know what the chemistry is like. What suggestions
Speaker 4: would you give on going into.
Speaker 2: Something like that?
Speaker 1: That is an excellent question. Excellent because today not only
Speaker 1: are you listening to the director in the scene, but
Speaker 1: you're being coached prior by an intimacy coach that is
Speaker 1: from SAG after they represent right. So, prior to COVID,
Speaker 1: we thought that love scenes were choreographed. Now it's more
Speaker 1: than ever because not everybody likes to get in people's
Speaker 1: faces kissing and stuff like that, so some of that
Speaker 1: has to be created. So what I will say is
Speaker 1: this is that you have at least let's say two
Speaker 1: hours before you shoot.
Speaker 2: Right, Well, let's say you get on the scene with
Speaker 2: your love partner.
Speaker 1: You guys have the same call time, and let's say
Speaker 1: you finish care and makeup and they're lighting, right, you
Speaker 1: did rehearsal, they're lighting. That's the time for you and
Speaker 1: your lover to go by craft service, to go in
Speaker 1: each other's trailer and just get to know each other
Speaker 1: first before you throw lines at each other.
Speaker 2: Just what's your favorite movie? Like you know, what was
Speaker 2: the last film you did? Like whatever?
Speaker 1: To create the intimacy between the two of you, because
Speaker 1: if you don't have a comfort between each other, it's
Speaker 1: going to look like that on screen.
Speaker 2: And I did a show where the man.
Speaker 1: Was extremely uncomfortable and still, and so it made her
Speaker 1: have to work even harder to make that seem believable.
Speaker 2: But it starts with you.
Speaker 1: When you're comfortable in your own skin, you know, completely
Speaker 1: transparent your odor, your.
Speaker 2: Breath, you know your hair everything.
Speaker 1: There's a confidence in that you smell good, you own right,
Speaker 1: and so that's respect to your partner.
Speaker 2: Because I've been in a.
Speaker 1: Situation where someone was a smoker and didn't put do
Speaker 1: out to its or nothing and had to kiss the
Speaker 1: person was horrible. So be comfortable with yourself and then
Speaker 1: really grab them by the coattail at table read like say,
Speaker 1: you know, can we exchange phone numbers? Have a conversation,
Speaker 1: get some coffee, something to create that synergy. And both
Speaker 1: of you are going to be nervous. Both of you
Speaker 1: are going to be uncomfortable, that's a fact. So but
Speaker 1: it'll be fun er because he's going through the same
Speaker 1: thing you're going through and you' all kind of laugh through.
Speaker 2: Does that make sense? Absolutely? Thank you? Yes, okay, good,
Speaker 2: thank you.
Speaker 3: Thank you now, fanto, what is your question, sir?
Speaker 5: Yes, Tracy, thank you for real. Honestly, yeah, he said today,
Speaker 5: like you know, you always say this in class too.
Speaker 5: Come prepared, and you have this idea when you're building
Speaker 5: your character or like I like you said, he walks
Speaker 5: this way, he or she or they them whatever, they
Speaker 5: walk this way, they wear this, they smell like this.
Speaker 5: But then you get to the set and you want
Speaker 5: to be respectful, and then maybe you get little nervous
Speaker 5: because you're working with bigger people or names so to say.
Speaker 5: But then you know the director has a different idea
Speaker 5: than what you came up with for what you know,
Speaker 5: and you got to be this person throughout the whole thing.
Speaker 5: So you said, be gracious enough to like go and
Speaker 5: confront them, But how do you talk to someone without
Speaker 5: overstepping your boundary and also not you know, coming out
Speaker 5: of your place and also moving into somebody else area
Speaker 5: of expertise. Does that question make sense? I'm asking it.
Speaker 1: Makes absolute sense. It makes absolute sense. I'm gonna tell
Speaker 1: you why. First of all, when you.
Speaker 2: Said knowing your place, I just want to say to.
Speaker 1: You that when you were on the set and you
Speaker 1: have the opportunity to be around video village or you know,
Speaker 1: you were interacting with the director and the leads in
Speaker 1: the film, you.
Speaker 2: That is your place as well.
Speaker 1: And I have to say that I was working with
Speaker 1: someone and the first take was really bad, right, And
Speaker 1: so when I asked permission first from the person that
Speaker 1: I was working with, can I just say a couple
Speaker 1: of words?
Speaker 2: And they said yes.
Speaker 1: Please, And I went over, pulled the coattail and said, listen,
Speaker 1: do you like what's going on? And they spewed the
Speaker 1: credits of this person and how they couldn't believe they
Speaker 1: were in the scene and this is the favorite person.
Speaker 1: And then they paused and literally like I didn't hit them.
Speaker 2: But I just kind of went step out of it.
Speaker 2: What's going on? Like, you're set too, you're here too, you.
Speaker 1: Are of value and when I say to approach, it's
Speaker 1: like there is a time between the reading, the table read,
Speaker 1: when you meet the director and everybody else, until you
Speaker 1: are doing principal photography that you have a moment in
Speaker 1: there to connect with the director. And most directors, in
Speaker 1: my opinions, set up shots. They don't really have conversation
Speaker 1: anymore with you guys, and I think it really sets
Speaker 1: you apart when you do have conversation. But that's when
Speaker 1: the director says, Alfonso or your character, I need you
Speaker 1: in skinny jeans, and you say, my character would never
Speaker 1: wear sky janes because I'm a runner and you know,
Speaker 1: and I like to be loose. Whatever your explanation is,
Speaker 1: you're justifying it, and the.
Speaker 2: Director has no other choice but to say.
Speaker 1: Hum, okay, Alfonso has done his work, because you're coming
Speaker 1: with the work in order to justify what you're saying. Now,
Speaker 1: if it's really far apart, then the director has the
Speaker 1: final decision and the adjustments have to be made. But
Speaker 1: I always feel like as an actor, you have a
Speaker 1: voice and you have that window because once you get
Speaker 1: on set, the director is not just you know, doing
Speaker 1: this scene. They're thinking of the next scene. They're thinking
Speaker 1: of the most difficult scene and locations, so get them
Speaker 1: in that window table read right before principal photography and
Speaker 1: just this is some thoughts I have about the character.
Speaker 1: I just want to make sure I'm in sync because
Speaker 1: I'm really developing this and I don't want to go
Speaker 1: too far before we start shooting.
Speaker 2: And you have an agent so you have that ability
Speaker 2: to do that. Thank you for that. Yeah, yeah, thank you.
Speaker 1: Yes a questions, thank you, yeah, definitely, Thank you guys,
Speaker 1: and thank you for your energy.
Speaker 2: But they're not going anywhere, and I'm so excited. I
Speaker 2: don't know what see they doing. It don't matter.
Speaker 1: We thank you, Elsa, and you guys get ready because
Speaker 1: when we come back on the Spirited Actor Podcast with
Speaker 1: me Tracy Moore, you go to.
Speaker 2: See some activity, class and sessions.
Speaker 1: Watch Welcome back to the Spirited Actor Podcast with me
Speaker 1: Tracy Moore, and you are in for a treat. So
Speaker 1: we're gonna be three minutes, but it's gonna be do
Speaker 1: three minutes of your life, Okay, Elsa, I think can
Speaker 1: you introduce our actors for class ensitions?
Speaker 3: I sure can. It's my pleasure. Today we have back
Speaker 3: with us mister Alfonso Walker Junior Welcome back, Alfonso, and
Speaker 3: we have back missus Stephanie Charles, Welcome back Stephanie and
Speaker 3: Today's scene is written by another spirited actor, Miss Janelle
Speaker 3: Hall Reagan. Entitled Cheater Interior Apartment Night. Reginald Catherine entered
Speaker 3: their one bedroom apartment from an office party. Catherine drops
Speaker 3: her purse, kicks off her shoes, and head straight towards
Speaker 3: the kitchen. Reginald drops his keys and plops on the couch,
Speaker 3: tired from the long ride home.
Speaker 5: I don't understand what you want from me. Should up
Speaker 5: shook the hands of your bosses, laughed at they corny jokes,
Speaker 5: and then thank me with sarcasm.
Speaker 4: I think it's funny how you miss one important part
Speaker 4: of the night.
Speaker 3: Catherine pours herself a glass of Merlow while scalding Reginald.
Speaker 2: But what did I missnoun? What's wrong?
Speaker 5: Since everything is always wrong?
Speaker 4: You were laughing, all right, laughing your ass off with
Speaker 4: Vanessa laughed so hard her number magically ended up in
Speaker 4: your pockets.
Speaker 2: You think I'm stupid boy, So I look like a
Speaker 2: joke to you.
Speaker 4: If you're gonna cheat, at least kids it behind my back.
Speaker 3: Reginald pulls the number out of his pocket.
Speaker 5: The fact that you think I is the punchline right there.
Speaker 5: The number she gave me was the number to her
Speaker 5: travel agent, because I want to book you a trip
Speaker 5: to Dubai for your promotion. But you can say you're
Speaker 5: untrustworthy ass right here and take a trip to the
Speaker 5: library and find some common sense. I want to be yo,
Speaker 5: good night.
Speaker 3: Catherine's George drops. My load drips from her tilted glass
Speaker 3: as she stands ashamed of her actions.
Speaker 2: I love you too. Scene and at wait a minute, scene.
Speaker 1: Okay, okay, let me do something real quick. You guys,
Speaker 1: can we do how many pages?
Speaker 3: Is this one?
Speaker 2: One?
Speaker 3: All right?
Speaker 1: I need to do this scene one more time, and
Speaker 1: I need to do this seeing Alfonso and Stephanie your characters.
Speaker 2: I don't I.
Speaker 1: Want you to be mad, but I want you to
Speaker 1: choose some other way to be mad. And I don't
Speaker 1: want arguing, I don't want yelling, I don't want frustration,
Speaker 1: but I want you, in that moment, to maintain that
Speaker 1: emotion of being mad at each other. And for some Stephanie,
Speaker 1: you have your character has trust trust issues, which makes
Speaker 1: me feel like he either did something like this or
Speaker 1: that's your experience and relationships, because why would you think
Speaker 1: that he was cheating on you or getting ready to
Speaker 1: cheat on you when he was actually doing something really great.
Speaker 1: And then, Alfonso, your character seems more done with this
Speaker 1: constant nagging and badgery and in spying and this, and
Speaker 1: this is one moment to buy the land of luxury
Speaker 1: and love like and she ruined it. You're done, be done,
Speaker 1: be done, like what I'm trying. Let her be Okay,
Speaker 1: let's try to really quickly.
Speaker 2: Okay, And actually.
Speaker 5: I don't understand what I did. I showed up, shook
Speaker 5: the hands of your bosses, I laughed at they corny
Speaker 5: ass jokes, and you still thank me was arcasm.
Speaker 4: I think it's funny how you miss one important part
Speaker 4: of the night.
Speaker 2: What what I do wrong?
Speaker 1: Now?
Speaker 5: Since everything is always wrong?
Speaker 4: You were laughing, all right, laughing your ass off with Vanessa.
Speaker 4: You left so hard your number ended up in her pocket.
Speaker 6: Do you think I'm stupid? What do I look like
Speaker 6: a joke to you? You know what, if you're gonna cheat,
Speaker 6: at least you can do it behind my back.
Speaker 5: And the fact that you think god cheat, that's the
Speaker 5: point line right there. That that number she gave me
Speaker 5: was the number to her travel agent because I want
Speaker 5: the book as a trip to Dubai to celebrate your promotion.
Speaker 5: But you know what, you can stay your untrustworthy ass
Speaker 5: right here and take a trip to the library because
Speaker 5: you could find some commissions.
Speaker 2: I'm going to bed your.
Speaker 1: Good night, h.
Speaker 2: I love you too, Okay, better? What's her? Do you
Speaker 2: love him? When you say that, do you really love.
Speaker 4: I do love him, but I was scared to tell him.
Speaker 1: Okay, so then you really have to show us that
Speaker 1: you really love him. This is a really great scene,
Speaker 1: and I'm glad that it's one page, and I have
Speaker 1: some notes that I really am compelled to tell you
Speaker 1: guys on the side. But like the reason why, I say,
Speaker 1: everybody who submits a scene, if this was an audition,
Speaker 1: is going to yell, scream.
Speaker 2: What is going to separate you? And I have been
Speaker 2: watching some really.
Speaker 1: Really great, great films and TV shows outside of my
Speaker 1: norm I'm a big reality chick, but I've been watching
Speaker 1: a lot of Apple TV, a lot of Hulu, and
Speaker 1: I'm going to tell you that there's some really solid,
Speaker 1: great work. And you want to stand out. You don't
Speaker 1: want to be the ordinary, You want to be the
Speaker 1: extraordinary that both of you are as actors and you
Speaker 1: want to you know, maybe there's something mentally wrong with
Speaker 1: her that she has this trust thing and it doesn't
Speaker 1: read you.
Speaker 2: Know here, it reads more.
Speaker 1: I don't know, I saw you put your phone number
Speaker 1: in your pocket, Like I'm just thinking I exaggerate, but
Speaker 1: thinking outside the box in terms of who these people are.
Speaker 1: So as you're crafting her, you have to understand where
Speaker 1: she started and where he started, or know where you
Speaker 1: are today. And that's a lot of work. And that's
Speaker 1: just for one page scene, so imagine one hundred and
Speaker 1: twenty five pages.
Speaker 2: Actors.
Speaker 1: You guys did great though, thanks for being a sport
Speaker 1: reading it over again. Blast you guys, Thank you Elsa
Speaker 1: once again to Dynamic Duo.
Speaker 2: Loved the lie and both of y'all really did.
Speaker 3: Thank you all right out, guys, all.
Speaker 1: Right, So when we come back on the Spirited Actor
Speaker 1: Podcast with me Tracy More, we're going to do Kudos Corner,
Speaker 1: and now it's time for Kudo's Corner. Kudo's Corner is
Speaker 1: where we celebrate spirited actors, We support them, but most importantly.
Speaker 2: We introduce them to you.
Speaker 1: This week's Kudos Corners puts the spotlight on spirited actor
Speaker 1: Michael Pichardo. You can see Michael in the short film
Speaker 1: The Brother in Law, airing on YouTube, and the features
Speaker 1: Stash and hay Lover, both on demand on Amazon Prime.
Speaker 1: He's also been featured in a number of theater productions,
Speaker 1: including More Random, Where Landlords Go to Die s Period
Speaker 1: U Period in Period in the USA, and untitled Calamity
Speaker 1: Jane Project. Kudos to Michael Pichardo and now it's time
Speaker 1: to give lunch. Whenever I feel the hebgbs, I know
Speaker 1: that that is evidence of fear somewhere in my vicinity.
Speaker 1: When I feel hebgb's, that's how I define it, and
Speaker 1: what I normally do is figure out where it's coming from.
Speaker 1: And I need a quiet place to just settle my soul.
Speaker 1: And then once I figure it out, I go head
Speaker 1: on and attack that fear. Whatever I need to do,
Speaker 1: talk to somebody, negotiate whatever it is.
Speaker 2: I don't like fear. I'm not comfortable with fear.
Speaker 1: We're not friends, and I don't want fear anywhere in
Speaker 1: my life.
Speaker 2: There is nothing too fear.
Speaker 1: When you confront fear, there is a confidence, there is
Speaker 1: a strength, there is an inner power that you gain
Speaker 1: because you don't succumb to something that doesn't exists. It's
Speaker 1: all the self talk that we do.
Speaker 2: Well what if I well? What if?
Speaker 1: Well?
Speaker 2: What if? What if you get that job?
Speaker 1: What if you're on that set with your favorite actor
Speaker 1: or director or producer?
Speaker 2: What about that? With a smile on you.
Speaker 1: Confront fier, start small, and then attack the biggest one
Speaker 1: that's on your shouldern. Hi. Everyone, The Spirited Actor Podcast
Speaker 1: with Tracy.
Speaker 2: Moore now has a YouTube channel.
Speaker 1: You'll get to see exclusive video footage from our podcast taping,
Speaker 1: as well as your favorite segments from the show. Make
Speaker 1: sure to like our videos, subscribe to our channel, and
Speaker 1: share with all your friends. Don't forget to also follow
Speaker 1: us on Instagram, at the Spirited Actor, and at both
Speaker 1: Tracy Moore and at The Spirited Actor Podcast with Tracy
Speaker 1: Moore on Facebook and X. Thank you for joining us
Speaker 1: on The Spirited Actor Podcast with me Tracy Moore. I
Speaker 1: look forward to our next Spirited podcast.
Speaker 2: Thank you,