WEBVTT - The Spirited Actor - Darnell Martin (11/26/2019) 0:00:00.280 --> 0:00:03.520 Hello, and welcome to the Spirited Actor Podcast with me 0:00:03.720 --> 0:00:06.680 Tracy Moore. I was a casting director for film and 0:00:06.720 --> 0:00:10.840 TV and commercials for over thirty years. I transitioned to 0:00:10.880 --> 0:00:14.440 a celebrity acting coach after I cast a film New 0:00:14.520 --> 0:00:19.640 Jersey Drive with executive producers Spike Lee and director Nick Domez. 0:00:20.280 --> 0:00:24.680 I auditioned every rapper from Biggie Smalls to Tupac, and 0:00:24.760 --> 0:00:28.440 I realized that rappers and musical artists they needed help 0:00:28.520 --> 0:00:32.840 transitioning to acting. My clients consist of musical artists from 0:00:33.000 --> 0:00:37.640 Buster Rhymes to Eve, Missy Elliott, Angela Yee from The 0:00:37.640 --> 0:00:41.320 Breakfast Club, and Vanessa Simmons, to name a few. I 0:00:41.479 --> 0:00:45.320 also coach sports stars and host as well. I feel 0:00:45.520 --> 0:00:48.960 I have the best of both worlds. As a casting director, 0:00:49.000 --> 0:00:51.559 I know exactly what they're looking for, and as an 0:00:51.560 --> 0:00:54.080 acting coach, I can coach you to be remembered in 0:00:54.080 --> 0:00:57.320 that room. Now I know. I know actors want to 0:00:57.360 --> 0:01:00.400 get the job. I get that, but being remodmember by 0:01:00.440 --> 0:01:05.320 a casting director that is powerful. Meditation of the day 0:01:06.280 --> 0:01:10.520 life has two rules. Number one never quit. Number two 0:01:10.880 --> 0:01:15.199 always remember Rule Number one Duke Ellington, no matter how 0:01:15.280 --> 0:01:20.679 challenging it gets, never give up. You should always keep 0:01:20.720 --> 0:01:24.000 the vision of your dreams clearly embedded in your mind. 0:01:24.880 --> 0:01:28.119 When things do appear bleak, know that it's just a moment. 0:01:28.520 --> 0:01:31.600 You can get through it, and you will survive. I 0:01:31.680 --> 0:01:34.720 have had my share of chaos, but looking back, I 0:01:34.760 --> 0:01:38.880 can honestly say I made it. It's over, but at 0:01:38.959 --> 0:01:43.199 least I know that somehow I will continue to persevere, 0:01:43.600 --> 0:01:48.720 and so will you. Today I will promise to value 0:01:49.200 --> 0:01:55.120 my strength. Welcome back to the Spirited Actor Podcast. I'm 0:01:55.160 --> 0:02:00.200 your host, Tracy Moore, and I'm really excited today to 0:02:00.440 --> 0:02:04.240 introduce to you a phenomenal director as well as a 0:02:04.280 --> 0:02:09.359 spirited being. I'm so honored and proud to know her 0:02:09.400 --> 0:02:12.639 work and to know her, and I want to share 0:02:12.680 --> 0:02:16.280 her with you today. I want you, guys, to make 0:02:16.280 --> 0:02:19.360 sure that you have your You're taking your notes on 0:02:19.400 --> 0:02:24.359 your phone, you're writing things down, because every show, every 0:02:24.440 --> 0:02:29.000 guest you leave with pearls, you leave with Jules, and 0:02:29.040 --> 0:02:32.120 I want you to have those. And it's very rare 0:02:32.760 --> 0:02:37.320 that you get an opportunity to have like this, one 0:02:37.360 --> 0:02:42.520 on one with a director been specifically talking to you actors, 0:02:42.960 --> 0:02:47.120 you know, letting her letting you guys know how she 0:02:47.320 --> 0:02:51.440 directs what she's looking for in an audition, things that 0:02:51.800 --> 0:02:55.200 and questions that you don't get this opportunity and you 0:02:55.320 --> 0:02:59.480 don't get a chance to really engage with directors like 0:02:59.560 --> 0:03:02.240 this unless you know, you watch the director's cut at 0:03:02.240 --> 0:03:04.600 the end and then you hear feedback and things like that. 0:03:04.960 --> 0:03:08.359 But this is special. So ladies and gentlemen, I want 0:03:08.400 --> 0:03:16.920 you all to put your hands together for Darnell Martin. Yay, Darnell. 0:03:17.080 --> 0:03:21.520 I am so blessed to know you. You know, you are 0:03:21.720 --> 0:03:26.040 one of the most incredible acting coaches. And I go 0:03:26.280 --> 0:03:30.720 to you a lot and you know that. Yes, so 0:03:30.760 --> 0:03:34.800 it's fun working with you, and you know it's great 0:03:34.960 --> 0:03:39.040 because you know, I can you know one thing you 0:03:39.120 --> 0:03:41.080 never talk about is how a director works with an 0:03:41.080 --> 0:03:46.280 acting coach, right, Oh, one thing that you know, the 0:03:46.280 --> 0:03:50.440 way that I work with an acting coach is you know, I, 0:03:50.520 --> 0:03:55.760 let's say, but let's really get into this world and 0:03:55.880 --> 0:04:00.720 what you know, specifically I'm looking for about the character 0:04:00.840 --> 0:04:08.240 and this actor and where I see their need of 0:04:08.400 --> 0:04:13.560 saying hm hmm, let's can can we spend some time 0:04:14.360 --> 0:04:19.520 on on a certain on being a certain character from 0:04:19.560 --> 0:04:23.120 a certain place that maybe this character isn't from. So 0:04:23.240 --> 0:04:27.040 that's something that that I wouldn't work work on as 0:04:27.080 --> 0:04:29.279 a director. That's some some of the homework that they 0:04:29.320 --> 0:04:33.080 would do for themselves, like Okay, let's find out the 0:04:33.160 --> 0:04:37.919 place where this character is from the history. You know, 0:04:38.000 --> 0:04:40.800 everything that I do as a as I'm a writer 0:04:40.960 --> 0:04:45.200 director as well. So the work that I do as 0:04:45.240 --> 0:04:52.279 a writer director, I expect the actor to do a 0:04:52.279 --> 0:04:56.080 more detailed version of that. So you know, many times, 0:04:56.240 --> 0:05:00.679 you know, it's interesting because a lot of my directing 0:05:00.760 --> 0:05:04.840 is in my writing. Well, like I'll obsess over the 0:05:04.880 --> 0:05:10.160 fact of how many people in nineteen oh seven had 0:05:10.200 --> 0:05:14.320 telephones and what kind of people were those people? And 0:05:14.800 --> 0:05:18.159 you know, I'll research that for like two days and 0:05:18.240 --> 0:05:21.400 maybe not even use it in the screenplay. I just 0:05:21.520 --> 0:05:23.200 need to know because they don't want to put a 0:05:23.240 --> 0:05:26.560 telephone in their house, right, I have to know who 0:05:26.600 --> 0:05:28.920 they are. Right, People go, well, why do you do 0:05:28.960 --> 0:05:32.080 all that? And if the actor asked me, I need 0:05:32.120 --> 0:05:36.680 to know, no good after going to ask you, and really, 0:05:37.839 --> 0:05:40.840 phenomenal actors should do their homework. Do you ask me? 0:05:41.520 --> 0:05:45.360 So do you find that most actors do their homework? 0:05:45.440 --> 0:05:50.799 Because I struggle in my classes to get homework for actors, 0:05:50.920 --> 0:05:54.200 and one of my first homework assignments is a character 0:05:54.240 --> 0:05:57.800 breakdown of yourself. And I say to them, in order 0:05:57.839 --> 0:05:59.800 for you to know someone else, you need to know 0:05:59.839 --> 0:06:02.760 your self. So I need you to write a character breakdown. 0:06:03.200 --> 0:06:06.680 And I got a fifteen page character breakdown one time. 0:06:07.160 --> 0:06:11.279 But I find it challenging to get actors to really 0:06:11.320 --> 0:06:13.720 commit to the homework outside of the class. 0:06:14.000 --> 0:06:18.800 Yes, it's challenging to see actors when they, you know, 0:06:18.880 --> 0:06:22.520 who actually do their homework, but it's a big difference. 0:06:23.080 --> 0:06:26.839 I've rarely seen an actress who has done their homework 0:06:27.160 --> 0:06:28.839 who doesn't come with the goods. 0:06:29.160 --> 0:06:29.720 Wow. 0:06:30.200 --> 0:06:35.200 You know, look at Sarah Flaucett majors okay, career. A 0:06:35.200 --> 0:06:37.200 lot of people don't know who she is. She was 0:06:37.240 --> 0:06:41.880 a horrendous actress, horrendous, it was like shocking, you know, 0:06:42.800 --> 0:06:45.159 and she became a good actor. 0:06:45.520 --> 0:06:49.680 Wow, burn this right, Yeah, it got It's. 0:06:49.600 --> 0:06:53.560 Worked, you know. And people think people think that writing 0:06:53.600 --> 0:06:57.200 that you're born a writer. I disagree. People think you're 0:06:57.279 --> 0:07:02.159 born a director. I disagree. I think that And Faulkner, 0:07:02.279 --> 0:07:05.520 William Faulkner will tell you that as well. You know, 0:07:05.520 --> 0:07:08.000 if there's writers, you know that he thought writers were 0:07:08.000 --> 0:07:10.440 born if you put in the work. There are some 0:07:10.560 --> 0:07:14.520 people who are just naturally very talented or have things 0:07:14.520 --> 0:07:19.920 that are very natural, like transtance, they can very easily 0:07:20.920 --> 0:07:25.440 let go of themselves, right, and you know they're not shy, 0:07:25.640 --> 0:07:28.440 let's say, but there are some breeding actors who are 0:07:28.600 --> 0:07:33.360 terribly shy. Way they can get out of their shyness 0:07:33.800 --> 0:07:36.640 is when they're putting on the clothes of someone else. 0:07:37.160 --> 0:07:40.000 Right, Oh, I love that the clothes of someone else. 0:07:40.160 --> 0:07:43.920 Okay, Yeah, And a lot of actors actually can't pull 0:07:43.920 --> 0:07:47.080 it together until they signed out what's this character wearing. 0:07:47.560 --> 0:07:50.200 So that's another thing is a lot of you know, 0:07:50.280 --> 0:07:53.640 wonderful actors spend a lot of time in wardrobe and 0:07:54.400 --> 0:07:56.520 play with their clothes, like you know. I had a 0:07:56.600 --> 0:07:59.280 kid who was an actor who was playing with his 0:07:59.440 --> 0:08:03.600 clothes period piece, and he kept, you know, messing his 0:08:03.720 --> 0:08:06.880 clothes up as he was playing with it, and the 0:08:07.320 --> 0:08:10.520 wardrobe personal wasn't very experienced, came over and said, you know, 0:08:10.560 --> 0:08:12.560 he's really got to stop that. And I said, are 0:08:12.560 --> 0:08:17.680 you crazy? No, right, this is now he's you know, 0:08:17.720 --> 0:08:20.960 this kid is acting. You know, he's playing with it 0:08:21.040 --> 0:08:23.880 in a you know, he's in the moment, you know, 0:08:24.040 --> 0:08:26.840 like being in a scene and having a splinter in 0:08:26.880 --> 0:08:30.440 your finger and sucking it out the scene's going on. 0:08:31.160 --> 0:08:33.720 You know, another thing this kid did and people were like, 0:08:33.920 --> 0:08:36.160 you want to stop. They're like, oh, this is great, 0:08:36.520 --> 0:08:38.440 this is what would happen. The kid just had a fight. 0:08:38.480 --> 0:08:41.360 He should be sucking a splinter out of his finger, 0:08:42.040 --> 0:08:44.520 you know. So these are the things to be in 0:08:44.559 --> 0:08:46.800 the moment. That's a natural thing. That's not the work. 0:08:47.320 --> 0:08:51.319 There are just some people who are oddly naturally in 0:08:51.360 --> 0:08:56.280 the moment and aware of and also aware of their behavior. 0:08:56.960 --> 0:09:00.319 The same kid, same kid was beaten by their father 0:09:01.120 --> 0:09:03.920 in a scene and later on had a bloody lip 0:09:04.400 --> 0:09:07.720 and a scar across the sided. So while they were 0:09:07.760 --> 0:09:10.360 in the scene, the kid was playing with the edge 0:09:10.400 --> 0:09:12.880 of his lips with his tongue touching it, you know, 0:09:13.000 --> 0:09:15.880 where the wound would be. Now there's no wound there. 0:09:16.080 --> 0:09:20.760 There was no woman there. And later on, you know, 0:09:20.960 --> 0:09:24.440 the kid's aunt said why were you doing that with 0:09:24.480 --> 0:09:27.320 your tongue and he said, you know, and she thought 0:09:27.360 --> 0:09:31.160 it was wrong. I said, no, that's great, and he said, 0:09:31.200 --> 0:09:33.880 because if it was cut, I don't want to touch 0:09:33.920 --> 0:09:34.800 it with my tongue. 0:09:35.920 --> 0:09:37.520 Wow for him. 0:09:38.400 --> 0:09:42.120 So now that's just behavior, right, and so that is 0:09:42.160 --> 0:09:46.680 a really special thing to have that Max just like 0:09:47.320 --> 0:09:50.320 not you know, to allow your behavior to be on 0:09:50.480 --> 0:09:54.960 camera and that's to you, that's something that you don't 0:09:54.960 --> 0:09:59.040 really need in there. It's a real cinematic thing. Wow, 0:10:00.240 --> 0:10:02.960 you know, like uh, and you know, we do this 0:10:03.080 --> 0:10:08.920 exercise about touching, you know, and that whole country exercise 0:10:09.840 --> 0:10:13.520 you know where you have uh you imagine a piece 0:10:13.559 --> 0:10:17.120 of fabric on your lap, right, you know. I think 0:10:17.160 --> 0:10:23.920 that's a very powerful exercise to just go places. Time 0:10:24.080 --> 0:10:29.680 travel too, and this is pretty for the dinner actors 0:10:29.679 --> 0:10:35.880 who you're finding this problem with homework. So there's this 0:10:36.400 --> 0:10:39.160 you know kind of time travel exercises. I learned very 0:10:39.200 --> 0:10:47.640 young with a theater acting coach called James Jennings many 0:10:47.720 --> 0:10:52.760 many years ago, like decades ago. And I found it 0:10:53.080 --> 0:10:57.200 at the American Theater of Actors. But when I was, 0:10:57.800 --> 0:11:00.160 you know, very young, and I first started in this, 0:11:00.520 --> 0:11:04.280 I was a teenager and I got into this you know, 0:11:04.360 --> 0:11:08.160 adult program. But the interesting thing about it was he 0:11:08.240 --> 0:11:10.240 did this exercise that I thought it was pretty wonderful 0:11:10.240 --> 0:11:13.360 and I and I sometimes use it where you know, 0:11:13.440 --> 0:11:16.960 you have this piece of fabric, you imagine it, okay, 0:11:17.040 --> 0:11:19.840 and you imagine what it feels like. It could be silk, 0:11:19.920 --> 0:11:24.959 it could be corduroy, we don't know, but really trying 0:11:24.960 --> 0:11:29.040 to focus on what that fabric feels like. And then 0:11:29.120 --> 0:11:32.319 from there after you really understand it and you ask 0:11:32.400 --> 0:11:34.720 them questions. Your datas are not allowed to answer. They're 0:11:34.760 --> 0:11:36.640 just allowed to be there and feel the fabric and 0:11:36.679 --> 0:11:39.199 touch it and how heavy it is in their hands, 0:11:39.520 --> 0:11:41.520 you know, to really because that then you start to 0:11:41.520 --> 0:11:45.000 get into play right and meditation, and then after that 0:11:45.120 --> 0:11:48.680 getting into okay, I want you to go back to 0:11:48.800 --> 0:11:52.600 a time where you know, maybe you really laugh and 0:11:52.640 --> 0:11:57.040 something was so funny, you know, and put your hands 0:11:57.040 --> 0:12:01.280 on your lap and remember what you will wearing, you know, 0:12:02.000 --> 0:12:05.200 with their pants that you were wearing. So we go 0:12:05.240 --> 0:12:07.720 back into that fabric, right, and then we start to 0:12:07.720 --> 0:12:11.439 talk about, you know, smell what it smelled like. Remember 0:12:11.480 --> 0:12:14.840 who was there? How many people to see it? You know, 0:12:14.960 --> 0:12:18.600 really going back time, traveling back to that space. Remember 0:12:18.640 --> 0:12:22.400 what was said? What was You're not forcing anything, it 0:12:22.480 --> 0:12:26.080 was so funny, and to really what does it smell like? 0:12:26.559 --> 0:12:30.760 Using every sense very slowly, and this exercise can go 0:12:30.840 --> 0:12:33.760 on from anywhere to half an hour to an hour 0:12:34.120 --> 0:12:36.000 could take you could have two people and have it 0:12:36.040 --> 0:12:37.040 take a whole class. 0:12:37.200 --> 0:12:40.120 Wow. You know it's a brilliant exercise. 0:12:39.880 --> 0:12:43.360 And it's amazing because also when you get to the emotion, 0:12:44.480 --> 0:12:48.280 people really go to a place and it takes a 0:12:48.320 --> 0:12:50.320 while to let go. That's why you can go from 0:12:50.559 --> 0:12:53.520 an hour to an hour because and this is also 0:12:54.200 --> 0:12:58.040 where I have learned that I don't believe something. So 0:12:58.080 --> 0:13:00.000 I'll be in a scene with somebody who I wish 0:13:00.000 --> 0:13:03.319 shooting right right, and they'll do something and I'll go 0:13:04.400 --> 0:13:08.440 take your time. I have time. I can cut it. 0:13:08.600 --> 0:13:11.640 I always say I have said this, I got this time. 0:13:12.240 --> 0:13:16.080 Just be there. The action doesn't mean you start, just 0:13:16.160 --> 0:13:19.200 means I said it right. Don't go intol you're ready, 0:13:19.720 --> 0:13:22.720 don't utter a word until you're ready. And then they'll 0:13:22.760 --> 0:13:26.760 go through it and go stop. I don't believe it, find. 0:13:26.520 --> 0:13:28.320 It, find it and do it again. 0:13:28.400 --> 0:13:31.120 Take the time, take the time. You have a lot 0:13:31.160 --> 0:13:33.840 of rush actors who don't take their time. And again, 0:13:33.920 --> 0:13:37.360 I love that exercise. And you know it's tough because 0:13:37.400 --> 0:13:39.600 people will sit in your classroom for half an hour 0:13:40.320 --> 0:13:42.400 and then they'll get really excited when it's their turn, 0:13:42.800 --> 0:13:45.760 and they'll get scared as hell, you know, And you 0:13:45.760 --> 0:13:49.040 could also give them the opportunity of what moment they 0:13:49.080 --> 0:13:51.920 want to remember. Okay, if you have a moment, is 0:13:51.960 --> 0:13:54.760 it a sad moment? Is a happy moment? Well, it 0:13:54.880 --> 0:13:59.120 has to be a moment that has an emotion because ultimately, 0:13:59.200 --> 0:14:01.400 with you even to see in the entire class, we'll 0:14:01.440 --> 0:14:06.320 see you will see their face change and you will 0:14:06.320 --> 0:14:10.240 see an amazing scene, an incredible scene that they could 0:14:10.280 --> 0:14:15.560 never reach with words, right because all words are alive. 0:14:16.320 --> 0:14:19.400 Oh well, at this moment, right now, dar now, there 0:14:19.440 --> 0:14:22.200 are actors out there who are holding on to every 0:14:22.240 --> 0:14:23.960 single one of your words. And we have a call 0:14:24.320 --> 0:14:27.880 right now for you that just came in, So we're 0:14:27.920 --> 0:14:28.800 going to patch them in. 0:14:29.480 --> 0:14:30.760 Hey are you doing? Hi? 0:14:30.880 --> 0:14:31.520 What's your name? 0:14:32.240 --> 0:14:33.520 Oh? My name is Rob Muriol. 0:14:34.360 --> 0:14:34.920 How are you doing? 0:14:35.720 --> 0:14:37.920 Hey? Are you doing? I just want to ask a question. 0:14:37.960 --> 0:14:39.840 You know, I heard a lot of actors talking about 0:14:39.880 --> 0:14:43.960 working from outsider and inside out. What do you mean 0:14:44.000 --> 0:14:49.080 by that? What does that mean? Okay? So, Sean Penn, 0:14:49.360 --> 0:14:55.400 I believe from from what I've heard from him, is 0:14:55.440 --> 0:15:00.760 an actor who works outside in and he he uses 0:15:00.760 --> 0:15:05.680 a mask, right. He once he finds the mask, he 0:15:05.760 --> 0:15:13.360 finds the character. I know that that Karen Howard, I 0:15:13.400 --> 0:15:15.480 worked on the there. I was watch a guy with 0:15:15.560 --> 0:15:20.160 him and he works. I mean, I believe that he 0:15:20.680 --> 0:15:24.480 found that character from the outside end, maybe our mom, 0:15:25.040 --> 0:15:28.680 because he spent so much time in the wardrobe really 0:15:28.840 --> 0:15:34.240 picking together and really designing and finding who he was 0:15:35.000 --> 0:15:40.040 and the specificity in his wardrobe. Now he might he 0:15:40.120 --> 0:15:42.480 might work with the inside out too, but that but 0:15:42.720 --> 0:15:46.960 work is from the outside in is basically getting the 0:15:47.000 --> 0:15:51.520 clothes first and letting the clothes affect you. You know, 0:15:51.600 --> 0:15:54.560 maybe you put the clothes and you know, like maybe 0:15:54.800 --> 0:15:57.160 maybe I've heard another thing about this, and I can't 0:15:57.160 --> 0:15:59.600 remember which actor it was, but this is the very 0:15:59.640 --> 0:16:03.600 famous actor who had to find the shoes and once 0:16:03.640 --> 0:16:07.520 he found that this character, he put them on and 0:16:07.560 --> 0:16:11.120 he walked in this very specific way, very famous action. 0:16:11.240 --> 0:16:13.000 It's a very famous character. And I wish to god 0:16:13.000 --> 0:16:16.840 I could remember he found Oh you know what was 0:16:16.920 --> 0:16:18.160 it was quite tamper. 0:16:18.560 --> 0:16:23.760 Oh wow, Stanford. 0:16:23.800 --> 0:16:28.640 And yes, he could not figure out who that character 0:16:28.720 --> 0:16:30.160 was until he put the shoes on. And put the 0:16:30.160 --> 0:16:33.640 shoes on, he had the walk, he had everything. Yeah, 0:16:33.960 --> 0:16:38.600 because you know Red Fox was snazzy, right, yeah, yeah, 0:16:39.360 --> 0:16:41.560 shoes like that. So he puts those shoes on and 0:16:41.600 --> 0:16:46.120 all of a sudden, you know, it came to him. 0:16:46.640 --> 0:16:50.000 But all for instance, Ed O'Neill from Married with Children, 0:16:50.120 --> 0:16:57.360 people don't realize that O'Neill is amazing. Yeah, people think 0:16:57.360 --> 0:17:00.640 he's a comedian, but he just fell into his laugh 0:17:00.800 --> 0:17:03.880 is because he was a big theater actor like Eugene 0:17:03.880 --> 0:17:06.679 O'Neil and all this stuff. And what happened was is 0:17:06.760 --> 0:17:08.760 he came in for that audition he said, you know what, 0:17:08.800 --> 0:17:12.159 this guy is like my uncle, And so then he 0:17:12.240 --> 0:17:18.080 started working on that character from the inside out because 0:17:18.359 --> 0:17:24.000 he knew who his uncle uncle was. So it's like 0:17:24.320 --> 0:17:26.240 and also working from the inside out, and we talk 0:17:26.240 --> 0:17:29.359 a little bit more is actually doing that character work. 0:17:29.560 --> 0:17:32.440 I just talked about like, well, see it's funny because 0:17:32.440 --> 0:17:34.520 I feel very much like I do the actor work 0:17:34.560 --> 0:17:38.080 with writing. Again, I go into what was happening at 0:17:38.119 --> 0:17:44.800 that time, What did they wear at that time? What 0:17:45.040 --> 0:17:48.720 was this person's family like, like what moved them? What 0:17:48.800 --> 0:17:51.480 was this thing? What was their fatal flaw? What was 0:17:51.480 --> 0:17:53.639 this thing that hurts him so much? You know what? 0:17:53.720 --> 0:17:58.480 Here it is every character is working out something that 0:17:58.520 --> 0:18:00.800 they've been working out since they were five years old. 0:18:01.440 --> 0:18:05.280 Something happened between the ages of one and six that 0:18:05.480 --> 0:18:09.359 kind of defined them and they've been wanting that thing 0:18:10.000 --> 0:18:15.080 that they never got from that prime And so if 0:18:15.320 --> 0:18:20.800 you can find that in your research, that's great. Sometimes 0:18:20.800 --> 0:18:22.560 you have to make it up and make a decision. 0:18:22.960 --> 0:18:27.240 Sometimes you're playing with different types of sadness, right, and 0:18:29.040 --> 0:18:31.520 you can say, I don't know the sadness of losing 0:18:31.520 --> 0:18:35.600 a child. I have no clue of what that means. 0:18:36.240 --> 0:18:41.119 So you can make h a transfer? What is it 0:18:41.200 --> 0:18:41.880 not a transfer? 0:18:42.160 --> 0:18:46.000 The word you know what your substitution is. 0:18:47.960 --> 0:18:50.720 You make a substitution. So maybe you had a friend 0:18:50.800 --> 0:18:55.800 who was very close to you and died, right, I 0:18:55.840 --> 0:18:58.800 got your mother or your father. I was. I was 0:18:58.840 --> 0:19:01.320 in a very horrible film when I was young, and 0:19:01.359 --> 0:19:04.200 I hated it because I know I did not want 0:19:04.240 --> 0:19:07.840 to be an actor, but I was acting in order 0:19:07.920 --> 0:19:11.200 to get behind the camera. And it was one of 0:19:11.280 --> 0:19:14.040 those thriller films where you like run and cry and 0:19:14.240 --> 0:19:16.000 or tortured through the whole thing and try to get 0:19:16.040 --> 0:19:17.520 away from the killer, and then at the end she 0:19:17.600 --> 0:19:20.840 killed the killer. So it was very hard to sustain 0:19:21.240 --> 0:19:25.800 every day, six days a week, you know, thirty days shoot, 0:19:25.960 --> 0:19:30.919 this period of hysteria and tears and and fear grief 0:19:31.160 --> 0:19:34.760 and you know, dig to this and and I was young. 0:19:35.119 --> 0:19:40.320 I was young, wow, And I remembered, you know, going 0:19:40.359 --> 0:19:44.600 to my father's grave and just being exhausted and just 0:19:44.680 --> 0:19:48.000 laying on his grave and not wanting to be an actor, 0:19:48.760 --> 0:19:52.280 but not also knowing how to how to how to 0:19:52.400 --> 0:19:55.600 get there every day like that, because it was like 0:19:56.080 --> 0:19:58.000 it took me. And that's one of the one of 0:19:58.000 --> 0:19:59.960 the things that I found very hard about being actor, 0:20:00.160 --> 0:20:04.520 of of letting it go afterwards, you know, yeah, yeah, 0:20:04.920 --> 0:20:07.200 that was I couldn't do that well. 0:20:07.240 --> 0:20:10.080 And then that young you didn't have the mechanisms to 0:20:10.480 --> 0:20:13.280 you know what I mean, to know how exactly. 0:20:13.840 --> 0:20:15.960 And so when I was lying on my father's grave, 0:20:16.640 --> 0:20:21.720 I took a watch call a leaf it was fall 0:20:22.680 --> 0:20:26.520 and and I put it in my pocket. And then 0:20:27.320 --> 0:20:30.480 I realized when I went to work the shoot, I 0:20:30.480 --> 0:20:33.080 had it in my pocket, so I just transferred it 0:20:33.119 --> 0:20:36.760 into my my costume. And it was really weird. I 0:20:36.800 --> 0:20:40.480 had to live there and I touched it and boom, 0:20:41.160 --> 0:20:43.040 I was there boom right away. 0:20:43.880 --> 0:20:50.560 Yeah, And to discover that, right, like, wow, I I 0:20:50.600 --> 0:20:54.520 held on to that. 0:20:52.920 --> 0:20:56.280 That leaf throughout the whole production. No one knew I 0:20:56.320 --> 0:20:58.960 had it. It was in my pocket. It was my secret. 0:20:59.800 --> 0:21:01.959 And so here's the deal is that when you have 0:21:02.040 --> 0:21:05.280 a secret and you have like a very emotional moment, 0:21:05.320 --> 0:21:07.840 and that has happened with me many times where actors 0:21:08.240 --> 0:21:14.200 have really gone places and just broken down, and everyone 0:21:14.280 --> 0:21:16.719 feels like, Okay, maybe when need to stop, you need 0:21:16.760 --> 0:21:19.920 a medic because this is really you know, and it's 0:21:19.960 --> 0:21:23.159 like no, and I just walk away with them. And 0:21:24.920 --> 0:21:27.119 sometimes people want to say it. Many times people want 0:21:27.160 --> 0:21:29.439 to say what happened? I'm like, no, you cannot tell me. 0:21:30.240 --> 0:21:35.600 This is yours and this is your private thing. It's 0:21:35.600 --> 0:21:38.159 not my place to hear it. Even if you feel 0:21:38.880 --> 0:21:41.560 like this is something you need to tell me, it's 0:21:41.600 --> 0:21:45.520 not my place to say because it's no one's place 0:21:45.640 --> 0:21:49.600 to know. You know. If that kind of pain, that 0:21:49.680 --> 0:21:55.000 kind of that's for a very close friend, that's for therapist, 0:21:55.080 --> 0:21:57.919 that's for priests, whatever it is, you know what I mean? Right, 0:21:59.359 --> 0:22:03.760 also one to release it into that working world, it 0:22:03.920 --> 0:22:09.560 no longer has a power. Well, well, you're a private thing, 0:22:10.119 --> 0:22:13.600 and you you know, and your director is not your 0:22:13.640 --> 0:22:17.120 therapist and they're not your friend. They came very very 0:22:17.160 --> 0:22:19.720 close to you. But I feel like that's a breach 0:22:19.800 --> 0:22:25.040 of trust also for me to hear that, because you're 0:22:25.080 --> 0:22:28.520 in the actors in a very vulnerable place there, and 0:22:28.600 --> 0:22:31.119 later on they might feel like, oh my god, I 0:22:31.119 --> 0:22:33.639 don't know why. You know, they might be embarrassment, it 0:22:33.720 --> 0:22:36.199 might be all kinds of stuff that gets in the 0:22:36.280 --> 0:22:38.920 way of your relationship with the director. 0:22:39.720 --> 0:22:42.520 Well, I'm gonna have to thank. 0:22:42.359 --> 0:22:48.919 You right right. That's that was also Fred so much. 0:22:48.960 --> 0:22:49.600 I appreciate you. 0:22:49.760 --> 0:22:51.959 Thank you so much. And I hope you recorded it 0:22:52.080 --> 0:22:58.000 or wrote it down something, because oh, well, yeah, you 0:22:58.200 --> 0:23:01.200 just come back and you just visit, you know, visit 0:23:01.240 --> 0:23:04.760 our website and that's where everything is. So but thank 0:23:04.800 --> 0:23:08.360 you so much for Colin and Darnelle. We are at 0:23:08.400 --> 0:23:11.399 the end and I didn't even get a chance to 0:23:11.600 --> 0:23:16.280 laundry list your credits from Law and Order franchise to 0:23:17.200 --> 0:23:22.960 Grim Blindspide New Amsterdam. The list, you guys goes Gray's anatomy. Well, 0:23:23.000 --> 0:23:25.360 I was going to say, in terms of a writer director, 0:23:25.520 --> 0:23:30.600 Cadillac Records, and wow, to work with those greats and 0:23:30.640 --> 0:23:33.480 that's why you know what We're just gonna have We're 0:23:33.520 --> 0:23:35.520 just gonna have you come back on. There's so many 0:23:35.560 --> 0:23:38.120 guests that you know, we're going to do a part 0:23:38.119 --> 0:23:40.040 two two and we need a part two to you 0:23:40.119 --> 0:23:42.600 for the committed actor and we need to just get 0:23:42.640 --> 0:23:46.439 some more nuggets and insights from you. So I'm gonna 0:23:46.440 --> 0:23:49.879 say so long, not by because you're coming back to 0:23:49.960 --> 0:23:55.480 the Spirited After podcast, but you were awesome actors. You 0:23:55.600 --> 0:23:59.360 need to be applauding standing ovation wherever you are right now. 0:23:59.480 --> 0:24:05.880 To miss Darnell Martin, writer director Darnell Martin, thank you, Darnell, 0:24:06.440 --> 0:24:11.880 thank you, thank you so much, and now the give love. 0:24:12.560 --> 0:24:16.919 You are phenomenal. I have this theory that most people 0:24:16.960 --> 0:24:20.520 are not afraid of not making it, they are afraid 0:24:20.920 --> 0:24:23.800 of making it. One of my favorite poems was written 0:24:23.880 --> 0:24:28.440 by Mary Anne Williamson and Nelson Mandela read this when 0:24:28.480 --> 0:24:32.119 he was released from prison. It's called Our greatest Fear 0:24:32.440 --> 0:24:36.840 by Mary Anne Williamson. It is our light, not our darkness, 0:24:36.880 --> 0:24:39.959 that frightens us the most. Our deepest fear is not 0:24:40.040 --> 0:24:42.960 that we are inadequate. Our deepest fear is that we 0:24:43.040 --> 0:24:46.719 are powerful beyond measure. It is our light, not our 0:24:46.800 --> 0:24:50.760 darkness that frightens us. We ask ourselves, who am I 0:24:50.920 --> 0:24:56.200 to be? Brilliant, gorgeous, talented and fabulous? Actually, who are 0:24:56.240 --> 0:24:59.040 you not to be? You are a child of God. 0:24:59.480 --> 0:25:03.680 You're playing small does not serve the world. There's nothing 0:25:03.920 --> 0:25:08.080 enlightened about shrinking so that other people won't feel insecure 0:25:08.160 --> 0:25:13.080 around you. We were born to make manifest the glory 0:25:13.119 --> 0:25:16.160