WEBVTT - The Spirited Actor - Esa Lewis

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<v Speaker 1>Hello, and welcome to the Spirited Actor Podcast with me

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<v Speaker 1>Tracy Moore. I was a casting director for film and

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<v Speaker 1>TV and commercials for over thirty years. I transitioned to

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<v Speaker 1>a celebrity acting coach after I cast a film New

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<v Speaker 1>Jersey Drive with executive producers Spike Lee and director Nick Domez.

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<v Speaker 1>I auditioned every rapper from biggiees Balls to Tupac, and

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<v Speaker 1>I realized that rappers and musical artists they needed help

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<v Speaker 1>transitioning to acting. My clients consist of musical artists from

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<v Speaker 1>Buster Rhymes to Eve, Missy Elliott, Angela Yee from The

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<v Speaker 1>Breakfast Club, and Vanessa Simmons, to name a few. I

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<v Speaker 1>also coach sports stars and host as well. I feel

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<v Speaker 1>I have the best of both worlds. As a casting director,

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<v Speaker 1>I know exactly what they're looking for, and as an

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<v Speaker 1>acting coach, I can coach you to be remembered in

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<v Speaker 1>that room. Now I know, I know actors want to

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<v Speaker 1>get the job. I get that, but being remembered by

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<v Speaker 1>a casting director that is powerful. And now it's time

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<v Speaker 1>for meditation of the day. I wish I could show

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<v Speaker 1>you when you are lonely or in the darkness, the

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<v Speaker 1>astonishing light of your own being anonymous. I want to

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<v Speaker 1>say this to you that when we are quote unquote

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<v Speaker 1>struggling or we are challenged in life, I want to

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<v Speaker 1>tell everyone to hold on, just hold on. Yes it

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<v Speaker 1>can be frustrating, Yes it can be anxiety and stress,

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<v Speaker 1>but I believe that through darkness there is light, and

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<v Speaker 1>I believe that the darkness is a part of our

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<v Speaker 1>growth as human beings. We have to understand pain to

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<v Speaker 1>understand joy. We have to understand happiness to understand sadness,

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<v Speaker 1>So it's all inclusive in this game of life. Today,

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<v Speaker 1>I will approach every day standing and knowing there is

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<v Speaker 1>light at the end of the tunnel. Before we get started,

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<v Speaker 1>I like to remind everyone to go to Crackle Network

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<v Speaker 1>to view seasons one and two of my show Inside

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<v Speaker 1>the Black Box that I co host with the great

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<v Speaker 1>Emmy Award winning Joe Morton. Look out for news on

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<v Speaker 1>season three soon. Welcome to the Spirited Actor Podcast with

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<v Speaker 1>me Tracy Moore. You are in for a phenomenal treat.

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<v Speaker 1>I just met our guest and I am so thrilled

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<v Speaker 1>to have her on the show. I want you all

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<v Speaker 1>to please put your hands together and stand up for

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<v Speaker 1>ifa Lewis. She is currently the co executive producer of

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<v Speaker 1>Grown Ish and I know you guys know Kenya Barris.

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<v Speaker 1>We talk about, you know, all types of people who

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<v Speaker 1>are making moves in this industry. She has a plethora

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<v Speaker 1>of things going on. So I want our interview to

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<v Speaker 1>and be inclusive of that. Please put your hands together

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<v Speaker 1>for Lisa Lewis.

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<v Speaker 2>Thank you, thank you, thank you.

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<v Speaker 1>Thank you for coming on the shadow, Issa having me.

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<v Speaker 2>I'm so excited to talk to you.

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<v Speaker 1>You are so beautiful.

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<v Speaker 3>Thank you as you want to like youtiful black women.

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<v Speaker 2>Just having a good, cool conversation, right right.

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<v Speaker 1>I've wraggled all levels.

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<v Speaker 4>I'm looking at you like she would be a great

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<v Speaker 4>agiss But okay.

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<v Speaker 1>I know I'm not talking about it because that's the

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<v Speaker 1>same with me.

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<v Speaker 2>I got you Iza, yes, ma'am.

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<v Speaker 1>When I vent your bio, I was ecstatic to meet you,

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<v Speaker 1>not only on your work, but so nineteen ninety seven

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<v Speaker 1>Buster Rhymes did the way and show you did.

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<v Speaker 2>I was there.

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<v Speaker 1>I've been so much twenty eight years.

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<v Speaker 2>You're kidding.

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<v Speaker 1>We just finished Naked Guy last month in Atlanta.

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<v Speaker 2>You're kidding.

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<v Speaker 1>No, And I became best friends with Anne Marie on

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<v Speaker 1>the show and still my best friend today.

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<v Speaker 5>Wow, that's that's a way to tell you we either

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<v Speaker 5>see each other or you helped me something, you know

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<v Speaker 5>what I mean.

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<v Speaker 3>That's I mean, that is a that is a crazy

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<v Speaker 3>So I'm busting Rhyme's obsessed like he's one of the

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<v Speaker 3>he's one of the few.

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<v Speaker 2>I'm upset. Like, let me tell you one of my favorite.

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<v Speaker 3>Moments in the last when when we were during COVID

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<v Speaker 3>and everyone was sort of like locking into versus A.

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<v Speaker 3>There was the dipset locks versus and before that, why

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<v Speaker 3>Cleft was like getting the crowd hyped or whatever, and

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<v Speaker 3>I have to catch this and he passes the mic

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<v Speaker 3>and he sees bussing the crowd and he was like, yo,

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<v Speaker 3>buss come up and.

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<v Speaker 2>They're a Madison Square garden. He's like, come on, bear,

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<v Speaker 2>do something. Start screaming. They put on put your hands

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<v Speaker 2>on my first. They put on the song.

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<v Speaker 3>Right, I, like I was thirteen, started jumping on my bed.

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<v Speaker 2>My friends were like, what the fuck is Wun't he

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<v Speaker 2>but his energy. I'm just such a huge fan.

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<v Speaker 3>Yeah, it was a big one of the memories from

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<v Speaker 3>the show that I remember because I'm such a huge

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<v Speaker 3>fan of his.

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<v Speaker 2>So I so, that's crazy that you were there. That's crazy.

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<v Speaker 1>I was there. I was there, and I came back

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<v Speaker 1>because I did a show with Missy Elliott. I coached

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<v Speaker 1>Missy too. She did a guest starring Real Quick, playing herself.

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<v Speaker 1>But this was after Buster. But I'll never forget being

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<v Speaker 1>on the set because Marlon was so wonderful and so accommodating.

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<v Speaker 1>And then the same with Anna. That's how we hooked up.

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<v Speaker 1>We were just laughing on the set. But what I

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<v Speaker 1>read through a bio, I was like, she was probably

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<v Speaker 1>twelve years old, being a PA or something.

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<v Speaker 3>Running around, acting, running around, just trying to get out

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<v Speaker 3>the way.

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<v Speaker 2>We had a lot of fun on that show, a lot.

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<v Speaker 1>That's oh my god. We only did one show and

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<v Speaker 1>I was like, I don't want to leave.

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<v Speaker 2>It was great, it was amazing.

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<v Speaker 1>So I'm glad that that was our first indirect, you know, connection,

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<v Speaker 1>but we just didn't know. And etha sidebar, he's on

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<v Speaker 1>tour with Sierra and Missy. So I got you in La,

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<v Speaker 1>I got.

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<v Speaker 3>You got okay, listen don't know with a sign and listen,

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<v Speaker 3>I will be savored. Listen, listen, listen, don't play with me.

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<v Speaker 3>I will have you at the show him backstage?

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<v Speaker 2>Oh, okay, we'll have to.

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<v Speaker 1>That would be I was talking to him last night, like.

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<v Speaker 3>My daughter, I'm gonna drag my daughter so she'll be

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<v Speaker 3>so embarrassed because I I can't.

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<v Speaker 2>I love him so much. He's amazing.

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<v Speaker 1>Well, it's a done deal. That's that's nothing for me. Good.

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<v Speaker 1>Buster and Eve are the longest clients that I've had.

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<v Speaker 1>I've been with you for twenty seven years. Yeah, so

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<v Speaker 1>it's amazing. Yeah, it's a blessing. And I said to

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<v Speaker 1>him last night, I said, the thing about you, Bust,

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<v Speaker 1>is that every time I think I can't love you more,

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<v Speaker 1>something happens that I love you before and we would

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<v Speaker 1>just screen. I was like, because I was like, all

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<v Speaker 1>this said that they can good. I was like, oh

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<v Speaker 1>my god, I have more love for him. It's that

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<v Speaker 1>there and this time in his life, Lisa is absolutely outstanding. Outstanding,

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<v Speaker 1>but not without you know, going through and Chris Slidy

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<v Speaker 1>pass and all of that. But I got you, so sidebar,

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<v Speaker 1>I'm going to get tir information and hook you up

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<v Speaker 1>and I'm gonna send you some pitches. So what it

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<v Speaker 1>happened was, ladies and gentlemen, we have I am so

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<v Speaker 1>happy to have you on the show because we have

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<v Speaker 1>a lot of you know, nowadays, everybody's multi hyphenated. And

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<v Speaker 1>in my acting class, I have a homework assignment where

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<v Speaker 1>I in the proper format, they have to write a scene,

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<v Speaker 1>a three page scene with two characters that they're allowed

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<v Speaker 1>to direct. And so I've been teaching for twenty eight

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<v Speaker 1>years and we've discovered a lot of writers. They've gone

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<v Speaker 1>a film that's Wills created, you know, short films, featured films.

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<v Speaker 1>I would like you to take our audience through the

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<v Speaker 1>process of how you became such an acclaimed writer co

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<v Speaker 1>executive producer. But we'll start with the writing first, because

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<v Speaker 1>writing that's a lonely business. But I love it.

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<v Speaker 2>I love it well. So here's the thing.

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<v Speaker 3>This is a bit of false advertising because I have

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<v Speaker 3>one of the most unconventional stories or pathways to writing.

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<v Speaker 3>It was I didn't care about writing at all. Writing

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<v Speaker 3>was not my jam. I thought I was going to

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<v Speaker 3>be an entertainment attorney. That's why I was at Howard.

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<v Speaker 3>I wanted to be in the music industry by way

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<v Speaker 3>of well, you know, you go to HBC, you're gonna

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<v Speaker 3>you have to sing or dance, or act or something.

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<v Speaker 3>So we tried our hand in singing not so hot so,

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<v Speaker 3>but I really.

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<v Speaker 2>Wanted to be in music. That's where I saw myself.

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<v Speaker 3>So when I left Howard, I worked at Deaf Jam

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<v Speaker 3>for a year and then I understood the music business

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<v Speaker 3>as a business and I was like, oh no, no,

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<v Speaker 3>this will kill me because I love music so much

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<v Speaker 3>that I can't It's set up in a way that

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<v Speaker 3>is not artist friendly. So it would have felt like

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<v Speaker 3>being a civil rights attorney. So Marlin is a little

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<v Speaker 3>bit older than me, but we had befriended each other

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<v Speaker 3>at Howard through mutual friends, and so I found myself

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<v Speaker 3>without a dream because now I'm not going to be

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<v Speaker 3>an entertainment attorney and that was what I wanted to do.

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<v Speaker 3>So he was like, well, come over to the show

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<v Speaker 3>and we'll find something for you to do. So I

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<v Speaker 3>was the assistant to the executive producers for three three

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<v Speaker 3>seasons and the fourth season I just happened to write

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<v Speaker 3>a spec Transparently speaking, I found out what writers earn,

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<v Speaker 3>and I was like, I would be a fool to

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<v Speaker 3>not try to learn.

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<v Speaker 2>Girl, you better learn how to write a script.

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<v Speaker 3>So I was I was, you know, very tenacious and

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<v Speaker 3>focused and would go I didn't think I had a

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<v Speaker 3>computer at the time, or at least I didn't have

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<v Speaker 3>the script software. So I would go up to the

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<v Speaker 3>office on the weekends and learn, teaching myself the script

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<v Speaker 3>writing software. And they happened to buy my specscript from

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<v Speaker 3>me and they shot at the last season of the show.

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<v Speaker 3>So I was like, okay, cool, like I'll do this,

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<v Speaker 3>like you know, you're making all this money and it's

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<v Speaker 3>I'm working with friends, and they were going to give

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<v Speaker 3>me the staffed writing position.

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<v Speaker 2>How do we come back?

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<v Speaker 3>But we got canceled the day before they announced the

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<v Speaker 3>It would have been the sixth season. So I was like, ah,

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<v Speaker 3>so that sort of put my writing career, you know,

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<v Speaker 3>in terms of like being paid as a writer on hold.

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<v Speaker 2>But I still sort of had the bug. At that point.

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<v Speaker 3>I was like, Oh, this is interesting, and let me

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<v Speaker 3>just see how I can sort of evolve that cut

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<v Speaker 3>to I get pregnant. Oh, and you know, writing is

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<v Speaker 3>a hustle, so back then I was like, I can't.

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<v Speaker 3>My daughter needs almond milk, so we can't trying to

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<v Speaker 3>play this reindeer yet.

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<v Speaker 2>Hustling for you know what I mean?

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<v Speaker 3>Like I was like Yes, So I went back to

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<v Speaker 3>music because that was where I had the primary the

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<v Speaker 3>bulk of my relationships ran.

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<v Speaker 2>Alated for a while.

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<v Speaker 3>Fast forward, that sort of morphed into marketing and so

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<v Speaker 3>I was doing a lot. I created my own agency

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<v Speaker 3>and was doing like a really strategic marketing for you know,

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<v Speaker 3>brands like.

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<v Speaker 2>A gun, like a like an assassin.

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<v Speaker 3>Right, So I didn't have all the red tape of

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<v Speaker 3>big companies, but I was kind of able to go

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<v Speaker 3>in and make money and meet people, and that morphed

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<v Speaker 3>into an advertising job. So I started as a project

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<v Speaker 3>manager and for about thirteen years I grew with the

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<v Speaker 3>company called Quantity in La Black owned digital shop, and

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<v Speaker 3>we evolved and when I left, I was the fourth hire.

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<v Speaker 3>When I left, it was about thirty people with the

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<v Speaker 3>company and we had huge clients like City National Bank

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<v Speaker 3>in Honda and Google and Wells Fargo and ended up

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<v Speaker 3>happening was So here's the getting back to the initial question.

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<v Speaker 2>Kenya Barns.

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<v Speaker 3>Keny and I have been friends since we were thirteen

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<v Speaker 3>and and he is one of the most you know,

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<v Speaker 3>across industry. I've never seen anyone champion black people or

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<v Speaker 3>people of color. I've never seen anyone champion women, and

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<v Speaker 3>I've never seen champion people that would not get the

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<v Speaker 3>shot who he saw talk like Kenya And so to

0:12:13.760 --> 0:12:17.040
<v Speaker 3>our friendship, you know, he always when he found out

0:12:17.080 --> 0:12:19.240
<v Speaker 3>that I was writing later in life, he was like, yo,

0:12:19.280 --> 0:12:21.480
<v Speaker 3>you should you know, don't stop writing. And I was like, dude,

0:12:21.520 --> 0:12:25.719
<v Speaker 3>I'm in milk. And so then, uh, I'm you know,

0:12:25.760 --> 0:12:28.000
<v Speaker 3>I've settled into advertising and I had, you know, and

0:12:28.040 --> 0:12:30.199
<v Speaker 3>he comes and he's like, I got a show East

0:12:30.240 --> 0:12:32.280
<v Speaker 3>it's you know, I got Blackish and come and you know,

0:12:32.320 --> 0:12:34.160
<v Speaker 3>be a writer's assistant or be a stuck you know whatever.

0:12:34.240 --> 0:12:37.240
<v Speaker 3>I was like, nope, I got this key job. I

0:12:37.280 --> 0:12:40.240
<v Speaker 3>have a parking space. My check is gonna come every

0:12:40.240 --> 0:12:42.720
<v Speaker 3>two weeks. It's not going to be a lot of money,

0:12:42.880 --> 0:12:46.480
<v Speaker 3>but I know it's coming right. And I just I was,

0:12:46.960 --> 0:12:49.920
<v Speaker 3>you know, I was so single, momming and so like

0:12:50.040 --> 0:12:53.080
<v Speaker 3>scared to take a leap that I told him no,

0:12:53.880 --> 0:12:56.360
<v Speaker 3>and that no persisted for four years. This is long

0:12:56.400 --> 0:12:59.440
<v Speaker 3>after Blackish had turned into a thing. I was too scared.

0:12:59.440 --> 0:13:02.400
<v Speaker 3>I was like, I can't. So what ended up happening

0:13:02.600 --> 0:13:06.000
<v Speaker 3>was in my I was a group account director now

0:13:06.040 --> 0:13:08.320
<v Speaker 3>and at in my ad job, and now we were

0:13:08.360 --> 0:13:10.720
<v Speaker 3>starting to get into the content space and creating content

0:13:10.720 --> 0:13:12.280
<v Speaker 3>for some of our clients, and we had taken on

0:13:12.320 --> 0:13:13.720
<v Speaker 3>some celebrity clients.

0:13:14.160 --> 0:13:15.840
<v Speaker 2>And I was being.

0:13:15.679 --> 0:13:17.720
<v Speaker 3>Asked because we were still even with thirty, we were

0:13:17.720 --> 0:13:21.400
<v Speaker 3>still sort of lean, and I was a strategist and

0:13:21.440 --> 0:13:23.520
<v Speaker 3>that was my primary function. I was always pulled into

0:13:23.600 --> 0:13:28.320
<v Speaker 3>creative conversations. And so we were creating content for our

0:13:28.559 --> 0:13:31.839
<v Speaker 3>talent that I wasn't gonna, you know, individually get any

0:13:31.880 --> 0:13:33.440
<v Speaker 3>credit for, nor was I going to get paid for.

0:13:33.559 --> 0:13:35.560
<v Speaker 3>And I realized that that was sort of being was

0:13:35.800 --> 0:13:40.760
<v Speaker 3>being folded into the job. Simultaneously, Kenya had asked me

0:13:40.880 --> 0:13:44.839
<v Speaker 3>to participate. He was writing a book and just sort

0:13:44.880 --> 0:13:46.600
<v Speaker 3>of want in my eyes, you know, just because he

0:13:46.640 --> 0:13:49.280
<v Speaker 3>was getting super busy. He had launched grown Ish you

0:13:49.280 --> 0:13:51.600
<v Speaker 3>know girls ship. I think it was either coming out

0:13:51.679 --> 0:13:54.080
<v Speaker 3>or had come out. He was like, you know, he

0:13:54.160 --> 0:13:57.640
<v Speaker 3>was the eCos sort of changing for him pretty dramatically,

0:13:57.720 --> 0:14:02.319
<v Speaker 3>and and he got he got me through this project

0:14:02.360 --> 0:14:06.520
<v Speaker 3>to sort of like reimagine my career or what I

0:14:06.559 --> 0:14:09.199
<v Speaker 3>wanted to do, because what I was doing was now

0:14:09.280 --> 0:14:12.480
<v Speaker 3>sort of using a muscle that I had thought atropheed

0:14:12.559 --> 0:14:15.240
<v Speaker 3>even though it wasn't a TV project. It was a

0:14:15.240 --> 0:14:18.680
<v Speaker 3>book project, but so sort of it was like revisions

0:14:18.679 --> 0:14:20.840
<v Speaker 3>and writing, and he ended up firing the guy that

0:14:20.880 --> 0:14:24.080
<v Speaker 3>I had come to come into support and I end

0:14:24.160 --> 0:14:27.080
<v Speaker 3>up the person and I was like, you, you fuck me.

0:14:28.680 --> 0:14:30.400
<v Speaker 2>This was not it's not agreement.

0:14:32.280 --> 0:14:35.480
<v Speaker 3>And so at the end of the so then he

0:14:35.480 --> 0:14:37.240
<v Speaker 3>got too busy to even do the project. And then

0:14:37.240 --> 0:14:41.280
<v Speaker 3>he called me my day, yo, leaving ABC for Netflix.

0:14:42.240 --> 0:14:45.040
<v Speaker 3>And I know you've told me no all these times,

0:14:45.120 --> 0:14:48.960
<v Speaker 3>but if there's anything in your body that says you

0:14:49.000 --> 0:14:53.120
<v Speaker 3>don't want to live and die in advertising, I'm right

0:14:53.160 --> 0:14:54.960
<v Speaker 3>now because I don't know what my world is going

0:14:55.040 --> 0:14:57.680
<v Speaker 3>to look like, and right now I still have a.

0:14:57.680 --> 0:15:01.480
<v Speaker 2>Handle on my world. And I'm a real spiritual girl.

0:15:01.560 --> 0:15:04.640
<v Speaker 3>And I was fixing my mouth to say no, and

0:15:04.640 --> 0:15:09.520
<v Speaker 3>God was like, uh uh, how are you kidding? So

0:15:10.440 --> 0:15:14.560
<v Speaker 3>fast forward, you know, I just sort of lept. I

0:15:14.600 --> 0:15:18.160
<v Speaker 3>told I told my boss, my chairman at Quantity, who

0:15:18.200 --> 0:15:22.320
<v Speaker 3>was unbelievably supportive, that you know, I had to sort

0:15:22.320 --> 0:15:25.680
<v Speaker 3>of go. And by this time, also Harlem Harlem is

0:15:25.720 --> 0:15:29.600
<v Speaker 3>my daughter, and she was to graduate. Yeah, she was

0:15:29.640 --> 0:15:32.880
<v Speaker 3>about to graduate from from a school at independent school

0:15:32.880 --> 0:15:34.680
<v Speaker 3>out here and we knew she was going to Howard.

0:15:34.720 --> 0:15:36.880
<v Speaker 3>So all of the things that I was using to

0:15:36.960 --> 0:15:39.480
<v Speaker 3>sort of prevent myself from taking any kind of like

0:15:39.560 --> 0:15:42.800
<v Speaker 3>major shift career wise were no longer that I could

0:15:42.800 --> 0:15:47.560
<v Speaker 3>sort of hide behind, and so I ended my tenure

0:15:47.560 --> 0:15:50.680
<v Speaker 3>at Quantity on a Thursday and Monday, I was in

0:15:50.680 --> 0:15:55.480
<v Speaker 3>a room of seventeen writers at Blackish season five. And

0:15:55.520 --> 0:15:57.720
<v Speaker 3>I've been really, really blessed to not really have any

0:15:57.760 --> 0:16:01.360
<v Speaker 3>dips in my working life since. So I say that

0:16:01.440 --> 0:16:03.440
<v Speaker 3>to say that is not the way that writers.

0:16:03.080 --> 0:16:06.600
<v Speaker 2>Write, you know, yeah, it's just not how it works.

0:16:06.680 --> 0:16:10.200
<v Speaker 3>But but hopefully what someone could glean because I know

0:16:10.200 --> 0:16:13.840
<v Speaker 3>when people ask those questions, you're listening for those nuggets,

0:16:13.960 --> 0:16:16.240
<v Speaker 3>those like that, you know, resilience or whatever. And so

0:16:16.280 --> 0:16:19.480
<v Speaker 3>what I can say by way of that story is,

0:16:19.680 --> 0:16:26.000
<v Speaker 3>you know, fear will one percent anything, and you never

0:16:26.080 --> 0:16:27.400
<v Speaker 3>know how it's going to show up. You know what

0:16:27.440 --> 0:16:30.080
<v Speaker 3>I'm saying, You never know. Yes, I did not envision

0:16:30.120 --> 0:16:32.760
<v Speaker 3>myself being a writer. I could always communicate through writing,

0:16:32.840 --> 0:16:37.440
<v Speaker 3>and I was always a decent speaker, like weirded out

0:16:37.480 --> 0:16:39.920
<v Speaker 3>by it, but I did not think. I thought that

0:16:40.080 --> 0:16:44.440
<v Speaker 3>my passion was my purpose. Writing is my purpose. Music

0:16:44.560 --> 0:16:46.280
<v Speaker 3>was my passion, and so being able to sort of

0:16:46.280 --> 0:16:50.240
<v Speaker 3>delineate and differentiate between the two, I think is the

0:16:50.280 --> 0:16:51.720
<v Speaker 3>reason why I'm doing what I'm doing.

0:16:51.800 --> 0:16:56.080
<v Speaker 1>So so one I have to really I appreciate love.

0:16:56.160 --> 0:16:59.440
<v Speaker 1>I don't say appreciate, but I appreciate love, your transparency,

0:17:00.000 --> 0:17:02.800
<v Speaker 1>in your honesty, because I was a single mom as well,

0:17:02.880 --> 0:17:04.600
<v Speaker 1>and as a single mom, you gotta do what you

0:17:04.680 --> 0:17:08.479
<v Speaker 1>got to do, like I hear you, but I was

0:17:09.000 --> 0:17:14.160
<v Speaker 1>in that two week. I need consistency. And also I

0:17:14.200 --> 0:17:17.119
<v Speaker 1>think that the way that life.

0:17:17.200 --> 0:17:25.280
<v Speaker 6>I'm I'm a little older, but I left home August fifteenth,

0:17:25.400 --> 0:17:28.639
<v Speaker 6>nineteen eighty three, at twenty one the two hundred dollars

0:17:28.640 --> 0:17:29.760
<v Speaker 6>a one way ticket.

0:17:29.440 --> 0:17:31.840
<v Speaker 1>In a trunk. But I came here with a dream

0:17:31.880 --> 0:17:34.119
<v Speaker 1>and I only knew two people. And the truth is

0:17:34.160 --> 0:17:36.960
<v Speaker 1>I know too many now in a loving way. But

0:17:37.800 --> 0:17:41.720
<v Speaker 1>United States, ninety eight countries, in Africa, whatever. But this

0:17:42.040 --> 0:17:46.880
<v Speaker 1>wasn't the plan. I came here like I'm directing broadly,

0:17:48.200 --> 0:17:51.359
<v Speaker 1>like it was just gonna be that fimble right. But

0:17:51.480 --> 0:17:55.480
<v Speaker 1>I love the fact that whatever your spiritual belief is,

0:17:56.080 --> 0:17:59.760
<v Speaker 1>God has a way. God's plan is always better than

0:17:59.800 --> 0:18:02.879
<v Speaker 1>our plan, always, So I don't even rely on my

0:18:02.960 --> 0:18:08.159
<v Speaker 1>plans anymore. I The other thing that I love is

0:18:08.200 --> 0:18:11.919
<v Speaker 1>that in writing and coming from a show Blackish and

0:18:12.000 --> 0:18:13.240
<v Speaker 1>Anthony Anderson.

0:18:12.920 --> 0:18:19.640
<v Speaker 6>Is one of my good friends, that the honesty, the

0:18:19.720 --> 0:18:20.920
<v Speaker 6>truth and.

0:18:22.359 --> 0:18:32.399
<v Speaker 1>Unapologetically is the writing on that show. How and I

0:18:32.440 --> 0:18:36.720
<v Speaker 1>know of Kenyuna's background and influence and body of work.

0:18:37.920 --> 0:18:41.520
<v Speaker 1>Was it difficult to in dealing with like the studio

0:18:41.800 --> 0:18:46.560
<v Speaker 1>TV studio, in being able to communicate in that way

0:18:46.600 --> 0:18:48.480
<v Speaker 1>and write in that way?

0:18:48.840 --> 0:18:52.320
<v Speaker 2>We're going to answer, would you like Tracy? I want

0:18:52.359 --> 0:18:53.240
<v Speaker 2>the you like?

0:18:53.600 --> 0:18:56.520
<v Speaker 4>You know?

0:18:56.800 --> 0:18:58.520
<v Speaker 2>So, I will say, and I have to say it.

0:18:58.560 --> 0:19:01.040
<v Speaker 3>I've been I've been really really blessed and fortunate to

0:19:01.119 --> 0:19:02.479
<v Speaker 3>be in Kenya's bubble.

0:19:02.560 --> 0:19:03.880
<v Speaker 2>And what you find is.

0:19:06.080 --> 0:19:09.520
<v Speaker 3>He has been writing almost thirty years and so he

0:19:09.520 --> 0:19:13.960
<v Speaker 3>he he'll go up against anybody, you know what I'm saying,

0:19:14.119 --> 0:19:16.400
<v Speaker 3>He'll go up against for the for the.

0:19:16.320 --> 0:19:18.320
<v Speaker 2>Truth to be able to be expressed.

0:19:19.000 --> 0:19:23.520
<v Speaker 3>And so and so I came in season five after

0:19:23.560 --> 0:19:28.840
<v Speaker 3>they had I mean Blackish was meanted but early, you know,

0:19:29.119 --> 0:19:33.480
<v Speaker 3>and not and not really. I mean, it's a trust thing.

0:19:33.560 --> 0:19:38.200
<v Speaker 3>It's a it's a it's a it's a trust thing.

0:19:38.440 --> 0:19:43.000
<v Speaker 3>It's an experienced thing, it's a POV thing. It's like,

0:19:43.359 --> 0:19:46.359
<v Speaker 3>it's not always like out out like racism or you

0:19:46.440 --> 0:19:49.359
<v Speaker 3>know what I'm saying, It's not all but yeah, but

0:19:49.560 --> 0:19:51.399
<v Speaker 3>you have to you have to be steady, and you

0:19:51.400 --> 0:19:53.840
<v Speaker 3>have to be really really clear. And Kenya when he

0:19:53.960 --> 0:19:56.960
<v Speaker 3>has when he's locked into the idea, he's very very clear.

0:19:57.040 --> 0:20:02.440
<v Speaker 3>He's very intentional, and so that's sort of toality I too.

0:20:02.760 --> 0:20:05.600
<v Speaker 3>You know, it's almost like someone who interviews a married

0:20:05.600 --> 0:20:09.920
<v Speaker 3>couple after thirty years. After thirty years, figured out it's

0:20:09.920 --> 0:20:13.520
<v Speaker 3>different than you're it's different than you're fifteen, it's different

0:20:13.520 --> 0:20:17.160
<v Speaker 3>than your twenty. So you figured out what battles to fight,

0:20:17.200 --> 0:20:20.200
<v Speaker 3>what battles not to fight, and and you have some

0:20:20.720 --> 0:20:24.920
<v Speaker 3>track record that transit direction under your belt. So there

0:20:24.920 --> 0:20:28.520
<v Speaker 3>weren't a lot There wasn't a lot of friction I

0:20:28.680 --> 0:20:30.720
<v Speaker 3>was in when I was joined when I joined the

0:20:30.760 --> 0:20:33.240
<v Speaker 3>show between you know, the staff and the things that

0:20:33.280 --> 0:20:35.439
<v Speaker 3>we wanted to do and the network in the studio.

0:20:35.480 --> 0:20:39.000
<v Speaker 3>The network in the studio I think were very accommodating,

0:20:39.359 --> 0:20:41.919
<v Speaker 3>and where they weren't, they probably learned that he was

0:20:42.000 --> 0:20:45.439
<v Speaker 3>right in moments, you know, But yeah, that does exist.

0:20:45.600 --> 0:20:48.199
<v Speaker 3>I mean, there have been other shows that I've worked on,

0:20:48.960 --> 0:20:51.440
<v Speaker 3>even though they had been his shows where the the

0:20:53.160 --> 0:20:56.360
<v Speaker 3>pushback was a little bit there. You know, there's moments.

0:20:56.720 --> 0:21:01.320
<v Speaker 3>But I again, very very fortunate Kenya has been able

0:21:01.359 --> 0:21:04.080
<v Speaker 3>to One of his superpowers is being able to take

0:21:04.440 --> 0:21:08.159
<v Speaker 3>a very specific niche experience and make it digestible and

0:21:08.320 --> 0:21:13.399
<v Speaker 3>mass and people trust him now. So I believe the

0:21:13.800 --> 0:21:17.920
<v Speaker 3>challenges that he may have will still be challenges because.

0:21:17.960 --> 0:21:18.879
<v Speaker 2>It just is what it is.

0:21:18.920 --> 0:21:22.520
<v Speaker 3>But I think people have more faith, which in turn,

0:21:22.560 --> 0:21:24.600
<v Speaker 3>I think allows the door to be open for other

0:21:24.760 --> 0:21:27.480
<v Speaker 3>show creators and writers to sort of take different kinds

0:21:27.480 --> 0:21:31.600
<v Speaker 3>of swings because there is a Blackish or there was

0:21:31.640 --> 0:21:35.040
<v Speaker 3>a black af Like I left Grownish after season five,

0:21:37.000 --> 0:21:39.439
<v Speaker 3>I was like, yo, he's not going to be in

0:21:39.480 --> 0:21:39.919
<v Speaker 3>a room.

0:21:40.480 --> 0:21:41.760
<v Speaker 2>He won't be able to be in a room for

0:21:41.840 --> 0:21:42.480
<v Speaker 2>much longer.

0:21:43.440 --> 0:21:46.080
<v Speaker 3>And every writer that was on Blackish season five was

0:21:46.119 --> 0:21:48.400
<v Speaker 3>it was like the Avengers. I mean it was seventeen

0:21:48.440 --> 0:21:51.719
<v Speaker 3>of us, and it was like everybody was a sharpshooter.

0:21:51.760 --> 0:21:54.320
<v Speaker 3>They had their own specialty, and everyone had been writing

0:21:54.760 --> 0:21:56.720
<v Speaker 3>most of them for many years and had it credited

0:21:56.800 --> 0:22:02.840
<v Speaker 3>him with being such an influential part of their writings journey.

0:22:03.359 --> 0:22:06.200
<v Speaker 3>And so when he announced he was doing black Afi,

0:22:06.240 --> 0:22:07.800
<v Speaker 3>I had hit him. I was like, Yo, can I

0:22:07.880 --> 0:22:10.320
<v Speaker 3>just audit your room while we're in on hiatus and

0:22:10.359 --> 0:22:12.800
<v Speaker 3>I'll go back to Blackish because I want to I

0:22:12.840 --> 0:22:14.720
<v Speaker 3>want to see what the sauces like. I love to

0:22:14.720 --> 0:22:17.439
<v Speaker 3>be able to watch you sort of like because he

0:22:17.480 --> 0:22:19.800
<v Speaker 3>wasn't in the room season five when I got there,

0:22:20.280 --> 0:22:23.160
<v Speaker 3>and and that turned into me actually writing on Black

0:22:23.200 --> 0:22:24.199
<v Speaker 3>af for that season.

0:22:25.080 --> 0:22:25.920
<v Speaker 1>My favorite show.

0:22:26.200 --> 0:22:29.880
<v Speaker 3>Yeah, I one of mine too, And so yeah, all

0:22:29.880 --> 0:22:33.959
<v Speaker 3>that to say, there is pushback. There, There will always back,

0:22:33.960 --> 0:22:35.520
<v Speaker 3>and there will always be pushed back for people that

0:22:35.600 --> 0:22:38.320
<v Speaker 3>have not proven themselves. But I like to think that

0:22:38.359 --> 0:22:40.280
<v Speaker 3>you know the the foundation that he laid in the

0:22:40.320 --> 0:22:42.400
<v Speaker 3>shows that he's created, and thusly the things that we've

0:22:42.400 --> 0:22:45.280
<v Speaker 3>been able to participate in have helped and make it

0:22:45.359 --> 0:22:47.320
<v Speaker 3>a little bit easier for that pushback to sort of

0:22:47.320 --> 0:22:48.400
<v Speaker 3>be pushed back.

0:22:49.880 --> 0:22:52.679
<v Speaker 1>Well. And I want the audience to know that you

0:22:52.720 --> 0:22:54.359
<v Speaker 1>know the reason why I ask you this. I'm not

0:22:54.400 --> 0:22:56.119
<v Speaker 1>going to name the show, but I worked on a

0:22:56.119 --> 0:22:58.439
<v Speaker 1>show with one of my clients who is a person

0:22:58.440 --> 0:23:07.000
<v Speaker 1>of color, and the room was primarily Caucasian, with two

0:23:07.560 --> 0:23:14.840
<v Speaker 1>African American writers, one being the head writer, the African American,

0:23:15.760 --> 0:23:20.000
<v Speaker 1>and we were reading the script and there was some

0:23:20.440 --> 0:23:23.640
<v Speaker 1>dialogue for my client and my client said I would

0:23:23.720 --> 0:23:27.480
<v Speaker 1>never say that, or like I want to rework this line.

0:23:27.880 --> 0:23:31.480
<v Speaker 1>And one of the white writers, male, said you would

0:23:31.480 --> 0:23:35.760
<v Speaker 1>say this line and they were like, no, I wouldn't.

0:23:36.240 --> 0:23:39.040
<v Speaker 1>And so there was some you talked about pushback and

0:23:39.080 --> 0:23:44.400
<v Speaker 1>I'm talking, you know, fifteen twenty years before this, and

0:23:44.720 --> 0:23:49.240
<v Speaker 1>I sat in that room. And I have a show

0:23:49.280 --> 0:23:51.720
<v Speaker 1>with Joe Morton that we host Inside the Black Box

0:23:51.760 --> 0:23:54.960
<v Speaker 1>that I created. We're on Crackle TV. We're also on

0:23:55.040 --> 0:23:59.480
<v Speaker 1>TV Pilo and Apple TV, which we found about yesterday.

0:24:00.320 --> 0:24:05.600
<v Speaker 1>And so the thing, thank you. I am grateful. You

0:24:05.640 --> 0:24:08.119
<v Speaker 1>know there's a business, but yes, I'm very grateful and

0:24:08.160 --> 0:24:10.760
<v Speaker 1>thank you. And I created the show as a platform

0:24:10.800 --> 0:24:14.119
<v Speaker 1>because in nineteen eighty seven, when I was at MTV

0:24:14.280 --> 0:24:18.199
<v Speaker 1>as the only person of color and Kevin Powell, a

0:24:18.400 --> 0:24:22.720
<v Speaker 1>white director, asked me to ask a black man to

0:24:22.800 --> 0:24:25.720
<v Speaker 1>be more ghetto and to be more urban. And so

0:24:26.000 --> 0:24:28.320
<v Speaker 1>I pretended like I didn't know what he was saying.

0:24:28.400 --> 0:24:30.040
<v Speaker 1>So I said, I don't know what you're saying, and

0:24:30.080 --> 0:24:32.240
<v Speaker 1>he said, you know, Tracy, and then he turned into

0:24:32.320 --> 0:24:36.880
<v Speaker 1>Julie Dreyfus and Seinfeld and started doing like jive Tracy more,

0:24:37.000 --> 0:24:40.399
<v Speaker 1>Jive more and I still And then at the end

0:24:40.520 --> 0:24:44.080
<v Speaker 1>of the audition I said to him, I said, you know,

0:24:44.640 --> 0:24:47.639
<v Speaker 1>it's very insulting for you, as a white man to

0:24:47.680 --> 0:24:50.359
<v Speaker 1>tell me, as a black woman, to tell another black

0:24:50.359 --> 0:24:53.560
<v Speaker 1>man who out black himself. And it's based on what

0:24:53.640 --> 0:24:56.919
<v Speaker 1>experience do you have as a black man to even

0:24:57.160 --> 0:25:00.520
<v Speaker 1>say that to me. So I created side the black

0:25:00.560 --> 0:25:03.560
<v Speaker 1>Box four platform for us to speak about the disparages

0:25:03.720 --> 0:25:06.680
<v Speaker 1>that continue to happen in this industry for people of color,

0:25:07.200 --> 0:25:10.879
<v Speaker 1>and then another platform for actors to play and do

0:25:11.480 --> 0:25:14.520
<v Speaker 1>games and improvs with our guests from Jeffrey Wright to

0:25:15.119 --> 0:25:20.439
<v Speaker 1>Debbie Allen to Morgan Rob Morgan and so we've been

0:25:20.440 --> 0:25:25.200
<v Speaker 1>blessed with two seasons there. But my challenge has been

0:25:25.359 --> 0:25:29.800
<v Speaker 1>since the eighties and I used to bring people of

0:25:29.840 --> 0:25:35.840
<v Speaker 1>color in MTV. I was mainly responsible for casting hosts

0:25:35.880 --> 0:25:39.160
<v Speaker 1>on different shows at that time, and they wanted all

0:25:39.200 --> 0:25:42.439
<v Speaker 1>white men and all comedians. But then I went to

0:25:42.440 --> 0:25:45.640
<v Speaker 1>the Boston Comedy Club, found this kid, Dave Chappelle, found

0:25:45.720 --> 0:25:50.359
<v Speaker 1>John Stewart. The rest is history. So it's been a

0:25:50.400 --> 0:25:56.000
<v Speaker 1>fight in twenty twenty four as a co executive producer

0:25:56.160 --> 0:25:59.800
<v Speaker 1>in this industry and a woman of color, What challenges

0:25:59.880 --> 0:26:05.080
<v Speaker 1>do you continue to face in this business or you know,

0:26:07.119 --> 0:26:08.000
<v Speaker 1>have they lessoned?

0:26:13.680 --> 0:26:18.960
<v Speaker 3>So so the challenges that I've had again, I've been

0:26:19.000 --> 0:26:22.320
<v Speaker 3>fortunate to work on shows with the exception I did

0:26:22.400 --> 0:26:26.280
<v Speaker 3>and a show that was released this year DR from

0:26:26.320 --> 0:26:29.600
<v Speaker 3>Detroit that I believe that's on Beachy So.

0:26:29.560 --> 0:26:30.560
<v Speaker 1>We're that show.

0:26:31.040 --> 0:26:33.920
<v Speaker 2>Yeah, it's She's brilliant. She's she's brilliant.

0:26:34.400 --> 0:26:37.800
<v Speaker 3>Kenya and DR teamed up to to get that show,

0:26:38.920 --> 0:26:42.480
<v Speaker 3>you know, off the ground and you know, to her credit, could.

0:26:42.280 --> 0:26:45.040
<v Speaker 2>Have written it by herself. I mean, she is, she's

0:26:45.040 --> 0:26:45.400
<v Speaker 2>a writer.

0:26:45.880 --> 0:26:49.960
<v Speaker 3>She started it, she created it, she wrote it, and

0:26:50.000 --> 0:26:52.680
<v Speaker 3>it was the staff wasn't you know, too big. But honestly,

0:26:52.880 --> 0:26:54.919
<v Speaker 3>you know, when you sit with her, you know she

0:26:55.040 --> 0:26:59.000
<v Speaker 3>has it. It's all here. It's just you know, getting

0:26:59.000 --> 0:27:01.000
<v Speaker 3>it out and you know, wanting to have some a

0:27:01.000 --> 0:27:03.919
<v Speaker 3>little bit of like color and context, context that you

0:27:04.119 --> 0:27:05.280
<v Speaker 3>just might not be able to come up with on

0:27:05.320 --> 0:27:09.439
<v Speaker 3>your own. But I say that I only bring that

0:27:09.440 --> 0:27:10.920
<v Speaker 3>show up to say that that was probably the first

0:27:10.920 --> 0:27:13.760
<v Speaker 3>show that I worked on that you know, and it

0:27:13.800 --> 0:27:17.639
<v Speaker 3>wasn't even traditional it wasn't anything traditional in terms of

0:27:17.680 --> 0:27:21.080
<v Speaker 3>like pushback because you know, the executives were tone deaf

0:27:21.119 --> 0:27:24.240
<v Speaker 3>per se. Right, It's always like a balance between your

0:27:24.359 --> 0:27:25.840
<v Speaker 3>art and the best way to you know and sort

0:27:25.840 --> 0:27:28.240
<v Speaker 3>of bring the show to the to market and budget

0:27:28.320 --> 0:27:28.800
<v Speaker 3>and you.

0:27:28.840 --> 0:27:30.480
<v Speaker 2>Know what I'm saying. And you know, it was those

0:27:30.560 --> 0:27:33.600
<v Speaker 2>kind of things. Yeah, But I think I think in.

0:27:33.440 --> 0:27:36.359
<v Speaker 3>General, I think that it is still there is still

0:27:36.400 --> 0:27:41.919
<v Speaker 3>a line that because society is so homogenized now in

0:27:41.960 --> 0:27:46.000
<v Speaker 3>so many ways, there is this blurry area where I

0:27:46.040 --> 0:27:48.600
<v Speaker 3>think non people of color may feel like they have

0:27:48.680 --> 0:27:52.680
<v Speaker 3>a little bit more of an in road to the lives,

0:27:52.720 --> 0:27:57.080
<v Speaker 3>the private lives, the anecdotes, the context for the lives

0:27:57.080 --> 0:27:59.440
<v Speaker 3>of people of color, right, And I think it's good.

0:27:59.800 --> 0:28:01.760
<v Speaker 3>I think that knife can cut both ways. I think

0:28:01.800 --> 0:28:04.920
<v Speaker 3>that you can go on Instagram or go on TikTok,

0:28:05.040 --> 0:28:07.000
<v Speaker 3>or go on a platform and sort of just be

0:28:07.200 --> 0:28:09.520
<v Speaker 3>a fly on the wall, go on you know, Patreon

0:28:09.600 --> 0:28:12.520
<v Speaker 3>or whatever and sort of see kind of like what

0:28:12.560 --> 0:28:15.879
<v Speaker 3>the conversations are like and realize, oh, let me just

0:28:15.920 --> 0:28:19.120
<v Speaker 3>sit here. But I probably shouldn't. You know, if I'm

0:28:19.119 --> 0:28:22.080
<v Speaker 3>a non person of color, think that I can contribute.

0:28:22.160 --> 0:28:25.120
<v Speaker 3>I'm talking about within like a creative space, or or

0:28:25.119 --> 0:28:27.920
<v Speaker 3>maybe I understand that there are limitations to my ability

0:28:27.960 --> 0:28:32.800
<v Speaker 3>to contribute to, you know, a conversation, a creative conversation

0:28:33.080 --> 0:28:35.000
<v Speaker 3>when it's when it's come when it comes time to

0:28:35.040 --> 0:28:37.800
<v Speaker 3>scripting or casting or whatever. And then they're gonna be

0:28:37.800 --> 0:28:39.360
<v Speaker 3>the people that don't feel like that at all, that

0:28:39.400 --> 0:28:41.440
<v Speaker 3>feel like they felt like the man you were talking

0:28:41.480 --> 0:28:44.600
<v Speaker 3>about in the eighties, who feels like they have even

0:28:44.600 --> 0:28:47.520
<v Speaker 3>more license to like weigh in because now I know

0:28:47.680 --> 0:28:50.400
<v Speaker 3>I'm not say it because I saw somebody like you

0:28:50.480 --> 0:28:52.920
<v Speaker 3>saying it blah blah blah blah blah. So I think

0:28:53.680 --> 0:28:56.800
<v Speaker 3>I haven't personally dealt with that kind of pushback. I think,

0:28:57.240 --> 0:28:59.560
<v Speaker 3>you know, I think that there is still the boys club.

0:28:59.560 --> 0:29:02.600
<v Speaker 3>I think that there is still you know, executives that

0:29:02.600 --> 0:29:04.880
<v Speaker 3>won't get it. I think that there are still executives

0:29:04.920 --> 0:29:07.400
<v Speaker 3>who are going to be about, you know, the bottom line.

0:29:07.480 --> 0:29:09.200
<v Speaker 2>I think that the only thing that I will.

0:29:09.040 --> 0:29:11.479
<v Speaker 3>Say, and sort of this turns the question that you're

0:29:11.520 --> 0:29:13.040
<v Speaker 3>asking a little bit on the other side. So I

0:29:13.040 --> 0:29:16.360
<v Speaker 3>don't know how popular this is what I'm getting ready

0:29:16.400 --> 0:29:20.440
<v Speaker 3>to say. I think that what I've learned most and

0:29:20.480 --> 0:29:22.480
<v Speaker 3>what I'm actually really really grateful for is that I

0:29:22.600 --> 0:29:26.880
<v Speaker 3>had a background in advertising and understood a different industry

0:29:27.000 --> 0:29:31.440
<v Speaker 3>before getting into writing, because creatives the big mistake to

0:29:31.600 --> 0:29:35.240
<v Speaker 3>me of just saying that they're creative and that shit

0:29:35.280 --> 0:29:37.880
<v Speaker 3>does not matter, because if you don't understand that your

0:29:38.120 --> 0:29:43.480
<v Speaker 3>business that relies on advertising dollars audience consumption, because audience

0:29:43.520 --> 0:29:48.360
<v Speaker 3>consumption and audience behaviors are what drives memberships or subscriptions.

0:29:48.600 --> 0:29:50.400
<v Speaker 2>If you don't understand that, then.

0:29:50.240 --> 0:29:52.240
<v Speaker 3>You're gonna make stuff and you're gonna be broken hearted

0:29:52.320 --> 0:29:55.080
<v Speaker 3>because people may not understand what it is that you're

0:29:55.120 --> 0:29:57.120
<v Speaker 3>trying to do, and you'll think that somebody's out to

0:29:57.160 --> 0:30:01.000
<v Speaker 3>get you. So what I've experienced more than anything would

0:30:01.040 --> 0:30:04.520
<v Speaker 3>be the fact that creatives don't understand that don't understand

0:30:04.520 --> 0:30:06.960
<v Speaker 3>what they should know or what they should be sort

0:30:06.960 --> 0:30:11.959
<v Speaker 3>of like uh, exploring and their off time in addition

0:30:12.000 --> 0:30:14.040
<v Speaker 3>to watching everything that's coming out and reading all the

0:30:14.120 --> 0:30:16.600
<v Speaker 3>scripts and books and blah blah blah. I think that

0:30:16.600 --> 0:30:19.480
<v Speaker 3>that's really important, and I think that the creators that

0:30:19.640 --> 0:30:26.880
<v Speaker 3>understand commerce Kenya lean Away, people that you know, have

0:30:27.000 --> 0:30:29.200
<v Speaker 3>found a way to just not just create, but do

0:30:29.320 --> 0:30:32.880
<v Speaker 3>partnerships and like sort of expand their their footprint. They're

0:30:32.920 --> 0:30:34.840
<v Speaker 3>the ones that are able to tell even with the

0:30:34.960 --> 0:30:38.280
<v Speaker 3>with the drama, and with the difficulties of you know,

0:30:38.360 --> 0:30:41.680
<v Speaker 3>being one of one in this industry, they're able to

0:30:41.720 --> 0:30:46.160
<v Speaker 3>sort of create pathways that I think more of us

0:30:46.200 --> 0:30:49.840
<v Speaker 3>need to create so that the creative that we're creating

0:30:51.320 --> 0:30:54.040
<v Speaker 3>it's not so heavily reliant on having to service the

0:30:54.080 --> 0:30:55.560
<v Speaker 3>needs of our entire culture.

0:30:56.960 --> 0:31:01.440
<v Speaker 1>So that's excellent. One of the most powerful things you've

0:31:01.440 --> 0:31:04.360
<v Speaker 1>said a lot. You've given us a lot of diamonds

0:31:04.400 --> 0:31:11.160
<v Speaker 1>and pearls. Choosing the battles that saved my life for

0:31:11.240 --> 0:31:15.120
<v Speaker 1>the past two seasons. And I thank you for reinforcing

0:31:15.160 --> 0:31:18.320
<v Speaker 1>that because that brought me peace of mind, like should

0:31:18.360 --> 0:31:22.360
<v Speaker 1>I do that? Okay, this is worth fighting for and

0:31:22.440 --> 0:31:24.480
<v Speaker 1>not that you know, I did have to put value

0:31:24.600 --> 0:31:28.200
<v Speaker 1>to it, but it just maintained my sanity check to

0:31:28.360 --> 0:31:34.920
<v Speaker 1>know what's worth and what I'm so challenged right now

0:31:34.920 --> 0:31:37.400
<v Speaker 1>because we have five minutes. I cannot believe that it

0:31:37.440 --> 0:31:41.480
<v Speaker 1>went by the same. You are absolutely wonderful. Extend the

0:31:41.520 --> 0:31:46.960
<v Speaker 1>whole of invitation to you. I want you to whatever

0:31:47.440 --> 0:31:52.160
<v Speaker 1>you feel that these actors know, actors, writers, actors, producers

0:31:53.400 --> 0:31:56.080
<v Speaker 1>give them some nuggets and also let us know because

0:31:56.120 --> 0:31:58.520
<v Speaker 1>I know you have some development stuff that things going

0:31:58.600 --> 0:31:59.880
<v Speaker 1>on yourself now.

0:32:01.800 --> 0:32:04.960
<v Speaker 3>So unfortunately the development stuff I'm working on, I can't

0:32:05.000 --> 0:32:05.760
<v Speaker 3>really speak to.

0:32:06.040 --> 0:32:06.680
<v Speaker 2>They involved.

0:32:06.720 --> 0:32:10.600
<v Speaker 3>There's two prids, one of the Disney Pixar praying that

0:32:10.600 --> 0:32:12.880
<v Speaker 3>that goes the way that it could go, and I

0:32:12.920 --> 0:32:17.320
<v Speaker 3>came into sort of support. But that's a really exciting

0:32:17.360 --> 0:32:19.320
<v Speaker 3>thing because Pixar. We don't get a shot a lot

0:32:19.320 --> 0:32:22.080
<v Speaker 3>of shots at Pixar, So prayerfully in the next year,

0:32:22.560 --> 0:32:25.640
<v Speaker 3>you know, I can say, hey, girl, this happened, so

0:32:25.760 --> 0:32:27.800
<v Speaker 3>pray yeah.

0:32:28.280 --> 0:32:30.360
<v Speaker 2>I would love to come back. And then the other

0:32:30.560 --> 0:32:32.240
<v Speaker 2>the other two projects that have in.

0:32:32.240 --> 0:32:35.760
<v Speaker 3>Development are with the talent and I I'm unable to say.

0:32:35.960 --> 0:32:38.240
<v Speaker 2>A music.

0:32:39.600 --> 0:32:44.800
<v Speaker 3>I mean, you know, Juggernaut music artist female who has

0:32:44.840 --> 0:32:48.000
<v Speaker 3>gotten into acting recently and so I've we've we met

0:32:48.640 --> 0:32:50.560
<v Speaker 3>and hit it off. And so now we've got a

0:32:50.600 --> 0:32:52.200
<v Speaker 3>TV thing that we're trying to figure out, in a

0:32:52.240 --> 0:32:54.720
<v Speaker 3>movie thing that we're trying to figure out. So that's exciting.

0:32:55.640 --> 0:32:57.239
<v Speaker 3>So yeah, I mean, you know, and right now it's

0:32:57.320 --> 0:32:59.959
<v Speaker 3>kind of it's an interesting time because I don't think

0:33:00.040 --> 0:33:02.800
<v Speaker 3>people realize that with that strike. When the strike was over,

0:33:02.800 --> 0:33:04.480
<v Speaker 3>there would be a ton of shows that would would

0:33:04.520 --> 0:33:07.840
<v Speaker 3>not come back. So I would say, I would say

0:33:07.920 --> 0:33:12.240
<v Speaker 3>nugget wise, I would say, and sort of piggybacking off

0:33:12.240 --> 0:33:14.360
<v Speaker 3>of what I was saying about, you know, not just

0:33:14.360 --> 0:33:17.320
<v Speaker 3>being able to be a creative, use the platforms that

0:33:17.360 --> 0:33:21.360
<v Speaker 3>you're on organically to use them as litmus tests for

0:33:22.280 --> 0:33:22.760
<v Speaker 3>the stuff that.

0:33:22.760 --> 0:33:23.360
<v Speaker 2>You're working on.

0:33:23.600 --> 0:33:26.400
<v Speaker 3>If you're an actor and you are trying to see,

0:33:26.880 --> 0:33:29.920
<v Speaker 3>you know, if you're if you're strengthening your chops, you're

0:33:29.960 --> 0:33:32.840
<v Speaker 3>trying to see, you know, what the public response is

0:33:32.880 --> 0:33:35.480
<v Speaker 3>to your comedic timing. You're trying to see if you're

0:33:35.480 --> 0:33:37.640
<v Speaker 3>a you know, if you want to see you know,

0:33:38.080 --> 0:33:40.960
<v Speaker 3>if a scene or something that you're writing is resonating with.

0:33:40.920 --> 0:33:44.600
<v Speaker 2>People, do a you can do a bullshit.

0:33:44.280 --> 0:33:49.080
<v Speaker 3>Video with your with your iPhone and post it because

0:33:49.120 --> 0:33:52.160
<v Speaker 3>the people that are following you already have bought into

0:33:52.200 --> 0:33:55.719
<v Speaker 3>you in some way, shape or form, and you only

0:33:56.000 --> 0:33:59.600
<v Speaker 3>will be able to know as opposed to, you know,

0:33:59.640 --> 0:34:01.640
<v Speaker 3>having to be in an acting class where it's just

0:34:01.720 --> 0:34:03.320
<v Speaker 3>it's you and a bunch of creatives and you guys

0:34:03.360 --> 0:34:06.480
<v Speaker 3>are all sort of weighing in on each other's talents

0:34:06.520 --> 0:34:07.760
<v Speaker 3>in a in.

0:34:07.720 --> 0:34:08.439
<v Speaker 2>A different way.

0:34:09.040 --> 0:34:13.000
<v Speaker 3>You your service, your gift, your calling is to entertain

0:34:13.120 --> 0:34:16.440
<v Speaker 3>and to inspire and empower and encourage through your talent,

0:34:16.440 --> 0:34:19.879
<v Speaker 3>through your art mass. If that's what, if you're trying

0:34:19.880 --> 0:34:22.360
<v Speaker 3>to make a living at this, so I would strongly

0:34:23.280 --> 0:34:27.000
<v Speaker 3>and people to consider. Don't don't think that you have

0:34:27.080 --> 0:34:31.399
<v Speaker 3>to get on a show to know how you. Don't

0:34:31.400 --> 0:34:33.520
<v Speaker 3>think that you have to sell a script to know

0:34:33.560 --> 0:34:37.719
<v Speaker 3>how good your writing is. You know, engage people, use,

0:34:37.960 --> 0:34:40.680
<v Speaker 3>use the platforms that you have, and when and when

0:34:40.680 --> 0:34:42.680
<v Speaker 3>you use the platforms, and you do post the thing,

0:34:43.400 --> 0:34:45.719
<v Speaker 3>you know, you leaving whatever context you think makes sense

0:34:45.760 --> 0:34:47.200
<v Speaker 3>to sort of set up the scene or set up

0:34:47.239 --> 0:34:49.560
<v Speaker 3>the piece or whatever. You know, encourage your people who

0:34:49.600 --> 0:34:52.120
<v Speaker 3>already again rock with you, to comment or to follow

0:34:52.200 --> 0:34:53.640
<v Speaker 3>if they don't like it, let you know if they

0:34:53.680 --> 0:34:56.560
<v Speaker 3>do like it, because then what happens is now you

0:34:56.680 --> 0:34:58.640
<v Speaker 3>have something to go by. If you're writing a script

0:34:58.680 --> 0:34:59.959
<v Speaker 3>that you're trying to sell with people like this should

0:35:00.160 --> 0:35:01.799
<v Speaker 3>corny or no one talks like this?

0:35:01.920 --> 0:35:04.520
<v Speaker 2>Or this is already as hell? Or can we see keys?

0:35:04.600 --> 0:35:06.640
<v Speaker 2>Then you know that you sort of you're resonating with

0:35:06.680 --> 0:35:07.520
<v Speaker 2>an audience.

0:35:07.200 --> 0:35:09.719
<v Speaker 3>And then hopefully you know you'll go back in thirty

0:35:09.800 --> 0:35:11.440
<v Speaker 3>days and look at the posts that you've made that

0:35:11.560 --> 0:35:14.400
<v Speaker 3>have the highest engagement rate, that have the highest amount

0:35:14.440 --> 0:35:16.680
<v Speaker 3>of likes or shares, or look to see how if

0:35:16.680 --> 0:35:20.560
<v Speaker 3>people knew people started following after you posted said content.

0:35:21.160 --> 0:35:23.799
<v Speaker 3>And you're starting to make a case for your your

0:35:23.880 --> 0:35:26.040
<v Speaker 3>small business, which is your writing or your acting or

0:35:26.080 --> 0:35:28.680
<v Speaker 3>you're producing. So I would really invite people to use

0:35:28.760 --> 0:35:31.200
<v Speaker 3>social not just to look at funny shit and laugh

0:35:31.840 --> 0:35:34.320
<v Speaker 3>and you know, and go off on people or cancel people,

0:35:34.320 --> 0:35:37.320
<v Speaker 3>but use it to help, like mold your business.

0:35:39.560 --> 0:35:44.520
<v Speaker 1>Lisa, you are amazing, phenomenal. I see your cap I

0:35:44.560 --> 0:35:50.200
<v Speaker 1>see you. OK. I just want to thank you for being Lisa,

0:35:50.200 --> 0:35:53.359
<v Speaker 1>and thank you for representing us in this field and

0:35:53.440 --> 0:35:57.640
<v Speaker 1>being passionate and just your authentic self. I know you

0:35:57.680 --> 0:36:00.800
<v Speaker 1>authentically show up in those rooms. And I'm great for

0:36:00.960 --> 0:36:04.920
<v Speaker 1>someone like you because there's some you know, fear is

0:36:05.120 --> 0:36:11.040
<v Speaker 1>interesting and you know, I'm not worry you know, these

0:36:11.080 --> 0:36:14.160
<v Speaker 1>are words that I don't use my vocabulary, but you know,

0:36:14.280 --> 0:36:17.399
<v Speaker 1>I just love the fact that your resilience is outstanding

0:36:17.760 --> 0:36:21.200
<v Speaker 1>and to know you and to know that someone like

0:36:21.239 --> 0:36:23.200
<v Speaker 1>you reps us. So thank you for that. Thank you,

0:36:23.200 --> 0:36:27.240
<v Speaker 1>Thank you so much. Yeah, you and we will extend

0:36:27.280 --> 0:36:29.600
<v Speaker 1>an invitation to you. Elsa will call you once you's

0:36:29.880 --> 0:36:31.759
<v Speaker 1>quoth that deal and we'll be the first to have

0:36:31.800 --> 0:36:36.239
<v Speaker 1>that exclusive story. Thank you very much. I so now

0:36:36.280 --> 0:36:38.400
<v Speaker 1>I'm going to bring Elsa on. She has two students

0:36:38.440 --> 0:36:44.120
<v Speaker 1>who have questions for you, and come on, Elsa. I

0:36:44.160 --> 0:36:46.319
<v Speaker 1>think they're here.

0:36:46.360 --> 0:36:53.800
<v Speaker 4>I'm here. I'm just gonna say that was wonderful.

0:36:53.880 --> 0:36:55.000
<v Speaker 2>Thank you.

0:36:56.520 --> 0:36:59.920
<v Speaker 4>So today we have two of our spirited actors. We

0:37:00.239 --> 0:37:04.319
<v Speaker 4>have Miss Maya Bello. Maya, welcome back, you can come

0:37:04.360 --> 0:37:09.880
<v Speaker 4>on camera. And we have mister Carlos Swan Newness. Welcome back, Swan,

0:37:09.960 --> 0:37:15.760
<v Speaker 4>you can come on camera. Hey, And of course ladies first,

0:37:15.760 --> 0:37:17.000
<v Speaker 4>So Maya, what's your question?

0:37:17.920 --> 0:37:19.920
<v Speaker 2>Thank you? Also, I love Grown Ish.

0:37:20.000 --> 0:37:22.960
<v Speaker 1>That is my show. I was bawling at the series.

0:37:22.719 --> 0:37:27.440
<v Speaker 7>Finale, but yeah, I love it so much. From like

0:37:27.560 --> 0:37:30.839
<v Speaker 7>a producing standpoint, when you and the team look at

0:37:30.880 --> 0:37:34.000
<v Speaker 7>actor self tapes or auditions, can you give us, like

0:37:34.080 --> 0:37:37.560
<v Speaker 7>any insight on what maybe you specifically look for or

0:37:37.760 --> 0:37:40.680
<v Speaker 7>maybe what's taken an actor out, like anything to help

0:37:40.760 --> 0:37:41.560
<v Speaker 7>us on the journey.

0:37:42.280 --> 0:37:42.880
<v Speaker 2>Yeah.

0:37:42.920 --> 0:37:46.359
<v Speaker 3>It's crazy because I got into this by the time

0:37:46.400 --> 0:37:50.560
<v Speaker 3>I was elevated enough to be part of casting conversations

0:37:50.560 --> 0:37:53.880
<v Speaker 3>we were doing, uh, the links like that. What is

0:37:53.880 --> 0:37:57.000
<v Speaker 3>the thing called the you know, you upload your tape

0:37:57.080 --> 0:38:00.719
<v Speaker 3>to that portal as opposed to people coming in and

0:38:00.800 --> 0:38:02.520
<v Speaker 3>so I will tell you the turn off is when

0:38:02.520 --> 0:38:06.120
<v Speaker 3>people do too damn much. Stop Stop, don't don't put

0:38:06.160 --> 0:38:10.400
<v Speaker 3>that damn hat on. Don't you know it doesn't make

0:38:10.480 --> 0:38:11.720
<v Speaker 3>sense that you're holding this cigar?

0:38:11.920 --> 0:38:12.600
<v Speaker 2>Why do you have?

0:38:12.760 --> 0:38:13.239
<v Speaker 3>You know what I mean?

0:38:13.280 --> 0:38:15.200
<v Speaker 2>Like, people do a lot, and I think that you're.

0:38:15.080 --> 0:38:18.200
<v Speaker 3>Doing a lot to stand out, which I understand the impulse,

0:38:18.440 --> 0:38:20.680
<v Speaker 3>but I think that the tapes that I watch are

0:38:20.760 --> 0:38:23.600
<v Speaker 3>ones where I feel like people just organically came to

0:38:23.760 --> 0:38:28.200
<v Speaker 3>the role with, you know, an interpretation that feels straight down.

0:38:28.120 --> 0:38:29.640
<v Speaker 2>The middle, you know what I mean? I mean.

0:38:29.719 --> 0:38:32.399
<v Speaker 3>And it's also difficult because sometimes when we we would

0:38:32.400 --> 0:38:35.000
<v Speaker 3>need to start casting, we wouldn't have the script done,

0:38:35.040 --> 0:38:36.640
<v Speaker 3>so we would just be making up a scene there.

0:38:36.680 --> 0:38:38.800
<v Speaker 2>I can't tell him many things we just threw together.

0:38:39.320 --> 0:38:41.640
<v Speaker 3>Yeah, we knew, you know, in the in the vein

0:38:41.680 --> 0:38:43.600
<v Speaker 3>of what we would need the talent for, but that

0:38:43.680 --> 0:38:45.279
<v Speaker 3>wasn't even going to be the script that you were

0:38:45.280 --> 0:38:48.239
<v Speaker 3>going to use. So it's just just to give us

0:38:48.360 --> 0:38:50.359
<v Speaker 3>a flavor and so when people sort of like turn

0:38:50.400 --> 0:38:52.920
<v Speaker 3>it into like this guy comes in looking like Abraham

0:38:53.000 --> 0:38:55.120
<v Speaker 3>Lincoln and all we're and the line is like, you know,

0:38:55.200 --> 0:38:56.640
<v Speaker 3>do you have a do you have do you know

0:38:56.680 --> 0:39:00.279
<v Speaker 3>where the freeway is? It's like so I think, I

0:39:00.280 --> 0:39:03.880
<v Speaker 3>think again, you know, it's sort of keeping to you know,

0:39:03.920 --> 0:39:07.240
<v Speaker 3>what's being asked. I think it's great when people interpret scenes,

0:39:07.440 --> 0:39:10.600
<v Speaker 3>you know, organically, and it's the intangible that I can't

0:39:10.640 --> 0:39:13.799
<v Speaker 3>give you because I always know when someone's doing too much,

0:39:13.840 --> 0:39:17.319
<v Speaker 3>and I know they they're ass knows too. So I

0:39:17.360 --> 0:39:19.120
<v Speaker 3>just feel like whatever you read, if you read it,

0:39:19.160 --> 0:39:21.400
<v Speaker 3>and if it's funny, if there's a part in the

0:39:22.280 --> 0:39:24.920
<v Speaker 3>lines that you know organically brings you to a certain emotion,

0:39:25.239 --> 0:39:28.080
<v Speaker 3>just roll with your instincts, you know, Just don't just

0:39:28.080 --> 0:39:28.640
<v Speaker 3>don't be like.

0:39:28.640 --> 0:39:31.920
<v Speaker 2>Weird because people do a lot. I can't. I'll be like.

0:39:34.440 --> 0:39:36.120
<v Speaker 1>You stories.

0:39:37.560 --> 0:39:40.640
<v Speaker 3>Listen, and I will also say this, and I don't

0:39:40.640 --> 0:39:42.960
<v Speaker 3>know if you can control this, but the thumbnail image

0:39:43.280 --> 0:39:48.000
<v Speaker 3>that you use to once you're your thing is submitted.

0:39:48.440 --> 0:39:50.719
<v Speaker 3>I always think headshots are the best because when people

0:39:50.760 --> 0:39:53.319
<v Speaker 3>don't use a headshot and they just have their own

0:39:53.960 --> 0:39:56.239
<v Speaker 3>real time image, sometimes people do really they're just their

0:39:56.360 --> 0:39:58.200
<v Speaker 3>energy feels weird or they just look weird.

0:39:58.760 --> 0:40:00.160
<v Speaker 2>And if we're if I have four.

0:40:00.160 --> 0:40:02.640
<v Speaker 3>People to look through and I got to make a

0:40:02.640 --> 0:40:06.600
<v Speaker 3>decision in thirty minutes, I might very well skip past

0:40:06.600 --> 0:40:09.239
<v Speaker 3>someone who just you know. So I think if you

0:40:09.280 --> 0:40:11.080
<v Speaker 3>have a headshot that you feel good with, lead with

0:40:11.120 --> 0:40:12.799
<v Speaker 3>that is your thumbnail too.

0:40:13.520 --> 0:40:13.880
<v Speaker 2>Thank you.

0:40:13.960 --> 0:40:20.280
<v Speaker 3>That's really helpful, excellent, so awesome, Thank you absolutely Swan.

0:40:20.360 --> 0:40:24.000
<v Speaker 1>What is your question, sir h thank you Lisa for

0:40:24.080 --> 0:40:24.640
<v Speaker 1>joining us.

0:40:25.680 --> 0:40:27.719
<v Speaker 8>My question will be, how do you know, as a

0:40:27.760 --> 0:40:30.239
<v Speaker 8>writer when your script is complete?

0:40:30.680 --> 0:40:33.240
<v Speaker 2>M Oh, that's a good question.

0:40:34.560 --> 0:40:35.600
<v Speaker 1>That's a great question.

0:40:35.680 --> 0:40:38.279
<v Speaker 3>That's a good question. You're talking to somebody who are

0:40:38.280 --> 0:40:41.080
<v Speaker 3>working on something for five years and it shouldn't taken

0:40:41.160 --> 0:40:43.560
<v Speaker 3>five years. Why is this taking you five years?

0:40:43.560 --> 0:40:49.200
<v Speaker 2>Lisa? I don't know because because of that question, I

0:40:49.200 --> 0:40:53.920
<v Speaker 2>think that I think. I think if you're working.

0:40:53.640 --> 0:40:56.120
<v Speaker 3>Without a deadline and you're working on something that is

0:40:56.160 --> 0:41:01.160
<v Speaker 3>your own, I think it's done when you can put

0:41:01.200 --> 0:41:03.560
<v Speaker 3>it down and not have the compulsion to change it.

0:41:04.080 --> 0:41:07.759
<v Speaker 3>And maybe you give yourself a window. Because I one

0:41:07.800 --> 0:41:10.520
<v Speaker 3>of the hardest things for me to do again, and

0:41:10.560 --> 0:41:12.920
<v Speaker 3>I wasn't I didn't say this before, but when I

0:41:12.960 --> 0:41:15.920
<v Speaker 3>stopped writing probably when I had my daughter. So I

0:41:15.920 --> 0:41:19.680
<v Speaker 3>had my daughter in oh one, so I was still

0:41:19.840 --> 0:41:23.759
<v Speaker 3>sort of writing a little bit, but not really. From

0:41:23.840 --> 0:41:26.480
<v Speaker 3>when I stopped writing to when Kenya was like, Okay,

0:41:26.760 --> 0:41:27.960
<v Speaker 3>you know, do you want to try to see if

0:41:28.000 --> 0:41:30.040
<v Speaker 3>you can do this again? It was probably like fifteen

0:41:30.120 --> 0:41:33.319
<v Speaker 3>years and I hadn't written anything script wise, like not

0:41:33.400 --> 0:41:35.640
<v Speaker 3>a word, and I didn't have script software. I had

0:41:35.680 --> 0:41:38.600
<v Speaker 3>to find a spec to give him on a two

0:41:38.640 --> 0:41:47.760
<v Speaker 3>computers ago. So writing for yourself is different, right because

0:41:47.760 --> 0:41:49.919
<v Speaker 3>you don't have a studio breathing down your neck, your agent,

0:41:49.960 --> 0:41:53.480
<v Speaker 3>your manager, whatever. So I would say writing for yourself,

0:41:53.719 --> 0:41:56.759
<v Speaker 3>I'm done when I can put it down, and I'm

0:41:56.800 --> 0:41:59.839
<v Speaker 3>not waking up the next morning or the morning after

0:41:59.880 --> 0:42:02.839
<v Speaker 3>that with the compulsion to start changing stuff, because I

0:42:02.880 --> 0:42:05.640
<v Speaker 3>will go through and read and change and read, and

0:42:05.680 --> 0:42:08.359
<v Speaker 3>you can't ever get through anything that way obviously if

0:42:08.400 --> 0:42:11.600
<v Speaker 3>you've got you know, and so that so I will

0:42:11.640 --> 0:42:14.080
<v Speaker 3>also say that a remedy for it if you if

0:42:14.120 --> 0:42:17.080
<v Speaker 3>you aren't able to get to that place organically, because

0:42:17.239 --> 0:42:19.319
<v Speaker 3>maybe you'll always be the writer that wants to change

0:42:19.360 --> 0:42:23.600
<v Speaker 3>everything and even when you're shooting get an accountability partner.

0:42:23.880 --> 0:42:26.200
<v Speaker 3>Get someone who knows that you're working on something, it's

0:42:26.239 --> 0:42:29.240
<v Speaker 3>going to be expecting it from you, and have them

0:42:29.360 --> 0:42:30.960
<v Speaker 3>and tell them, you know, just like you have a

0:42:30.960 --> 0:42:33.120
<v Speaker 3>safe word or whatever the case is, be like, look,

0:42:33.360 --> 0:42:34.880
<v Speaker 3>don't let me spend more than two months on this

0:42:34.920 --> 0:42:37.400
<v Speaker 3>ship for real, Like tell me that you need a

0:42:37.520 --> 0:42:40.680
<v Speaker 3>draft for me August first, come hell or high water,

0:42:40.760 --> 0:42:44.000
<v Speaker 3>or you're going to beat the brakes off of my ass.

0:42:44.280 --> 0:42:46.879
<v Speaker 3>And then people have someone who will be just as

0:42:46.920 --> 0:42:49.480
<v Speaker 3>aggressive as you need to be to getting this thing

0:42:49.520 --> 0:42:52.359
<v Speaker 3>done because you may not you may not have the

0:42:52.400 --> 0:42:54.120
<v Speaker 3>capacity to not change.

0:42:54.160 --> 0:42:55.759
<v Speaker 2>It's really really hard, at least for me.

0:42:55.920 --> 0:43:01.759
<v Speaker 9>So if I would just sneak this in Issa piggybacking

0:43:01.800 --> 0:43:05.920
<v Speaker 9>off the swan you mentioned earlier, spec specscript, can you

0:43:06.080 --> 0:43:09.840
<v Speaker 9>just tell them, the audience and our actors what a

0:43:09.880 --> 0:43:10.799
<v Speaker 9>spec script is?

0:43:11.000 --> 0:43:13.520
<v Speaker 3>Yeah, so back in the so a spec script it

0:43:13.560 --> 0:43:17.040
<v Speaker 3>is essentially like your portfolio if you're a you know,

0:43:17.120 --> 0:43:20.440
<v Speaker 3>an artist, or you know, like your Z card if

0:43:20.440 --> 0:43:21.680
<v Speaker 3>you were a model on them, if they even have

0:43:21.719 --> 0:43:24.760
<v Speaker 3>those anymore. But like it's your your it's your resume

0:43:25.280 --> 0:43:27.360
<v Speaker 3>as a writer. So it used to be back in

0:43:27.400 --> 0:43:29.680
<v Speaker 3>the day that you could find you know, a hot

0:43:29.719 --> 0:43:32.040
<v Speaker 3>show and just come up with your own episode.

0:43:32.120 --> 0:43:34.080
<v Speaker 2>Because everybody understood, okay.

0:43:33.800 --> 0:43:36.040
<v Speaker 3>This is Seinfeld. We know who all these characters are,

0:43:36.400 --> 0:43:38.080
<v Speaker 3>you know what their voices are. So if you can

0:43:38.080 --> 0:43:40.719
<v Speaker 3>write an original episode of Seinfeld that makes me laugh

0:43:40.800 --> 0:43:43.319
<v Speaker 3>or sounds like these characters, I then can judge if

0:43:43.360 --> 0:43:45.600
<v Speaker 3>you are a decent writer, a good writer, a shitty writer.

0:43:46.160 --> 0:43:48.719
<v Speaker 3>In today's market with all these streaming platforms and the

0:43:48.760 --> 0:43:52.600
<v Speaker 3>way that TV is sort of evolved with streaming, a

0:43:52.680 --> 0:43:55.839
<v Speaker 3>spec would be an original pilot of some sort, whether

0:43:55.880 --> 0:43:58.799
<v Speaker 3>it's a sickcom, whether it's a drama dy, whether it's

0:43:58.840 --> 0:44:00.200
<v Speaker 3>a drama whatever, ever.

0:44:00.239 --> 0:44:02.120
<v Speaker 2>Kind of show you can cook up. It's something that

0:44:02.200 --> 0:44:02.760
<v Speaker 2>is original.

0:44:02.800 --> 0:44:08.880
<v Speaker 3>Because people are looking for people, meaning streamers, agents, other writers, talent.

0:44:09.000 --> 0:44:11.920
<v Speaker 2>Everyone's looking for a new voice and.

0:44:11.880 --> 0:44:14.000
<v Speaker 3>They're looking for they're looking for new voices, and they're

0:44:14.040 --> 0:44:18.280
<v Speaker 3>looking for voices that can also serve an a choir.

0:44:18.760 --> 0:44:21.960
<v Speaker 3>So Kenya and a lot of showrunners that I have

0:44:22.080 --> 0:44:24.600
<v Speaker 3>had the good fortune to be around always sort of

0:44:24.920 --> 0:44:28.200
<v Speaker 3>come back to this analogy of like an orchestra or

0:44:28.239 --> 0:44:31.400
<v Speaker 3>a band or a choir, whereby when you're hiring writers,

0:44:32.040 --> 0:44:34.840
<v Speaker 3>even I would imagine the same as true for actors.

0:44:35.200 --> 0:44:36.600
<v Speaker 2>You need a piano.

0:44:36.280 --> 0:44:38.760
<v Speaker 3>Player, you need a bass player, you need a drummer,

0:44:38.920 --> 0:44:41.480
<v Speaker 3>you need a guitar player. Could be acoustic, could be electric.

0:44:41.920 --> 0:44:44.239
<v Speaker 3>You kind of need to know what you're listening for.

0:44:44.480 --> 0:44:48.840
<v Speaker 3>And so not only are people looking for a new voice,

0:44:48.840 --> 0:44:51.520
<v Speaker 3>but they're also looking for Okay, this voice could fit

0:44:51.600 --> 0:44:55.000
<v Speaker 3>into this choir. This person would be great for This

0:44:55.080 --> 0:44:57.920
<v Speaker 3>person probably needs to write on the upshaws. This person

0:44:57.960 --> 0:45:00.920
<v Speaker 3>would be great for stranger things. This person will be

0:45:00.920 --> 0:45:05.240
<v Speaker 3>a candidate for, you know, Gray's Anatomy or Bridgeton or whatever.

0:45:05.280 --> 0:45:05.480
<v Speaker 2>You know.

0:45:06.000 --> 0:45:08.359
<v Speaker 3>So a spec is just basically giving people out they're

0:45:08.400 --> 0:45:10.840
<v Speaker 3>going to need to meet you because I think it

0:45:10.920 --> 0:45:14.360
<v Speaker 3>might be it might be the meet Your spec is

0:45:14.400 --> 0:45:18.200
<v Speaker 3>going to get you a meeting, be it manager, managerial

0:45:18.360 --> 0:45:21.680
<v Speaker 3>and agent, a studio meeting, maybe a meeting with talent.

0:45:22.360 --> 0:45:24.200
<v Speaker 3>But your in person meeting is going to get you

0:45:24.239 --> 0:45:27.000
<v Speaker 3>the meeting. If you're looking to get staffed, it's gonna

0:45:27.040 --> 0:45:28.560
<v Speaker 3>that's what's going to be the thing that gets you

0:45:28.600 --> 0:45:31.400
<v Speaker 3>in the room because staffing and I know this, I'm

0:45:31.400 --> 0:45:35.040
<v Speaker 3>giving you way more insight or then you ask that's

0:45:35.040 --> 0:45:38.640
<v Speaker 3>why you shouldn't know. It's in la at ten o'clock

0:45:38.640 --> 0:45:41.120
<v Speaker 3>in the morning to answer questions. So we're just gonna

0:45:41.200 --> 0:45:44.400
<v Speaker 3>keep running our damn mouths. But in closing, so I'm

0:45:44.440 --> 0:45:45.360
<v Speaker 3>landing the plane.

0:45:45.120 --> 0:45:50.640
<v Speaker 2>Swan, so I's looking at me like, God, damn, I know, Pa, No,

0:45:50.719 --> 0:45:53.440
<v Speaker 2>But you know, writing is you.

0:45:53.440 --> 0:45:56.880
<v Speaker 3>You're locked in a room with people for a long time.

0:45:57.520 --> 0:46:01.040
<v Speaker 3>Be it fourteen weeks, twenty weeks, ten weeks, forty weeks,

0:46:01.400 --> 0:46:03.719
<v Speaker 3>Grownish and Blackish. Blackish used to have a twenty one

0:46:03.760 --> 0:46:06.920
<v Speaker 3>episode twenty two episode season, which is very rare, but

0:46:07.040 --> 0:46:08.479
<v Speaker 3>that would be a week's show.

0:46:09.200 --> 0:46:12.400
<v Speaker 2>So for forty weeks, for at least.

0:46:12.680 --> 0:46:14.719
<v Speaker 3>Nine ten hours a day, and that's only because we

0:46:14.719 --> 0:46:16.799
<v Speaker 3>were a season show and you kind of had it

0:46:16.840 --> 0:46:19.160
<v Speaker 3>like on a conveyor belt. I'm had to sit across

0:46:19.160 --> 0:46:21.680
<v Speaker 3>from you, and if you get on my fucking nerves,

0:46:22.040 --> 0:46:23.960
<v Speaker 3>I don't really too much care how great your script

0:46:24.120 --> 0:46:27.520
<v Speaker 3>is because you think I'm you're a weirdo, and I

0:46:27.560 --> 0:46:31.040
<v Speaker 3>don't want to with you that long. So a speck

0:46:31.120 --> 0:46:34.320
<v Speaker 3>is important because it's going to get you a meeting,

0:46:34.440 --> 0:46:36.200
<v Speaker 3>and then who you are is going to be important

0:46:36.200 --> 0:46:36.560
<v Speaker 3>as well.

0:46:37.840 --> 0:46:40.280
<v Speaker 1>Thank you, thank you so much. I just wanted clarity

0:46:40.280 --> 0:46:43.399
<v Speaker 1>because I know actually my thought and I just want

0:46:43.440 --> 0:46:46.200
<v Speaker 1>to say I did a film with Buster finding Forrester,

0:46:46.480 --> 0:46:48.920
<v Speaker 1>and Sean Connery had a line where he said, when

0:46:48.960 --> 0:46:51.560
<v Speaker 1>you write, when you first write right from your heart,

0:46:51.680 --> 0:46:54.720
<v Speaker 1>you edit from your head. Yeah, and that just stayed

0:46:54.760 --> 0:46:59.480
<v Speaker 1>with me. So I'm so you guys, Etha is going

0:46:59.560 --> 0:47:01.960
<v Speaker 1>to still be with us. We're going to go into

0:47:02.000 --> 0:47:05.440
<v Speaker 1>class and session a plethor you guys got to have

0:47:05.520 --> 0:47:08.640
<v Speaker 1>your treasure chess open because she is dropping so many

0:47:08.640 --> 0:47:10.920
<v Speaker 1>pearls and diamonds and all of you need to know this.

0:47:11.360 --> 0:47:13.480
<v Speaker 1>So when we come back on the Spirited Actor Podcast

0:47:13.520 --> 0:47:16.080
<v Speaker 1>with me Tracy Moore, we're going to do class and

0:47:16.120 --> 0:47:21.320
<v Speaker 1>session and Ethel Lewis is still with us. Stay tune,

0:47:23.000 --> 0:47:26.560
<v Speaker 1>Welcome back to the Spirited Actor Podcast with me Tracy Moore,

0:47:26.640 --> 0:47:29.840
<v Speaker 1>and we still have our phenomenal guests Issa Lewis here,

0:47:30.280 --> 0:47:34.480
<v Speaker 1>and we're going to go into one of my favorite

0:47:34.520 --> 0:47:37.200
<v Speaker 1>segments this whole show is my favorite segment. But I'm

0:47:37.239 --> 0:47:40.200
<v Speaker 1>glad to have an opportunity to present these spirited actors

0:47:40.200 --> 0:47:44.480
<v Speaker 1>to you, he says. So Elsa is going to introduce.

0:47:45.280 --> 0:47:50.000
<v Speaker 4>Thank you, thank you. So today's class in session, we

0:47:50.080 --> 0:47:53.120
<v Speaker 4>have back two of our spirited actors. We have miss

0:47:53.239 --> 0:47:58.440
<v Speaker 4>Maya Bella, Welcome Back Maya, and we have mister Carlos

0:47:58.520 --> 0:48:04.200
<v Speaker 4>Swan Nunez Welcome Back Swamp. And today's scene is written

0:48:04.239 --> 0:48:10.960
<v Speaker 4>by Mayabella entitled in her Own World Interior Coach's Office Afternoon.

0:48:11.600 --> 0:48:15.480
<v Speaker 4>Coach Miller is a tough tennis instructor wearing a polo

0:48:15.560 --> 0:48:20.040
<v Speaker 4>shirt and references a whiteboard a mirror. Fashola is wearing

0:48:20.080 --> 0:48:25.440
<v Speaker 4>a tennis outfit and carrying her backpack, racket, textbooks, car keys,

0:48:25.600 --> 0:48:29.480
<v Speaker 4>and a water bottle, and she storms in, Hey.

0:48:29.360 --> 0:48:32.359
<v Speaker 7>Coach, Oh, I'm science and drew up, but something came

0:48:32.440 --> 0:48:34.120
<v Speaker 7>up and I got a missives match.

0:48:34.200 --> 0:48:35.920
<v Speaker 1>I'm sorry, whoa, wha?

0:48:36.920 --> 0:48:40.680
<v Speaker 8>What's going on here? You have a doubles match today

0:48:40.680 --> 0:48:43.759
<v Speaker 8>with Isabella And if you missed today's match, then you

0:48:43.800 --> 0:48:45.000
<v Speaker 8>guys are all just.

0:48:45.920 --> 0:48:49.000
<v Speaker 7>I know we'll have to forfeit. I texted her, I'm sorry,

0:48:49.080 --> 0:48:49.719
<v Speaker 7>something came up.

0:48:49.800 --> 0:48:50.640
<v Speaker 1>I really gotta go.

0:48:51.320 --> 0:48:55.600
<v Speaker 8>No, no, listen, we all have lives, okay, Ameber. One

0:48:55.600 --> 0:48:57.480
<v Speaker 8>thing you cannot do is turn your back and give

0:48:57.600 --> 0:48:58.320
<v Speaker 8>up on your team.

0:48:58.560 --> 0:49:00.520
<v Speaker 2>Who said I'm turning my back on the team.

0:49:01.080 --> 0:49:04.719
<v Speaker 8>This is the second meet you're missing. Look, I don't

0:49:04.719 --> 0:49:05.960
<v Speaker 8>know what to say, and I don't know what to

0:49:06.160 --> 0:49:08.120
<v Speaker 8>tell you. But if you cannot commit to.

0:49:08.120 --> 0:49:12.600
<v Speaker 1>This team, coach, thank please don't.

0:49:13.840 --> 0:49:14.000
<v Speaker 2>Look.

0:49:14.040 --> 0:49:14.920
<v Speaker 8>I don't want to do this.

0:49:15.000 --> 0:49:20.520
<v Speaker 1>Okay, Okay, I.

0:49:20.520 --> 0:49:23.600
<v Speaker 7>Don't even really know how to say this, Coach, but

0:49:24.400 --> 0:49:29.360
<v Speaker 7>I have to take care of my younger brother. He

0:49:29.440 --> 0:49:37.040
<v Speaker 7>has special needs. He's autistic and he's nonverbal, and it's

0:49:37.080 --> 0:49:39.520
<v Speaker 7>just been so much to handle because they just kicked

0:49:39.600 --> 0:49:43.080
<v Speaker 7>him out of his school. I just there's so much

0:49:43.120 --> 0:49:44.839
<v Speaker 7>going on, and I know I have to step up

0:49:44.880 --> 0:49:50.520
<v Speaker 7>for my mom and help take care of him.

0:49:50.880 --> 0:49:52.839
<v Speaker 2>I see. I don't know.

0:49:52.920 --> 0:49:55.839
<v Speaker 7>I just feel so selfish, Like how am I out

0:49:55.880 --> 0:49:59.600
<v Speaker 7>here playing tennis when my brother and my family need me.

0:50:02.000 --> 0:50:03.000
<v Speaker 8>You're not selfish?

0:50:05.200 --> 0:50:10.920
<v Speaker 2>I don't know, but I love tennis. But I gotta go.

0:50:11.920 --> 0:50:17.359
<v Speaker 8>No, but wait, wait, wait, wait, m my cousin she's

0:50:17.400 --> 0:50:19.920
<v Speaker 8>a lawyer and she might be able to help to

0:50:19.960 --> 0:50:25.600
<v Speaker 8>put your brother in a better school. Okay, give this

0:50:25.680 --> 0:50:35.680
<v Speaker 8>to your mom, have a call her. Thanks, coach, and

0:50:35.760 --> 0:50:36.840
<v Speaker 8>you're not off the team.

0:50:38.080 --> 0:50:42.440
<v Speaker 2>Come see me in lunchtime. We're going to figure this out. Okay,

0:50:44.719 --> 0:50:50.040
<v Speaker 2>than thank you.

0:50:51.040 --> 0:50:53.600
<v Speaker 1>Okay, you said whatever feedback you want to give him,

0:50:53.840 --> 0:50:54.759
<v Speaker 1>We would appreciate.

0:50:54.760 --> 0:50:57.120
<v Speaker 3>Well, Well, first of all, I thought it was great.

0:50:57.160 --> 0:51:00.479
<v Speaker 3>I think that that you know, I wasn't. I wasn't

0:51:00.520 --> 0:51:07.399
<v Speaker 3>expecting to feel so much emotion, like I'm watching you mine,

0:51:07.520 --> 0:51:09.680
<v Speaker 3>I'm like, oh damn, like she really have a brother

0:51:09.680 --> 0:51:10.600
<v Speaker 3>who has special needs.

0:51:10.640 --> 0:51:13.760
<v Speaker 2>Shit, But I thought it was really good.

0:51:14.320 --> 0:51:17.160
<v Speaker 3>I think that the only note that I would give

0:51:17.200 --> 0:51:19.080
<v Speaker 3>you because it's such a small scene and obviously don't

0:51:19.080 --> 0:51:20.640
<v Speaker 3>know what the bigger, larger story is.

0:51:20.680 --> 0:51:23.000
<v Speaker 2>But I think it's always.

0:51:22.760 --> 0:51:25.680
<v Speaker 3>Really important to try to make the conversation as conversational

0:51:25.719 --> 0:51:30.480
<v Speaker 3>as possible. So usually when I'm writing, a lot of

0:51:30.520 --> 0:51:32.040
<v Speaker 3>the work is done in the outlet. Most of the

0:51:32.080 --> 0:51:34.400
<v Speaker 3>work is done in the outline, so I will I

0:51:34.440 --> 0:51:38.520
<v Speaker 3>will spend days on an outline, and any time I haven't,

0:51:38.560 --> 0:51:44.680
<v Speaker 3>I always regret it. Dialogue references tone is really really important,

0:51:46.000 --> 0:51:49.600
<v Speaker 3>I think, And and also when I'm writing something, I

0:51:49.640 --> 0:51:53.400
<v Speaker 3>try to find a script that sort of or a

0:51:53.480 --> 0:51:56.279
<v Speaker 3>show that sort of is a reflection of what it

0:51:56.320 --> 0:51:58.440
<v Speaker 3>might be. It might not be any it might not

0:51:58.480 --> 0:52:01.280
<v Speaker 3>be subject matter anywhere near what I'm writing, but tonally,

0:52:01.880 --> 0:52:05.000
<v Speaker 3>I need to be able to like anchor what I'm doing,

0:52:05.160 --> 0:52:09.120
<v Speaker 3>and so I think tone wise I think there's there's

0:52:09.239 --> 0:52:12.799
<v Speaker 3>some stuff to explore in this particular scene, so that

0:52:12.880 --> 0:52:14.919
<v Speaker 3>you are so that so that you.

0:52:14.800 --> 0:52:15.480
<v Speaker 2>Don't have to.

0:52:16.920 --> 0:52:22.000
<v Speaker 3>Overwhelm the actual dialogue as much. I find that when

0:52:22.040 --> 0:52:25.000
<v Speaker 3>you're really clear on sort of the vibe of and

0:52:25.080 --> 0:52:28.400
<v Speaker 3>this the stage that you've set, then the conversation between

0:52:28.480 --> 0:52:33.440
<v Speaker 3>characters flows a lot more fluidly. And so I usually

0:52:33.480 --> 0:52:35.760
<v Speaker 3>take the outline and I dump it into the script,

0:52:35.920 --> 0:52:38.040
<v Speaker 3>and then when I start to do my passes, I

0:52:38.120 --> 0:52:40.080
<v Speaker 3>just write literally the first thing that comes to my

0:52:40.120 --> 0:52:43.320
<v Speaker 3>mind sentiment wise, because I know that I'm going to

0:52:43.400 --> 0:52:45.359
<v Speaker 3>go back and refine. So I think that there were

0:52:45.400 --> 0:52:49.799
<v Speaker 3>moments where like the heart came through, and there were

0:52:49.880 --> 0:52:53.879
<v Speaker 3>moments where the heart was more was more compelling than

0:52:53.880 --> 0:52:56.000
<v Speaker 3>what I was hearing, because I think that you did

0:52:56.000 --> 0:52:58.800
<v Speaker 3>a really good job of like sort of harnessing an emotion.

0:52:59.840 --> 0:53:02.680
<v Speaker 3>And I think, you know, just have a conversation like

0:53:03.000 --> 0:53:05.879
<v Speaker 3>would the coach if the coach is an asshole? Does

0:53:05.920 --> 0:53:08.120
<v Speaker 3>he bend at the end of this And if he's bending,

0:53:08.360 --> 0:53:10.359
<v Speaker 3>does his whole demeanor change or does he still keep

0:53:10.360 --> 0:53:13.160
<v Speaker 3>a gruff sort of tone even though he's giving her

0:53:13.160 --> 0:53:13.760
<v Speaker 3>a pass?

0:53:14.000 --> 0:53:15.360
<v Speaker 2>Would he is?

0:53:15.000 --> 0:53:15.640
<v Speaker 4>It? Is? It?

0:53:15.760 --> 0:53:17.360
<v Speaker 2>And I get it. I don't know the bigger story.

0:53:17.480 --> 0:53:19.120
<v Speaker 2>Is there a version of.

0:53:20.560 --> 0:53:23.839
<v Speaker 3>Him sort of like feeling like an asshole and you know,

0:53:24.040 --> 0:53:26.120
<v Speaker 3>melting all the way? Is there a version? I mean,

0:53:26.200 --> 0:53:28.200
<v Speaker 3>so I'm not there's no right or wrong. It's obviously

0:53:28.239 --> 0:53:30.680
<v Speaker 3>again in alignment with the bigger story. But I would

0:53:30.680 --> 0:53:33.600
<v Speaker 3>say making it conversational and really sort of digging into

0:53:33.640 --> 0:53:37.160
<v Speaker 3>the tone of the scene I think will help with

0:53:37.239 --> 0:53:41.600
<v Speaker 3>that impulse to sort of overwrite or underwrite any particular

0:53:42.239 --> 0:53:44.400
<v Speaker 3>exchange between characters. I thought it was good, and I

0:53:44.400 --> 0:53:45.880
<v Speaker 3>thought you did a really, really good job. Both of

0:53:45.880 --> 0:53:46.359
<v Speaker 3>you guys did.

0:53:47.480 --> 0:53:47.799
<v Speaker 2>Thank you.

0:53:47.840 --> 0:53:54.440
<v Speaker 1>Thank you, Lisa, Thank you Elsa, Maya and Swan and Lisa.

0:53:54.640 --> 0:53:58.960
<v Speaker 1>I cannot wait for season two of Black af because

0:53:59.000 --> 0:53:59.920
<v Speaker 1>I feel like I've been a.

0:54:01.000 --> 0:54:03.560
<v Speaker 2>And I've just neither. I don't know.

0:54:04.000 --> 0:54:05.680
<v Speaker 1>I don't know the cards.

0:54:06.480 --> 0:54:09.879
<v Speaker 2>I don't know the cards. I mean, you gotta know. Yeah,

0:54:10.040 --> 0:54:10.680
<v Speaker 2>I thought there.

0:54:10.640 --> 0:54:13.759
<v Speaker 1>Was announcement in Deadline recently that said that season two

0:54:13.880 --> 0:54:18.960
<v Speaker 1>was coming, and recently you saw that, I mean within

0:54:19.000 --> 0:54:20.880
<v Speaker 1>the past couple of months. I thought I read and

0:54:20.920 --> 0:54:22.480
<v Speaker 1>see because I was excited.

0:54:22.960 --> 0:54:26.200
<v Speaker 3>Yeah, I mean, so, let me say this, the train

0:54:26.280 --> 0:54:29.200
<v Speaker 3>has left the tracks. With Kenya. I mean they, you know,

0:54:29.239 --> 0:54:31.719
<v Speaker 3>they they He's got a ton of stuff.

0:54:31.440 --> 0:54:32.880
<v Speaker 2>And I only know a portion.

0:54:34.520 --> 0:54:36.560
<v Speaker 3>I just know it's taken this long because the schedules,

0:54:36.600 --> 0:54:39.120
<v Speaker 3>and you know, it's it's where the show sort of

0:54:39.160 --> 0:54:41.000
<v Speaker 3>resides and is it. You know, there's a lot of

0:54:41.000 --> 0:54:43.359
<v Speaker 3>moving parts. So I would I would love for there

0:54:43.400 --> 0:54:45.560
<v Speaker 3>to be a Black af season two. I thought that

0:54:45.640 --> 0:54:47.919
<v Speaker 3>show was It was one of the most fun things

0:54:47.920 --> 0:54:49.120
<v Speaker 3>I've ever done, right, So.

0:54:49.360 --> 0:54:52.440
<v Speaker 1>Yes, oh my god. That's why I said, well, anything

0:54:52.480 --> 0:54:56.560
<v Speaker 1>you do, Isa, we are supporting you, we are following you,

0:54:56.719 --> 0:55:00.319
<v Speaker 1>we are championing you. And just know that in the

0:55:00.360 --> 0:55:03.480
<v Speaker 1>spirited active community, we have mad respect for the work

0:55:03.520 --> 0:55:07.040
<v Speaker 1>that you and the way you represent everybody. Thank you,

0:55:07.080 --> 0:55:09.080
<v Speaker 1>so thank you, thank you for that, thank you for

0:55:09.120 --> 0:55:11.799
<v Speaker 1>having thank you. I'm so glad we met too.

0:55:12.680 --> 0:55:14.880
<v Speaker 2>Well. I'm really really excited about that platform.

0:55:14.920 --> 0:55:17.040
<v Speaker 3>I'm glad you know that you know else and I

0:55:17.080 --> 0:55:21.480
<v Speaker 3>go back to Howard Times and I'm thankful that you know,

0:55:21.520 --> 0:55:23.279
<v Speaker 3>you guys have this platform and that you're you know,

0:55:23.320 --> 0:55:26.400
<v Speaker 3>you're feeding and pouring in too, folks cross jown or.

0:55:26.440 --> 0:55:28.560
<v Speaker 2>I think it's really important, So I applause.

0:55:28.640 --> 0:55:29.600
<v Speaker 1>I think it's important.

0:55:29.600 --> 0:55:30.120
<v Speaker 2>That you're doing.

0:55:30.200 --> 0:55:34.360
<v Speaker 1>Yeah, thank you, because, like inside the Black Box, in

0:55:34.400 --> 0:55:37.600
<v Speaker 1>this podcast, we're about solutions. We understand what the world is,

0:55:37.840 --> 0:55:41.120
<v Speaker 1>but what can we do to move forward and to

0:55:41.280 --> 0:55:45.120
<v Speaker 1>continue to do quality work and content. So that's what

0:55:45.200 --> 0:55:45.760
<v Speaker 1>we are about.

0:55:45.880 --> 0:55:46.320
<v Speaker 2>Awesome.

0:55:46.600 --> 0:55:49.360
<v Speaker 5>Oh, I don't want to release her, but we have

0:55:49.480 --> 0:55:52.759
<v Speaker 5>to let her go. Ladies and gentlemen, please stand up

0:55:52.880 --> 0:55:57.000
<v Speaker 5>and put your hands together for a little thank you.

0:55:57.040 --> 0:55:59.240
<v Speaker 2>Thank you, Appreciate you, guys, God blessed.

0:56:00.080 --> 0:56:02.319
<v Speaker 1>Priestly love you too. And when we come back on

0:56:02.360 --> 0:56:05.120
<v Speaker 1>the Spirited Actor Podcast with me Tracy Moore, I'm going

0:56:05.160 --> 0:56:08.280
<v Speaker 1>to give you some love. That's one we do. Welcome

0:56:08.320 --> 0:56:12.759
<v Speaker 1>to Kudos Corner. Kudos Corner is where we celebrate spirited actors,

0:56:13.360 --> 0:56:17.520
<v Speaker 1>we support them, and most importantly, we introduce them to you.

0:56:18.320 --> 0:56:22.160
<v Speaker 1>This week's Kudos Corner puts the spotlight on spirited actor

0:56:22.400 --> 0:56:28.400
<v Speaker 1>Arlene Macgruder. You've seen Arlene Macgruder in network shows including

0:56:28.480 --> 0:56:32.120
<v Speaker 1>Law and Order, Organized Crime and the Godfather of Haarlem

0:56:32.560 --> 0:56:38.200
<v Speaker 1>films including Manhattan Night, and theater productions including Drive, The

0:56:38.280 --> 0:56:44.359
<v Speaker 1>Speed Limit, The Magazine, and Sheen the Musical. Arlene is

0:56:44.440 --> 0:56:48.600
<v Speaker 1>also featured in commercials for Big Mouth toothbrushes, and Nike,

0:56:48.800 --> 0:56:55.239
<v Speaker 1>among many many others. Kudos to Arlen macgruder and now

0:56:55.239 --> 0:56:58.840
<v Speaker 1>it's time to give love. One of the most darkest

0:56:58.880 --> 0:57:02.319
<v Speaker 1>times in my life was when my son was hit

0:57:02.360 --> 0:57:06.359
<v Speaker 1>by a car and he suffered traumatic brain injury. Within

0:57:06.400 --> 0:57:09.080
<v Speaker 1>the first twenty four hours. The doctors towed us that

0:57:09.520 --> 0:57:13.919
<v Speaker 1>Miles had the potential of dying. I want to tell

0:57:14.000 --> 0:57:19.479
<v Speaker 1>you totally transparent that I was filled with so many

0:57:19.520 --> 0:57:22.240
<v Speaker 1>different emotions when I saw my son laying on that journey,

0:57:23.120 --> 0:57:26.640
<v Speaker 1>But when I leaned over and I whispered in his ear,

0:57:27.720 --> 0:57:30.080
<v Speaker 1>it doesn't matter how long it takes, you're going to

0:57:30.160 --> 0:57:33.040
<v Speaker 1>get through this. I made a promise to myself that

0:57:33.120 --> 0:57:36.560
<v Speaker 1>I would focus and I would believe that there was

0:57:36.640 --> 0:57:38.919
<v Speaker 1>light at the end of the tunnel, and one day,

0:57:39.000 --> 0:57:41.520
<v Speaker 1>through this experience, I would be able to reflect back

0:57:41.560 --> 0:57:49.080
<v Speaker 1>on this and understand this experience, there is light at

0:57:49.080 --> 0:57:51.400
<v Speaker 1>the end of the tunnel. When the doctor said my

0:57:51.440 --> 0:57:55.320
<v Speaker 1>son would never walk, talk, and be a normal person again,

0:57:56.440 --> 0:58:00.680
<v Speaker 1>I am so thrilled and so excited beyond anything to

0:58:00.800 --> 0:58:05.480
<v Speaker 1>let you know that he is not. And he lives

0:58:05.520 --> 0:58:10.880
<v Speaker 1>his life passionately and every day he works through whatever

0:58:11.040 --> 0:58:18.080
<v Speaker 1>challenges may come up. But it was the light that

0:58:18.200 --> 0:58:21.280
<v Speaker 1>I stayed focused on, and it was the vision that

0:58:21.360 --> 0:58:25.440
<v Speaker 1>I held, knowing that one day my son was going

0:58:25.520 --> 0:58:27.919
<v Speaker 1>to heal and he was going to get through all

0:58:27.960 --> 0:58:33.800
<v Speaker 1>of us. Today is that day. My son, for the

0:58:33.880 --> 0:58:38.640
<v Speaker 1>past seven years, has been able to create and live

0:58:38.680 --> 0:58:42.600
<v Speaker 1>his life to the best and to the fullness of

0:58:42.640 --> 0:58:47.080
<v Speaker 1>his ability. Never lose sight of the light that is

0:58:47.120 --> 0:58:52.360
<v Speaker 1>what saves you. Hi. Everyone, The Spirited Actor Podcast with

0:58:52.440 --> 0:58:57.320
<v Speaker 1>Tracy Moore now has a YouTube channel. You'll get to

0:58:57.360 --> 0:59:01.960
<v Speaker 1>see exclusive video footage from our post taping as well

0:59:01.960 --> 0:59:05.440
<v Speaker 1>as your favorite segments from the show. Make sure to

0:59:05.760 --> 0:59:09.920
<v Speaker 1>like our videos, subscribe to our channel, and share with

0:59:10.120 --> 0:59:14.640
<v Speaker 1>all your friends. Don't forget to also follow us on Instagram,

0:59:14.680 --> 0:59:18.600
<v Speaker 1>at the Spirited Actor and at both Tracy Moore and

0:59:19.000 --> 0:59:22.960
<v Speaker 1>at The Spirited Actor Podcast with Tracy Moore on Facebook

0:59:23.240 --> 0:59:27.360
<v Speaker 1>and x. Thank you for joining us on The Spirited

0:59:27.400 --> 0:59:31.160
<v Speaker 1>Actor Podcast with me Tracy Moore. I look forward to

0:59:31.240 --> 0:59:36.000
<v Speaker 1>our next Spirited podcast. Thank you.