July 31, 2023 • 42 mins
Sasheer Zamata is an actress, singer, and comedian. In this episode, she shares her experiences coming up as a black woman in improv, her time at the Upright Citizens Brigade, and SNL. Similar to all thespians as the SAG and WGA strike continues, we couldn't discuss her upcoming roles. We were able to celebrate her new podcast, "Best Friends" with Nicole Byer, and her new self-produced stand-up special, "The First Woman".
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Episode Transcript
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Speaker 1 (00:00):
And now it's way more diverse at which I love,
and it's so beautiful and there's like groups that are
performing that are all black women or all Latina women,
or it's like so many brown like colorful faces in
the scene. And yeah, I think I think there's like
more space being made for that, and I'm glad the
(00:21):
times are changing in a way that's trending up, wording up,
warding up.
Speaker 2 (00:24):
The think about improv. In my opinion, it's extremely difficult
and when I meet someone who can do it at
a high level, I'm always impressed. This is why I
think you guys will enjoy this edition of Naked, which
Saser Tomato.
Speaker 3 (00:47):
It's the greatest suspersion entertainment can Naked win Every champion.
Speaker 4 (00:51):
And carry Champion is to be a champion.
Speaker 3 (00:53):
A champion, they carry Champion, Champion, they carry chappion, they
carry chat be greatest suspion work.
Speaker 2 (01:01):
Today on the Naked Podcast we have comedian actress and
writers Sashi Zamada.
Speaker 5 (01:05):
You may know her from.
Speaker 2 (01:06):
Her work on Saturday Night Live or for one of
her roles on ABC's Home Economics or Hulus Woke. Shashier
is releasing a brand new special entitled The First Woman
on August fifteenth, and this is the first special that
she has produced. She has total control and she talks
about it here today on the podcast, You're going to
hear about her background, how she developed her comedy Chops,
(01:29):
and so much more.
Speaker 5 (01:30):
Here is Shashi Zameida and her Naked.
Speaker 4 (01:33):
True Champion and Cared Chepian and care with Chevy.
Speaker 5 (01:37):
I am excited to have you here.
Speaker 2 (01:39):
I think that is interesting when I get the opportunity
to interview comedians, people who are writers. I've been able
to throughout the years in the business develop friendships with
different folks. I want to know what inspired you to
say this is what I want to do. Was there
a moment in your childhood where you watched a certain
show or a fan of a certain person and said,
(02:01):
this is the career I would like to pursue.
Speaker 1 (02:03):
Oh, I was a fan of so much comedy. I
watched Mad TV, SNL Whose Line is it Anyway? Late
Night with Conan O'Brien. I just watched so much comedy
and the person who probably inspired me the most was
Deborah Wilson from Mad TV. She's huh hilarious and her
impressions were so spot on she's a killer Whitney Houston.
(02:26):
But seeing a black woman doing sketch, I was like, Ooh,
that's a possibility. I didn't know. And even though I
thought all those people were hilarious, I didn't know how
they got jobs doing that. I didn't really think of
it like an actual possibility for me. But then when
I got to college, I started doing improv, and then
(02:47):
started doing improv in New York and started realizing, Oh,
the people that I admire are taking the same route
that I'm just taking because I wanted to take it,
because I was having fun doing this thing. And the
more I performed improv and sketch, the more people took
notice of me. And then I started booking commercials and
booking TV gigs here and there, and yeah, kind of
(03:09):
tumbled into a full career.
Speaker 2 (03:11):
When you say you started taking improv in college, I
often wonder what that means. For the lay man. Improv
would be improvisational classes. But how does one stumble upon
that in school and say, oh, I want to do that. Yeah,
and I want to learn how to improv. It's so foreign.
It's a foreign concept to me.
Speaker 1 (03:28):
Yeah, it's well, there's many different ways to get into it.
Speaker 2 (03:32):
It.
Speaker 1 (03:32):
Actually the first time I saw improv was in middle school.
There was a improv team in downtown Indianapolis called Comedy Sports,
and they do a lot of short form games where
the last the audience for a suggestion and then just
like come up with things off the dome and like
play these games. And I was like, oh my god,
(03:53):
like this is magic. I can't believe they're just like
making it up on the spot. And I actually did
audition for my high school improv t and made it,
but then I quit because it was the same. The
rehearsals are the same time as my show a choir rehearsals,
and so acchoir as my life. At the time, I
couldn't give that up. And then when I got to college,
(04:15):
there was an improv team and one of my musical
directors was like, oh, you should audition for the improv
team because you're so funny. And I auditioned and did
not get cast. But then I created my own improv
team that's still going at the college and now there's
two or at least two, I don't know how many
there are now. And then when I moved to New York,
(04:36):
there's a school for it. There's a school called the
Upright Citisens Brigade Theater and they have classes in improv sketch,
character classes, writing classes, and I found kind of a
community of people that I liked there and stayed there
for years and got a lot of opportunities from it.
Speaker 2 (04:58):
U se be Upright Citizens Brigade has a lot of
famous alumni I know from my understanding. Some of the
people who are great actors I know were a part
of said entity. Is it hard to get into or
is it something where you have to audition or if
you have the money, you can do it.
Speaker 1 (05:14):
If you have the money, anyone can take a class.
They're like, we also accept anyone's money, please, but you
do have to ugue green works here, Yes, exactly, well,
the color we like is green, but they do accept.
And then to get on stage there to like perform regularly,
you do have to audition for that. And I auditioned
(05:36):
for a house team like when I first got there,
and I didn't make it, And then I guess kind
of the same thing as I did in college. I
just created my own team with Nicole Byer and Keisha Zaller,
who are two hilarious black women and we kind of
like made waves of the New York improv scene when
we were coming up, and then eventually the theater thought
(05:59):
we were great. They agree with the audience and they
thought we were great, and then they ended up giving
us our own night at the theater, which was actually
better than auditioning and just making a team. We created
our own thing and they were like, oh, this is undeniable,
you have to perform here.
Speaker 2 (06:14):
That's a wonderful feeling to be recognized for what you
love to do. I wonder and you mentioned being one
of a few black women in improv, and you saw
a black woman in improv growing up, and once you
see it, you can believe it and you know you
can do it. Is that a rare space for black
women improvisation?
Speaker 1 (06:29):
It definitely was when I was coming up. I feel
like I saw like maybe two black people on that
stage at the UCB stage when I was starting. And
now it's way more diverse at which I love, and
it's so beautiful, and there's like groups that are performing
that are all black women or all Latina women, or
it's just like so many brown, like colorful faces in
(06:52):
the scene. And yeah, I think there's like more space
being made for that. Glad the times are changing in
a way that's trending upward.
Speaker 5 (07:03):
What is it?
Speaker 2 (07:04):
I think what I guess what I'm asking is what
is it about that, especially when you were coming up,
that you felt like you couldn't see a lot of us,
Like when you were you're like, oh, black women doing improv?
Is that a space that is avoided, not welcoming, unfamiliar,
not traditional? What is it about that space that made
it rare at the time?
Speaker 1 (07:25):
I think because black women. Yeah, I think because it
was so white and so male. A lot of the
humor and references that were being made on stage were
that we're very white and male. Like I've definitely been
with black women at improv shows where they're like I
don't get it, Like I don't understand do I actually
(07:48):
just to watch Star Wars to understand all these jokes?
Like yeah, yeah, So it's like it it doesn't feel
like a place where you can like get in into
because you're like, I don't even know if we have
a basic understanding of things, because when you're doing improv,
all you're doing is pulling from your life, like you're
(08:08):
pulling from your past, your experiences, your your lived life,
and like trying to make humor out of it. And
if you're you're a person who has a life that's
maybe very different from another person you're on stage with,
you might have a hard time trying to match that humor.
It's not impossible, And like, the beauty of improv is
(08:29):
that you can smash all your differences together and make
something really really cool. It's just like a roll of
the dice. But I think I can see why a
lot of black people or other people of color would
go to a show and be like, this is not
for me, this is not my environment.
Speaker 5 (08:46):
You can see, Oh that's good, Okay, good, that's fair.
That's fair. Okay.
Speaker 2 (08:50):
So then then once you once you are undeniable your words,
and I love that when people are recognizing the talent
that you're creating and you're allowing yourself. I really truly
honor anybody who's passionate about something, because, believe it or not,
it's hard to find your passion. Yeah, most people don't
know what that is. And you are fortunate and so
so blessed to know what you do and why you
(09:12):
were placed on this place called planet Earth. Do you
now know as you look at your career, and I'm
going to go over some of the highlights that I
know of, do you now know that this was what
you have been meant and designed to do? Beginning with
being on SNL. You made history. There were headlines and
people said, wow, this is the first regular that is
(09:32):
a black woman. And I've talked to Sam Jay, I've
talked to Jay Farrell. I've talked to a lot of
black alumni except for Eddie Murphy but Chris rock right,
those of the two. I haven't talked to you, no kidding,
but they all talk about that experience and it's how
tough it is to do that in that particular environment.
(09:54):
I describe your journey while they are and with all
this pressure or perhaps self impost pressure of being the first.
Speaker 1 (10:03):
Well, I actually wasn't the first. I was the fifth.
There was Yvonne Hudson, the meetra Vance.
Speaker 5 (10:12):
What did I What didn't I read that said you
were the first to do? Though? Was you weren't a
first regular?
Speaker 4 (10:18):
M M.
Speaker 1 (10:19):
I think I think some headlines are saying like I
was the first since maya rootoph or something. I'm not sure.
They probably cobbled some words together because people love having
the first in their head exactly, the first natural.
Speaker 2 (10:35):
How about one of the first, first, one of the first,
one of the first, that'll be better than correction.
Speaker 1 (10:42):
Yeah yeah, I mean yeah, actually I'd probably be one
of the first, but also definitely don't want to overlook
the other women who've come before me.
Speaker 5 (10:51):
The great the other one who can of course of course.
Speaker 1 (10:54):
Yeah yeah. And then and it was I was auditioning
for the show before that point, like I think my
first audition was maybe twenty eleven or twelve, and then
into twenty thirteen is when the media started shaming the
show for their lack of diversity, and the show wanted
(11:18):
to have a very public response to that, and so
they kind of put together a audition with black female comics.
And also it was like it was kind of just
cool to also see all the other women who were auditioning,
because I was like, damn, look at us, like, look
at all of us killing it like that we all
are here, We're all at this level and all hilarious,
(11:39):
and yeah, that was nice to see. And then I
got hired and Leslie got hired. Leslie Jones got hired
as a writer that year. In the next year, Yeah,
got cast as a cast member, and yeah, I was
just glad to be on the show. It was a
strange way to get casts on the show, but I
was definitely glad to be there. That was like my
dream since I was a child. And yeah, and just
(12:04):
being on the show also was like true boot camp.
Like everyone has to write. I don't think everyone knows that,
Like if you're a performer on the show, you also
have to write for yourself. And I feel like by
the time I left, like I was a better writer,
I was a better collaborator. I was a better communicator
of my ideas. I could advocate for myself, like they
(12:25):
really trains you for anything. And I left feeling like
I could do anything. And anything else I've done has
been like cake in comparison to that show.
Speaker 5 (12:35):
How much pressure? How much pressure is that?
Speaker 4 (12:37):
Meaning?
Speaker 2 (12:38):
Like you have to write for yourself, so you have
to sit at a table. I don't know, you just
hear the stories and you read the story. You sit
at a table and you have to present what you
think is funny and oftentimes maybe oh, I remember listening
to an interview and I don't know if Janet was
guest hosting, but it's like, impress me, make me laugh
if you want, if this to for this sketch to
(12:59):
go through. Which pressure is that to sit there and
be like, all right, make me laugh, you know, in
a room full of people who are trained to be
like I don't know if that's funny, you know, or
really that's the the hazing of it all. When you're
learning is did you feel like Jev not in your
stomach or were you excited for the moment when it
came your turn, or were you like, here we go,
(13:20):
I gotta make this work.
Speaker 1 (13:21):
I mean, I was excited. And I also think there's
like everyone had a low level of anxiety just from
being there. But I don't think the show intentionally was
trying to like haze anyone or like, I don't know,
make anyone pay their dues. Everyone wants you there, like
they hire They hire you because I think you're funny
and they want you to do a good job. So
(13:43):
I did feel like generally people want you to win.
There are some weeks where you're not going to and
there's many factors as to why you wouldn't, but and
I don't even know half of them, but they do
want you to do good, and they do want you
there for a reason. They're out there to just like
torture you.
Speaker 2 (14:02):
So I guess, well, that's good to know, right, Torturing
is not our thing. Okay, So so for four years
this is your your life experience. Did your family and
friends think you were really rich? And did they ask
you for like five dollars? Do were people like, hey,
(14:24):
you got to get dinner. Now you're on Saturday Night Live.
We don't have any money? Tell me that because you
it's it, literally is a role that is coveted by
so many, especially in the profession that you get.
Speaker 5 (14:36):
So people are thinking she's made it, She's rich. At
least that's what I'm saying.
Speaker 1 (14:39):
Oh yeah, my family definitely thought I made it and
definitely asked for way more than five dollars. And what
they don't know is that SML is one of the
worst paying jobs. It just is. And I was like,
I made it question Mark TV, but it didn't feel.
Speaker 5 (15:03):
Like it clearly that means I'm rich. I want TV.
Speaker 2 (15:07):
Yeah, Yeah, don't you know we're all rich?
Speaker 5 (15:13):
Yeah.
Speaker 1 (15:13):
I think I think they were like, it's an honor, so,
you know, rich with honor not so much.
Speaker 2 (15:23):
Hey, everybody who gotta pay some bills. You know, it's
often that we have to do this on this show.
So you can fast forward and press that little fifteen
second button until it's done.
Speaker 5 (15:31):
Thank you for listening, and we'll be right back.
Speaker 3 (15:34):
Every Champion and carry Champions to be a champion outa Champion,
and Cary Chappion and carry Chappy out a Champion and
carry Chappion and Carrie.
Speaker 4 (15:42):
Chppy Entertainment can make it work.
Speaker 3 (15:52):
Kerry Champion and Carrie Chappion is to be a Championta
Champion and Carrie Chappion got a champion, and carry Chappion
and Carrie.
Speaker 2 (16:03):
Hey, everybody, thank you for fast forwarding past those commercials.
We still have just year Zamda here on the podcast.
She's an actress, she's a writer, she's a comedian. She
has her own comedy special that she produced coming out
and a couple of weeks, so make sure you support it.
But more importantly, listener, she talks about the writers' strike
and they and the fact that it is really truly
disturbing what's happening for actors and writers in this moment
(16:24):
in Hollywood, and how you can't support you leaves an L.
I always think of that. I liken it to my
time at ESPN. It definitely it was for me. I
describe it as hazing for me. I describe it as
the best job that I could ever have, and it
made me best. It made me great in all things.
It really did. Whether it was you know, under fire
(16:45):
or just because of it was lack of experience. I
just learned so much and I'm really I always stay
grateful for those experiences. But when I when I left,
I felt very free. What was your what was your
revelation when you moved on for NL? Oh?
Speaker 1 (17:01):
Yeah, I also felt very very free and and yeah,
and really felt like I'm just ready for the next thing.
And I didn't have a plan. It's not like I
left and I was like all right, thank god, I
have this on the back burner. I just left and
like jumped off a cliff and was like, I hope
something catches me. But what I'm glad for is that
(17:25):
SNL did propel me to a level where people could
recognize me and and also recognized my talent. So it
didn't take very long before other shows were like, oh,
she's available, and then started casting me in things and
doing indie movies, and yeah, it ended up being a
great few years since I've been on that show. And yeah,
am I I'm doing well? Thanks, are feeling really nice?
Speaker 5 (17:49):
You're doing okay? You can pay for dinner.
Speaker 1 (17:53):
I can't pay for dinner.
Speaker 2 (17:54):
Yes, can I get an appetizer? This is how I
can determine you guys, you made it?
Speaker 1 (17:59):
Like, can we start start way to got appetizer money?
Speaker 2 (18:06):
Can we start with an appetizer? I had hasen minhaja
my show. He goes, look, hey, look you want to
go to Chipotle. I'm okay with guacamole, Like I'm feeling
good about where I am in mya. And that's how
you determine, and yes, like, that's how you like, I'm good.
We can get a quawk if you want a side
of this, go ahead, go ahead, it's on me.
Speaker 5 (18:24):
It's on me.
Speaker 2 (18:25):
So you leave, and you feel this freedom, and you
have financial freedom. You're very rich, So I say, there's
guacamole for everyone. And then you start doing all this
different work and people have recognized you. You ultimately get
ready to have this podcast with your best friend. And
I'm fast forwarding a few years, skipping TV shows and
(18:46):
things of that nature. But what ultimately made you want
to get into the podcast space.
Speaker 1 (18:52):
Well, I do it with Nicole Buyer, and she's my
best friend and we've been friends since we both started
at UCB in two thousand and nine, and she's the
only person that I can hang out with all day
and still talk to at night, like she's so easy
to talk to. And there was a moment in time
when we were both living in New York where we
(19:14):
go to the same commercial auditions we go to UCB,
take a class, or have a rehearsal, go eat something,
go see a show, go do a show, and then
like part and then call each other on the phone
when we're like back at home. And that's a rare thing.
And so I think in general, people like our dynamic
(19:36):
were good, like comedic foil for each other, and we
wanted to do something where we could talk to each
other all the time like we always do. And our
podcast is kind of a representation of our friendship and
it's really fun and we talk about our friendship, we
talk about friendship in general. People ask friendship questions that
they like don't know how to deal with, which is
(19:57):
fun because I feel like there's so many shows that
deal with like romantic relationships or parenthood or something, but
not a lot talking about like adult friendship and how
valuable that is. And I'm glad people are listening and
relating to it.
Speaker 2 (20:13):
I think best friends by definition has really become a
very overused word. And the way you describe your relationship
with Nicole is clear that she is your best friend.
Do you feel here's I need this advice?
Speaker 5 (20:24):
Now?
Speaker 2 (20:24):
Do you feel that word is I mean bestie, this
bestie that I hear it all the time, even when
people call me their bestie. I'm like, I'm really not sure,
But do you feel like that word is overused?
Speaker 1 (20:34):
It's like, yeah, it's other people have different definitions of it.
I only have a handful of friends, so when I
say best friend, I mean best friend, and some people
say best friend about like the waiter, which is actually
what Nicole does. Nicole will say, oh, that's my best
friend because I gave her a soda, and I'm like, wait,
the criteria has lowered. Why they're your best friend too?
Speaker 2 (20:57):
What about me? Or I have a best friend who
always is calling someone else her best friend on Instagram
and I feel a way about it of course, you
guys say questions of how territorial best friends are best
friends are territorial?
Speaker 1 (21:12):
I am territorial. Yes. She was a bridesmaid in someone's wedding,
and I was like, who is this? Who is this?
I don't know this person is? You're that close all
of a sudden?
Speaker 2 (21:24):
When did they come in all of a sudden, all
of a sudden? Never heard of this person? Ye, and
you're in their wedding. Yeah, oh my god. Why do
you think that is? Women have that, and women have
that in space. I don't necessarily know if men have that,
But why do you think that is?
Speaker 1 (21:39):
I don't know. I mean, I think it's nice to
feel like part of a tribe or like part of
like you belong to something or someone. So I don't know,
it's nice to be like, well, we have this secret
special relationship with each other no one else has, which
can still be true even if they have other best friends.
But something about hearing someone else's best friend exists. I don't.
(22:04):
It's like I want to I want to be territorial.
This is mine, she's mine. You don't know her like
I know? Please, and we love it, love it? Yeah,
and well it reminds you remember. Okay did you you
obviously please? So I know you have seen Bridesmaids, right, yes, yeah,
very Okay, do you remember my favorites?
Speaker 2 (22:25):
Okay, it's legitimately that way. Yeah, like I that's how
women are in the scene. It's like, well, well, let
me remember that time when we were two. Remember we
can even speak and we were still speaking. You have
to one up one other over and over again. So
I love that you have that podcast, and I'm definitely
going to start listening because it's so it's so near
(22:47):
and dear to my heart. You also have a special
coming up. Congratulations, tell me about it so much.
Speaker 1 (22:52):
Yeah, this is my second stand up special and I'm
so so excited. Is the first one that I have produced.
And it's really exciting because I was very proud of
my first special, Pizza Mine. But I did not have
as much control as I would have wanted. And what
does that mean. That means I didn't really know anything
(23:13):
about the budget. So like you know, when we're spending money,
like I was getting like yeses and nos for things
but didn't actually know why. So this time around, it's like, well,
this is my money, so I know exactly where it's going.
I can say how much we're spending and why we're
spending it, and that's that, like I am the one
who's deciding those things. And then as far as distribution,
(23:35):
my special is on a lot of platforms, which is
wonderful for viewership, but also I didn't have a say
as far as where it could go, and I don't
like that. So now so now I do, and I
have full ownership of it. I get to have a
(23:56):
say as to like who where I can sell it, to,
where I can put it, how the audience can receive it.
And I really like that feeling of being able to say, yeah,
this is my work and I know exactly what's happening
with it.
Speaker 2 (24:11):
Yeah, that's beautiful, and what can people expect. I'm curious, Like,
you don't have to necessarily get into the details if
you want. But we had Junia your Share on the show,
and she was saying, and I'm pretty sure I pronounced
her name incorrectly, but she was saying that for a while,
when she came from London here she would shoot her
own specials because that was the only way she could
(24:32):
make money. And she was hitting them out like mixtapes.
She was like, hey, check this out and here's this.
When you are doing it in a very I don't
want to say, uh, get it out the you know,
gut her way. When you're doing it independently and you
don't have an entity, a big entity backing you, what
goes into creating your own special I'm really really curious
(24:56):
because for those who are listening, the creatives who want
to know, can they and if can't, it is possible?
Speaker 1 (25:01):
Yeah, I mean this is a I feel like I'm
coming from a privileged place because I am a person
who has already been on TV. So it wasn't hard
for me to like find a producer who was willing
to work with someone doing this independently, and like that
person finds the DP and the director and like, you know,
(25:21):
like I still had a producer working with me who
was helping me out. I still to pay them. But
like if I was someone who was newer and coming
up and like doing this really scrappy, I actually don't
know how that would look. I didn't, thankfully have help,
but yeah, I do feel like I had a really
(25:42):
great team of people who understood what I was saying,
and like I had a friend who helped artistically design
the set and would watch it like, I'm so excited
about I wanted to bring like the outdoors indoors, so
we have like a lot of nature elements to it.
And yeah, it was just like really fun to be like,
(26:03):
I don't know, I think I want this, and then
people be like, all right, let's try to figure out
how to make that, and then we do it and wow.
There was really no pushback ever, and and I really
loved the process of being able to create something from
the ground up.
Speaker 5 (26:18):
That's beautiful. And they you it's called the First Woman.
Speaker 1 (26:20):
Yeah?
Speaker 5 (26:20):
Correct? Is that correct?
Speaker 1 (26:22):
That is correct?
Speaker 2 (26:22):
Maybe that's where I got the first That's where I
got the first from. Oh yeah, why that title?
Speaker 5 (26:27):
Hey, maybe that's where it came. Yeah, why that title.
Speaker 1 (26:31):
I liked the title of The First Woman because this
special is very woman heavy. I talk about I talk
about myself throughout the whole thing, but I talk about
my experiences as a woman, like learning my sexuality, my body,
some health stuff, women in general going through their own
(26:52):
health stuff, and like there's some history stuff in there.
And I feel like, once you watch it, you'll have
a better idea of why it's specifically the First Woman,
but I really just like the idea of like putting
it out there, like the First Woman. This is unabashedly
a special for women and for everybody, but like it's
(27:18):
gonna be women heavy and you're gonna learn some stuff
and yeah, which is great. Yeah.
Speaker 5 (27:24):
So so how would you describe your comedy?
Speaker 1 (27:27):
My comedy is very personal. It's like I like starting
from a personal place, like maybe a story of something
that happened to me or something that confuses me or
angers me, and then I kind of just go from
there and hope people can relate to it. But I'm not, like,
I've never been an observational comic. I can't like really
(27:51):
like observe society and like comment on it or or
be political. I really am just like very inward and selfish.
I guess I don't know. I like just talking about myself.
But so far it's worked.
Speaker 5 (28:06):
It's about me.
Speaker 1 (28:07):
It's about me.
Speaker 2 (28:10):
Yeah that's okay, be unapologetic about that. But it has
worked and people are interested. And why do you think
people are interested? Obviously you're funny, but why is the
combination of talking about me as opposed to other observational
comedy working for you.
Speaker 1 (28:26):
I think people can relate to human stories. I think
people want to feel connection and want to feel like
they are being seen, and that can happen in multiple ways.
I did a show in DC a couple of years
ago where I was just talking about myself as usual,
and afterwards, some guy came up to me, pretty tipsy,
(28:49):
and he was like, I just want to you know,
I voted for Trump. And I was like, this is
a terrible way to start a conversation, and he was like,
and he was like, but I totally like understood what
you were saying, and I loved what you were saying.
I never felt alienated as an audience member. I didn't
feel unwelcome and like we are two very different types
(29:13):
of people. But I still like got a lot and
laughed a lot at this show, which I love. And
it's not like I try to do that with my comedy.
I'm I'm not trying to be like we and we're
all just one right, Like that's not even my style.
But I'm glad that he was able to hear what
(29:33):
I was saying and relate because he was just like,
these are just funny stories and this is just a
funny person. And I even if I haven't exactly experienced
what she's saying, I still get it. And that's really
all I want.
Speaker 3 (29:45):
I want every champion and car every champion has to
be a champion, a champion, and Cary champion, and carried
Chat Beata champion and Cary champion and Carrie Chat's great.
Speaker 4 (29:54):
It's sports and entertainment can make it. We're going very champion.
Speaker 3 (30:02):
They care me champion is to be a champion. A champion,
they care a champion. They got a champion, They care
me champion, They care with cha't be.
Speaker 4 (30:12):
If they important?
Speaker 5 (30:14):
Is your comedy therapy for you?
Speaker 1 (30:16):
Therapy is therapy for me, But my comedy, I guess
it does feel a little therapeutic. Sometimes I am able
to get some stories out that feel like heavy or
something that like I haven't been able to get out
for years. But yeah, it does feel like cathartics sometimes
(30:39):
to get some of this energy on stage, and also
just to have a connection, because I it's like a
symbiotic relationship, like the audience is getting something out of it,
but I'm also getting something out of their reaction. Like
I I like feeling like people can connect to me
on a level of just me being raw and honest, like,
it's a really good feeling. It's a beautiful feeling.
Speaker 2 (31:01):
It's a beautiful feeling to know that someone is engaged
and maybe not even understanding, but perhaps trying to understand
and feel as if there is something there that is special.
And so, how can everyone watch said comedy special.
Speaker 1 (31:15):
It's gonna be on the eight hundred pound Gorilla website,
which I think is just eight hundred pound goerilla dot
com August fifteenth, and it's going to be a pay
what you can model for two weeks, so if you
want to contribute to the creation of the special, you
can pay literally whatever you want, two dollars, five dollars, whatever,
and then August twenty ninth, it'll be completely free on YouTube.
Speaker 5 (31:41):
Oh wow, that's great. On your page. It'll be on
the on your YouTube.
Speaker 1 (31:44):
Page, no, because my YouTube page doesn't really exist, but
it'll be on the eight hundred pound Gorilla YouTube page.
But you can just sipe in since here's the made
of the first Woman, and it'll pop up.
Speaker 5 (31:56):
Yeah, okay, good, okay, that's all you have to do. Guys.
Speaker 2 (31:58):
We just said make sure you do it that way.
I am definitely gonna watch. But I love this idea. Okay,
so maybe I'm just not familiar with it and I'm
too old school. So you can pay whatever you want.
I can literally log in and be like, gro here's
two thousand dollars, and then they'll give it to me unlimited.
Speaker 1 (32:11):
If you yeah, yeah you want to pay that much,
you can, but don't.
Speaker 5 (32:16):
But I didn't want to say yeah, but I didn't
want to say. I don't want to say, like two dollars.
Speaker 2 (32:23):
I'm encouraging people to give us some the money, and
we like the stuff that jingles, but we want the
stuff that we needers yeah right, I mean more appetizers
for us. I'm curious, and I know that we didn't
get into many of your TV shows and the things
that you've worked on in your films.
Speaker 5 (32:41):
Talk to me about how the writers strike the actors
and the writers strike, because.
Speaker 2 (32:45):
You do both. How how in fact is this affecting
the work that you do, meaning you're not working.
Speaker 1 (32:54):
I guess yeah, yeah, yes, no work has happening, No
work is happening.
Speaker 2 (33:00):
That's it, and that is nothing else. I'm really I'm confused,
right because this is the first time ever it's ever happened.
From my understanding, the writers and the actors have been
on strike at the same time.
Speaker 5 (33:09):
Is that correct?
Speaker 1 (33:10):
I feel like I think I heard someone say in
the sixties the actors and writers have striking. But that's
but that's a long time ago. That was like that's
decades ago. Yeah, yeah, so what is that?
Speaker 5 (33:22):
What is that issue here?
Speaker 1 (33:24):
So there's a lot of issues with the residuals and
how they are calculated. Like TV is consistently changing. There
was a time where we only had three channels on TV.
Then we had cable, then we had satellite, and we
had streaming, and I feel like the streaming boom was
(33:45):
so fast there wasn't language to help with the transition
as far as like how to make contracts for this
kind of TV because people weren't considering it TV for
so long. They're like, this kind of the internet? So
is it?
Speaker 2 (34:03):
Is it?
Speaker 1 (34:03):
TV?
Speaker 5 (34:04):
Is there?
Speaker 1 (34:04):
What is it? So then studios started cutting corners and
they're like, oh, we can just hire people and just
not try to figure out how to give them the
same kind of residuals that they would get on TV.
And so residuals are like you write for a show,
or you shoot a show, you get paid for that job,
(34:28):
and then every time that show airs, or that episode
airs or that movie airs, then you get paid again
a lesser amount, but like you get paid again for
the work that you did. And so some people could
sustain their lifestyle by like you booked a multi cam
sitcom on CBS and they had five seasons, you might
(34:50):
not need to work that much after because you can
pay your rent because you're still getting residuals because they
keep airing the episodes. Now on streaming, there's no reruns,
there's no like it's now still playing over and over
and over again, So the way they calculate residuals is
much much different. And people are getting paid way less
than they were getting paid when their shows were on TV,
(35:14):
and that's for actors and writers. So trying to figure
out a new way to appropriately pay creators for that.
And then there's also a new threat of like technology
and like there's now AI systems that can write full
scripts and also take our voice or our likeness and
(35:40):
use them in other projects. So there needs to be
some regulation on that before that becomes exploitative. We don't want,
like I don't want to sign off on something where
you scan my likeness and my voice and you're able
to use it in perpetuity on any Yeah, because then
(36:01):
I'm not getting paid for that. So yeah, there's just
a lot of things that need to be rewritten, figure
it out. Brought up because it was never an issue before,
and there are studios who don't even want to bother
talking about it because it's easier to just like hire
(36:21):
people who who who are fine signing off on something
and getting paid very little. So yeah, we're on strike.
We're hoping to get some sort of middle ground, not
even middle ground. We're hoping to get what we were,
what we deserve, and we will see what happens.
Speaker 2 (36:43):
Many more posted this is how I get all my
information Instagram. Kidding, but she did post a picture of
one of her streaming residual checks and it was sense
It was since like it was literally since less, and
I was like, that's pretty disgusting. And you say there
are no reruns on streaming, I'm like, yeah, it is,
(37:03):
like watch it all the time. That's a rerun to me.
If I could go on and look up every day
and see whomever I need to see, that to me
is a rerun, and so I'm curious when you hear
about deals being done on HBO sold Insecure to Netflix.
Are the principal players and writers on that show getting
(37:25):
paid to be on Netflix all five seasons of the.
Speaker 1 (37:28):
Show, because that was the first season. I don't know
what they're I don't think so. I don't think they're
part of that. Wow yeah wow.
Speaker 5 (37:38):
Well that's just greedy.
Speaker 2 (37:39):
And then where are we when it's so it's disgusting
because it's like, why are you being so greedy?
Speaker 5 (37:45):
You have the money?
Speaker 2 (37:46):
I wonder, Yeah, you're like, they have plenty of it.
Do you see an end in sight? Because if they
are stuck on where they are stuck, there will be
more reality shows, you know. I think we'll see reality
shows up the wazoo. We don't have to necessarily pay
those people the same way. And it's reality TV. It's
not script it's not scripted. So where do you see
(38:08):
this ending up?
Speaker 5 (38:10):
Is this a long.
Speaker 2 (38:10):
Strike in your opinion? Or will there be a Will
you guys be able to come to terms?
Speaker 1 (38:16):
I think the networks will start feeling the pressure because
everything stopped, so eventually audiences aren't going to get their
favorite shows again. And when audiences get mad, the studios
have to listen. So I think eventually they're going to
run out of time and be like, oh, okay, oops,
(38:37):
we didn't realize how valuable the artists were because they're
the ones creating your product. And I think eventually they
do have to listen, like fine, we will make some
allowances or like we'll figure something out because people can
watch reality TV. But eventually people want to see the
art again. I do think. I do believe in the
in the crowd and the audience loving the art that
(38:58):
they've seen and want to more and wanting new things.
And so I don't think we'll be in a situation
where people are like, oh, I guess we're just done
with scripted stuff and we're just watching reality stuff. People
love seeing human stories.
Speaker 5 (39:16):
I hope that it all works out. I really do.
Speaker 2 (39:19):
I'm a member of SAD, but not really a member
of SAD, so I too said that. I mean, I'm
not an actress, but it doesn't necessarily affect our world,
but it does affect our world based on things that
I want to see.
Speaker 5 (39:30):
I got shows, I want to come back. I want
to see my shows.
Speaker 2 (39:33):
I want to be able to live the life that
I want to live and be comfortable with streaming.
Speaker 5 (39:36):
I think it's gross, I really do. I think it's disgusting.
Speaker 2 (39:39):
So I'm sitting all the actors and writers so much
love and hopefully there aren't too many people who are
forced to lose their livelihood based on people just simply being.
Speaker 1 (39:48):
Yeah, well, there's actually there is an entertainment fund that
people can donate too if they want to help support
people who are striking, because you know, it's not just
like the movie stars that you see who like have
millions of dollars. It's like working actors who are going
like month to month, or like crew members who aren't
working now because their things are shut down. So you
(40:08):
can go to the SAG website or the w g
w g A website and there's a link to a
fund that will help support people who need who are
in desperate need to paying their rent while they're striking.
If people want to contribute to and in the send
to those people.
Speaker 5 (40:23):
And they give them the money the money, Oh that's great,
Oh that's great.
Speaker 2 (40:27):
Okay, good to know. And you said it's w g A,
it's the website and it's it Entertainment Fund.
Speaker 1 (40:33):
I can't remember the exact name, but yes, I love that. Yeah,
some entertainment fund.
Speaker 2 (40:39):
So she don't see me, don't send me to a scam,
don't see me to a fundy, and nobody I want to.
I want to help somebody pay a rent, a water
bill or two.
Speaker 1 (40:54):
I do a my website and donate.
Speaker 2 (40:59):
Whatever and I'll make sure they get it all. I
thank you so much for coming on the podcast. I
do want to say that again the first Woman. We
can go to the eight hundred Pound Gorilla website and
watch first two weeks August fifteenth. It is a donate
as you wish, and then after that it'll be on
(41:21):
the YouTube page and everyone can watch it. I want
everyone to support you, and I look forward to having
you back on. We can talk about all your TV
projects when the strike.
Speaker 1 (41:29):
Yes, please, I would love that.
Speaker 5 (41:31):
Yes, I would love it too.
Speaker 1 (41:33):
Thank you so much for jo Thank you, thank you
for having me.
Speaker 2 (41:36):
All right, guys, so we have to really support to
share that. That's a huge, huge undertaking. She produced her
very own comedy special. These are her dollars, these are
her visions, these are her friends helping her put it
all together. So again, we can go to eight hundred
pound Gorilla media dot com and donate anything you like
for the first two weeks beginning August fifteenth, and then
after that you can check it out on the YouTube page.
Speaker 5 (42:00):
Really something special.
Speaker 2 (42:02):
I love when I see us, our folks, black people
working in a space that traditionally is in ours because
once we get inside of that space, we take over
and we make it our own. And that's exactly what
she's been able to do. So again, go out and
support her to drop some gems and gave us some tips.
We thank you Sashi for being on the podcast today
(42:22):
and of course we'll see you guys next week.
And now it's way more diverse at which I love,
and it's so beautiful and there's like groups that are
performing that are all black women or all Latina women,
or it's like so many brown like colorful faces in
the scene. And yeah, I think I think there's like
more space being made for that, and I'm glad the
(00:21):
times are changing in a way that's trending up, wording up,
warding up.
Speaker 2 (00:24):
The think about improv. In my opinion, it's extremely difficult
and when I meet someone who can do it at
a high level, I'm always impressed. This is why I
think you guys will enjoy this edition of Naked, which
Saser Tomato.
Speaker 3 (00:47):
It's the greatest suspersion entertainment can Naked win Every champion.
Speaker 4 (00:51):
And carry Champion is to be a champion.
Speaker 3 (00:53):
A champion, they carry Champion, Champion, they carry chappion, they
carry chat be greatest suspion work.
Speaker 2 (01:01):
Today on the Naked Podcast we have comedian actress and
writers Sashi Zamada.
Speaker 5 (01:05):
You may know her from.
Speaker 2 (01:06):
Her work on Saturday Night Live or for one of
her roles on ABC's Home Economics or Hulus Woke. Shashier
is releasing a brand new special entitled The First Woman
on August fifteenth, and this is the first special that
she has produced. She has total control and she talks
about it here today on the podcast, You're going to
hear about her background, how she developed her comedy Chops,
(01:29):
and so much more.
Speaker 5 (01:30):
Here is Shashi Zameida and her Naked.
Speaker 4 (01:33):
True Champion and Cared Chepian and care with Chevy.
Speaker 5 (01:37):
I am excited to have you here.
Speaker 2 (01:39):
I think that is interesting when I get the opportunity
to interview comedians, people who are writers. I've been able
to throughout the years in the business develop friendships with
different folks. I want to know what inspired you to
say this is what I want to do. Was there
a moment in your childhood where you watched a certain
show or a fan of a certain person and said,
(02:01):
this is the career I would like to pursue.
Speaker 1 (02:03):
Oh, I was a fan of so much comedy. I
watched Mad TV, SNL Whose Line is it Anyway? Late
Night with Conan O'Brien. I just watched so much comedy
and the person who probably inspired me the most was
Deborah Wilson from Mad TV. She's huh hilarious and her
impressions were so spot on she's a killer Whitney Houston.
(02:26):
But seeing a black woman doing sketch, I was like, Ooh,
that's a possibility. I didn't know. And even though I
thought all those people were hilarious, I didn't know how
they got jobs doing that. I didn't really think of
it like an actual possibility for me. But then when
I got to college, I started doing improv, and then
(02:47):
started doing improv in New York and started realizing, Oh,
the people that I admire are taking the same route
that I'm just taking because I wanted to take it,
because I was having fun doing this thing. And the
more I performed improv and sketch, the more people took
notice of me. And then I started booking commercials and
booking TV gigs here and there, and yeah, kind of
(03:09):
tumbled into a full career.
Speaker 2 (03:11):
When you say you started taking improv in college, I
often wonder what that means. For the lay man. Improv
would be improvisational classes. But how does one stumble upon
that in school and say, oh, I want to do that. Yeah,
and I want to learn how to improv. It's so foreign.
It's a foreign concept to me.
Speaker 1 (03:28):
Yeah, it's well, there's many different ways to get into it.
Speaker 2 (03:32):
It.
Speaker 1 (03:32):
Actually the first time I saw improv was in middle school.
There was a improv team in downtown Indianapolis called Comedy Sports,
and they do a lot of short form games where
the last the audience for a suggestion and then just
like come up with things off the dome and like
play these games. And I was like, oh my god,
(03:53):
like this is magic. I can't believe they're just like
making it up on the spot. And I actually did
audition for my high school improv t and made it,
but then I quit because it was the same. The
rehearsals are the same time as my show a choir rehearsals,
and so acchoir as my life. At the time, I
couldn't give that up. And then when I got to college,
(04:15):
there was an improv team and one of my musical
directors was like, oh, you should audition for the improv
team because you're so funny. And I auditioned and did
not get cast. But then I created my own improv
team that's still going at the college and now there's
two or at least two, I don't know how many
there are now. And then when I moved to New York,
(04:36):
there's a school for it. There's a school called the
Upright Citisens Brigade Theater and they have classes in improv sketch,
character classes, writing classes, and I found kind of a
community of people that I liked there and stayed there
for years and got a lot of opportunities from it.
Speaker 2 (04:58):
U se be Upright Citizens Brigade has a lot of
famous alumni I know from my understanding. Some of the
people who are great actors I know were a part
of said entity. Is it hard to get into or
is it something where you have to audition or if
you have the money, you can do it.
Speaker 1 (05:14):
If you have the money, anyone can take a class.
They're like, we also accept anyone's money, please, but you
do have to ugue green works here, Yes, exactly, well,
the color we like is green, but they do accept.
And then to get on stage there to like perform regularly,
you do have to audition for that. And I auditioned
(05:36):
for a house team like when I first got there,
and I didn't make it, And then I guess kind
of the same thing as I did in college. I
just created my own team with Nicole Byer and Keisha Zaller,
who are two hilarious black women and we kind of
like made waves of the New York improv scene when
we were coming up, and then eventually the theater thought
(05:59):
we were great. They agree with the audience and they
thought we were great, and then they ended up giving
us our own night at the theater, which was actually
better than auditioning and just making a team. We created
our own thing and they were like, oh, this is undeniable,
you have to perform here.
Speaker 2 (06:14):
That's a wonderful feeling to be recognized for what you
love to do. I wonder and you mentioned being one
of a few black women in improv, and you saw
a black woman in improv growing up, and once you
see it, you can believe it and you know you
can do it. Is that a rare space for black
women improvisation?
Speaker 1 (06:29):
It definitely was when I was coming up. I feel
like I saw like maybe two black people on that
stage at the UCB stage when I was starting. And
now it's way more diverse at which I love, and
it's so beautiful, and there's like groups that are performing
that are all black women or all Latina women, or
it's just like so many brown, like colorful faces in
(06:52):
the scene. And yeah, I think there's like more space
being made for that. Glad the times are changing in
a way that's trending upward.
Speaker 5 (07:03):
What is it?
Speaker 2 (07:04):
I think what I guess what I'm asking is what
is it about that, especially when you were coming up,
that you felt like you couldn't see a lot of us,
Like when you were you're like, oh, black women doing improv?
Is that a space that is avoided, not welcoming, unfamiliar,
not traditional? What is it about that space that made
it rare at the time?
Speaker 1 (07:25):
I think because black women. Yeah, I think because it
was so white and so male. A lot of the
humor and references that were being made on stage were
that we're very white and male. Like I've definitely been
with black women at improv shows where they're like I
don't get it, Like I don't understand do I actually
(07:48):
just to watch Star Wars to understand all these jokes?
Like yeah, yeah, So it's like it it doesn't feel
like a place where you can like get in into
because you're like, I don't even know if we have
a basic understanding of things, because when you're doing improv,
all you're doing is pulling from your life, like you're
(08:08):
pulling from your past, your experiences, your your lived life,
and like trying to make humor out of it. And
if you're you're a person who has a life that's
maybe very different from another person you're on stage with,
you might have a hard time trying to match that humor.
It's not impossible, And like, the beauty of improv is
(08:29):
that you can smash all your differences together and make
something really really cool. It's just like a roll of
the dice. But I think I can see why a
lot of black people or other people of color would
go to a show and be like, this is not
for me, this is not my environment.
Speaker 5 (08:46):
You can see, Oh that's good, Okay, good, that's fair.
That's fair. Okay.
Speaker 2 (08:50):
So then then once you once you are undeniable your words,
and I love that when people are recognizing the talent
that you're creating and you're allowing yourself. I really truly
honor anybody who's passionate about something, because, believe it or not,
it's hard to find your passion. Yeah, most people don't
know what that is. And you are fortunate and so
so blessed to know what you do and why you
(09:12):
were placed on this place called planet Earth. Do you
now know as you look at your career, and I'm
going to go over some of the highlights that I
know of, do you now know that this was what
you have been meant and designed to do? Beginning with
being on SNL. You made history. There were headlines and
people said, wow, this is the first regular that is
(09:32):
a black woman. And I've talked to Sam Jay, I've
talked to Jay Farrell. I've talked to a lot of
black alumni except for Eddie Murphy but Chris rock right,
those of the two. I haven't talked to you, no kidding,
but they all talk about that experience and it's how
tough it is to do that in that particular environment.
(09:54):
I describe your journey while they are and with all
this pressure or perhaps self impost pressure of being the first.
Speaker 1 (10:03):
Well, I actually wasn't the first. I was the fifth.
There was Yvonne Hudson, the meetra Vance.
Speaker 5 (10:12):
What did I What didn't I read that said you
were the first to do? Though? Was you weren't a
first regular?
Speaker 4 (10:18):
M M.
Speaker 1 (10:19):
I think I think some headlines are saying like I
was the first since maya rootoph or something. I'm not sure.
They probably cobbled some words together because people love having
the first in their head exactly, the first natural.
Speaker 2 (10:35):
How about one of the first, first, one of the first,
one of the first, that'll be better than correction.
Speaker 1 (10:42):
Yeah yeah, I mean yeah, actually I'd probably be one
of the first, but also definitely don't want to overlook
the other women who've come before me.
Speaker 5 (10:51):
The great the other one who can of course of course.
Speaker 1 (10:54):
Yeah yeah. And then and it was I was auditioning
for the show before that point, like I think my
first audition was maybe twenty eleven or twelve, and then
into twenty thirteen is when the media started shaming the
show for their lack of diversity, and the show wanted
(11:18):
to have a very public response to that, and so
they kind of put together a audition with black female comics.
And also it was like it was kind of just
cool to also see all the other women who were auditioning,
because I was like, damn, look at us, like, look
at all of us killing it like that we all
are here, We're all at this level and all hilarious,
(11:39):
and yeah, that was nice to see. And then I
got hired and Leslie got hired. Leslie Jones got hired
as a writer that year. In the next year, Yeah,
got cast as a cast member, and yeah, I was
just glad to be on the show. It was a
strange way to get casts on the show, but I
was definitely glad to be there. That was like my
dream since I was a child. And yeah, and just
(12:04):
being on the show also was like true boot camp.
Like everyone has to write. I don't think everyone knows that,
Like if you're a performer on the show, you also
have to write for yourself. And I feel like by
the time I left, like I was a better writer,
I was a better collaborator. I was a better communicator
of my ideas. I could advocate for myself, like they
(12:25):
really trains you for anything. And I left feeling like
I could do anything. And anything else I've done has
been like cake in comparison to that show.
Speaker 5 (12:35):
How much pressure? How much pressure is that?
Speaker 4 (12:37):
Meaning?
Speaker 2 (12:38):
Like you have to write for yourself, so you have
to sit at a table. I don't know, you just
hear the stories and you read the story. You sit
at a table and you have to present what you
think is funny and oftentimes maybe oh, I remember listening
to an interview and I don't know if Janet was
guest hosting, but it's like, impress me, make me laugh
if you want, if this to for this sketch to
(12:59):
go through. Which pressure is that to sit there and
be like, all right, make me laugh, you know, in
a room full of people who are trained to be
like I don't know if that's funny, you know, or
really that's the the hazing of it all. When you're
learning is did you feel like Jev not in your
stomach or were you excited for the moment when it
came your turn, or were you like, here we go,
(13:20):
I gotta make this work.
Speaker 1 (13:21):
I mean, I was excited. And I also think there's
like everyone had a low level of anxiety just from
being there. But I don't think the show intentionally was
trying to like haze anyone or like, I don't know,
make anyone pay their dues. Everyone wants you there, like
they hire They hire you because I think you're funny
and they want you to do a good job. So
(13:43):
I did feel like generally people want you to win.
There are some weeks where you're not going to and
there's many factors as to why you wouldn't, but and
I don't even know half of them, but they do
want you to do good, and they do want you
there for a reason. They're out there to just like
torture you.
Speaker 2 (14:02):
So I guess, well, that's good to know, right, Torturing
is not our thing. Okay, So so for four years
this is your your life experience. Did your family and
friends think you were really rich? And did they ask
you for like five dollars? Do were people like, hey,
(14:24):
you got to get dinner. Now you're on Saturday Night Live.
We don't have any money? Tell me that because you
it's it, literally is a role that is coveted by
so many, especially in the profession that you get.
Speaker 5 (14:36):
So people are thinking she's made it, She's rich. At
least that's what I'm saying.
Speaker 1 (14:39):
Oh yeah, my family definitely thought I made it and
definitely asked for way more than five dollars. And what
they don't know is that SML is one of the
worst paying jobs. It just is. And I was like,
I made it question Mark TV, but it didn't feel.
Speaker 5 (15:03):
Like it clearly that means I'm rich. I want TV.
Speaker 2 (15:07):
Yeah, Yeah, don't you know we're all rich?
Speaker 5 (15:13):
Yeah.
Speaker 1 (15:13):
I think I think they were like, it's an honor, so,
you know, rich with honor not so much.
Speaker 2 (15:23):
Hey, everybody who gotta pay some bills. You know, it's
often that we have to do this on this show.
So you can fast forward and press that little fifteen
second button until it's done.
Speaker 5 (15:31):
Thank you for listening, and we'll be right back.
Speaker 3 (15:34):
Every Champion and carry Champions to be a champion outa Champion,
and Cary Chappion and carry Chappy out a Champion and
carry Chappion and Carrie.
Speaker 4 (15:42):
Chppy Entertainment can make it work.
Speaker 3 (15:52):
Kerry Champion and Carrie Chappion is to be a Championta
Champion and Carrie Chappion got a champion, and carry Chappion
and Carrie.
Speaker 2 (16:03):
Hey, everybody, thank you for fast forwarding past those commercials.
We still have just year Zamda here on the podcast.
She's an actress, she's a writer, she's a comedian. She
has her own comedy special that she produced coming out
and a couple of weeks, so make sure you support it.
But more importantly, listener, she talks about the writers' strike
and they and the fact that it is really truly
disturbing what's happening for actors and writers in this moment
(16:24):
in Hollywood, and how you can't support you leaves an L.
I always think of that. I liken it to my
time at ESPN. It definitely it was for me. I
describe it as hazing for me. I describe it as
the best job that I could ever have, and it
made me best. It made me great in all things.
It really did. Whether it was you know, under fire
(16:45):
or just because of it was lack of experience. I
just learned so much and I'm really I always stay
grateful for those experiences. But when I when I left,
I felt very free. What was your what was your
revelation when you moved on for NL? Oh?
Speaker 1 (17:01):
Yeah, I also felt very very free and and yeah,
and really felt like I'm just ready for the next thing.
And I didn't have a plan. It's not like I
left and I was like all right, thank god, I
have this on the back burner. I just left and
like jumped off a cliff and was like, I hope
something catches me. But what I'm glad for is that
(17:25):
SNL did propel me to a level where people could
recognize me and and also recognized my talent. So it
didn't take very long before other shows were like, oh,
she's available, and then started casting me in things and
doing indie movies, and yeah, it ended up being a
great few years since I've been on that show. And yeah,
am I I'm doing well? Thanks, are feeling really nice?
Speaker 5 (17:49):
You're doing okay? You can pay for dinner.
Speaker 1 (17:53):
I can't pay for dinner.
Speaker 2 (17:54):
Yes, can I get an appetizer? This is how I
can determine you guys, you made it?
Speaker 1 (17:59):
Like, can we start start way to got appetizer money?
Speaker 2 (18:06):
Can we start with an appetizer? I had hasen minhaja
my show. He goes, look, hey, look you want to
go to Chipotle. I'm okay with guacamole, Like I'm feeling
good about where I am in mya. And that's how
you determine, and yes, like, that's how you like, I'm good.
We can get a quawk if you want a side
of this, go ahead, go ahead, it's on me.
Speaker 5 (18:24):
It's on me.
Speaker 2 (18:25):
So you leave, and you feel this freedom, and you
have financial freedom. You're very rich, So I say, there's
guacamole for everyone. And then you start doing all this
different work and people have recognized you. You ultimately get
ready to have this podcast with your best friend. And
I'm fast forwarding a few years, skipping TV shows and
(18:46):
things of that nature. But what ultimately made you want
to get into the podcast space.
Speaker 1 (18:52):
Well, I do it with Nicole Buyer, and she's my
best friend and we've been friends since we both started
at UCB in two thousand and nine, and she's the
only person that I can hang out with all day
and still talk to at night, like she's so easy
to talk to. And there was a moment in time
when we were both living in New York where we
(19:14):
go to the same commercial auditions we go to UCB,
take a class, or have a rehearsal, go eat something,
go see a show, go do a show, and then
like part and then call each other on the phone
when we're like back at home. And that's a rare thing.
And so I think in general, people like our dynamic
(19:36):
were good, like comedic foil for each other, and we
wanted to do something where we could talk to each
other all the time like we always do. And our
podcast is kind of a representation of our friendship and
it's really fun and we talk about our friendship, we
talk about friendship in general. People ask friendship questions that
they like don't know how to deal with, which is
(19:57):
fun because I feel like there's so many shows that
deal with like romantic relationships or parenthood or something, but
not a lot talking about like adult friendship and how
valuable that is. And I'm glad people are listening and
relating to it.
Speaker 2 (20:13):
I think best friends by definition has really become a
very overused word. And the way you describe your relationship
with Nicole is clear that she is your best friend.
Do you feel here's I need this advice?
Speaker 5 (20:24):
Now?
Speaker 2 (20:24):
Do you feel that word is I mean bestie, this
bestie that I hear it all the time, even when
people call me their bestie. I'm like, I'm really not sure,
But do you feel like that word is overused?
Speaker 1 (20:34):
It's like, yeah, it's other people have different definitions of it.
I only have a handful of friends, so when I
say best friend, I mean best friend, and some people
say best friend about like the waiter, which is actually
what Nicole does. Nicole will say, oh, that's my best
friend because I gave her a soda, and I'm like, wait,
the criteria has lowered. Why they're your best friend too?
Speaker 2 (20:57):
What about me? Or I have a best friend who
always is calling someone else her best friend on Instagram
and I feel a way about it of course, you
guys say questions of how territorial best friends are best
friends are territorial?
Speaker 1 (21:12):
I am territorial. Yes. She was a bridesmaid in someone's wedding,
and I was like, who is this? Who is this?
I don't know this person is? You're that close all
of a sudden?
Speaker 2 (21:24):
When did they come in all of a sudden, all
of a sudden? Never heard of this person? Ye, and
you're in their wedding. Yeah, oh my god. Why do
you think that is? Women have that, and women have
that in space. I don't necessarily know if men have that,
But why do you think that is?
Speaker 1 (21:39):
I don't know. I mean, I think it's nice to
feel like part of a tribe or like part of
like you belong to something or someone. So I don't know,
it's nice to be like, well, we have this secret
special relationship with each other no one else has, which
can still be true even if they have other best friends.
But something about hearing someone else's best friend exists. I don't.
(22:04):
It's like I want to I want to be territorial.
This is mine, she's mine. You don't know her like
I know? Please, and we love it, love it? Yeah,
and well it reminds you remember. Okay did you you
obviously please? So I know you have seen Bridesmaids, right, yes, yeah,
very Okay, do you remember my favorites?
Speaker 2 (22:25):
Okay, it's legitimately that way. Yeah, like I that's how
women are in the scene. It's like, well, well, let
me remember that time when we were two. Remember we
can even speak and we were still speaking. You have
to one up one other over and over again. So
I love that you have that podcast, and I'm definitely
going to start listening because it's so it's so near
(22:47):
and dear to my heart. You also have a special
coming up. Congratulations, tell me about it so much.
Speaker 1 (22:52):
Yeah, this is my second stand up special and I'm
so so excited. Is the first one that I have produced.
And it's really exciting because I was very proud of
my first special, Pizza Mine. But I did not have
as much control as I would have wanted. And what
does that mean. That means I didn't really know anything
(23:13):
about the budget. So like you know, when we're spending money,
like I was getting like yeses and nos for things
but didn't actually know why. So this time around, it's like, well,
this is my money, so I know exactly where it's going.
I can say how much we're spending and why we're
spending it, and that's that, like I am the one
who's deciding those things. And then as far as distribution,
(23:35):
my special is on a lot of platforms, which is
wonderful for viewership, but also I didn't have a say
as far as where it could go, and I don't
like that. So now so now I do, and I
have full ownership of it. I get to have a
(23:56):
say as to like who where I can sell it, to,
where I can put it, how the audience can receive it.
And I really like that feeling of being able to say, yeah,
this is my work and I know exactly what's happening
with it.
Speaker 2 (24:11):
Yeah, that's beautiful, and what can people expect. I'm curious, Like,
you don't have to necessarily get into the details if
you want. But we had Junia your Share on the show,
and she was saying, and I'm pretty sure I pronounced
her name incorrectly, but she was saying that for a while,
when she came from London here she would shoot her
own specials because that was the only way she could
(24:32):
make money. And she was hitting them out like mixtapes.
She was like, hey, check this out and here's this.
When you are doing it in a very I don't
want to say, uh, get it out the you know,
gut her way. When you're doing it independently and you
don't have an entity, a big entity backing you, what
goes into creating your own special I'm really really curious
(24:56):
because for those who are listening, the creatives who want
to know, can they and if can't, it is possible?
Speaker 1 (25:01):
Yeah, I mean this is a I feel like I'm
coming from a privileged place because I am a person
who has already been on TV. So it wasn't hard
for me to like find a producer who was willing
to work with someone doing this independently, and like that
person finds the DP and the director and like, you know,
(25:21):
like I still had a producer working with me who
was helping me out. I still to pay them. But
like if I was someone who was newer and coming
up and like doing this really scrappy, I actually don't
know how that would look. I didn't, thankfully have help,
but yeah, I do feel like I had a really
(25:42):
great team of people who understood what I was saying,
and like I had a friend who helped artistically design
the set and would watch it like, I'm so excited
about I wanted to bring like the outdoors indoors, so
we have like a lot of nature elements to it.
And yeah, it was just like really fun to be like,
(26:03):
I don't know, I think I want this, and then
people be like, all right, let's try to figure out
how to make that, and then we do it and wow.
There was really no pushback ever, and and I really
loved the process of being able to create something from
the ground up.
Speaker 5 (26:18):
That's beautiful. And they you it's called the First Woman.
Speaker 1 (26:20):
Yeah?
Speaker 5 (26:20):
Correct? Is that correct?
Speaker 1 (26:22):
That is correct?
Speaker 2 (26:22):
Maybe that's where I got the first That's where I
got the first from. Oh yeah, why that title?
Speaker 5 (26:27):
Hey, maybe that's where it came. Yeah, why that title.
Speaker 1 (26:31):
I liked the title of The First Woman because this
special is very woman heavy. I talk about I talk
about myself throughout the whole thing, but I talk about
my experiences as a woman, like learning my sexuality, my body,
some health stuff, women in general going through their own
(26:52):
health stuff, and like there's some history stuff in there.
And I feel like, once you watch it, you'll have
a better idea of why it's specifically the First Woman,
but I really just like the idea of like putting
it out there, like the First Woman. This is unabashedly
a special for women and for everybody, but like it's
(27:18):
gonna be women heavy and you're gonna learn some stuff
and yeah, which is great. Yeah.
Speaker 5 (27:24):
So so how would you describe your comedy?
Speaker 1 (27:27):
My comedy is very personal. It's like I like starting
from a personal place, like maybe a story of something
that happened to me or something that confuses me or
angers me, and then I kind of just go from
there and hope people can relate to it. But I'm not, like,
I've never been an observational comic. I can't like really
(27:51):
like observe society and like comment on it or or
be political. I really am just like very inward and selfish.
I guess I don't know. I like just talking about myself.
But so far it's worked.
Speaker 5 (28:06):
It's about me.
Speaker 1 (28:07):
It's about me.
Speaker 2 (28:10):
Yeah that's okay, be unapologetic about that. But it has
worked and people are interested. And why do you think
people are interested? Obviously you're funny, but why is the
combination of talking about me as opposed to other observational
comedy working for you.
Speaker 1 (28:26):
I think people can relate to human stories. I think
people want to feel connection and want to feel like
they are being seen, and that can happen in multiple ways.
I did a show in DC a couple of years
ago where I was just talking about myself as usual,
and afterwards, some guy came up to me, pretty tipsy,
(28:49):
and he was like, I just want to you know,
I voted for Trump. And I was like, this is
a terrible way to start a conversation, and he was like,
and he was like, but I totally like understood what
you were saying, and I loved what you were saying.
I never felt alienated as an audience member. I didn't
feel unwelcome and like we are two very different types
(29:13):
of people. But I still like got a lot and
laughed a lot at this show, which I love. And
it's not like I try to do that with my comedy.
I'm I'm not trying to be like we and we're
all just one right, Like that's not even my style.
But I'm glad that he was able to hear what
(29:33):
I was saying and relate because he was just like,
these are just funny stories and this is just a
funny person. And I even if I haven't exactly experienced
what she's saying, I still get it. And that's really
all I want.
Speaker 3 (29:45):
I want every champion and car every champion has to
be a champion, a champion, and Cary champion, and carried
Chat Beata champion and Cary champion and Carrie Chat's great.
Speaker 4 (29:54):
It's sports and entertainment can make it. We're going very champion.
Speaker 3 (30:02):
They care me champion is to be a champion. A champion,
they care a champion. They got a champion, They care
me champion, They care with cha't be.
Speaker 4 (30:12):
If they important?
Speaker 5 (30:14):
Is your comedy therapy for you?
Speaker 1 (30:16):
Therapy is therapy for me, But my comedy, I guess
it does feel a little therapeutic. Sometimes I am able
to get some stories out that feel like heavy or
something that like I haven't been able to get out
for years. But yeah, it does feel like cathartics sometimes
(30:39):
to get some of this energy on stage, and also
just to have a connection, because I it's like a
symbiotic relationship, like the audience is getting something out of it,
but I'm also getting something out of their reaction. Like
I I like feeling like people can connect to me
on a level of just me being raw and honest, like,
it's a really good feeling. It's a beautiful feeling.
Speaker 2 (31:01):
It's a beautiful feeling to know that someone is engaged
and maybe not even understanding, but perhaps trying to understand
and feel as if there is something there that is special.
And so, how can everyone watch said comedy special.
Speaker 1 (31:15):
It's gonna be on the eight hundred pound Gorilla website,
which I think is just eight hundred pound goerilla dot
com August fifteenth, and it's going to be a pay
what you can model for two weeks, so if you
want to contribute to the creation of the special, you
can pay literally whatever you want, two dollars, five dollars, whatever,
and then August twenty ninth, it'll be completely free on YouTube.
Speaker 5 (31:41):
Oh wow, that's great. On your page. It'll be on
the on your YouTube.
Speaker 1 (31:44):
Page, no, because my YouTube page doesn't really exist, but
it'll be on the eight hundred pound Gorilla YouTube page.
But you can just sipe in since here's the made
of the first Woman, and it'll pop up.
Speaker 5 (31:56):
Yeah, okay, good, okay, that's all you have to do. Guys.
Speaker 2 (31:58):
We just said make sure you do it that way.
I am definitely gonna watch. But I love this idea. Okay,
so maybe I'm just not familiar with it and I'm
too old school. So you can pay whatever you want.
I can literally log in and be like, gro here's
two thousand dollars, and then they'll give it to me unlimited.
Speaker 1 (32:11):
If you yeah, yeah you want to pay that much,
you can, but don't.
Speaker 5 (32:16):
But I didn't want to say yeah, but I didn't
want to say. I don't want to say, like two dollars.
Speaker 2 (32:23):
I'm encouraging people to give us some the money, and
we like the stuff that jingles, but we want the
stuff that we needers yeah right, I mean more appetizers
for us. I'm curious, and I know that we didn't
get into many of your TV shows and the things
that you've worked on in your films.
Speaker 5 (32:41):
Talk to me about how the writers strike the actors
and the writers strike, because.
Speaker 2 (32:45):
You do both. How how in fact is this affecting
the work that you do, meaning you're not working.
Speaker 1 (32:54):
I guess yeah, yeah, yes, no work has happening, No
work is happening.
Speaker 2 (33:00):
That's it, and that is nothing else. I'm really I'm confused,
right because this is the first time ever it's ever happened.
From my understanding, the writers and the actors have been
on strike at the same time.
Speaker 5 (33:09):
Is that correct?
Speaker 1 (33:10):
I feel like I think I heard someone say in
the sixties the actors and writers have striking. But that's
but that's a long time ago. That was like that's
decades ago. Yeah, yeah, so what is that?
Speaker 5 (33:22):
What is that issue here?
Speaker 1 (33:24):
So there's a lot of issues with the residuals and
how they are calculated. Like TV is consistently changing. There
was a time where we only had three channels on TV.
Then we had cable, then we had satellite, and we
had streaming, and I feel like the streaming boom was
(33:45):
so fast there wasn't language to help with the transition
as far as like how to make contracts for this
kind of TV because people weren't considering it TV for
so long. They're like, this kind of the internet? So
is it?
Speaker 2 (34:03):
Is it?
Speaker 1 (34:03):
TV?
Speaker 5 (34:04):
Is there?
Speaker 1 (34:04):
What is it? So then studios started cutting corners and
they're like, oh, we can just hire people and just
not try to figure out how to give them the
same kind of residuals that they would get on TV.
And so residuals are like you write for a show,
or you shoot a show, you get paid for that job,
(34:28):
and then every time that show airs, or that episode
airs or that movie airs, then you get paid again
a lesser amount, but like you get paid again for
the work that you did. And so some people could
sustain their lifestyle by like you booked a multi cam
sitcom on CBS and they had five seasons, you might
(34:50):
not need to work that much after because you can
pay your rent because you're still getting residuals because they
keep airing the episodes. Now on streaming, there's no reruns,
there's no like it's now still playing over and over
and over again, So the way they calculate residuals is
much much different. And people are getting paid way less
than they were getting paid when their shows were on TV,
(35:14):
and that's for actors and writers. So trying to figure
out a new way to appropriately pay creators for that.
And then there's also a new threat of like technology
and like there's now AI systems that can write full
scripts and also take our voice or our likeness and
(35:40):
use them in other projects. So there needs to be
some regulation on that before that becomes exploitative. We don't want,
like I don't want to sign off on something where
you scan my likeness and my voice and you're able
to use it in perpetuity on any Yeah, because then
(36:01):
I'm not getting paid for that. So yeah, there's just
a lot of things that need to be rewritten, figure
it out. Brought up because it was never an issue before,
and there are studios who don't even want to bother
talking about it because it's easier to just like hire
(36:21):
people who who who are fine signing off on something
and getting paid very little. So yeah, we're on strike.
We're hoping to get some sort of middle ground, not
even middle ground. We're hoping to get what we were,
what we deserve, and we will see what happens.
Speaker 2 (36:43):
Many more posted this is how I get all my
information Instagram. Kidding, but she did post a picture of
one of her streaming residual checks and it was sense
It was since like it was literally since less, and
I was like, that's pretty disgusting. And you say there
are no reruns on streaming, I'm like, yeah, it is,
(37:03):
like watch it all the time. That's a rerun to me.
If I could go on and look up every day
and see whomever I need to see, that to me
is a rerun, and so I'm curious when you hear
about deals being done on HBO sold Insecure to Netflix.
Are the principal players and writers on that show getting
(37:25):
paid to be on Netflix all five seasons of the.
Speaker 1 (37:28):
Show, because that was the first season. I don't know
what they're I don't think so. I don't think they're
part of that. Wow yeah wow.
Speaker 5 (37:38):
Well that's just greedy.
Speaker 2 (37:39):
And then where are we when it's so it's disgusting
because it's like, why are you being so greedy?
Speaker 5 (37:45):
You have the money?
Speaker 2 (37:46):
I wonder, Yeah, you're like, they have plenty of it.
Do you see an end in sight? Because if they
are stuck on where they are stuck, there will be
more reality shows, you know. I think we'll see reality
shows up the wazoo. We don't have to necessarily pay
those people the same way. And it's reality TV. It's
not script it's not scripted. So where do you see
(38:08):
this ending up?
Speaker 5 (38:10):
Is this a long.
Speaker 2 (38:10):
Strike in your opinion? Or will there be a Will
you guys be able to come to terms?
Speaker 1 (38:16):
I think the networks will start feeling the pressure because
everything stopped, so eventually audiences aren't going to get their
favorite shows again. And when audiences get mad, the studios
have to listen. So I think eventually they're going to
run out of time and be like, oh, okay, oops,
(38:37):
we didn't realize how valuable the artists were because they're
the ones creating your product. And I think eventually they
do have to listen, like fine, we will make some
allowances or like we'll figure something out because people can
watch reality TV. But eventually people want to see the
art again. I do think. I do believe in the
in the crowd and the audience loving the art that
(38:58):
they've seen and want to more and wanting new things.
And so I don't think we'll be in a situation
where people are like, oh, I guess we're just done
with scripted stuff and we're just watching reality stuff. People
love seeing human stories.
Speaker 5 (39:16):
I hope that it all works out. I really do.
Speaker 2 (39:19):
I'm a member of SAD, but not really a member
of SAD, so I too said that. I mean, I'm
not an actress, but it doesn't necessarily affect our world,
but it does affect our world based on things that
I want to see.
Speaker 5 (39:30):
I got shows, I want to come back. I want
to see my shows.
Speaker 2 (39:33):
I want to be able to live the life that
I want to live and be comfortable with streaming.
Speaker 5 (39:36):
I think it's gross, I really do. I think it's disgusting.
Speaker 2 (39:39):
So I'm sitting all the actors and writers so much
love and hopefully there aren't too many people who are
forced to lose their livelihood based on people just simply being.
Speaker 1 (39:48):
Yeah, well, there's actually there is an entertainment fund that
people can donate too if they want to help support
people who are striking, because you know, it's not just
like the movie stars that you see who like have
millions of dollars. It's like working actors who are going
like month to month, or like crew members who aren't
working now because their things are shut down. So you
(40:08):
can go to the SAG website or the w g
w g A website and there's a link to a
fund that will help support people who need who are
in desperate need to paying their rent while they're striking.
If people want to contribute to and in the send
to those people.
Speaker 5 (40:23):
And they give them the money the money, Oh that's great,
Oh that's great.
Speaker 2 (40:27):
Okay, good to know. And you said it's w g A,
it's the website and it's it Entertainment Fund.
Speaker 1 (40:33):
I can't remember the exact name, but yes, I love that. Yeah,
some entertainment fund.
Speaker 2 (40:39):
So she don't see me, don't send me to a scam,
don't see me to a fundy, and nobody I want to.
I want to help somebody pay a rent, a water
bill or two.
Speaker 1 (40:54):
I do a my website and donate.
Speaker 2 (40:59):
Whatever and I'll make sure they get it all. I
thank you so much for coming on the podcast. I
do want to say that again the first Woman. We
can go to the eight hundred Pound Gorilla website and
watch first two weeks August fifteenth. It is a donate
as you wish, and then after that it'll be on
(41:21):
the YouTube page and everyone can watch it. I want
everyone to support you, and I look forward to having
you back on. We can talk about all your TV
projects when the strike.
Speaker 1 (41:29):
Yes, please, I would love that.
Speaker 5 (41:31):
Yes, I would love it too.
Speaker 1 (41:33):
Thank you so much for jo Thank you, thank you
for having me.
Speaker 2 (41:36):
All right, guys, so we have to really support to
share that. That's a huge, huge undertaking. She produced her
very own comedy special. These are her dollars, these are
her visions, these are her friends helping her put it
all together. So again, we can go to eight hundred
pound Gorilla media dot com and donate anything you like
for the first two weeks beginning August fifteenth, and then
after that you can check it out on the YouTube page.
Speaker 5 (42:00):
Really something special.
Speaker 2 (42:02):
I love when I see us, our folks, black people
working in a space that traditionally is in ours because
once we get inside of that space, we take over
and we make it our own. And that's exactly what
she's been able to do. So again, go out and
support her to drop some gems and gave us some tips.
We thank you Sashi for being on the podcast today
(42:22):
and of course we'll see you guys next week.
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