March 21, 2022 • 36 mins
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Episode Transcript
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Speaker 1 (00:00):
Hello, and welcome to the Spirited Actor Podcast with me
Tracy Moore. I was a casting director for film and
TV and commercials for over thirty years. I transition to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Thomaz.
I audition every rapper from Biggias Balls to Tupac, and
(00:24):
I realized that rappers and musical artists they needed help
transitioning to acting. My clients consist of musical artists from
Buster Rhymes to Eve, Missy Elliott, Angela Ye from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now I know, I know actors want to
get the job. I get that, but being remembered by
casting director that is powerful. And now it's time for
meditation of the day. We met for a reason, either
(01:08):
you're a blessing or a lesson anonymous. I love hanging
out with Tracy, I can't tell you how much fun
I love hanging out with myself. I think it's so
important as people that we love ourselves first. And what
summed that up for me and especially as a mom,
(01:28):
because you know, we multitasks were nurturing all over the
place for our children. When I was on a plane
and Radiance was really little, she was maybe about two
or three, and I remember really paying attention to the
flight attendants with the exits and the entrances and all
of this stuff. And I remember when she said, first,
you parents, you put on the mask so that you
(01:50):
can assist your child. That's what loving yourself is about.
When you love yourself first, then your love can pour
out in other directions towards other people, to things, to
passions and desires, but it has to start with you first.
And there are people that come into our lives. And
I always emphasize to my children and to Sarriah, my granddaughter,
(02:14):
if people who come into your lives don't make you
feel good and uplift your soul, why are you wasting time?
Why are you wasting energy being sad and arguing and frustrating.
That's a lesson and the lesson is don't invite everybody
to the party, because not everybody can show up and
(02:36):
be there for you. Today, I will fall in love
with myself first. Before we get started, I'd like to
remind everyone to look out for my new show, Inside
the Black Box. I'll be co hosting with the great
Joe Morton. Will be on Crackle Network real soon. I'll
(02:57):
keep you posted. Welcome to the Spirited Actor Podcast with
me Tracy Moore. I have been waiting anxiously for this day,
for this guest so many reasons. You guys will put
it all together at the end of this interview, but
she is a casting director extraordinaire. I can't even be
(03:18):
more proud of her, like she's my child. Every time
I see her credit No, I don't care if she cries, zoom,
she grind And I tell you I've known her since
she was eight years old. I will never forget the
day that Asia came to me and she was like,
she wanted to learn casting right, Like what kid ask
(03:39):
you about casty? Because I have a daughter who never
asked me about casting right, So I wanted to. And
I'm friends with her, her mother and my sister, My
soul sister. And I think your mother said make it
difficult for her, like make her work right. That sounds
about right. And I'm telling you back in the day,
(04:00):
we had Manila envelopes that would be boxes. Yes, I said, Asia,
you open up these Manila envelopes and you file them
according to you know, their race and their age and
this and and that was eight years old. Ladies and gentlemen,
I need you to stand up and put your hands together.
(04:21):
For casting director, it's certainly or no. We talked about
her credits. No asil move ladies to cha. But yeah,
oh gosh, I'm like, is my hair looking okay? You
look amazing you? Oh my gosh. Yeah, that was day
one day wont height. And I think specifically, I believe
(04:42):
you were casting New York Undercover, which was legendary. And
I remember one day coming into the office and you said,
you said, okay, today, I want you to find everyone's
picture who you feel belongs in jail, because you were
doing a jailsy that if he's anybody who looks like
(05:08):
they belong in jail, put them in this pile, right,
and anyone who doesn't, put them in this pile. And
I was like, oh, Okay, I can do that. And
I was just busting them down boop even a she no.
And I remember afterwards because you you went through the
pal and you were like, oh yeah, okay. But you
(05:34):
know what, back in the day, back in that during
that time, music videos, to people, their pictures were the characters.
Because I remember saying to a lot of people, like
video girls would say to me, you know why am
I only getting these type of roles? And I'm like, well,
you can't show your cleavage in every photo, you know
(05:54):
what I mean? Because everybody is really identifying and brothers.
I remember brothers like Rested Piece, Michael Kay Williams would
have the corn rows and it was like automatically assume
drug dealer in jail, you know what I mean. So
and I would say us, because this is where I
wanted to come from in terms of teaching, is looking
(06:15):
at people for face value and the potential of what
they could be as opposed to what they're giving us.
And then that's it, that's all they can be. And
I think, which is a great segue, I think that's
why there's so much diversity in your career. Ladies and gentlemen.
Let me just read auf some credits here, I just
need to I tell them to go to IMDb dot com. Agent.
Let me tell you. Let's start with Ready to Love. Okay,
(06:39):
the TV series Married at First Sight, which is one
of my favorite shows in the whole wide world. Human
behavior actors need to watch it unway in correct that
because it was Married at First Sight. It was a
spinoff from Married at First Sight. It was Honeymoon Island,
So I just want to correct that. Okay, Well, yeah,
(07:00):
that was an island. Was brilliant. If it's anything like that,
it's all human behavior. Even with Ready to Love, the
human behavior, which is a good case study one of
my favorite shows with Anthony Anderson to Tell the Truth
TV series The Cut, another one of my favorite new shows.
Put a ring on it, Big Brother, American Idol. And
(07:24):
I know you're currently working on another show. Yes, so shows, yes,
um so, I just found a love for reality TV.
That was that just became like my love and commercial
So I still do tons and tons and tons of commercials.
Those are like my my heart's my loves. And I
(07:44):
found a love for reality TV about five years ago,
and so um, oh lord, my my brain just weren't
playing oh my new shows. So everything someone predominantly like
almost everything that I work on a lot of times
is either a reality TV series, a competition, or development.
(08:06):
So within the last three years, I've had the chance
to develop new shows directly with network, directly with production companies,
which is very interesting. Did you see that new deadline
article that came out like three days ago regarding Okay,
so there's a new deadline, so we have to read
everybody regarding how television is putting the African American community
(08:33):
in a not not a not a positive light, and
a lot of it from the people who are making
decisions on these shows, specifically reality TV shows. They're not
they're not our color, right, So they're making decisions and
you know, pushing shows in different directions because of what
they feel that we are. So, you know, I feel
(08:56):
I'm every day, I'm fighting for better for black people,
for African Americans. I'm fighting every single day. So that
article was really really important to me because that's what
I'm fighting for now. So I'm seeing a lot of
the a lot of the ideals for reality television definitely
starts in the development phase, right, So I'm doing a
(09:18):
lot of a lot of development. So currently I'm not
sure if I can say for what network yet, but
I am doing I did a development show last year,
it got picked up this year, so I'm casting season
one right now. And what it is, I'm really excited
about this one because we're telling it's basically African American
women giving us their experience in dating, like what happened
(09:41):
in their relationships there there is like what happened, you know, prior,
what what happened in their upbringing, what baggages they carry
from their upbringing toship. So I'm really feeling like this
a spark of you know, of us really getting a
chance to tell our real story because you know, reality
(10:01):
TV there is a lot of reality parts in it
because these people are themselves, but we're seeing a lot
of the same images constantly being here, which is like
the housewife vibes. You know, not everybody got this luxurious
life and stuff. So I know I'm just probably a
long winded, but I just want to be for everybody
(10:21):
understands that, you know, there's people like me and a
lot of other African American casts and people in reality
that are fighting for better images every single day, and
we're fighting for better shows, better things that can portray
us in you know, and who we who we really are,
not necessarily serily you know, always the loud one, the
(10:41):
one who you know, living this luxurious life but was
a stripper, like you know, that's kind of just where
they see it. So I'm constantly fighting. So this new show,
I'm really excited because it's every day women, you know,
they don't have to have this luxurious life. It's really
you know, telling their real stories on what is happening
to the African American single woman or period. So I'm
(11:04):
excited about that one. And I do have to say
Big Brother, we had our first black winner last season,
which was really tough. Was that no no no? So okay,
So technically Tamar is the first first, right, but because
it's celebrity Big Brother, they don't consider that. They don't
(11:27):
because that's a really a whole another show they did
on her the first But last year, Xavier, who was
a lawyer, was our first black winner of the Brother.
And I don't know if you saw it, but every
black person on Big Brother they made a pat that, Okay,
we're going to ensure one of us win. So they
(11:47):
stopped together to the end and they literally got everybody
out of there to force a black winner. Because this
show has been on for over twenty one years. I
was gonna say twenty years, right, twenty some years, like twenty.
I think it's going on twenty three now, wow, I
know the black people are always blue blueplop blup. Now
(12:08):
out that part. Yeah, So you know, I always have
to find like a really thin line on you know,
like what's to give the network and then what we
need to see image wise, which is you know, it's
pretty tough. But okay, so let me ask you this
because you know, my show Inside the Black Box with
any award winning Jill Morton, that is the platform that
(12:29):
we are creating for us to get these stories out here,
for us to know what really is going on in
twenty in the industry for black people and people of color.
And I'm so happy that you are inside and in
the networks and you have a voice and you are fighting.
I often feel like this show is like imitating art itself.
And so my question to you is what is it
(12:53):
that the networks, these executives are holding onto in terms
of our images that they think right, So I feel like, well,
if the images are of us being drug addicts, hoodlams, prostitutes.
Then what's so bad about this being secretary CEOs and billionaires?
(13:15):
What's so bad about showing that image? And because I
feel like it's like, well, you know, advertisers won't advertise
if we don't have, you know, these stereotypical images, or
what is the message that they're sending? Because I fight too,
I'm gonna just give you a little bit of my experience.
I was I won't say what network. I was working
(13:38):
element for a specific network, and they wanted to have
like the first all black bachelor type reality show, right,
but they wanted the black men to be bisexual. And
I was like, oh, you know, I don't have anything
I don't have, you know, like I totally support the community.
(13:59):
I'm like, like, I'm in the community, so I it's like,
you know, I just thought it was very interesting that
the first black bachelor for this new show had to
be bisexual. And I was just like, when I look
at all the Bachelor shows, none of them were bisexual.
Why does the first black one have to be? And
(14:19):
and the way the show was set up was all
it was going to be multiple men, right, it was
going to be multiple bachelor's, right, but but you know,
the show was gonna somehow segue into it just being
about him, but what's gonna start off somewhere else? But
they wanted them to be bisexual enough. Now I had,
you know, like as far as casting, I had like
(14:40):
you know, black men that were like big executives at
like Google and like all these like prestigious companies, right,
and I knew. I was just like, oh, the last
thing I want is for you know, someone with such
an amazing job to come on a show and then
they're living with you know, bisexual men and they're uncomfortable
for whatever, because they have a right to feel however
(15:02):
they want to feel, and then they do or say
something and then their career is over. Right. So my
whole thing was like, why why does that have Why
does the black one have to be bisexual? And they
were like African American community needs to be more open
and they need to this, And I said, well, why
is that your story? Like exactly and your responsibility? Who
(15:24):
told you that you need to be that person? Like
why do you feel this is the way to do that?
And I was just like, I don't I don't agree
with that, you know, I like, I think that you're
going to be putting all these men with all these
prestigious jobs in a position where you know, they may
feel uncomfortable or say something or do something that is
just like hey like I'm cool, but I don't. I
(15:46):
don't need it in my space, and then their entire
career is over. I don't want to be a part
of that. And I'm just saying that to say, like,
when it comes down to networks and production companies making decisions,
number one thing that they brought up is numbers. Right,
So when we have all these other shows, you know,
(16:07):
when we have which I love the drama, I ain't
on front. I am watching the drama. I am watching everything,
but I don't particularly cast the drama because on the
side where I believe there needs to be an equal
amount of balance, I think that's what we don't have
(16:27):
the balance. So when I come up to them, when
I was asking them why, they were like, well, statistically,
this is happening, and black people are watching this, and
this is what they want to watch and this is
what they like. And they threw numbers at me and
I was like, oh damn, Like, what can I say
about that. And my whole thing was just like, you know,
I said to them, I was just like, we can't
(16:48):
just rely on the numbers of what is happening currently,
right because just because this is what's happening currently does
not mean if we had another option, the numbers would
not transition to that. But you're not giving us an option.
You're just to what what you're seeing currently. And I
don't know if you all remember in the nineties, New
(17:08):
York was on top hip hop wise, okay, but when
and nobody was checking for Atlanta, checking for Atlanta in
those nineties, and look what happened. Atlanta got a chance
and took over and they are still raining. So that
is my example of saying like, just because currently we're
not there does not mean that we can't transition to
(17:31):
something else. So it's all about numbers. So you're watching,
you know, and I'm a part of it because I
do watch it. I watched Love and Hip Hop, I
watched The Housewives, which let me just say, the reason
why The Housewives popped off is because of Atlanta. Atlanta
is accounting for all the other season the number one
for years. That's just you know, when we talk to
(17:53):
networks about things. It's all about numbers and what people
are currently watching. So they like to stay in those areas.
And for whatever reason, when it comes to the black community,
the shows whereas drama, they loud, they got you know,
they wear in all this makeup and they look in
this and the luxurious stuff. They're like, Oh, this is
what black people want to see. This is what It is.
(18:17):
Nothing more insulting to already be the only one of
the only black people working on black shows right on
shows period, whether it's black or white, and to have
someone who's not in our culture tell me where black
people want to see, want to watch, what they want
to look like, what they want to talk about. And
I'm like, I'm the demographic that you're trying to reach.
(18:39):
We might watch the mess, but we need a balance
of other stuff. So it's not necessarily like I don't
feel like they're saying like, oh, all black people are alloud,
and all black people are this. They're looking at the
numbers of what we're watching, right, and so they're based
in their decision on that, and they're also I think
(18:59):
that I do feel insulted. I do feel that there's
an arrogance to feel as though you know my experience
when the only way you can know my experience is
to be black, and you can anything other than that.
In my opinion, you are hypothesizing. I had a conversation.
I had this really great interview a podcast and it
was a white woman that was interviewing me, and we
(19:22):
were talking and being a mom and the similarities of
being a mom. I said, but the experiences are totally different.
When my son leaves my house, you know, I embrace
him and pray to God that he doesn't feel the
embrace in the in the way in which I'm holding
him because he has to walk out into this world
and he's a black man. He can't disguise that. And also,
(19:43):
you know, I have a monologue Miles, you know, don't
you know this? This, this, this, And then I tell
him I love him and he's off and I said,
is that the way you say goodbye to your son?
And it was complete silence, and she said no, And
I said, that is the difference culturally. So when you
say you understand, you don't understand. That's something that you're saying.
(20:06):
But to truly understand my experience, you understand my paint.
You understand, you know, me just putting myself in a
mindset of being positive and and and knowing that the
angels are wrapping their arms around my children, my granddaughter,
you know what I mean. So it's like, I think
it's so arrogant to you know, I've been in that
room on a sitcom where a black sitcom, one black writer,
(20:26):
and everybody is telling my client what they're they're saying,
what they're thinking, and they're like, I don't I wouldn't
say that. I don't think like that. But based on
now these numbers, this is how we're supposed to be, right.
I just think it's crazy that we're in and two
and we're having this conversation. One of the conversations I
(20:47):
haven't casting. I wanted to ask you, like, you know,
you're in the reality world. You're also you know, it's
it's not a big transition if you chose to go
to live action, and I'm sure you've been offered TV
shows and films. Do you feel in terms of the
community out there for black casting directors and casting directors
of color, do you feel that you guys have an
(21:09):
even platform and compared to your colleagues as your white college.
And is that something that is known within the casting
community or is it just you know, it's known. And
there are so many zooms. I'm so tired of talking
about it. Wow, there's so many zooms where all of
us come together, you know, because I'm in I'm in
(21:31):
the commercial reality world, right. However, I have like friends
like Thea Washington, who she just did a HBO show
that I'm really excited about. And you know she does
film and commercial in reality as well, so you know
her and I and it's like a list of black
casting people. We come together like, Okay, what are we
gonna do? What are we gonna do about this? And
(21:53):
at this I'm just tired of talking. Yeah, out of talking,
because you know, there's some who's who's about the Fright,
and then there's some who's just gonna okay, sure, yeah
and just want to chat. You know what I'm saying.
Those are the people I can't even even mess with.
But it's definitely known in reality television. You know. Actually,
(22:16):
one of my friends, Jazzy, can't remember her last names
last name right now, but Jazzy wrote a open letter
to CBS a couple of years ago regarding the Bachelor
and and told them she let them have it. She
told them what was going on because there was a
lot of racism going on on an open letter. Every
blog picked it up and CBS rearranged a lot of things,
(22:40):
okay even and that was the calapult to a lot
of these networks now having mandates about there has to
be a certain amount of African American people on every
casting team because before it was like maybe one and
I'm talking about I'm talking about some of these shows
that we're watching that have all black casts for many years,
(23:02):
all white Captaine people like nobody black, you know. So
now there's mandates that are out, which is very interesting
too because okay, yes, now they're forced to find more
of us, right and have us on the team, but
a lot of times they're putting us in entry level positions. Wow,
(23:26):
you know what I'm saying. So, but I have to
say there are companies, um like Vito Casting right, they
are the girls behind Project Runway now making the cut
every season, and they are a group of Caucasian women,
um in Spanish because Jen is Spanish too, She's um,
She's who are fighting for us and are like actually
(23:48):
on our side. So there are some you know, Catherine,
who are you know, not in the culture who are like, no,
like we need this and are giving us the titles,
given us the right pay because that's the other thing, like,
you know, they give us a decision do you want
the title or do you want the compensation? Right, and
so sometimes that puts us in a position because if
(24:09):
we have the title, then the next one we might
be able to get the compensation you know needed. So
it's like it's very known we definitely make less. We
are not offered a lot of the high level positions. However,
the mandates I say have somewhat helped, but it's still
putting us in that position where either they hire us
(24:29):
for like a month, you know what I mean to
be able to say, or hire a whole bunch of
associates and assistance to you know, and take pictures like
they really don't have any say, They're just doing what
tell them to do. So it comes down to, for one,
(24:51):
this is the thing that is very interesting to me.
A lot of these black owned companies that are doing
these reality shows, they're doing co partnership deals with production
companies who are all white, right, But then what happens
is those are the ones who are going to be
making decisions before it even gets to the network, right,
(25:11):
So it's like we need to you know, like these
all these celebrities and artists and personalities who want to
get in reality television, they need to start doing a
diversity check because a lot of them I know are
not I'm not going to call them out, but those
that are we watching, they need to start checking to
see who is casting this, who who's looking for this,
(25:32):
because first of all, when you have somebody who's in
the culture casting and who understands the culture, who understands
you know, even if it was a fashion show, if
someone who was into fashion, you're gonna get better options,
you know, because most of the time most people were
just on Instagram flipping and my bonds and they're not
(25:53):
doing the groundwork. I just want to say, because this
has been I didn't know and I loud spear to
direct us. This has been a phenomenal interview and I
am just levitating right now. We have really one minute.
If you could give us, um, we're gonna go into
classroom sessions. So if there's more you want to give,
(26:15):
but if there's one piece of advice, that you could
give these actors out here. What is that thing that
when I have an opportunity to talk to actors, I'm
going to tell them give it one thing when it
comes to scripted, because I know most of your people
are scripted. We mentioned the picture situation. That is so
important because if I get a picture and you don't
(26:37):
look like what I thought, you look like, I'm done.
I'm done because our our job is very visual, you know,
and now everything is digital. So if I'm casting commercial
which is a lot which is scripted, I'm castine commercials
and you don't look like your hair is not the same,
your weight is not the same, like your pictures need
(26:57):
to be updated. Make sure your pictures are rat And
in the commercial world you can submit different types of
looks like how you talked about earlier. You know, I
want to go for this this you know job. Make
sure you're submitting with the right picture that matches the
description of what we're looking for. Because in commercials and
film is two totally different ways. We can right and film,
(27:21):
you may have a great regular headshot and then we
can be like, oh, they can probably be dressed this way,
and that commercials we don't have time for that. We
got two weeks to find you, and we need you
to look how you're looking in your picture and whatever
vibe that we're looking for. Submit that picture that fits
the vibe we're looking for. Pictures is very very very important. Excellent,
(27:42):
and we're gonna get some more tips from Asia because
this was powerful. Yeah, how we're flowing the another confirmation
as too. I got a pitch inside black Box with
myself and Joe Morton. Another reason why this show has
to continue, so that we can support these stories, and
I got tired of talking about it to Asia. That's
(28:03):
why eighteen years ago I was like, we need a
show called the black Box, and then it evolved two
Inside the black Box. So we're gonna be back you
guys on the Spirited Actor Podcast with me Tracy Moore
for Class in Session. Welcome back to the Spirited Actor
Podcast with me Tracy Moore, and we are still with
Casting Director Extraordinarire Asia lou So. This is how we
(28:27):
play this game, Asia. I have two of the Spirit
Actor alumni with me, Julsa Capri Hey to Lisa Hey,
and we have Jamie Lincoln Smith. Je Hey, thank you
for being here. You guys. So I am so excited
to give you, guys, this opportunity to have the eyes
(28:47):
of Asia lou on you. Okay, Elsa lay than you
Ready for the narrative? All right and on action Misunderstood?
Written by Lee in a Mottel interior Jackie's living room evening, Jackie,
a beautiful young mother, closes the door behind Dev as
(29:08):
she invites him into the living room. You can see
the concern on Jackie's face as Dev still for the streets.
Father tries to match her energy. Hey, thank you so
much for coming over me when I told you I'm
for you. M Hm, you know, I just I just
(29:28):
willy need some guidance and just tell me where to start.
I mean, well, what do you comfortable with sharing? Share
it off with you missing it? As she looks down
into her hands full of worry. Yeah, I love that
you're you know that you're so open with me. Well,
(29:51):
now I just need to get you open. H Well,
I mean I'm sure it's so much already out with
your back. Ellen's leaves in to lay his hands on
her shoulder and eventually makes his way down her spine,
right as she gets up and grabs a baby picture
of her son and she stares at it. Let me
(30:15):
just tell me, what's the first thing that you would
do first? I would, oh, my god, what are you
doing in your daddy? Baby? No, my daddy, I said,
(30:36):
my son needs a daddy, right, of course, he needs
a day. Well, do you have so much to stay
on the bhate woman? I don't even know where my
(30:58):
own son is. I thought you wanted something else. Yep,
I'm gonna walk myself out. Uh, good luck, good night.
(31:22):
Just like that, he's gone, Oh seen, Okay, I'm gonna
throw it over to Asia whenever you want to give them. Wow.
I felt it out, and damn you know what. The
show that I'm working on right now is full of
these types of stories of y'all men. So I was
(31:46):
just like, it felt good. I like how you took
the time to really feel what was going on, what
was being said. It felt realistic. It felt good to me.
The pacing I felt was good because I felt like
you guys were like internalizing what you were talking about
and what was happening and with feelings and emotions, what's
going on. So that was really great. I was ready
(32:08):
to hear more because I'm like, well, way, hold on,
what the hell is going on? Yes? But I think
you did. I think he did really great. Yeah. Um.
What we do is we follow up with our guests,
especially you, with a picture of resume, um and and
reel of their stuff so that you can have it
(32:29):
for your files. Not a problem, Okay? Good? I do
you know commercials and reality, So as long as you're
open to commercials, because that's where I still definitely use actors.
And I do have a nice arsenal of a whole
bunch of African American casting directors and we constantly talk
about new people we found, and I definitely afford it
(32:52):
over to that group. Thank you, So I appreciate love that.
But we want to give you a big old virtual
hug because you have been phenomenal and I am so
proud to be able to call you Nisy cause I
remember you guys. And and let me tell you something
(33:12):
that her work ethic was stupid. Can you imagine me
like having a ten year old at New York un
to cover the office and then bringing her home at
night for her mother. And then her mother was like,
as long as she was you, Tracy, she fine. I'm like, oh,
she has school tomorrow. I loved it. I didn't even
(33:33):
understand what I was really doing until later on, So
I definitely thank you for that. Tracy. You're absolutely welcome
and I always bragged me out you. I love the
fact that you just took it it rad off and
I used to watch you like, oh, I hope she
doesn't get a paper cut. Then I got explained it
to her mother. I loved it, and I got to
(33:56):
say with you know, with young people, you gotta bring
let's him coming tag them on is you never know
where it's gonna take me. And make sure everybody you
watch Making the Cut on Amazon, because I do that
every season. Make sure you watch American Idle that's on now.
I'm hoping that my god, my boy Jake goes far.
I'm excited about him, and yeah, but we're gonna root
(34:19):
for him, and we're gonna continue to root for you
and send you mad love. Ladies and gentlemen, put your
hands together and get up for Asia Loule Cassia and
on the Spirited Actor podcast with me Tracy Bore and
I'm gonna give you some love. And now it's time
for give love. One of the things that I've learned
(34:40):
and continue to learn as I get wiser. Is in
my observation, we just want the support and we want
the applause, but we also want the love of our
family and friends when we're pursuing a goal or a
dream and a lot out of times I have conversations
(35:02):
with my kids and Soriah and we talked about um haters, right,
And I remember the first time we talked about haters,
and I said, you know what haters are. You remind
people when you pursue your goals or you pursue your dreams,
you remind people that they are not and so it's
easier to put you down. It's easier to drag you
(35:26):
and make you feel bad then for me to actually
go out, be committed, be passionate, and pursue my dreams.
So when people are coming at you with negative energy
or negative thoughts, it has nothing to do with you.
That's their stuff, and you remind them of that. Don't
forget to look out for us. On our new show
Inside the black Box, my co host will be Joe
(35:48):
the Legend Morton. It's going to be the Spirited Actor.
Podcast on Steroids will be streaming on the Crackle network.
I'll keep you posted. Thank you for joining us on
the Spirited Actor Podcast with me Tracy Moore. I look
forward to our next Spirited podcast. Thank you,
Hello, and welcome to the Spirited Actor Podcast with me
Tracy Moore. I was a casting director for film and
TV and commercials for over thirty years. I transition to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Thomaz.
I audition every rapper from Biggias Balls to Tupac, and
(00:24):
I realized that rappers and musical artists they needed help
transitioning to acting. My clients consist of musical artists from
Buster Rhymes to Eve, Missy Elliott, Angela Ye from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now I know, I know actors want to
get the job. I get that, but being remembered by
casting director that is powerful. And now it's time for
meditation of the day. We met for a reason, either
(01:08):
you're a blessing or a lesson anonymous. I love hanging
out with Tracy, I can't tell you how much fun
I love hanging out with myself. I think it's so
important as people that we love ourselves first. And what
summed that up for me and especially as a mom,
(01:28):
because you know, we multitasks were nurturing all over the
place for our children. When I was on a plane
and Radiance was really little, she was maybe about two
or three, and I remember really paying attention to the
flight attendants with the exits and the entrances and all
of this stuff. And I remember when she said, first,
you parents, you put on the mask so that you
(01:50):
can assist your child. That's what loving yourself is about.
When you love yourself first, then your love can pour
out in other directions towards other people, to things, to
passions and desires, but it has to start with you first.
And there are people that come into our lives. And
I always emphasize to my children and to Sarriah, my granddaughter,
(02:14):
if people who come into your lives don't make you
feel good and uplift your soul, why are you wasting time?
Why are you wasting energy being sad and arguing and frustrating.
That's a lesson and the lesson is don't invite everybody
to the party, because not everybody can show up and
(02:36):
be there for you. Today, I will fall in love
with myself first. Before we get started, I'd like to
remind everyone to look out for my new show, Inside
the Black Box. I'll be co hosting with the great
Joe Morton. Will be on Crackle Network real soon. I'll
(02:57):
keep you posted. Welcome to the Spirited Actor Podcast with
me Tracy Moore. I have been waiting anxiously for this day,
for this guest so many reasons. You guys will put
it all together at the end of this interview, but
she is a casting director extraordinaire. I can't even be
(03:18):
more proud of her, like she's my child. Every time
I see her credit No, I don't care if she cries, zoom,
she grind And I tell you I've known her since
she was eight years old. I will never forget the
day that Asia came to me and she was like,
she wanted to learn casting right, Like what kid ask
(03:39):
you about casty? Because I have a daughter who never
asked me about casting right, So I wanted to. And
I'm friends with her, her mother and my sister, My
soul sister. And I think your mother said make it
difficult for her, like make her work right. That sounds
about right. And I'm telling you back in the day,
(04:00):
we had Manila envelopes that would be boxes. Yes, I said, Asia,
you open up these Manila envelopes and you file them
according to you know, their race and their age and
this and and that was eight years old. Ladies and gentlemen,
I need you to stand up and put your hands together.
(04:21):
For casting director, it's certainly or no. We talked about
her credits. No asil move ladies to cha. But yeah,
oh gosh, I'm like, is my hair looking okay? You
look amazing you? Oh my gosh. Yeah, that was day
one day wont height. And I think specifically, I believe
(04:42):
you were casting New York Undercover, which was legendary. And
I remember one day coming into the office and you said,
you said, okay, today, I want you to find everyone's
picture who you feel belongs in jail, because you were
doing a jailsy that if he's anybody who looks like
(05:08):
they belong in jail, put them in this pile, right,
and anyone who doesn't, put them in this pile. And
I was like, oh, Okay, I can do that. And
I was just busting them down boop even a she no.
And I remember afterwards because you you went through the
pal and you were like, oh yeah, okay. But you
(05:34):
know what, back in the day, back in that during
that time, music videos, to people, their pictures were the characters.
Because I remember saying to a lot of people, like
video girls would say to me, you know why am
I only getting these type of roles? And I'm like, well,
you can't show your cleavage in every photo, you know
(05:54):
what I mean? Because everybody is really identifying and brothers.
I remember brothers like Rested Piece, Michael Kay Williams would
have the corn rows and it was like automatically assume
drug dealer in jail, you know what I mean. So
and I would say us, because this is where I
wanted to come from in terms of teaching, is looking
(06:15):
at people for face value and the potential of what
they could be as opposed to what they're giving us.
And then that's it, that's all they can be. And
I think, which is a great segue, I think that's
why there's so much diversity in your career. Ladies and gentlemen.
Let me just read auf some credits here, I just
need to I tell them to go to IMDb dot com. Agent.
Let me tell you. Let's start with Ready to Love. Okay,
(06:39):
the TV series Married at First Sight, which is one
of my favorite shows in the whole wide world. Human
behavior actors need to watch it unway in correct that
because it was Married at First Sight. It was a
spinoff from Married at First Sight. It was Honeymoon Island,
So I just want to correct that. Okay, Well, yeah,
(07:00):
that was an island. Was brilliant. If it's anything like that,
it's all human behavior. Even with Ready to Love, the
human behavior, which is a good case study one of
my favorite shows with Anthony Anderson to Tell the Truth
TV series The Cut, another one of my favorite new shows.
Put a ring on it, Big Brother, American Idol. And
(07:24):
I know you're currently working on another show. Yes, so shows, yes,
um so, I just found a love for reality TV.
That was that just became like my love and commercial
So I still do tons and tons and tons of commercials.
Those are like my my heart's my loves. And I
(07:44):
found a love for reality TV about five years ago,
and so um, oh lord, my my brain just weren't
playing oh my new shows. So everything someone predominantly like
almost everything that I work on a lot of times
is either a reality TV series, a competition, or development.
(08:06):
So within the last three years, I've had the chance
to develop new shows directly with network, directly with production companies,
which is very interesting. Did you see that new deadline
article that came out like three days ago regarding Okay,
so there's a new deadline, so we have to read
everybody regarding how television is putting the African American community
(08:33):
in a not not a not a positive light, and
a lot of it from the people who are making
decisions on these shows, specifically reality TV shows. They're not
they're not our color, right, So they're making decisions and
you know, pushing shows in different directions because of what
they feel that we are. So, you know, I feel
(08:56):
I'm every day, I'm fighting for better for black people,
for African Americans. I'm fighting every single day. So that
article was really really important to me because that's what
I'm fighting for now. So I'm seeing a lot of
the a lot of the ideals for reality television definitely
starts in the development phase, right, So I'm doing a
(09:18):
lot of a lot of development. So currently I'm not
sure if I can say for what network yet, but
I am doing I did a development show last year,
it got picked up this year, so I'm casting season
one right now. And what it is, I'm really excited
about this one because we're telling it's basically African American
women giving us their experience in dating, like what happened
(09:41):
in their relationships there there is like what happened, you know, prior,
what what happened in their upbringing, what baggages they carry
from their upbringing toship. So I'm really feeling like this
a spark of you know, of us really getting a
chance to tell our real story because you know, reality
(10:01):
TV there is a lot of reality parts in it
because these people are themselves, but we're seeing a lot
of the same images constantly being here, which is like
the housewife vibes. You know, not everybody got this luxurious
life and stuff. So I know I'm just probably a
long winded, but I just want to be for everybody
(10:21):
understands that, you know, there's people like me and a
lot of other African American casts and people in reality
that are fighting for better images every single day, and
we're fighting for better shows, better things that can portray
us in you know, and who we who we really are,
not necessarily serily you know, always the loud one, the
(10:41):
one who you know, living this luxurious life but was
a stripper, like you know, that's kind of just where
they see it. So I'm constantly fighting. So this new show,
I'm really excited because it's every day women, you know,
they don't have to have this luxurious life. It's really
you know, telling their real stories on what is happening
to the African American single woman or period. So I'm
(11:04):
excited about that one. And I do have to say
Big Brother, we had our first black winner last season,
which was really tough. Was that no no no? So okay,
So technically Tamar is the first first, right, but because
it's celebrity Big Brother, they don't consider that. They don't
(11:27):
because that's a really a whole another show they did
on her the first But last year, Xavier, who was
a lawyer, was our first black winner of the Brother.
And I don't know if you saw it, but every
black person on Big Brother they made a pat that, Okay,
we're going to ensure one of us win. So they
(11:47):
stopped together to the end and they literally got everybody
out of there to force a black winner. Because this
show has been on for over twenty one years. I
was gonna say twenty years, right, twenty some years, like twenty.
I think it's going on twenty three now, wow, I
know the black people are always blue blueplop blup. Now
(12:08):
out that part. Yeah, So you know, I always have
to find like a really thin line on you know,
like what's to give the network and then what we
need to see image wise, which is you know, it's
pretty tough. But okay, so let me ask you this
because you know, my show Inside the Black Box with
any award winning Jill Morton, that is the platform that
(12:29):
we are creating for us to get these stories out here,
for us to know what really is going on in
twenty in the industry for black people and people of color.
And I'm so happy that you are inside and in
the networks and you have a voice and you are fighting.
I often feel like this show is like imitating art itself.
And so my question to you is what is it
(12:53):
that the networks, these executives are holding onto in terms
of our images that they think right, So I feel like, well,
if the images are of us being drug addicts, hoodlams, prostitutes.
Then what's so bad about this being secretary CEOs and billionaires?
(13:15):
What's so bad about showing that image? And because I
feel like it's like, well, you know, advertisers won't advertise
if we don't have, you know, these stereotypical images, or
what is the message that they're sending? Because I fight too,
I'm gonna just give you a little bit of my experience.
I was I won't say what network. I was working
(13:38):
element for a specific network, and they wanted to have
like the first all black bachelor type reality show, right,
but they wanted the black men to be bisexual. And
I was like, oh, you know, I don't have anything
I don't have, you know, like I totally support the community.
(13:59):
I'm like, like, I'm in the community, so I it's like,
you know, I just thought it was very interesting that
the first black bachelor for this new show had to
be bisexual. And I was just like, when I look
at all the Bachelor shows, none of them were bisexual.
Why does the first black one have to be? And
(14:19):
and the way the show was set up was all
it was going to be multiple men, right, it was
going to be multiple bachelor's, right, but but you know,
the show was gonna somehow segue into it just being
about him, but what's gonna start off somewhere else? But
they wanted them to be bisexual enough. Now I had,
you know, like as far as casting, I had like
(14:40):
you know, black men that were like big executives at
like Google and like all these like prestigious companies, right,
and I knew. I was just like, oh, the last
thing I want is for you know, someone with such
an amazing job to come on a show and then
they're living with you know, bisexual men and they're uncomfortable
for whatever, because they have a right to feel however
(15:02):
they want to feel, and then they do or say
something and then their career is over. Right. So my
whole thing was like, why why does that have Why
does the black one have to be bisexual? And they
were like African American community needs to be more open
and they need to this, And I said, well, why
is that your story? Like exactly and your responsibility? Who
(15:24):
told you that you need to be that person? Like
why do you feel this is the way to do that?
And I was just like, I don't I don't agree
with that, you know, I like, I think that you're
going to be putting all these men with all these
prestigious jobs in a position where you know, they may
feel uncomfortable or say something or do something that is
just like hey like I'm cool, but I don't. I
(15:46):
don't need it in my space, and then their entire
career is over. I don't want to be a part
of that. And I'm just saying that to say, like,
when it comes down to networks and production companies making decisions,
number one thing that they brought up is numbers. Right,
So when we have all these other shows, you know,
(16:07):
when we have which I love the drama, I ain't
on front. I am watching the drama. I am watching everything,
but I don't particularly cast the drama because on the
side where I believe there needs to be an equal
amount of balance, I think that's what we don't have
(16:27):
the balance. So when I come up to them, when
I was asking them why, they were like, well, statistically,
this is happening, and black people are watching this, and
this is what they want to watch and this is
what they like. And they threw numbers at me and
I was like, oh damn, Like, what can I say
about that. And my whole thing was just like, you know,
I said to them, I was just like, we can't
(16:48):
just rely on the numbers of what is happening currently,
right because just because this is what's happening currently does
not mean if we had another option, the numbers would
not transition to that. But you're not giving us an option.
You're just to what what you're seeing currently. And I
don't know if you all remember in the nineties, New
(17:08):
York was on top hip hop wise, okay, but when
and nobody was checking for Atlanta, checking for Atlanta in
those nineties, and look what happened. Atlanta got a chance
and took over and they are still raining. So that
is my example of saying like, just because currently we're
not there does not mean that we can't transition to
(17:31):
something else. So it's all about numbers. So you're watching,
you know, and I'm a part of it because I
do watch it. I watched Love and Hip Hop, I
watched The Housewives, which let me just say, the reason
why The Housewives popped off is because of Atlanta. Atlanta
is accounting for all the other season the number one
for years. That's just you know, when we talk to
(17:53):
networks about things. It's all about numbers and what people
are currently watching. So they like to stay in those areas.
And for whatever reason, when it comes to the black community,
the shows whereas drama, they loud, they got you know,
they wear in all this makeup and they look in
this and the luxurious stuff. They're like, Oh, this is
what black people want to see. This is what It is.
(18:17):
Nothing more insulting to already be the only one of
the only black people working on black shows right on
shows period, whether it's black or white, and to have
someone who's not in our culture tell me where black
people want to see, want to watch, what they want
to look like, what they want to talk about. And
I'm like, I'm the demographic that you're trying to reach.
(18:39):
We might watch the mess, but we need a balance
of other stuff. So it's not necessarily like I don't
feel like they're saying like, oh, all black people are alloud,
and all black people are this. They're looking at the
numbers of what we're watching, right, and so they're based
in their decision on that, and they're also I think
(18:59):
that I do feel insulted. I do feel that there's
an arrogance to feel as though you know my experience
when the only way you can know my experience is
to be black, and you can anything other than that.
In my opinion, you are hypothesizing. I had a conversation.
I had this really great interview a podcast and it
was a white woman that was interviewing me, and we
(19:22):
were talking and being a mom and the similarities of
being a mom. I said, but the experiences are totally different.
When my son leaves my house, you know, I embrace
him and pray to God that he doesn't feel the
embrace in the in the way in which I'm holding
him because he has to walk out into this world
and he's a black man. He can't disguise that. And also,
(19:43):
you know, I have a monologue Miles, you know, don't
you know this? This, this, this, And then I tell
him I love him and he's off and I said,
is that the way you say goodbye to your son?
And it was complete silence, and she said no, And
I said, that is the difference culturally. So when you
say you understand, you don't understand. That's something that you're saying.
(20:06):
But to truly understand my experience, you understand my paint.
You understand, you know, me just putting myself in a
mindset of being positive and and and knowing that the
angels are wrapping their arms around my children, my granddaughter,
you know what I mean. So it's like, I think
it's so arrogant to you know, I've been in that
room on a sitcom where a black sitcom, one black writer,
(20:26):
and everybody is telling my client what they're they're saying,
what they're thinking, and they're like, I don't I wouldn't
say that. I don't think like that. But based on
now these numbers, this is how we're supposed to be, right.
I just think it's crazy that we're in and two
and we're having this conversation. One of the conversations I
(20:47):
haven't casting. I wanted to ask you, like, you know,
you're in the reality world. You're also you know, it's
it's not a big transition if you chose to go
to live action, and I'm sure you've been offered TV
shows and films. Do you feel in terms of the
community out there for black casting directors and casting directors
of color, do you feel that you guys have an
(21:09):
even platform and compared to your colleagues as your white college.
And is that something that is known within the casting
community or is it just you know, it's known. And
there are so many zooms. I'm so tired of talking
about it. Wow, there's so many zooms where all of
us come together, you know, because I'm in I'm in
(21:31):
the commercial reality world, right. However, I have like friends
like Thea Washington, who she just did a HBO show
that I'm really excited about. And you know she does
film and commercial in reality as well, so you know
her and I and it's like a list of black
casting people. We come together like, Okay, what are we
gonna do? What are we gonna do about this? And
(21:53):
at this I'm just tired of talking. Yeah, out of talking,
because you know, there's some who's who's about the Fright,
and then there's some who's just gonna okay, sure, yeah
and just want to chat. You know what I'm saying.
Those are the people I can't even even mess with.
But it's definitely known in reality television. You know. Actually,
(22:16):
one of my friends, Jazzy, can't remember her last names
last name right now, but Jazzy wrote a open letter
to CBS a couple of years ago regarding the Bachelor
and and told them she let them have it. She
told them what was going on because there was a
lot of racism going on on an open letter. Every
blog picked it up and CBS rearranged a lot of things,
(22:40):
okay even and that was the calapult to a lot
of these networks now having mandates about there has to
be a certain amount of African American people on every
casting team because before it was like maybe one and
I'm talking about I'm talking about some of these shows
that we're watching that have all black casts for many years,
(23:02):
all white Captaine people like nobody black, you know. So
now there's mandates that are out, which is very interesting
too because okay, yes, now they're forced to find more
of us, right and have us on the team, but
a lot of times they're putting us in entry level positions. Wow,
(23:26):
you know what I'm saying. So, but I have to
say there are companies, um like Vito Casting right, they
are the girls behind Project Runway now making the cut
every season, and they are a group of Caucasian women,
um in Spanish because Jen is Spanish too, She's um,
She's who are fighting for us and are like actually
(23:48):
on our side. So there are some you know, Catherine,
who are you know, not in the culture who are like, no,
like we need this and are giving us the titles,
given us the right pay because that's the other thing, like,
you know, they give us a decision do you want
the title or do you want the compensation? Right, and
so sometimes that puts us in a position because if
(24:09):
we have the title, then the next one we might
be able to get the compensation you know needed. So
it's like it's very known we definitely make less. We
are not offered a lot of the high level positions. However,
the mandates I say have somewhat helped, but it's still
putting us in that position where either they hire us
(24:29):
for like a month, you know what I mean to
be able to say, or hire a whole bunch of
associates and assistance to you know, and take pictures like
they really don't have any say, They're just doing what
tell them to do. So it comes down to, for one,
(24:51):
this is the thing that is very interesting to me.
A lot of these black owned companies that are doing
these reality shows, they're doing co partnership deals with production
companies who are all white, right, But then what happens
is those are the ones who are going to be
making decisions before it even gets to the network, right,
(25:11):
So it's like we need to you know, like these
all these celebrities and artists and personalities who want to
get in reality television, they need to start doing a
diversity check because a lot of them I know are
not I'm not going to call them out, but those
that are we watching, they need to start checking to
see who is casting this, who who's looking for this,
(25:32):
because first of all, when you have somebody who's in
the culture casting and who understands the culture, who understands
you know, even if it was a fashion show, if
someone who was into fashion, you're gonna get better options,
you know, because most of the time most people were
just on Instagram flipping and my bonds and they're not
(25:53):
doing the groundwork. I just want to say, because this
has been I didn't know and I loud spear to
direct us. This has been a phenomenal interview and I
am just levitating right now. We have really one minute.
If you could give us, um, we're gonna go into
classroom sessions. So if there's more you want to give,
(26:15):
but if there's one piece of advice, that you could
give these actors out here. What is that thing that
when I have an opportunity to talk to actors, I'm
going to tell them give it one thing when it
comes to scripted, because I know most of your people
are scripted. We mentioned the picture situation. That is so
important because if I get a picture and you don't
(26:37):
look like what I thought, you look like, I'm done.
I'm done because our our job is very visual, you know,
and now everything is digital. So if I'm casting commercial
which is a lot which is scripted, I'm castine commercials
and you don't look like your hair is not the same,
your weight is not the same, like your pictures need
(26:57):
to be updated. Make sure your pictures are rat And
in the commercial world you can submit different types of
looks like how you talked about earlier. You know, I
want to go for this this you know job. Make
sure you're submitting with the right picture that matches the
description of what we're looking for. Because in commercials and
film is two totally different ways. We can right and film,
(27:21):
you may have a great regular headshot and then we
can be like, oh, they can probably be dressed this way,
and that commercials we don't have time for that. We
got two weeks to find you, and we need you
to look how you're looking in your picture and whatever
vibe that we're looking for. Submit that picture that fits
the vibe we're looking for. Pictures is very very very important. Excellent,
(27:42):
and we're gonna get some more tips from Asia because
this was powerful. Yeah, how we're flowing the another confirmation
as too. I got a pitch inside black Box with
myself and Joe Morton. Another reason why this show has
to continue, so that we can support these stories, and
I got tired of talking about it to Asia. That's
(28:03):
why eighteen years ago I was like, we need a
show called the black Box, and then it evolved two
Inside the black Box. So we're gonna be back you
guys on the Spirited Actor Podcast with me Tracy Moore
for Class in Session. Welcome back to the Spirited Actor
Podcast with me Tracy Moore, and we are still with
Casting Director Extraordinarire Asia lou So. This is how we
(28:27):
play this game, Asia. I have two of the Spirit
Actor alumni with me, Julsa Capri Hey to Lisa Hey,
and we have Jamie Lincoln Smith. Je Hey, thank you
for being here. You guys. So I am so excited
to give you, guys, this opportunity to have the eyes
(28:47):
of Asia lou on you. Okay, Elsa lay than you
Ready for the narrative? All right and on action Misunderstood?
Written by Lee in a Mottel interior Jackie's living room evening, Jackie,
a beautiful young mother, closes the door behind Dev as
(29:08):
she invites him into the living room. You can see
the concern on Jackie's face as Dev still for the streets.
Father tries to match her energy. Hey, thank you so
much for coming over me when I told you I'm
for you. M Hm, you know, I just I just
(29:28):
willy need some guidance and just tell me where to start.
I mean, well, what do you comfortable with sharing? Share
it off with you missing it? As she looks down
into her hands full of worry. Yeah, I love that
you're you know that you're so open with me. Well,
(29:51):
now I just need to get you open. H Well,
I mean I'm sure it's so much already out with
your back. Ellen's leaves in to lay his hands on
her shoulder and eventually makes his way down her spine,
right as she gets up and grabs a baby picture
of her son and she stares at it. Let me
(30:15):
just tell me, what's the first thing that you would
do first? I would, oh, my god, what are you
doing in your daddy? Baby? No, my daddy, I said,
(30:36):
my son needs a daddy, right, of course, he needs
a day. Well, do you have so much to stay
on the bhate woman? I don't even know where my
(30:58):
own son is. I thought you wanted something else. Yep,
I'm gonna walk myself out. Uh, good luck, good night.
(31:22):
Just like that, he's gone, Oh seen, Okay, I'm gonna
throw it over to Asia whenever you want to give them. Wow.
I felt it out, and damn you know what. The
show that I'm working on right now is full of
these types of stories of y'all men. So I was
(31:46):
just like, it felt good. I like how you took
the time to really feel what was going on, what
was being said. It felt realistic. It felt good to me.
The pacing I felt was good because I felt like
you guys were like internalizing what you were talking about
and what was happening and with feelings and emotions, what's
going on. So that was really great. I was ready
(32:08):
to hear more because I'm like, well, way, hold on,
what the hell is going on? Yes? But I think
you did. I think he did really great. Yeah. Um.
What we do is we follow up with our guests,
especially you, with a picture of resume, um and and
reel of their stuff so that you can have it
(32:29):
for your files. Not a problem, Okay? Good? I do
you know commercials and reality, So as long as you're
open to commercials, because that's where I still definitely use actors.
And I do have a nice arsenal of a whole
bunch of African American casting directors and we constantly talk
about new people we found, and I definitely afford it
(32:52):
over to that group. Thank you, So I appreciate love that.
But we want to give you a big old virtual
hug because you have been phenomenal and I am so
proud to be able to call you Nisy cause I
remember you guys. And and let me tell you something
(33:12):
that her work ethic was stupid. Can you imagine me
like having a ten year old at New York un
to cover the office and then bringing her home at
night for her mother. And then her mother was like,
as long as she was you, Tracy, she fine. I'm like, oh,
she has school tomorrow. I loved it. I didn't even
(33:33):
understand what I was really doing until later on, So
I definitely thank you for that. Tracy. You're absolutely welcome
and I always bragged me out you. I love the
fact that you just took it it rad off and
I used to watch you like, oh, I hope she
doesn't get a paper cut. Then I got explained it
to her mother. I loved it, and I got to
(33:56):
say with you know, with young people, you gotta bring
let's him coming tag them on is you never know
where it's gonna take me. And make sure everybody you
watch Making the Cut on Amazon, because I do that
every season. Make sure you watch American Idle that's on now.
I'm hoping that my god, my boy Jake goes far.
I'm excited about him, and yeah, but we're gonna root
(34:19):
for him, and we're gonna continue to root for you
and send you mad love. Ladies and gentlemen, put your
hands together and get up for Asia Loule Cassia and
on the Spirited Actor podcast with me Tracy Bore and
I'm gonna give you some love. And now it's time
for give love. One of the things that I've learned
(34:40):
and continue to learn as I get wiser. Is in
my observation, we just want the support and we want
the applause, but we also want the love of our
family and friends when we're pursuing a goal or a
dream and a lot out of times I have conversations
(35:02):
with my kids and Soriah and we talked about um haters, right,
And I remember the first time we talked about haters,
and I said, you know what haters are. You remind
people when you pursue your goals or you pursue your dreams,
you remind people that they are not and so it's
easier to put you down. It's easier to drag you
(35:26):
and make you feel bad then for me to actually
go out, be committed, be passionate, and pursue my dreams.
So when people are coming at you with negative energy
or negative thoughts, it has nothing to do with you.
That's their stuff, and you remind them of that. Don't
forget to look out for us. On our new show
Inside the black Box, my co host will be Joe
(35:48):
the Legend Morton. It's going to be the Spirited Actor.
Podcast on Steroids will be streaming on the Crackle network.
I'll keep you posted. Thank you for joining us on
the Spirited Actor Podcast with me Tracy Moore. I look
forward to our next Spirited podcast. Thank you,
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