October 15, 2024 • 43 mins
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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 transitioned to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Domez.
I auditioned every rapper from Biggie Smalls 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 Yee 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
(01:05):
meditation of the day. The world is round, and the
place which seems like the end may also be the beginning.
Ivy Baker priests. I wake up every morning thanking God
for another day to set the record straight. I feel
that I have another chance to live and make things better.
(01:29):
Sometimes we spend too much energy feeling negative instead of
enjoying the fact that we are alive. Everyone has their
own cross to bear, but it's how you carry it
that counts in the end. We should be grateful for
life and just live it. Today I remember how valuable
(01:53):
my life is and appreciate love it. Welcome to the
Spirited Actor Podcast with me Tracy Moore. I am moved
today because you guys need to get ready for a
riveting interview with one of my dear friends in this industry,
(02:15):
award winning director extraordinary, Benny Boom Douglas. Put your hands together.
Speaker 2 (02:23):
Thank you, thank you, thank you, thank you, thank you, Benny.
Speaker 1 (02:28):
I mean, timing is impeccable because I know that people
are kind of home. But yeah, but I feel very
honored to have this interview with you.
Speaker 3 (02:39):
Oh man, I feel honored that you asked. You know.
Speaker 2 (02:42):
I think there's there's people that you meet in the
in this industry along your journey and that you never
forget or somebody has given you some advice or helped
you or pointed you in the right direction. And I
just want to thank you for doing that for me.
Oh twenty six years ago. Yeah, you know when I
(03:03):
first moved to Brooklyn from Philadelphia and you were just
telling me, look, you just got to go get it,
you know, if you know, just don't wait for nobody
to do this, you got to show up here and
do it. Was just all these things that I was
just you know, intimidated by the big city and about
the industry and all these things, and you just, you know,
(03:25):
you just wiped all that stuff away from me and
just sort of helped me, you know, try to find
and figure out what I wanted to do.
Speaker 1 (03:32):
And I just want to think, Wow, you're welcome for that.
I remember you coming here and this is crazy because
I wasn't supposed to be there that day.
Speaker 3 (03:45):
But Moses, Moses, Yeah, Moses, who.
Speaker 1 (03:48):
I just spoke to two weeks ago. Crazy, I will
tell him. Moses was doing this ESPN commercial and he
was like, Tracy, come in and just be my script supervisor.
I'll pay you. And I was like, I.
Speaker 2 (04:01):
Don't know if Phil Simms, who was the quarterback of
the Giants at the time.
Speaker 1 (04:05):
It was, and I was like, I didn't know ESPN,
so I didn't know who these people were because he
was throwing the dames and he was like, i'll pay you, Tracy.
I'm like, I'm a casside director. I don't know what
a script supervisor does. And he was like, just be organized,
just keep everything organized for me, right. So I was like,
(04:26):
I don't want to go play script supervisor. But then
I was like, I want to help my boy. So
I was like, okay, Moses, do it. But if I
said no, I would have never because that's the day we.
Speaker 2 (04:39):
Met, yes, right on that set. And I don't remember
how I got there. I think Daphne was the producer
maybe yeah, and Daphne was Daphne was at the time.
She was grabbing people up from spikes because I was
I was interning over its on forty eight Boppers and
(05:01):
so of Death. Yeah, that's right, and she was plucking
people to come work from the pipe set. And that's
why that's how I think I got there. I think
Daphne was a.
Speaker 1 (05:12):
Producer that And this is how you know it's God
and it's confirmed because Moses is like, I don't know
if you remember this, but Moses like, all right, Casey,
you know, I'm going back to Brooklyn. I give you're ride.
He was like, Benny, you want to ride? And you
were like, yeah, we go back to Brooklyn ladies and gentlemen.
He drops me off the corner and turns the corner
(05:33):
and drops you off.
Speaker 3 (05:34):
Right off, right around the corner.
Speaker 1 (05:37):
It was when I would come out of my garden apartment.
Speaker 3 (05:43):
Decal the door was right there.
Speaker 1 (05:45):
Yeah.
Speaker 3 (05:45):
It was crazy. That was crazy. That was crazy.
Speaker 1 (05:48):
That was so dumb. I was like, okay, I'm supposed
to be.
Speaker 3 (05:51):
His friend because it was so crazy. And then you
I remember you got me.
Speaker 2 (05:58):
You did some background casting on New York Undercover.
Speaker 3 (06:03):
Yes, and you.
Speaker 2 (06:05):
Said, and I was like, I don't know if I'm
gonna do this, Like, but this is one of those things.
You were like, look, you just gotta, you know, just
you got to understand what this industry is about. And
now going there and that that day, Yeah, and I
did back. I can't remember what scene it was. It
was one of those club scenes when they.
Speaker 1 (06:22):
Do the yeah oh Natalie's yeah yeah yeah, yeah, yeah
yeah yeah yeah. But you know what, Benny, The thing
that I loved about that time was that you know,
I was coming from the school of Lionel Martin, you know,
in terms of music videos, right, and so line was
before Hype and all hunters. Right. We were doing three
(06:46):
music videos per week and the budgets were extraordinary.
Speaker 3 (06:51):
Yeah, they were bige.
Speaker 1 (06:52):
Yeah, Hype Williams was art director, X was working Grip.
You know. So I came from school where it was
by any means necessary, and there were there weren't in
terms of coming up as a casting director, there weren't
a lot of people of color. And so when you
(07:14):
I felt like when you were in a position and
you had an opportunity, you just grab your people and
say come on, E're gonna come me, you know, because
you know you never know where that can lead you. Yeah,
and you definitely like from the time I met you,
I was like, oh, he's about to take over the world.
You had play.
Speaker 3 (07:35):
I was like temple, remember, yeah, Dy.
Speaker 1 (07:44):
You were focused. It was there was nothing in your
DNA or surrounding to that said failure here, it's not happening.
Speaker 4 (07:54):
Right.
Speaker 2 (07:55):
It's crazy to hear that from somebody because I always
think about those days, like how did ians and working
sometimes and you know, a down period and then finally
meeting Hype and then sort of being in that world
with him and working with him every single day and
being a part of Big Dog, and that sort of
bringing me into the next phase of what my career
(08:18):
would do. It's very it's you know, when I think back,
it's scary. I was, but like you said, at the time,
I was like, man, I can't. That was always like
I can't go back to Philly.
Speaker 1 (08:28):
That's yeah, No, that wasn't an option. That was like
definitely when I heard Will Smith say Plan B is
Plan A, I was like, oh, yeah, that's what the
that's their.
Speaker 3 (08:38):
Root Same High school to Overbrook High School. It's funny.
Speaker 1 (08:43):
How did I know?
Speaker 3 (08:44):
Yeah, yeah, same high school.
Speaker 1 (08:46):
It's crazy, you I swear it was. And you know
what was refreshing about it was that it was also
at a time where Spike had gotten a lot of
people into the unions and so we there was some
groundwork that was being made in terms not just you know,
(09:07):
being in these positions to direct and create, but starting
your own production companies, Like you really have visions. So
let's tell our audience, because I mean, we could start
with the top musical rappers in the industry that you
have done their video. How did you did you get you?
(09:28):
I was just gonna say, how did you get into
the video world?
Speaker 3 (09:31):
Well, into the video world.
Speaker 2 (09:33):
The thing was I was in, as you know, I
was in like the PA world of the movies, mostly movies,
not really TV shows, right, but the movies. And I
sort of found myself. It's very interesting. I found myself
in a cycle with you know, back in those days,
you got friendly.
Speaker 3 (09:52):
With the ads. Any ads would go from.
Speaker 2 (09:55):
One movie to the next and they would bring their
pas along, and I found myself in this. This is
very funny and looking at what's happening now, I was
the only black PA.
Speaker 3 (10:04):
On a lot of sets, not on Spike sets, on
these other sets.
Speaker 2 (10:08):
So this one ad group would bring me on to
different movies, and I found myself on Woody Allen's movie
a couple of years in a row, and I was
the only black PA on Woody Allen movies.
Speaker 3 (10:22):
And at the time, I didn't really think about it anyway.
Speaker 2 (10:25):
I just thought, bitch, and like, oh, I got an opportunity, right,
And then I just got so burned out by that
because you know, I was at Temple and I studied
filmmaking and directing, and it was so far away from
what I wanted to do. And then I got the
opportunity to PA on a commercial for one hundred collect
when Chris Rock was doing all those commercials okay, and
(10:48):
they produced that commercial Kate Kate Sutherland produced it out
of Big Dog Films, and we went to the office
and I was just like, I was blown away because
at this time, Hype was height.
Speaker 3 (11:00):
It was ninety six.
Speaker 2 (11:02):
Or seven, and I mean it was Hype William's world
and you know, prepping three and four videos at once,
and you know, you had DMXS coming in before he
was big, and it was just it was just like,
this is where I want to be. And so I
basically stated my claim in that in that place and
was like.
Speaker 3 (11:21):
You know. I came back after we shot the commercial.
Speaker 2 (11:23):
We were rapping and I said, hey, guys, do you
need somebody for PA for something? And it was R
Kelly's Gotham City Remix. I think it was the studio
And that was the first job I did with Hype
as a PA, and I don't know if something just
clicked and with Big Mike Big Mike Ellish playing and
(11:47):
from there I just was part of the camp and
I got my chance, my first chance to direct a
few years later for Channel Live, which was I was
also an artist, rapping and stuff like that, so I
was traveling.
Speaker 3 (11:58):
With Channel Live.
Speaker 2 (11:59):
I was on their albums and directed the first music
video for the third album, A wild Out two K
and that's where it all started.
Speaker 1 (12:07):
Wow, So because that's where it started with me too
music videos with uh Lionel Martin, Ralph McDaniels, and then
I was like, love this world because it's like a
mini feature. But I needed to audition actors. I needed that,
(12:30):
you know a lot of times, and I love having
directors on the podcast because actors don't get a chance
to have conversation with you unless they're they're very fortunate
to have a rehearsal prior, so usually after the callback
(12:52):
or producer session, however far it goes next time you
see them television on right right, So a lot of
times they don't you as a director, do you give
feedback to or adjustments to your actors. A lot of
times when actors are day players, they feel as though
(13:16):
they don't get a lot of feedback from the director.
The director you know, cut and they're like any adjustments.
It's like, oh, no, it was good, but they do
want they want that. Yeah, even if it's no, you
did a great job, do same thing right right.
Speaker 2 (13:35):
Deal with actors, Well, it's interesting, I found myself at
the beginning because to me, feature film, feature films and
television are different in terms of the expectation of the actor.
And usually with feature films, we've had that preparation time,
we've had that rehearsal time. Hopefully we've had that private
(13:55):
time to really talk about the script and break it down.
With television, I go in there and if it's a cast,
let's say, for example, n C I. S L A
is a perfect example, because that show has a cast,
it's a already there and always always has guest actors
because they're either the bad guy or what the story
is about or something like that. And so there's a
(14:19):
piece of it where I'm just a cog in the
wheel for time, which is very interesting. So the actors
always come prepared, you know, our main actors always come prepared.
So we stand here, stand here, stand here, let's get
the information out.
Speaker 3 (14:36):
Let's get the information out.
Speaker 2 (14:38):
But then when you have the guest actor, they're they're
more intimidated a lot of times than the main actors.
I mean for that show in particular, since Ell is
on that show. A lot of time, people will come
there and they just like, oh, this is hell cool Jay,
you know they and I've seen it, like I've seen people.
You know, we have a we usually we have a
big table read. Everybody's cool with that. But the first
(15:00):
day on set and they have to act with him
in the scene like before, I can see like they're
just like, man, this is LL, you know, and it's
and it hits them. And so for me, it's interesting
because I know how because I'm friends with l LL got.
Speaker 3 (15:18):
Me that job on that show. Yeah, yeah, he got
me that job on that show. Friendship. Our friendship was lasted,
you know, almost twenty years now.
Speaker 2 (15:26):
He was the one that made the call that you know,
got the interviews for me to come there and help
me put my reel together directing Presented. So you know,
he really championed me to get that job. And so
when I'm there, not only do I rely on the
main actors for you.
Speaker 3 (15:48):
Know, I try to break down those walls.
Speaker 2 (15:50):
That happened because they don't get a lot of time
they really don't. When I'm when I'm when I'm in
the auditions, it's myself, it's the producer and the writer
of the episode. And sometimes people, you know, they see
one thing and they'll dismiss him right away, and I'm like,
hold on, wait, wait, let me just let me just
let's hear one more, you know, let's get one more.
(16:12):
And if I think somebody is right for it or
feels right, you know, I try to position.
Speaker 3 (16:17):
I learned. It's very interesting.
Speaker 2 (16:20):
I learned, like when you're a guest because as a director,
you're a guest as well. Even though the seven episodes,
I'm still a guest director, right, But I learned how
to win the argument without fighting, If that makes sense.
Speaker 1 (16:33):
It makes a lot of sense.
Speaker 2 (16:34):
Know which know which battles to fight for, you know,
know which battles to fight for. The difference is like
a show I did, All I Do, All American, which.
Speaker 1 (16:46):
That's my favorite show.
Speaker 3 (16:48):
William My Road Dog, Oh get out of here.
Speaker 1 (16:51):
I've known Tim since eighty four. Wow, Yeah, that's what
I do.
Speaker 3 (16:56):
Yeah, it's such a great show.
Speaker 1 (17:00):
And Kim Williams is the casting director on that show.
Speaker 2 (17:04):
And the people, so it's like that first season, everyone's
getting to know each other, and I really enjoyed doing
that with the actors learning the actors helping them learn
who they are, because each episode is a different journey
for this and on this show Black Lightning is the
(17:25):
same way. I was there first season and been there
every season. Williams come on, Oh that's great and funny enough,
and the Fisa grew up on my block. I mean
she was a kid when I was grown, but she
literally grew up on my street, which is so we
found that out later.
Speaker 3 (17:41):
It is so funny Philly.
Speaker 2 (17:44):
But it's like to work with those actors, and I
come on just as interested in helping develop the character
as they are, because one of them wanted to just
do regular work, you.
Speaker 3 (17:58):
Know, I want to just spring it in. And I
love that, you know. I love that.
Speaker 2 (18:03):
I love to be asked questions as a director. I
love when they're looking for acknowledgment for me that right,
does that feel right? How did that?
Speaker 3 (18:10):
You know?
Speaker 2 (18:11):
And I go, hey, that was right, or you know what,
that was good? Let's try try this, you know.
Speaker 3 (18:16):
Yeah.
Speaker 2 (18:16):
So it's different when you on television. You know, the
writer is king. So most of the that I've seen.
Most of the discrepancies come from the writing, especially by
the time you get to like second year, third year
of a show. The characters are like, you know, I
don't feel like this anymore. Why would I say this now?
(18:37):
This first season, with this this, And so as a
director you try to bridge that gap, figure out a
way to get to get what you need, give the
actor the space to create, but also deliver.
Speaker 3 (18:54):
What the writers looking for. It's a very interesting dance
to do.
Speaker 2 (18:58):
And this is specifically for tell Vision now.
Speaker 1 (19:03):
When I'm working with my actors, whether it's in a
class or one on one, I'm really big on preparation
because I think it's important. When I was working with
Buster and Eve on their shows to have conversation right
with the director. So rest in peace, and I know
you work with John Singleton as well.
Speaker 3 (19:21):
Yeah, yeah, definitely.
Speaker 1 (19:23):
When we were on Chaff, we went to Rashim's apartment
and so, so let's go into the apartment and see
how you live. I know it's a set decorator, I
know it's props, but someone believed this is how you
would live, So let's go in. So when we went in,
there were like some jazz albums and he was like,
I wouldn't listen to jazz, I would listen to reggae.
(19:45):
So we were able to get those albums taken out
and reggae replaced. Such an organic day because Renee from Johnny.
She also came, I'm so done. That's one of my
oh dogs.
Speaker 3 (20:00):
I can't we graduated against you went to temple.
Speaker 1 (20:03):
Yep, yeah, I love Renee. She had called me and
she was like, I want to come visit. I was like,
come on down. John is like we need a girlfriend
for bus and I said, hey, is coming, and John
was like, I love Renee. Let's do it. So when
we got in the trailer, I was like, Renee, say
something if buster because she had no lines, so I
(20:25):
was if he asked you a question, you got a respause.
So I was prepping her with her character based on
the wardrobe they gave her hat. She had locks. It
was beautiful and just really building, because I think the
best thing an actor can do is to have a
conversation with you and you say, like, you know, you
(20:49):
know the actor comes on set and they're wearing skinny jeans,
you know, and you would say, I don't think you're
I don't like the skinny jeans and the and the
actor is like, well, my my character will we're scared
means because blah blah blah blah blah blah blah to
the point where you like, you know what, you should.
Speaker 3 (21:04):
Wear those kits right right right right right own it.
Speaker 4 (21:07):
You own it.
Speaker 1 (21:09):
So that's a I mean, that is so refreshing to
work with a director like you. I'm speaking for all
the actors because I know the conversation that I have
with with them. What type of preparation can they what
can they do in those few moments in the callback
or if they're in the audition process with you, We're
(21:30):
we're moving out of the live but let's say this
was a live audition. What is it that immediately? Because
I love when you said a casting director or producer
may dismiss that actor, but you see something. What is
that something that you see?
Speaker 2 (21:45):
Well, I think I think it's always don't be prepared
with one note of the scene. And I'm sure you
probably tell you know, because yeah, you see it one
way and have in your mind are there ways? Because
be prepared for just because it's written on the paper dramatically,
the director or producer may say you know what you
(22:07):
need to live at with some humor, and you have
not even thought about it.
Speaker 3 (22:11):
In a human humorously.
Speaker 2 (22:13):
You know, you're like, oh man, and then you're fumbling
and then you can get the lines and all that
and the other thing I would say, And I know
it's difficult if you're doing a bunch of auditions in
one day. I do know it's a lot stronger, and
I don't hold anybody against it. But I notice producers
and writers a lot in the audition process when you
(22:36):
when they're not prepared and there and they and they
have the script and this and that, like a lot
of times they they watch that because it makes them think, Okay,
if you weren't prepared for the audition, will you be
prepared on the shoot day?
Speaker 3 (22:52):
Right?
Speaker 2 (22:53):
And so And I do know that sometimes casting directors
will give you a call that morning to come in
audition that afternoon, and then you have to be ready.
Speaker 3 (23:04):
And I know it, I know it. But I will
say I've seen.
Speaker 2 (23:09):
Been in the room when people have been dismissed only
because they had the paper, but they were better, they
gave it even a better read, right, And but you know,
so that's what I would say. I would say, be
prepared to give different reads, have the one that you're
that you're strong about, and then if you're asked to
switch or to change, make sure that change is noticeable.
Speaker 3 (23:32):
So it's not just an inflection in your voice or
something like that.
Speaker 2 (23:35):
It has to it has to be a change in
the in the performance.
Speaker 1 (23:41):
So how important are classes for you For actors?
Speaker 2 (23:47):
I think it's I think it's I mean, with you,
you can't not have classes. I mean, as a rector,
I'm always always always looking up stuff.
Speaker 3 (23:58):
I'm always watching things.
Speaker 2 (24:00):
I'm always reading things about even the old stuff that
I may have overlooked at one time in my life
in terms of a film or TV, and I'll go
back and watch it and go.
Speaker 3 (24:10):
Oh, that's why that worked and why that work? Okay.
Speaker 2 (24:14):
As a director, and I'm talking like angles and framing and.
Speaker 3 (24:19):
Just all those things in staging. Staging is really.
Speaker 2 (24:23):
Important as a director and with actors, and when you
walk into a scene.
Speaker 3 (24:28):
A lot of times I notice when we do, it'll
be seven.
Speaker 2 (24:31):
Am, right, and we get our am call time and
we're walking through a scene and my first thing is
just I'll let you know. The actors, will you know
a lot of times are going over the lines again
and we're just finding where it is.
Speaker 3 (24:46):
Right.
Speaker 2 (24:46):
I don't even here it is. I don't even talk
like I let them come on listen, and I'm just watching.
Somebody might stand near a desk, or somebody might sit,
or somebody might do this. So the same thing that
I would require from an actor, I do myself. Like
in my mind, I got okay when I was thinking that,
you know, the police officer was sitting down, and then
(25:08):
the person walked in.
Speaker 3 (25:09):
And but then when they come in, the actor goes.
Speaker 2 (25:12):
You know, I feel like I should pace right, and
if that works from you know, if that works in
the scene, even though I thought they may sit, I'm like,
why do you think it should pay? Well, you know,
I'm just coming in from the other steed and tell
me something I.
Speaker 3 (25:25):
Didn't think about, Like, you know what, go ahead and.
Speaker 2 (25:27):
Pace and then if if I see it doesn't work,
I say, okay, great, and let's try sitting down and
see see what happens. But I love to see, you know,
when they come on and just just a rehearsal, just
to see what people naturally do, right, That's a that's
a great thing when the acting when the acting just
becomes natural, right. And there's so many I mean, so
(25:51):
many of the greats are like that, where it's just
it's just natural, it's natural, and.
Speaker 1 (25:57):
You caught up and forget that there's a script. Right,
They're like, I'm done. I see it's done, even though
I've been in the room with it for a thousand times.
Speaker 3 (26:09):
Right, Yes, yes, that's that.
Speaker 1 (26:13):
I love those experiences I have had recently in teaching,
and also my conversation with casting directors from Landa Hunt
to Whinston, Sinclair, all of them, how actors are there
(26:35):
there's not a real sense of need or urgency to
hone your craft. Acting is easy, and we talked about
we don't want to, you know, just sort of define
it all as millennials, but a lot of them have.
And so I really stress, you know, with my guests too,
(26:58):
to tell the actors you know.
Speaker 3 (27:00):
Yes, well if you've never cried on cue.
Speaker 2 (27:05):
Or you know, and nothing's ever brought you to it,
and you go to a class and you guys are
doing the reading and it requires you to cry on
and you can't do it right.
Speaker 3 (27:13):
So the next you have separate time with you're acting
coach and.
Speaker 2 (27:17):
Say I don't know how to do this, And a
great coach would tell you, this is what you tap into.
This is what you tap into. Find three things that
really said, was it the death of a parent? Was
it you know that puppy you didn't get at eight
years old? That you know it doesn't always have to
be death. It could be just one thing that moves you, right,
And depending on the scenario, find that so that the
(27:41):
next time you may be doing that reading or a
different one and you have to cry on Q. Find
that moment, the moment your parents got divorced and you realize, man,
this our lives are never going to be the same again.
Speaker 4 (27:53):
Right.
Speaker 3 (27:53):
They didn't cry then, but.
Speaker 2 (27:55):
It makes you cry thinking about it because it could
have changed the trajectory of your life. So those kinds
of things I think are good and a person like
yourself is able to bring that out of people, so
that instinctually, when you get to set and you've read
the script and you know, okay, today is the day that.
Speaker 3 (28:12):
I have to I've got to cry today, Right.
Speaker 2 (28:15):
You know, do you think about it all the way
to the set or do you wait until it's that moment?
And that's something you can only learn in class and
working on in developing with other actors of when to
do that, how to do that? You know, how to
train yourself to do that? You can't you can't do
that in a vacuum. You can't do it by yourself,
or just think you want to show up on set
(28:36):
and go, oh yeah, I got beat up in the
third grade and I cried, so let me cry, Like
that's just not the words.
Speaker 1 (28:42):
But well, I'm gonna tell you what's not going to
work is the fact that this interview is over. No, yes,
but that'll be means that we could do Benny Bloom
Douglas Part two.
Speaker 3 (28:53):
There we go.
Speaker 1 (28:54):
We haven't even gotten into I mean, I need to
talk about films. I need to talk about Next Day Air.
We need to talk about that much more. So I'm
going to hit you with some dates and I'm going
to another invitation. You are a wealth of knowledge. Oh
my god, I know, like I'm taking notes here exactly.
Speaker 5 (29:16):
I know.
Speaker 1 (29:17):
I'm like, yes, maybe that's a good you know, but
it's good to I always reference and with my students
that I have conversation with you and other casting directors,
and this is specifically what you guys need to work
on as a casting director. We're not looking for readers,
We're looking for characters and characters characteristics. So that's how
(29:41):
when we used to be in person in live we
used to read out the process. I want to talk
about self tape with you. I think that that's really
important for actice.
Speaker 2 (29:50):
That's where we are now, right, A lot of that's
that's unfortunately where a lot of this is going. And
and the thing is you self take with someone who's
not a ca asking person. A lot of times it
could be your sat, it could be your kid or
something like that. And then how do they know when
you've got you've given the right read because you're going
(30:11):
to only send in which you think is the best.
Speaker 3 (30:13):
You might have done it twenty times exactly.
Speaker 1 (30:16):
But today if you get a chance, we have Sadiq Thunderson,
and so Sadiq said only send in and only do
your takes as many takes as you think you would
get in the room. So it yeah, and I absolutely
(30:37):
agree with him because just in coaching people for cell tapes,
you can't do twenty takes. Man, it's not to let.
Speaker 3 (30:44):
Them read you.
Speaker 1 (30:47):
Maybe I don't go past three. Yeah, So I thought
that was a really important because actors are you know days. No,
this is you know, you got to leave room for
the Benny Booms do their magic. So I just want
to thank you so much, Benny, I mean, thank you
so much. This has been enlightening in so many different ways. Man.
Speaker 3 (31:11):
Yes, yes, thank you so much.
Speaker 2 (31:12):
I appreciate it again, you know, I just appreciate, you know,
being able to one of the people who very early on,
I didn't even I didn't even have a career.
Speaker 3 (31:22):
I had had nothing.
Speaker 2 (31:23):
I was paying here, peing there, and you know, you
just giving me sound advice about what the business was,
what to look out for, you know, and just to
just to keep keep going, just to keep going. And
and it's great that you know what you said about me,
and that you saw that I wasn't gonna quit like
(31:44):
my whole thing never you know, you can't go back.
Speaker 3 (31:47):
I can't go back. I can only go forward. So
how do I do that?
Speaker 2 (31:51):
And you said it's only God like putting people in
your life to help guide you into those places.
Speaker 3 (31:56):
And I want't thank you for that.
Speaker 1 (31:58):
Sure, Oh man, I just want to thank you for
just being consistent throughout my whole career. Whether I saw
you on the street of Wu.
Speaker 3 (32:09):
Oh yeah, yeah, yeah, yeah, yes, yeah.
Speaker 2 (32:11):
Yeah, that's that's a whole interesting time too.
Speaker 1 (32:15):
I want to talk about that too because I come
from Drop Squad where I know the backstory of WU
before it got to John and everybody.
Speaker 2 (32:26):
But interesting we should talk about because I have that
moment and what I was doing, pang and then I
got turned into like Jada's security person somehow for the
whole job.
Speaker 3 (32:43):
It's interesting. Yeah, yeah, oh, we have to.
Speaker 1 (32:46):
It's so much fun. The Drop Squad story is they're
doing WU.
Speaker 3 (32:55):
Right right for me, Yeah.
Speaker 1 (32:59):
It was so much fun. And so I just want
to thank once again Benny Boom Douglas for being on
the Spirited Actor Podcast with me Tracy Moore, and we'll
be back with Class in Session. Welcome back to the
Spirited Actor Podcast with me Tracy Moore, and you guys
are still blessed to have mister Benny Boom Douglas presence
(33:22):
among us. Yes, look at the Spirited Actors clapping. That's right,
clap lady. Okay, So we are here now for my
favorite segment, Class in Session. So what we do here,
Benny is we would love to get any of your
insight or expertise that you want to share with our actresses,
(33:44):
starting with Leon Amado, Heallo.
Speaker 6 (33:47):
Lean, Hello, Hi, Benny, Hello, what's up?
Speaker 1 (33:55):
No, go ahead and ahead, I'm excited to see you again.
Speaker 3 (33:59):
All eyes on me?
Speaker 1 (34:02):
Well, now all our eyes are gonna be on y'all,
So next it is gonna be on you, mij listadpre.
Speaker 5 (34:09):
Hi.
Speaker 1 (34:10):
Hello, Okay, so I'm gonna read the scene and uh
and then we're gonna go you ladies ready, okay?
Speaker 3 (34:19):
Cool?
Speaker 1 (34:20):
So this scene, Benny was written by Leon Almado, and
this is called row are separate ways all right? Interior
like Rissa's place. Afternoon, Larissa and Taylor are having brunch
in Larissa's edgy and oh sorry nds less apartment. It's
(34:43):
been years. So I made your fame.
Speaker 6 (34:48):
I may your fame.
Speaker 1 (34:51):
Scrambled the cream cheese, taking and stuff friend show.
Speaker 7 (34:56):
Oh man, I don't need dairy anymore or meat, but
I didn't want to make you feel bad, so I
just packed my own lunch.
Speaker 4 (35:06):
Do you mind?
Speaker 1 (35:08):
Oh?
Speaker 6 (35:09):
I mean you could have told me I'm trying to
watch my weight too, but I don't packed on the
cream cheese for you.
Speaker 4 (35:14):
But because okay, all worry. Well, it was really sweetie, though, Taylor.
Speaker 1 (35:21):
Goes her color organized label food containers.
Speaker 6 (35:26):
Well, I'll pull our other Sunday tradition, Mimosa's with mango juice.
Speaker 1 (35:32):
Can I thought you'd never say it.
Speaker 4 (35:35):
Bring them out, Bring them out.
Speaker 1 (35:38):
Taylor pools an eleven dollars bottle of freshly pressed mango juice,
sold only in Hoot Whole Foods, and places it next
to Larissa's two dollars bottle of Trader jibs.
Speaker 4 (35:49):
I'm only doing organic, so do you mind using the
organic for mine?
Speaker 1 (35:56):
Larissa reads the label and almost things, yeah, baby, for
eleven dollars? Does it come with anything? Yeah?
Speaker 4 (36:05):
Good health?
Speaker 1 (36:06):
Larisa ignores her. She doesn't have time for it.
Speaker 3 (36:09):
Let's see.
Speaker 1 (36:10):
Taylor gets up to wash her hands.
Speaker 6 (36:14):
Okay, I don't know what Upper west Side bougie therapist
that you're going to. It is the third time you
watch hands.
Speaker 4 (36:21):
Everything good. The five p's are my things this season.
The proper preparation prevents poor performance.
Speaker 1 (36:31):
Maybe that doesn't have anything to do with your hands. Well,
I'm applying it to all aspects of my life. Larissa
takes her first bite, while Taylor pulls out an empty
spray bottle and starts spray mid fighting. What are you doing?
Speaker 4 (36:46):
I'll just keeping the air fresh and circulating.
Speaker 3 (36:50):
It's been so scale.
Speaker 1 (36:51):
Larissa's dad all right, baby, either you gotta go or
you gotta tell me what happened to you. Taylor pondered
for a minute, and then.
Speaker 4 (37:00):
Yeah, can I call my therapist so that she can
she can chime in for moral support.
Speaker 1 (37:08):
Larissa just excuses herself. Very nice, lady. Okay, I'm gonna
throw it over to you, Benny.
Speaker 3 (37:19):
Real quick question.
Speaker 2 (37:20):
And in the story, are they they're like best friend?
What's the what's the relationship?
Speaker 1 (37:26):
We grew up really close together. But I'm like, I say,
even like the.
Speaker 6 (37:31):
Lower East Side up the West Side and SEMs really
really come a long way from you know, like the
way we used to be.
Speaker 3 (37:37):
Yeah, yeah, yeah.
Speaker 2 (37:38):
It would be interesting if if in the read Jalsa Julessa,
I'm sorry, Jasa.
Speaker 4 (37:46):
Like from a different world.
Speaker 3 (37:47):
Yes, to play it, play it in a way where.
Speaker 2 (37:52):
She's because you know, you often see this right where
people have separated and they and they're still friends, but
you you bring with you the new world and a
new experience that you have and the friend is expecting
you to be the same. But you're bringing different stuff
from Hope, like all this stuff was different. So maybe
(38:14):
play it with a little bit of bougie attitude that
that would take off a little you know what I'm
saying a little more as a as opposed to being
the same girl that she knew when when she left,
you know, when you.
Speaker 3 (38:27):
Guys were friends every day.
Speaker 2 (38:29):
You know, just a little that's that would be just one,
you know, other way to play it.
Speaker 3 (38:34):
So that way you can see.
Speaker 2 (38:36):
The dynamic that that would get Larissa a little bit
more pissed off. So it's not just about the things
that are different, it's she's different.
Speaker 1 (38:48):
Yeah, I get it, got it, Okay, So they can
make those adjustments. I don't read the side. I don't
read the slugline or the action. They just read the dialogue.
Speaker 5 (38:57):
Okay, okay you guys, mm hmm okay, So girl, I
made your favorite cream, cheese, bacon, and.
Speaker 1 (39:12):
Stuff Frene toasted maple syrup.
Speaker 7 (39:14):
Oh man, I don't eat dairy anymore or meat. But
I didn't want to make you feel bad, so I
just packed my own lunch.
Speaker 4 (39:25):
Do you mind?
Speaker 6 (39:26):
Oh okay, I mean you could have told me I'm
trying to watch my way too.
Speaker 1 (39:31):
But it's fun Nobby.
Speaker 4 (39:34):
Well, that was really sweet of you.
Speaker 1 (39:40):
All Right, I'll pull out other Sunday tradition. Most of
we mangle juice. I thought you'd never say it.
Speaker 7 (39:51):
Bring it out, bring it out. Oh, I'm I'm only
doing organic. I mean, so do you mind using the
organic just for mine?
Speaker 4 (40:06):
The other for eleven dollars?
Speaker 1 (40:08):
Does that come with anything? Yeah?
Speaker 4 (40:12):
Good health, Let's just eat. Okay.
Speaker 6 (40:19):
I don't know what Upper west Side bougie therapists that
you're going to, but Mama, this is the third time
you're washing your hands everything.
Speaker 3 (40:27):
Okay.
Speaker 4 (40:28):
The five piece my thing this season. The five what
proper preparation prevents poor performance?
Speaker 1 (40:39):
Maybe that has enough gain.
Speaker 4 (40:43):
Well, I'm applying it to all aspects of my life.
Speaker 1 (40:48):
All right. What are you doing?
Speaker 4 (40:55):
Oh? Well, just keeping the air fresh and circulating, you know, Taylor?
Speaker 1 (41:02):
Yeah, do you gotta go or you gonna let me
know what's wrong?
Speaker 3 (41:04):
What happened?
Speaker 4 (41:11):
Can I just call my therapist for my sports?
Speaker 1 (41:18):
Wa han sing?
Speaker 3 (41:20):
That's funny. It was a little bit.
Speaker 2 (41:23):
It's just a little bit of a different same scene,
just a little bit a different note, you know, coming
over and expecting. I think it plays a little funnier
if it's you know, she's trying to be And even
that last line of the therapists almost reads as though
she can't do anything.
Speaker 3 (41:41):
Without the therapist. So it's less about.
Speaker 2 (41:44):
Being bad and more about relying on the therapist for
all the things that you need to do.
Speaker 1 (41:51):
That was fun and great insights. Thank you too. Okay,
well it's over. Classes, session is over. Sorry, all right, Okay,
Well we're going to wrap up class and session and
thank Anny Bloomer Douglas for being here with us once again.
Speaker 3 (42:07):
I'm so glad to be invited to be here.
Speaker 1 (42:10):
Well, we're going to extend another invitation, so we're going
to see you again. And I want to thank Lean
and Lisa. You guys did a great job, and you
guys listen all right, thank you so much, and we'll
come back with Give Love on the Spirited Actor Podcast
with me Tracy Moore. And now it's time Forgive Love.
(42:35):
Meditation is for you. It's your time to shut out
the noise, shut out the conversation and just be with
yourself and just be. You don't need to show up
with any money, you don't need to show up with
any things. You don't need to show up with any titles,
(42:56):
show up with your authentic self in quiet, and in
that silence, answers are going to just start coming to you.
What direction should I take? You're going to see the direction.
How should I feel about a certain thing? You're going
to feel, how you should feel. You're going to be
(43:18):
guided in your meditation and in that moment, whether it's
five minutes or twenty minutes, settle your soul, settle your
spirit and allow yourself to rejuvenate, allow yourself to rebuild,
allow yourself to reshape and be empowered. Meditation is for you.
(43:43):
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 transitioned to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Domez.
I auditioned every rapper from Biggie Smalls 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 Yee 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
(01:05):
meditation of the day. The world is round, and the
place which seems like the end may also be the beginning.
Ivy Baker priests. I wake up every morning thanking God
for another day to set the record straight. I feel
that I have another chance to live and make things better.
(01:29):
Sometimes we spend too much energy feeling negative instead of
enjoying the fact that we are alive. Everyone has their
own cross to bear, but it's how you carry it
that counts in the end. We should be grateful for
life and just live it. Today I remember how valuable
(01:53):
my life is and appreciate love it. Welcome to the
Spirited Actor Podcast with me Tracy Moore. I am moved
today because you guys need to get ready for a
riveting interview with one of my dear friends in this industry,
(02:15):
award winning director extraordinary, Benny Boom Douglas. Put your hands together.
Speaker 2 (02:23):
Thank you, thank you, thank you, thank you, thank you, Benny.
Speaker 1 (02:28):
I mean, timing is impeccable because I know that people
are kind of home. But yeah, but I feel very
honored to have this interview with you.
Speaker 3 (02:39):
Oh man, I feel honored that you asked. You know.
Speaker 2 (02:42):
I think there's there's people that you meet in the
in this industry along your journey and that you never
forget or somebody has given you some advice or helped
you or pointed you in the right direction. And I
just want to thank you for doing that for me.
Oh twenty six years ago. Yeah, you know when I
(03:03):
first moved to Brooklyn from Philadelphia and you were just
telling me, look, you just got to go get it,
you know, if you know, just don't wait for nobody
to do this, you got to show up here and
do it. Was just all these things that I was
just you know, intimidated by the big city and about
the industry and all these things, and you just, you know,
(03:25):
you just wiped all that stuff away from me and
just sort of helped me, you know, try to find
and figure out what I wanted to do.
Speaker 1 (03:32):
And I just want to think, Wow, you're welcome for that.
I remember you coming here and this is crazy because
I wasn't supposed to be there that day.
Speaker 3 (03:45):
But Moses, Moses, Yeah, Moses, who.
Speaker 1 (03:48):
I just spoke to two weeks ago. Crazy, I will
tell him. Moses was doing this ESPN commercial and he
was like, Tracy, come in and just be my script supervisor.
I'll pay you. And I was like, I.
Speaker 2 (04:01):
Don't know if Phil Simms, who was the quarterback of
the Giants at the time.
Speaker 1 (04:05):
It was, and I was like, I didn't know ESPN,
so I didn't know who these people were because he
was throwing the dames and he was like, i'll pay you, Tracy.
I'm like, I'm a casside director. I don't know what
a script supervisor does. And he was like, just be organized,
just keep everything organized for me, right. So I was like,
(04:26):
I don't want to go play script supervisor. But then
I was like, I want to help my boy. So
I was like, okay, Moses, do it. But if I
said no, I would have never because that's the day we.
Speaker 2 (04:39):
Met, yes, right on that set. And I don't remember
how I got there. I think Daphne was the producer
maybe yeah, and Daphne was Daphne was at the time.
She was grabbing people up from spikes because I was
I was interning over its on forty eight Boppers and
(05:01):
so of Death. Yeah, that's right, and she was plucking
people to come work from the pipe set. And that's
why that's how I think I got there. I think
Daphne was a.
Speaker 1 (05:12):
Producer that And this is how you know it's God
and it's confirmed because Moses is like, I don't know
if you remember this, but Moses like, all right, Casey,
you know, I'm going back to Brooklyn. I give you're ride.
He was like, Benny, you want to ride? And you
were like, yeah, we go back to Brooklyn ladies and gentlemen.
He drops me off the corner and turns the corner
(05:33):
and drops you off.
Speaker 3 (05:34):
Right off, right around the corner.
Speaker 1 (05:37):
It was when I would come out of my garden apartment.
Speaker 3 (05:43):
Decal the door was right there.
Speaker 1 (05:45):
Yeah.
Speaker 3 (05:45):
It was crazy. That was crazy. That was crazy.
Speaker 1 (05:48):
That was so dumb. I was like, okay, I'm supposed
to be.
Speaker 3 (05:51):
His friend because it was so crazy. And then you
I remember you got me.
Speaker 2 (05:58):
You did some background casting on New York Undercover.
Speaker 3 (06:03):
Yes, and you.
Speaker 2 (06:05):
Said, and I was like, I don't know if I'm
gonna do this, Like, but this is one of those things.
You were like, look, you just gotta, you know, just
you got to understand what this industry is about. And
now going there and that that day, Yeah, and I
did back. I can't remember what scene it was. It
was one of those club scenes when they.
Speaker 1 (06:22):
Do the yeah oh Natalie's yeah yeah yeah, yeah, yeah
yeah yeah yeah. But you know what, Benny, The thing
that I loved about that time was that you know,
I was coming from the school of Lionel Martin, you know,
in terms of music videos, right, and so line was
before Hype and all hunters. Right. We were doing three
(06:46):
music videos per week and the budgets were extraordinary.
Speaker 3 (06:51):
Yeah, they were bige.
Speaker 1 (06:52):
Yeah, Hype Williams was art director, X was working Grip.
You know. So I came from school where it was
by any means necessary, and there were there weren't in
terms of coming up as a casting director, there weren't
a lot of people of color. And so when you
(07:14):
I felt like when you were in a position and
you had an opportunity, you just grab your people and
say come on, E're gonna come me, you know, because
you know you never know where that can lead you. Yeah,
and you definitely like from the time I met you,
I was like, oh, he's about to take over the world.
You had play.
Speaker 3 (07:35):
I was like temple, remember, yeah, Dy.
Speaker 1 (07:44):
You were focused. It was there was nothing in your
DNA or surrounding to that said failure here, it's not happening.
Speaker 4 (07:54):
Right.
Speaker 2 (07:55):
It's crazy to hear that from somebody because I always
think about those days, like how did ians and working
sometimes and you know, a down period and then finally
meeting Hype and then sort of being in that world
with him and working with him every single day and
being a part of Big Dog, and that sort of
bringing me into the next phase of what my career
(08:18):
would do. It's very it's you know, when I think back,
it's scary. I was, but like you said, at the time,
I was like, man, I can't. That was always like
I can't go back to Philly.
Speaker 1 (08:28):
That's yeah, No, that wasn't an option. That was like
definitely when I heard Will Smith say Plan B is
Plan A, I was like, oh, yeah, that's what the
that's their.
Speaker 3 (08:38):
Root Same High school to Overbrook High School. It's funny.
Speaker 1 (08:43):
How did I know?
Speaker 3 (08:44):
Yeah, yeah, same high school.
Speaker 1 (08:46):
It's crazy, you I swear it was. And you know
what was refreshing about it was that it was also
at a time where Spike had gotten a lot of
people into the unions and so we there was some
groundwork that was being made in terms not just you know,
(09:07):
being in these positions to direct and create, but starting
your own production companies, Like you really have visions. So
let's tell our audience, because I mean, we could start
with the top musical rappers in the industry that you
have done their video. How did you did you get you?
(09:28):
I was just gonna say, how did you get into
the video world?
Speaker 3 (09:31):
Well, into the video world.
Speaker 2 (09:33):
The thing was I was in, as you know, I
was in like the PA world of the movies, mostly movies,
not really TV shows, right, but the movies. And I
sort of found myself. It's very interesting. I found myself
in a cycle with you know, back in those days,
you got friendly.
Speaker 3 (09:52):
With the ads. Any ads would go from.
Speaker 2 (09:55):
One movie to the next and they would bring their
pas along, and I found myself in this. This is
very funny and looking at what's happening now, I was
the only black PA.
Speaker 3 (10:04):
On a lot of sets, not on Spike sets, on
these other sets.
Speaker 2 (10:08):
So this one ad group would bring me on to
different movies, and I found myself on Woody Allen's movie
a couple of years in a row, and I was
the only black PA on Woody Allen movies.
Speaker 3 (10:22):
And at the time, I didn't really think about it anyway.
Speaker 2 (10:25):
I just thought, bitch, and like, oh, I got an opportunity, right,
And then I just got so burned out by that
because you know, I was at Temple and I studied
filmmaking and directing, and it was so far away from
what I wanted to do. And then I got the
opportunity to PA on a commercial for one hundred collect
when Chris Rock was doing all those commercials okay, and
(10:48):
they produced that commercial Kate Kate Sutherland produced it out
of Big Dog Films, and we went to the office
and I was just like, I was blown away because
at this time, Hype was height.
Speaker 3 (11:00):
It was ninety six.
Speaker 2 (11:02):
Or seven, and I mean it was Hype William's world
and you know, prepping three and four videos at once,
and you know, you had DMXS coming in before he
was big, and it was just it was just like,
this is where I want to be. And so I
basically stated my claim in that in that place and
was like.
Speaker 3 (11:21):
You know. I came back after we shot the commercial.
Speaker 2 (11:23):
We were rapping and I said, hey, guys, do you
need somebody for PA for something? And it was R
Kelly's Gotham City Remix. I think it was the studio
And that was the first job I did with Hype
as a PA, and I don't know if something just
clicked and with Big Mike Big Mike Ellish playing and
(11:47):
from there I just was part of the camp and
I got my chance, my first chance to direct a
few years later for Channel Live, which was I was
also an artist, rapping and stuff like that, so I
was traveling.
Speaker 3 (11:58):
With Channel Live.
Speaker 2 (11:59):
I was on their albums and directed the first music
video for the third album, A wild Out two K
and that's where it all started.
Speaker 1 (12:07):
Wow, So because that's where it started with me too
music videos with uh Lionel Martin, Ralph McDaniels, and then
I was like, love this world because it's like a
mini feature. But I needed to audition actors. I needed that,
(12:30):
you know a lot of times, and I love having
directors on the podcast because actors don't get a chance
to have conversation with you unless they're they're very fortunate
to have a rehearsal prior, so usually after the callback
(12:52):
or producer session, however far it goes next time you
see them television on right right, So a lot of
times they don't you as a director, do you give
feedback to or adjustments to your actors. A lot of
times when actors are day players, they feel as though
(13:16):
they don't get a lot of feedback from the director.
The director you know, cut and they're like any adjustments.
It's like, oh, no, it was good, but they do
want they want that. Yeah, even if it's no, you
did a great job, do same thing right right.
Speaker 2 (13:35):
Deal with actors, Well, it's interesting, I found myself at
the beginning because to me, feature film, feature films and
television are different in terms of the expectation of the actor.
And usually with feature films, we've had that preparation time,
we've had that rehearsal time. Hopefully we've had that private
(13:55):
time to really talk about the script and break it down.
With television, I go in there and if it's a cast,
let's say, for example, n C I. S L A
is a perfect example, because that show has a cast,
it's a already there and always always has guest actors
because they're either the bad guy or what the story
is about or something like that. And so there's a
(14:19):
piece of it where I'm just a cog in the
wheel for time, which is very interesting. So the actors
always come prepared, you know, our main actors always come prepared.
So we stand here, stand here, stand here, let's get
the information out.
Speaker 3 (14:36):
Let's get the information out.
Speaker 2 (14:38):
But then when you have the guest actor, they're they're
more intimidated a lot of times than the main actors.
I mean for that show in particular, since Ell is
on that show. A lot of time, people will come
there and they just like, oh, this is hell cool Jay,
you know they and I've seen it, like I've seen people.
You know, we have a we usually we have a
big table read. Everybody's cool with that. But the first
(15:00):
day on set and they have to act with him
in the scene like before, I can see like they're
just like, man, this is LL, you know, and it's
and it hits them. And so for me, it's interesting
because I know how because I'm friends with l LL got.
Speaker 3 (15:18):
Me that job on that show. Yeah, yeah, he got
me that job on that show. Friendship. Our friendship was lasted,
you know, almost twenty years now.
Speaker 2 (15:26):
He was the one that made the call that you know,
got the interviews for me to come there and help
me put my reel together directing Presented. So you know,
he really championed me to get that job. And so
when I'm there, not only do I rely on the
main actors for you.
Speaker 3 (15:48):
Know, I try to break down those walls.
Speaker 2 (15:50):
That happened because they don't get a lot of time
they really don't. When I'm when I'm when I'm in
the auditions, it's myself, it's the producer and the writer
of the episode. And sometimes people, you know, they see
one thing and they'll dismiss him right away, and I'm like,
hold on, wait, wait, let me just let me just
let's hear one more, you know, let's get one more.
(16:12):
And if I think somebody is right for it or
feels right, you know, I try to position.
Speaker 3 (16:17):
I learned. It's very interesting.
Speaker 2 (16:20):
I learned, like when you're a guest because as a director,
you're a guest as well. Even though the seven episodes,
I'm still a guest director, right, But I learned how
to win the argument without fighting, If that makes sense.
Speaker 1 (16:33):
It makes a lot of sense.
Speaker 2 (16:34):
Know which know which battles to fight for, you know,
know which battles to fight for. The difference is like
a show I did, All I Do, All American, which.
Speaker 1 (16:46):
That's my favorite show.
Speaker 3 (16:48):
William My Road Dog, Oh get out of here.
Speaker 1 (16:51):
I've known Tim since eighty four. Wow, Yeah, that's what
I do.
Speaker 3 (16:56):
Yeah, it's such a great show.
Speaker 1 (17:00):
And Kim Williams is the casting director on that show.
Speaker 2 (17:04):
And the people, so it's like that first season, everyone's
getting to know each other, and I really enjoyed doing
that with the actors learning the actors helping them learn
who they are, because each episode is a different journey
for this and on this show Black Lightning is the
(17:25):
same way. I was there first season and been there
every season. Williams come on, Oh that's great and funny enough,
and the Fisa grew up on my block. I mean
she was a kid when I was grown, but she
literally grew up on my street, which is so we
found that out later.
Speaker 3 (17:41):
It is so funny Philly.
Speaker 2 (17:44):
But it's like to work with those actors, and I
come on just as interested in helping develop the character
as they are, because one of them wanted to just
do regular work, you.
Speaker 3 (17:58):
Know, I want to just spring it in. And I
love that, you know. I love that.
Speaker 2 (18:03):
I love to be asked questions as a director. I
love when they're looking for acknowledgment for me that right,
does that feel right? How did that?
Speaker 3 (18:10):
You know?
Speaker 2 (18:11):
And I go, hey, that was right, or you know what,
that was good? Let's try try this, you know.
Speaker 3 (18:16):
Yeah.
Speaker 2 (18:16):
So it's different when you on television. You know, the
writer is king. So most of the that I've seen.
Most of the discrepancies come from the writing, especially by
the time you get to like second year, third year
of a show. The characters are like, you know, I
don't feel like this anymore. Why would I say this now?
(18:37):
This first season, with this this, And so as a
director you try to bridge that gap, figure out a
way to get to get what you need, give the
actor the space to create, but also deliver.
Speaker 3 (18:54):
What the writers looking for. It's a very interesting dance
to do.
Speaker 2 (18:58):
And this is specifically for tell Vision now.
Speaker 1 (19:03):
When I'm working with my actors, whether it's in a
class or one on one, I'm really big on preparation
because I think it's important. When I was working with
Buster and Eve on their shows to have conversation right
with the director. So rest in peace, and I know
you work with John Singleton as well.
Speaker 3 (19:21):
Yeah, yeah, definitely.
Speaker 1 (19:23):
When we were on Chaff, we went to Rashim's apartment
and so, so let's go into the apartment and see
how you live. I know it's a set decorator, I
know it's props, but someone believed this is how you
would live, So let's go in. So when we went in,
there were like some jazz albums and he was like,
I wouldn't listen to jazz, I would listen to reggae.
(19:45):
So we were able to get those albums taken out
and reggae replaced. Such an organic day because Renee from Johnny.
She also came, I'm so done. That's one of my
oh dogs.
Speaker 3 (20:00):
I can't we graduated against you went to temple.
Speaker 1 (20:03):
Yep, yeah, I love Renee. She had called me and
she was like, I want to come visit. I was like,
come on down. John is like we need a girlfriend
for bus and I said, hey, is coming, and John
was like, I love Renee. Let's do it. So when
we got in the trailer, I was like, Renee, say
something if buster because she had no lines, so I
(20:25):
was if he asked you a question, you got a respause.
So I was prepping her with her character based on
the wardrobe they gave her hat. She had locks. It
was beautiful and just really building, because I think the
best thing an actor can do is to have a
conversation with you and you say, like, you know, you
(20:49):
know the actor comes on set and they're wearing skinny jeans,
you know, and you would say, I don't think you're
I don't like the skinny jeans and the and the
actor is like, well, my my character will we're scared
means because blah blah blah blah blah blah blah to
the point where you like, you know what, you should.
Speaker 3 (21:04):
Wear those kits right right right right right own it.
Speaker 4 (21:07):
You own it.
Speaker 1 (21:09):
So that's a I mean, that is so refreshing to
work with a director like you. I'm speaking for all
the actors because I know the conversation that I have
with with them. What type of preparation can they what
can they do in those few moments in the callback
or if they're in the audition process with you, We're
(21:30):
we're moving out of the live but let's say this
was a live audition. What is it that immediately? Because
I love when you said a casting director or producer
may dismiss that actor, but you see something. What is
that something that you see?
Speaker 2 (21:45):
Well, I think I think it's always don't be prepared
with one note of the scene. And I'm sure you
probably tell you know, because yeah, you see it one
way and have in your mind are there ways? Because
be prepared for just because it's written on the paper dramatically,
the director or producer may say you know what you
(22:07):
need to live at with some humor, and you have
not even thought about it.
Speaker 3 (22:11):
In a human humorously.
Speaker 2 (22:13):
You know, you're like, oh man, and then you're fumbling
and then you can get the lines and all that
and the other thing I would say, And I know
it's difficult if you're doing a bunch of auditions in
one day. I do know it's a lot stronger, and
I don't hold anybody against it. But I notice producers
and writers a lot in the audition process when you
(22:36):
when they're not prepared and there and they and they
have the script and this and that, like a lot
of times they they watch that because it makes them think, Okay,
if you weren't prepared for the audition, will you be
prepared on the shoot day?
Speaker 3 (22:52):
Right?
Speaker 2 (22:53):
And so And I do know that sometimes casting directors
will give you a call that morning to come in
audition that afternoon, and then you have to be ready.
Speaker 3 (23:04):
And I know it, I know it. But I will
say I've seen.
Speaker 2 (23:09):
Been in the room when people have been dismissed only
because they had the paper, but they were better, they
gave it even a better read, right, And but you know,
so that's what I would say. I would say, be
prepared to give different reads, have the one that you're
that you're strong about, and then if you're asked to
switch or to change, make sure that change is noticeable.
Speaker 3 (23:32):
So it's not just an inflection in your voice or
something like that.
Speaker 2 (23:35):
It has to it has to be a change in
the in the performance.
Speaker 1 (23:41):
So how important are classes for you For actors?
Speaker 2 (23:47):
I think it's I think it's I mean, with you,
you can't not have classes. I mean, as a rector,
I'm always always always looking up stuff.
Speaker 3 (23:58):
I'm always watching things.
Speaker 2 (24:00):
I'm always reading things about even the old stuff that
I may have overlooked at one time in my life
in terms of a film or TV, and I'll go
back and watch it and go.
Speaker 3 (24:10):
Oh, that's why that worked and why that work? Okay.
Speaker 2 (24:14):
As a director, and I'm talking like angles and framing and.
Speaker 3 (24:19):
Just all those things in staging. Staging is really.
Speaker 2 (24:23):
Important as a director and with actors, and when you
walk into a scene.
Speaker 3 (24:28):
A lot of times I notice when we do, it'll
be seven.
Speaker 2 (24:31):
Am, right, and we get our am call time and
we're walking through a scene and my first thing is
just I'll let you know. The actors, will you know
a lot of times are going over the lines again
and we're just finding where it is.
Speaker 3 (24:46):
Right.
Speaker 2 (24:46):
I don't even here it is. I don't even talk
like I let them come on listen, and I'm just watching.
Somebody might stand near a desk, or somebody might sit,
or somebody might do this. So the same thing that
I would require from an actor, I do myself. Like
in my mind, I got okay when I was thinking that,
you know, the police officer was sitting down, and then
(25:08):
the person walked in.
Speaker 3 (25:09):
And but then when they come in, the actor goes.
Speaker 2 (25:12):
You know, I feel like I should pace right, and
if that works from you know, if that works in
the scene, even though I thought they may sit, I'm like,
why do you think it should pay? Well, you know,
I'm just coming in from the other steed and tell
me something I.
Speaker 3 (25:25):
Didn't think about, Like, you know what, go ahead and.
Speaker 2 (25:27):
Pace and then if if I see it doesn't work,
I say, okay, great, and let's try sitting down and
see see what happens. But I love to see, you know,
when they come on and just just a rehearsal, just
to see what people naturally do, right, That's a that's
a great thing when the acting when the acting just
becomes natural, right. And there's so many I mean, so
(25:51):
many of the greats are like that, where it's just
it's just natural, it's natural, and.
Speaker 1 (25:57):
You caught up and forget that there's a script. Right,
They're like, I'm done. I see it's done, even though
I've been in the room with it for a thousand times.
Speaker 3 (26:09):
Right, Yes, yes, that's that.
Speaker 1 (26:13):
I love those experiences I have had recently in teaching,
and also my conversation with casting directors from Landa Hunt
to Whinston, Sinclair, all of them, how actors are there
(26:35):
there's not a real sense of need or urgency to
hone your craft. Acting is easy, and we talked about
we don't want to, you know, just sort of define
it all as millennials, but a lot of them have.
And so I really stress, you know, with my guests too,
(26:58):
to tell the actors you know.
Speaker 3 (27:00):
Yes, well if you've never cried on cue.
Speaker 2 (27:05):
Or you know, and nothing's ever brought you to it,
and you go to a class and you guys are
doing the reading and it requires you to cry on
and you can't do it right.
Speaker 3 (27:13):
So the next you have separate time with you're acting
coach and.
Speaker 2 (27:17):
Say I don't know how to do this, And a
great coach would tell you, this is what you tap into.
This is what you tap into. Find three things that
really said, was it the death of a parent? Was
it you know that puppy you didn't get at eight
years old? That you know it doesn't always have to
be death. It could be just one thing that moves you, right,
And depending on the scenario, find that so that the
(27:41):
next time you may be doing that reading or a
different one and you have to cry on Q. Find
that moment, the moment your parents got divorced and you realize, man,
this our lives are never going to be the same again.
Speaker 4 (27:53):
Right.
Speaker 3 (27:53):
They didn't cry then, but.
Speaker 2 (27:55):
It makes you cry thinking about it because it could
have changed the trajectory of your life. So those kinds
of things I think are good and a person like
yourself is able to bring that out of people, so
that instinctually, when you get to set and you've read
the script and you know, okay, today is the day that.
Speaker 3 (28:12):
I have to I've got to cry today, Right.
Speaker 2 (28:15):
You know, do you think about it all the way
to the set or do you wait until it's that moment?
And that's something you can only learn in class and
working on in developing with other actors of when to
do that, how to do that? You know, how to
train yourself to do that? You can't you can't do
that in a vacuum. You can't do it by yourself,
or just think you want to show up on set
(28:36):
and go, oh yeah, I got beat up in the
third grade and I cried, so let me cry, Like
that's just not the words.
Speaker 1 (28:42):
But well, I'm gonna tell you what's not going to
work is the fact that this interview is over. No, yes,
but that'll be means that we could do Benny Bloom
Douglas Part two.
Speaker 3 (28:53):
There we go.
Speaker 1 (28:54):
We haven't even gotten into I mean, I need to
talk about films. I need to talk about Next Day Air.
We need to talk about that much more. So I'm
going to hit you with some dates and I'm going
to another invitation. You are a wealth of knowledge. Oh
my god, I know, like I'm taking notes here exactly.
Speaker 5 (29:16):
I know.
Speaker 1 (29:17):
I'm like, yes, maybe that's a good you know, but
it's good to I always reference and with my students
that I have conversation with you and other casting directors,
and this is specifically what you guys need to work
on as a casting director. We're not looking for readers,
We're looking for characters and characters characteristics. So that's how
(29:41):
when we used to be in person in live we
used to read out the process. I want to talk
about self tape with you. I think that that's really
important for actice.
Speaker 2 (29:50):
That's where we are now, right, A lot of that's
that's unfortunately where a lot of this is going. And
and the thing is you self take with someone who's
not a ca asking person. A lot of times it
could be your sat, it could be your kid or
something like that. And then how do they know when
you've got you've given the right read because you're going
(30:11):
to only send in which you think is the best.
Speaker 3 (30:13):
You might have done it twenty times exactly.
Speaker 1 (30:16):
But today if you get a chance, we have Sadiq Thunderson,
and so Sadiq said only send in and only do
your takes as many takes as you think you would
get in the room. So it yeah, and I absolutely
(30:37):
agree with him because just in coaching people for cell tapes,
you can't do twenty takes. Man, it's not to let.
Speaker 3 (30:44):
Them read you.
Speaker 1 (30:47):
Maybe I don't go past three. Yeah, So I thought
that was a really important because actors are you know days. No,
this is you know, you got to leave room for
the Benny Booms do their magic. So I just want
to thank you so much, Benny, I mean, thank you
so much. This has been enlightening in so many different ways. Man.
Speaker 3 (31:11):
Yes, yes, thank you so much.
Speaker 2 (31:12):
I appreciate it again, you know, I just appreciate, you know,
being able to one of the people who very early on,
I didn't even I didn't even have a career.
Speaker 3 (31:22):
I had had nothing.
Speaker 2 (31:23):
I was paying here, peing there, and you know, you
just giving me sound advice about what the business was,
what to look out for, you know, and just to
just to keep keep going, just to keep going. And
and it's great that you know what you said about me,
and that you saw that I wasn't gonna quit like
(31:44):
my whole thing never you know, you can't go back.
Speaker 3 (31:47):
I can't go back. I can only go forward. So
how do I do that?
Speaker 2 (31:51):
And you said it's only God like putting people in
your life to help guide you into those places.
Speaker 3 (31:56):
And I want't thank you for that.
Speaker 1 (31:58):
Sure, Oh man, I just want to thank you for
just being consistent throughout my whole career. Whether I saw
you on the street of Wu.
Speaker 3 (32:09):
Oh yeah, yeah, yeah, yeah, yes, yeah.
Speaker 2 (32:11):
Yeah, that's that's a whole interesting time too.
Speaker 1 (32:15):
I want to talk about that too because I come
from Drop Squad where I know the backstory of WU
before it got to John and everybody.
Speaker 2 (32:26):
But interesting we should talk about because I have that
moment and what I was doing, pang and then I
got turned into like Jada's security person somehow for the
whole job.
Speaker 3 (32:43):
It's interesting. Yeah, yeah, oh, we have to.
Speaker 1 (32:46):
It's so much fun. The Drop Squad story is they're
doing WU.
Speaker 3 (32:55):
Right right for me, Yeah.
Speaker 1 (32:59):
It was so much fun. And so I just want
to thank once again Benny Boom Douglas for being on
the Spirited Actor Podcast with me Tracy Moore, and we'll
be back with Class in Session. Welcome back to the
Spirited Actor Podcast with me Tracy Moore, and you guys
are still blessed to have mister Benny Boom Douglas presence
(33:22):
among us. Yes, look at the Spirited Actors clapping. That's right,
clap lady. Okay, So we are here now for my
favorite segment, Class in Session. So what we do here,
Benny is we would love to get any of your
insight or expertise that you want to share with our actresses,
(33:44):
starting with Leon Amado, Heallo.
Speaker 6 (33:47):
Lean, Hello, Hi, Benny, Hello, what's up?
Speaker 1 (33:55):
No, go ahead and ahead, I'm excited to see you again.
Speaker 3 (33:59):
All eyes on me?
Speaker 1 (34:02):
Well, now all our eyes are gonna be on y'all,
So next it is gonna be on you, mij listadpre.
Speaker 5 (34:09):
Hi.
Speaker 1 (34:10):
Hello, Okay, so I'm gonna read the scene and uh
and then we're gonna go you ladies ready, okay?
Speaker 3 (34:19):
Cool?
Speaker 1 (34:20):
So this scene, Benny was written by Leon Almado, and
this is called row are separate ways all right? Interior
like Rissa's place. Afternoon, Larissa and Taylor are having brunch
in Larissa's edgy and oh sorry nds less apartment. It's
(34:43):
been years. So I made your fame.
Speaker 6 (34:48):
I may your fame.
Speaker 1 (34:51):
Scrambled the cream cheese, taking and stuff friend show.
Speaker 7 (34:56):
Oh man, I don't need dairy anymore or meat, but
I didn't want to make you feel bad, so I
just packed my own lunch.
Speaker 4 (35:06):
Do you mind?
Speaker 1 (35:08):
Oh?
Speaker 6 (35:09):
I mean you could have told me I'm trying to
watch my weight too, but I don't packed on the
cream cheese for you.
Speaker 4 (35:14):
But because okay, all worry. Well, it was really sweetie, though, Taylor.
Speaker 1 (35:21):
Goes her color organized label food containers.
Speaker 6 (35:26):
Well, I'll pull our other Sunday tradition, Mimosa's with mango juice.
Speaker 1 (35:32):
Can I thought you'd never say it.
Speaker 4 (35:35):
Bring them out, Bring them out.
Speaker 1 (35:38):
Taylor pools an eleven dollars bottle of freshly pressed mango juice,
sold only in Hoot Whole Foods, and places it next
to Larissa's two dollars bottle of Trader jibs.
Speaker 4 (35:49):
I'm only doing organic, so do you mind using the
organic for mine?
Speaker 1 (35:56):
Larissa reads the label and almost things, yeah, baby, for
eleven dollars? Does it come with anything? Yeah?
Speaker 4 (36:05):
Good health?
Speaker 1 (36:06):
Larisa ignores her. She doesn't have time for it.
Speaker 3 (36:09):
Let's see.
Speaker 1 (36:10):
Taylor gets up to wash her hands.
Speaker 6 (36:14):
Okay, I don't know what Upper west Side bougie therapist
that you're going to. It is the third time you
watch hands.
Speaker 4 (36:21):
Everything good. The five p's are my things this season.
The proper preparation prevents poor performance.
Speaker 1 (36:31):
Maybe that doesn't have anything to do with your hands. Well,
I'm applying it to all aspects of my life. Larissa
takes her first bite, while Taylor pulls out an empty
spray bottle and starts spray mid fighting. What are you doing?
Speaker 4 (36:46):
I'll just keeping the air fresh and circulating.
Speaker 3 (36:50):
It's been so scale.
Speaker 1 (36:51):
Larissa's dad all right, baby, either you gotta go or
you gotta tell me what happened to you. Taylor pondered
for a minute, and then.
Speaker 4 (37:00):
Yeah, can I call my therapist so that she can
she can chime in for moral support.
Speaker 1 (37:08):
Larissa just excuses herself. Very nice, lady. Okay, I'm gonna
throw it over to you, Benny.
Speaker 3 (37:19):
Real quick question.
Speaker 2 (37:20):
And in the story, are they they're like best friend?
What's the what's the relationship?
Speaker 1 (37:26):
We grew up really close together. But I'm like, I say,
even like the.
Speaker 6 (37:31):
Lower East Side up the West Side and SEMs really
really come a long way from you know, like the
way we used to be.
Speaker 3 (37:37):
Yeah, yeah, yeah.
Speaker 2 (37:38):
It would be interesting if if in the read Jalsa Julessa,
I'm sorry, Jasa.
Speaker 4 (37:46):
Like from a different world.
Speaker 3 (37:47):
Yes, to play it, play it in a way where.
Speaker 2 (37:52):
She's because you know, you often see this right where
people have separated and they and they're still friends, but
you you bring with you the new world and a
new experience that you have and the friend is expecting
you to be the same. But you're bringing different stuff
from Hope, like all this stuff was different. So maybe
(38:14):
play it with a little bit of bougie attitude that
that would take off a little you know what I'm
saying a little more as a as opposed to being
the same girl that she knew when when she left,
you know, when you.
Speaker 3 (38:27):
Guys were friends every day.
Speaker 2 (38:29):
You know, just a little that's that would be just one,
you know, other way to play it.
Speaker 3 (38:34):
So that way you can see.
Speaker 2 (38:36):
The dynamic that that would get Larissa a little bit
more pissed off. So it's not just about the things
that are different, it's she's different.
Speaker 1 (38:48):
Yeah, I get it, got it, Okay, So they can
make those adjustments. I don't read the side. I don't
read the slugline or the action. They just read the dialogue.
Speaker 5 (38:57):
Okay, okay you guys, mm hmm okay, So girl, I
made your favorite cream, cheese, bacon, and.
Speaker 1 (39:12):
Stuff Frene toasted maple syrup.
Speaker 7 (39:14):
Oh man, I don't eat dairy anymore or meat. But
I didn't want to make you feel bad, so I
just packed my own lunch.
Speaker 4 (39:25):
Do you mind?
Speaker 6 (39:26):
Oh okay, I mean you could have told me I'm
trying to watch my way too.
Speaker 1 (39:31):
But it's fun Nobby.
Speaker 4 (39:34):
Well, that was really sweet of you.
Speaker 1 (39:40):
All Right, I'll pull out other Sunday tradition. Most of
we mangle juice. I thought you'd never say it.
Speaker 7 (39:51):
Bring it out, bring it out. Oh, I'm I'm only
doing organic. I mean, so do you mind using the
organic just for mine?
Speaker 4 (40:06):
The other for eleven dollars?
Speaker 1 (40:08):
Does that come with anything? Yeah?
Speaker 4 (40:12):
Good health, Let's just eat. Okay.
Speaker 6 (40:19):
I don't know what Upper west Side bougie therapists that
you're going to, but Mama, this is the third time
you're washing your hands everything.
Speaker 3 (40:27):
Okay.
Speaker 4 (40:28):
The five piece my thing this season. The five what
proper preparation prevents poor performance?
Speaker 1 (40:39):
Maybe that has enough gain.
Speaker 4 (40:43):
Well, I'm applying it to all aspects of my life.
Speaker 1 (40:48):
All right. What are you doing?
Speaker 4 (40:55):
Oh? Well, just keeping the air fresh and circulating, you know, Taylor?
Speaker 1 (41:02):
Yeah, do you gotta go or you gonna let me
know what's wrong?
Speaker 3 (41:04):
What happened?
Speaker 4 (41:11):
Can I just call my therapist for my sports?
Speaker 1 (41:18):
Wa han sing?
Speaker 3 (41:20):
That's funny. It was a little bit.
Speaker 2 (41:23):
It's just a little bit of a different same scene,
just a little bit a different note, you know, coming
over and expecting. I think it plays a little funnier
if it's you know, she's trying to be And even
that last line of the therapists almost reads as though
she can't do anything.
Speaker 3 (41:41):
Without the therapist. So it's less about.
Speaker 2 (41:44):
Being bad and more about relying on the therapist for
all the things that you need to do.
Speaker 1 (41:51):
That was fun and great insights. Thank you too. Okay,
well it's over. Classes, session is over. Sorry, all right, Okay,
Well we're going to wrap up class and session and
thank Anny Bloomer Douglas for being here with us once again.
Speaker 3 (42:07):
I'm so glad to be invited to be here.
Speaker 1 (42:10):
Well, we're going to extend another invitation, so we're going
to see you again. And I want to thank Lean
and Lisa. You guys did a great job, and you
guys listen all right, thank you so much, and we'll
come back with Give Love on the Spirited Actor Podcast
with me Tracy Moore. And now it's time Forgive Love.
(42:35):
Meditation is for you. It's your time to shut out
the noise, shut out the conversation and just be with
yourself and just be. You don't need to show up
with any money, you don't need to show up with
any things. You don't need to show up with any titles,
(42:56):
show up with your authentic self in quiet, and in
that silence, answers are going to just start coming to you.
What direction should I take? You're going to see the direction.
How should I feel about a certain thing? You're going
to feel, how you should feel. You're going to be
(43:18):
guided in your meditation and in that moment, whether it's
five minutes or twenty minutes, settle your soul, settle your
spirit and allow yourself to rejuvenate, allow yourself to rebuild,
allow yourself to reshape and be empowered. Meditation is for you.
(43:43):
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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