The Spirited Actor - Benny Boom

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Episode Transcript

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 Thomas.
I audition every rapper from Biggie Spalls 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

(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 records 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 Active 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 extraordinaire, Binny Boom Douglas. Put your hands together.
Thank you, thank you, thank you, thank you, thank you, Binny.
I mean, timing is impeccable because I know that people
are kind of home. But but I feel very honored

(02:36):
to have this interview with you. Oh man, I feel
honored that you asked. You know. I think, um, there's
there's people that you meet in the in this industry
along your journey and like that you never forget or
somebody that's giving you some advice or helped you or
pointed you in the right direction. And I just want

(02:56):
to thank you for doing that for me. Twenty six
years ago. Yeah, you know when I first moved to
Brooklyn from Philadelphia, and UM, you were just telling me, what, look,
you just gotta go get it, you know, if you know,
just don't wait for nobody to do this, you gotta
show up here. And it was just all these things

(03:17):
that I was just you know, indated by the big
city and about the industry and all these things, and
you just, you know, you just wiped all that stuff
away from me and just sort of helped me, you know,
um try to find and figure out what I wanted
to do. And I just started thinking, Wow, you're welcome
for that. I I remember, um, you coming here, and

(03:40):
this is crazy because I wasn't supposed to be there
that day. But Moses that yeah, Moses, who I just
spoke to two weeks ago. Crazy, Um, 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 hey you.
And I was like, I don't. Phil Simons, who was

(04:03):
the quarterback of the Giants at the time, it was,
and I was like, I didn't know ESPs, so I
didn't know who these people were because he was throwing
the daves and he was like, i'll pay you, Tracy.
I'm like, I'm a castide director. I don't know what
a script supervisor does. And he was like, to 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 met, yes, right on that set, and I don't
remember that there. I think Daphne was the producer maybe, uh, yeah,

(04:49):
Daphne was. Daphne was at the time. She was grabbing
people up from Spike set because I was I was
um interning over it and so Death, yeah, that's right,
and she was plucking people to come work from Pike
said um. And that's why that's how I think I

(05:11):
got there. I think Daphne was producer on that. Yeah,
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, Tacy. You know,
I'm going back to Brooklyn. I give you a 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 at the corner and turns the

(05:33):
corner and drops you off right off, right around the corner.
It was when I would come out of my garden apartment.
The door was right there. Yeah, it was crazy. That
was that crazy. That was so dumb. I was like, okay,
I'm supposed to be his friend because it was so crazy.

(05:54):
And you remember you got me um I wanted you
did some background casting on New York going to cover. Yes,
and you said and I was like, I don't know
if I wanna do is like, but this is one
of those things. You were like, look, you just gotta
you know, up, just you gotta understand what this industry
is about. And that going there and that that day. Yeah,

(06:19):
and I did that. I can't remember what scene it was.
It was one of those club scenes when they do
yeah oh Natalie's yeah, yeah, yeah, yeah, yeah yeah yeah.
But you know what, by 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 Minel was before Hype

(06:41):
and Hunters. Right. We were doing three music videos per
week and the budgets were extraordinary. Yeah, they were line. Yeah.
Hype Williams was art director X was working Grip. You know.
So I came from a school where it was by

(07:02):
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 I
felt like when you were in a position and you
have an opportunity, you just grab your people and say
come on, everybody, come, you know, because you know, um,

(07:25):
you never know where that can lead you. And you
definitely like from the time I met you, I was like, oh,
he's about to take over the world. You had claim.
I was like, Temple, did you re yby? You were focused.

(07:46):
It was there was nothing in your DNA or surrounding
to sit failure here. It's not happening. Right. It's so
crazy to hear that from somebody because I always think
about those days and like, man, how did I say things?
And working sometimes and you know, um a down period
and then finally meeting Hype and then sort of being

(08:08):
in 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 would be is very It's you know,
when I think back, it's scary. I was, but like
you said, at the time, and I was like, man,
I can't because I was always like, I can't go
back to Philly. That's yeah, that wasn't an option. That

(08:30):
was definitely when I heard Will Smith say, um, Plan
B is Plan A, I was like, oh, yeah, that's
what the that's their route because to Same High School
to Overbrook High School. It's funny. Yeah, how did I know?
Yeah yeah, Same High School. It's crazy. You I swear
it was. And you know what was refreshing about it

(08:52):
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,
not just um, you know, being in these positions to
direct and create, but starting your own production companies, Like

(09:12):
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 Like,
how did how did you get you? I was just
gonna say, how did um, you get into the video world? Well,
into the video world. The thing was I was in,

(09:35):
as you know, I was in like the p A
world of the movies, mostly movies, not really TV shows,
but of movies. And I sort of found myself. Um,
it's very interesting. I found myself in a cycle with um.
You know, back in those days, you got friendly with
the A D s. D S would go from one

(09:55):
movie to the next and they would bring their pas along,
and I found myself in this is very funny and
looking at what's happening now, I was the only black
PA on a lot of sets, and not on Spike sets,
on these other sets, so, um, this one A D
group would bring me on the different movies. And I
found myself on Woody Island's movie a couple of years

(10:16):
in a row, and I was the only black p
A on Woody Island movies and and and at the
time I didn't really think about it anyway. 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,

(10:36):
and it was so far away from what I wanted
to do. And then I got the opportunity to p
A on a commercial for one collect when Chris Rock
was doing all those commercials, and 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,

(10:56):
I was blown away because at this time, hype was hype.
It was nineties six or second ninth of it, and
I mean it was hype Williams World and you know,
you crept in three and four videos at once, and
you know you had DMX was coming before he was big,
and this it was just it was just like, this
is where I want to be. And so I basically

(11:18):
stated my claim in that in that place and was like,
you know, I came back after we shot the commercial,
we were wrapping and I said, hey, guys, do you
need somebody for p A for something? And it was
R Kelly's Gotham City Remix I think video. And that
was the first job I did with Hype as a

(11:38):
p A. And I don't know, it's something just clicked
and with Big Mike Big Mike Ellis and 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 with

(11:58):
Channel Live. I was on their albums and UM directed
the first music video for the third album, A Wild
Al two K and that's where it all started. Wow,
So because that's where it started with me to music
videos with UM, Lionel Martin, Ralph mc daniels, and then
it was like of this world because it's like a

(12:22):
mini featured But I needed to audition actors. I needed
at UM. You know a lot of times UM and
I love having directors on the podcast because actors don't
get a chance to have conversation with you unless they're

(12:44):
They're very fortunate to have a rehearsal prior UM, so
usually after the callback or a producer session, however far
it goes next time you see them television on the right,
So a lot of times they don't. UM. Are you
as a director, do you give feedback to your adjustments

(13:08):
to your actors? UM? A lot of times when actors
are day players, UM, UM they feel as though they
don't get a lot of feedback from the director of
the director you know, cut and they're like, um, any adjustments,
it's like, oh no, that was good, but they do
want they want that, yeah, even if it's I know

(13:31):
you did a great job to same thing again, right right.
I have to deal with actors. Well, it's interesting, I
found myself at the beginning. Um, because to me, feature
film feature films in 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, Um,

(13:54):
you've had that private time to really talk about the
script and break it down. With television, UM, 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 already already there
and always always has guest actors because they're either the
bad guy or with the stories about or something like that.

(14:17):
And so, um, there's a 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. Um, So we stand here,
stand here, stand here, Let's get the information out. Let's

(14:37):
get the information out. 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 l L is on that show, a lot of
time will come there and they're just like, oh, this
is all cool Jack, you know they I've seen it,
and I've seen people. You know, we have we usually
we have a big table read. Everybody's cool with that.

(14:59):
But the the first day on set and they have
to act with him in the scene like before, I
can see like they're just like, this is LLL, you know,
and it's and it and it hits him. Um. And
so for me, Um, it's interesting because I know how
because I'm friends with l L got me that job
on that ship. Yah. Yeah, he got me that job

(15:22):
on that ship. Our friendship was lasted, you know, almost
twenty years now, and he was the one that made
the call that you know, got the interviews for me
to come there and help me put my real together
directing presented. So you know, he really championed me, um
to get that job. And so when I'm there, not
only do I um rely on the main actors for

(15:48):
you know, I try to break down those walls that
happen because they don't a lot of time, they really
don't when I'm when I'm in, when I'm in the auditions,
it's myself, it's the producer and the writer of the
episode and casting. Um. And sometimes people, you know, they
see one thing and they'll dismiss him right away, and
I'm like, hold women, women, let me just let me

(16:09):
just let's hear one wants you know, let's get one more.
And if I think somebody is right forward or feels right,
you know, I try to position. I learned. It's very interesting.
I learned, like when you're a guest because as a director,
you're a guest as well. Even though I being seven episodes,
I'm still a guest director. Um. But I learned how

(16:29):
to win the argument without fighting, if that makes sense,
A lot of sense fight for know which battles to
fight for? You know what, no, which battles to fight for? Um,
the differences like a show I did, All I Do,
All American, which that's my favorite show. My road Dog,

(16:50):
Oh get out of here. I've known Tim since four. Wow. Yeah, yeah,
it's such a great show, gentleman. Kim Williams is the
casting director on that ship. Yeah, and and 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

(17:13):
actors learning the actors helping them learn who they are
because each episode is a different journey for them. Yeah,
on this show, Black Lightning is the same way. Um,
I was there first season, have been there every season.
Williams come on, Oh, that's great and funny enough in

(17:34):
the Fista 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. Was so funny. Um, weest Philly. But
it's like to work with those actors and and I
come on just as interested in helping develop the character
as they are, because none of them wanted to just

(17:56):
do regular work. You know, I don't want to just
set in. And I love that, you know, I love.
I love to be asked questions as a director. I
love when they're looking for acknowledgement for me, that right?
Does that feel right? How did that? You know? And
I go Hey, that was right, or you know what,
that was good. Let's try try this, you know. Yeah,
so it's different when you want television. You know, the

(18:19):
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 the show. The characters are like, you know, I
don't feel like this anymore. Why would I say this now?
This first season, with this this and so um. As

(18:41):
a director you try to bridge that gap. You got
a way to get to get what you need, give
the actor the space to create, but also delivered with
the writers looking for It's a very interesting dance to do.
And this is specifically for teller vision. Now. When I'm

(19:03):
working with my actors, whether it's in the 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, um to have conversation right with
the director. So um, rest in peace, and I know
you worked with John Singleton as well. Yeah, definitely. When

(19:23):
we were on Chaft, we went to um 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 John.
She also came, I'm so done. That's one of my dogs.
We graduated Temple. Ye love Renee. She had called me

(20:06):
and she was like, um, I want to come visit.
I was like, come on down. John is like we
need a girlfriend for bus and I said he is
coming and John was like, I love Renee. Let's do it.
So when we got the trailer, I was like, Renee,
say something if buster because she had no lines, so
I was if he asked you a question, you gotta respause.

(20:28):
Uh right. 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, um,

(20:49):
you know the actor comes on set and they're wearing
skinny jeans. You know, when 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
worre skilled skinny because blah blah blah blah blah blah blah,
to the point where you're like, you know what, you
should wear those gigs right right right right right own it.
You own it. So that's a I mean, that is

(21:11):
so refreshing too, 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 um in those
few moments in the callback or if they're in the
audition process with you, we're we're moving out of the
live but let's say this was a live audition. What

(21:34):
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? 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

(21:56):
and having your mind are the ways because you prepared
for just because it's written on the paper dramatically, the
director or producer may say, you know what you need
to live out with some humor and you have not
even thought about it and human humorously, you know, like
oh man, and then you're fumbling and get the lines

(22:17):
and all that and the other thing. I would say, um,
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 noticed producers and writers a lot um in the
audition process when you when they're not prepared in there

(22:37):
and they and they have the script and they this
and that, like a lot of times they they they
watched that because it makes them think, Okay, if he
wasn't prepared for the audition, will you be prepared on
the shoot day? Right? And so? And I do know
that sometimes casting directors will give you a call that

(22:58):
morning to come in audition that afternoon, and then you
have to be ready. And I know it, I know it,
but I will say I've seen I've been in the
room when people have been dismissed only because they had
the paper, but they were better, they gave even a
better read, right. And but you know, so that's what

(23:20):
I would say. I would say, be prepared to give
different reads. M have the one that you're that you're
strong about. And then if you asked to to to
switch or to change, make sure that change is noticeable.
So it's not just an inflection in your voice or
something like that. It has to it has to be
a change in the in the performance. So how important

(23:43):
are classes for you? I think it's I think it's
I mean, with you, you can't not have classes. I
mean as a director, I'm always always always looking up stuff.
I'm always watching things. Someone was reading things about, um,
even old stuff that I may have overlooked at one

(24:05):
time in my life in terms of a film or TV,
and I go back and watch it and go, oh,
that's why that worked and why that worked? Okay, As
a director, and I'm talking like angles and and framing
and and um just all those things and in staging.
Staging is really important, um as a director and with

(24:26):
actors and when you walk into seeing a lot of
times I noticed when we do it will be seven 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 to going over the lines again, and we're
just finding where it is right. I don't even here

(24:47):
it is. I don't even talk like I let them
come on 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 this, you know, the police officer
was sitting down, and then the person walked in. But

(25:10):
then when they come in, the actor goes. 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 say, I'm like, why
do you think it should pace? Well, you know, I'm
just coming in from the other seed, and and tell
me something I didn't think about, like, you know what,
go ahead and pace and then if if I've seen
it doesn't work, I say, okay, great, let's try sitting

(25:32):
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 the acting just becomes natural. And there's so many
I mean, so many of the greats are like that,

(25:53):
where it's just it's just natural, natural and forget that
there's a script. They're like, I'm done, Tracy, It's done.
You know though I've been in the room with it
for a thousand times. Right, Yes, yes, that's that. I

(26:14):
love those experiences. UM. I have had recently, UM in
teaching and also my conversation with casting directors from Land
to Hunt to Winson, Sinclair, all of them, how actors
are there there's not a real sense of need or

(26:39):
urgency to hone your craft. Acting is easy, and UM
we talked about we don't want to, you know, just
sort of define it all as millennials, UM, but a
lot of them have and so UM I really stress
you know with my guests to UM to tell the actors, well,

(27:01):
if you've never cried on que or you know, and
nothing's ever brought you to and you go to a
class and you guys are doing reading and then it
requires you to cry on and you can't do it right.
So the next that you have separate time what you're
acting coach and say, I don't know how to do this,
and a great culch would tell you this is what

(27:22):
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 ago, that you know it doesn't
always have to death. It could be just one thing
that moves you. And depending on the scenario, find that
so that the next time you may be doing that

(27:42):
reading or a different one and you have to cry
on que find that moment, what the moment your parents
got divorced and you realize, man, this our lives are
never gonna be the same again. Maybe you can't cry then,
but 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

(28:03):
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 I have to I've got to cry to
the right, 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

(28:26):
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 the vacuum. You can't do it
by yourself. Well, just think you want to show up
on set and go, oh yeah, I got beat up
in the third grade and I cried, so let me
cry like that. That's just not the words. But well,
I'm gonna tell you what's not gonna work is the
fact that this interview is over. Yes, but that only

(28:50):
means that we could do Benny Boom Douglas Part two.
Here we go. We haven't even gotten into I mean,
I need to talk about films. I need to talk
up the next day. Are we need to talk about
much more? So, m 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

(29:13):
I'm taking notes here. I know, I'm like, yes, maybe
that's a good you know, but it's good too. I
always reference my 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

(29:33):
casting director. We're not looking for readers. We're looking for
characters and characters characteristics. So that's how when we used
to be in person in live, we used to weed
out the process. Uh. I want to talk about self
tape with you. I think that that's really important for actors.
That's where we are now, right, A lot of that's
that's unfortunately where a lot of this is going. And

(29:56):
the thing is you self take with someone who's not
a team person. A lot of times it could be
your 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 to only send in
what you think is the best. You might have done
it twenty times exactly, but today if you get a chance,

(30:18):
Um we have Um Sadik Sanderson and so Um Sadiq
said only send in and only do your takes as
many takes as you think you would get in the room.
So and I absolutely agree with him because justin coaching

(30:39):
people for self tapes, you can't do twenty takes. Man,
that's not to let them. Maybe I don't go past three. Yeah, So, um,
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 to do their magic.

(31:01):
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. Yes, yes, yes, thank you
so much. 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

(31:21):
a career. I had had nothing. I was peeing here
and peeing there, and you know, you just giving me
sound advice about what the business was, what to look
out for, um, you know, and just to just to
keep keep going, just to keep going and and and
it's great that you know what you you said about me,

(31:42):
and that you saw that I wasn't gonna quit like
my whole thing never. You know, you can't go back.
I can't go back. I can only go forward. So
how do I do that? And you said, it's only
God like putting people in your life to help guide
you into those places. And I want to thank you
for that. Sure. Oh man, I just I thank you
for just being consistent throughout my whole career. Whether I

(32:06):
saw you on the street of Woo oh yeah yeah, yeah, yeah, yes,
yeah yeah, that's a that's a whole interesting time to
I want to talk about that too, because I come
from Drop Squad where yes, I know the backstory of
Woo before it got to John and everybody. But the

(32:27):
interesting we should talk about because I have that moment
and what I was doing, um peeing, and then I
got turned into like Jada's security person somehow for the
whole job. It's interesting. Yeah, yeah, we have to. It's

(32:47):
so much fun the Drop Squad stories. It looks like
whoo they're doing on layette right right, Yeah, yeah, that
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

(33:10):
back with class in session. Welcome back to the Spirited
Actor Podcast with me Tracy Moore, and you guys are
still blessed to have Mr Benny Boom Douglas presence. I'm
on a yes, look at the Spirited actors clapping. That's right,
clap lady. Okay. So we are here now for my

(33:30):
favorite segment class in session. So what we do here, Benny,
is we would love to get any of your insight
or an expertise that you want to share with our
actress is um starting with leon a motto say hello lion, Hello,
Hi Benny, Hello, what's up? Now? Go ahead, ly and ahead.

(33:56):
I'm excited to see you again. Yea, all eyes on
me right well, now all our eyes are gonna be
all y'all. So next it is gonna be on you,
Mr delictit DePree Hi hello, okay. So um, I'm gonna
read the scene and uh and then we're gonna go

(34:16):
you ladies ready, m okay cool. So this scene, Benny,
was written by Lean Amatto and this is called grow
our Separate Ways all right? Um. Interior like Riss's Place, afternoon,
Larissa and Taylor having brunched in Larissa's edgy um in

(34:38):
the oh sorry nds um less apartment. It's been years.
So I made your favorite. I made your favorite scrambled
at the cream cheese, bacon and stuff. Friend shows in
maple stirrup. Oh man, Um, I don't dare anymore or meat.

(35:02):
But I didn't want to make you feel bad, so
I just packed my own lunch. Do you mind? Oh okay?
I mean you could have told me I'm trying to
watch my way too, but I don't act on the
cream cheese for you. But it's okay, Worries, Well, um,
it was really sweetie, you though. Taylor those her color

(35:22):
organized labeled food containers. Well, I'll pull our other Sunday
tradition mimosas with mango juice. Can I thought you'd never
say it? Bring them out? Bring them out. Taylor pools
and eleven dollar bottle of freshly pressed mango juice sold

(35:42):
only in boot Cold Foods, and places it next to
Arissa's two dollar bottle of Trader jokes. I'm only doing organic,
so do you mind using the organic for mine? You
know Thelarissa reads the label and almost faces Yeah, baby,
for eleven dollars doesn't come on anything? Uh yeah, good health.

(36:06):
Larissa ignores her. She doesn't have time for it. Let
Taylor gets up to wash your hands, say, I don't
know what upper west Side boogie therapist that you're going to?
Is the third time you washing everything good? The five
ps and my things this season the five kay Proper

(36:28):
preparation prevents poor performance. Maybe that doesn't have anything to
do with the 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 started spray
mid fight. What are you doing? I'll just keep in
the air fresh and circulating. You send so Larissa's dad,

(36:52):
all right, baby, you gotta go. You gotta tell me
what happened to you. Taylor pondered for a minute and
then yeah, I can I call my therpist so that
she can she can chime in for more support. Larissa
just excuses herself. Very nice, lady. Okay, I'm gonna throw

(37:17):
it over to you, manny. But real quick question, and
in the story, are they they're like best friend? What's
the what's the relationship? We grew up really close together,
but like I see even like the Lowrie's side, off
the west side and really really come a long way
from you know, like the way we used to be. Yeah, yeah, yeah.

(37:38):
It would be interesting if if in the read um Julisa, Julessa,
I'm sorry, Jolessa, Ja like from a different world. Yes,
to play it, play it in a way where um,
she's because you know you often see this right where
people have separated and they and they're still friend and

(38:00):
but you you bring with you the new world, that
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 is different. So
maybe play it with a little bit of bougee attitude
that that would off a little you know what I'm saying,
a little bit as a as opposed to being the

(38:23):
same girl that she knew when when she left. You know,
when you guys, we're friends every day. You know, it's
just a little that's that would be just run you know,
other way to play it, so that way you can
see 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. Mm. Yeah, it

(38:49):
got it. Okay, So they can make those adjustments. I
don't read the side, I don't read the slug line
or the action. They just read the dialogue. Okay, okay,
you guys, mhmm, okay, So girl, I made your favorite

(39:10):
creamy cheese, bacon and stuff, French toasts for maple cyru.
Oh man, um, I don't eat dairy anymore or meat,
but I didn't want to make you feel bad, so
I just packed my much. Do you mind? Oh? Um? Okay,
I mean you could have told me I'm trying to

(39:30):
watch my way too, but it's fun. Well that was
really sweet of you. All right, I'll pull out other
Sunday tradition on most of the way. Mago juice. I
thought you'd never say it. Bring it out, bring it out. Oh,

(39:58):
I'm I'm only doing a organic I mean, so do
you mind using the organic just for mine? Yeah? There
for eleven dollars? Did that from anything? Yeah? Good health,
let's just eat. Okay. I don't know what Upper West

(40:21):
Bougee therapist that you're going to. My mama, this is
the third time you're washing your hands everything. O. Good
m The five piece on my thing this season? The
five What proper preparation prevents poor performance? Maybe that again? Well,

(40:43):
I'm applying it to all aspects of my life. M
all right. What are you doing? Oh? Well? Um? Just
keeping the air fresh and circulating, you know, Taylor? Yeah,
do you gotta go? Are you gonna let me know

(41:03):
what wrong? What happened? Um? Can I just call my
therapist from our sport? Wait? Can see? That's funny. It's
a little bit it's just a little bit of a

(41:25):
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 um you know, she's trying
to be And even that last line of the therapists
almost reads just though she can't do anything without the therapist,
So it's less about being bad and more about relying

(41:47):
on the therapist for all the things that you need
to do. Uh. That was fun and great insight. Thank
you too. Okay, well it's over. Classes, session is over.
Sorry all right, Okay, Well we're gonna wrap up class
and session and thank Benny Booper Douglas for being here
with us once again. So glad to be invited to

(42:09):
be here. Well, we're gonna extend another invitation, so we're
gonna see you again. And I want to thank Leanne
and je Lisa. You guys did a great job and
you guys listen all right, Thank you so much, and
we'll back with Give Love on the Spirited Active Podcast

(42:29):
with me Tracy Moore, and now it's time forgive love.
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

(42:51):
with any money, you don't need to show up with
any things. You don't need to show up with any titles,
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.

(43:12):
How should I feel about a certain thing? You're going
to feel how you should feel. You're gonna be 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

(43:35):
yourself to reshape and be empowered. Meditation is for you.
Thank you for joining us on the Spirited Actor Podcast
with me Tracy Moore. I look forward to our next
Spirited podcast. Thank you,