November 26, 2024 • 49 mins
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Episode Transcript
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Speaker 1 (00:00):
Hello, and welcome to the Spirited Actor Podcast with me
Tracy Moore. I was a casting director for film and
TV and commercials for over thirty years. I 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.
Speaker 2 (00:54):
Now.
Speaker 3 (00:54):
I know.
Speaker 1 (00:55):
I know actors want to get the job.
Speaker 3 (00:58):
I get that, but being.
Speaker 1 (00:59):
Remembered by casting director that is powerful meditation of the day.
You're not famous until my mother has heard of you,
Jay Leno. There are plenty of reasons why people choose
this business. I feel that it is important that you
understand all the reasons why you are pursuing a career
(01:19):
as an actor. One of the most common reasons that
I've heard is to be famous. Fame has a lot
of consequences. The most obvious one is your lack of privacy.
If that doesn't bother you, then great, but if it does,
then you need to reevaluate this career choice. There are
a lot of perks in this business, but it is
(01:41):
important that you remain grounded and focused. One of the
ways you can do that is by understanding what your
true goals are. Today, I will respect my privacy. Welcome
to the Spirited Active podcast. Asked with me Tracy Moore.
(02:02):
And I can't even begin to tell you how much
love I have in my heart for this guest. I
met Christine Swanson, director Extraordinaire nineteen ninety eight. Christine looked
up at the date nice, Oh my god, And I
(02:25):
just remember you and Michael and such a beautiful couple
and just really fun, creative.
Speaker 3 (02:34):
Filmmaking filmmaker's energy right, And.
Speaker 1 (02:40):
You said you had a film And I feel like
you gave me a postcard because I feel like I
had some sort of documentation of it, and I was like,
I'm definitely going. But as soon as I saw it,
I was like, she's gonna win, She's gonna win.
Speaker 3 (02:54):
I did, and you won, and I was like, oh
my god, Like it was such a great film. It
was really a great film.
Speaker 1 (03:02):
So to be able to fast forward twenty twenty and
have you have a plethor of films and things we're
going to talk about audience again. You guys need to
get your pen and pencil computer however you document because
the jewels, the diamonds that are going to be dropped
(03:24):
in this interview. Nice, fine ladies and gentlemen, put your
hands together for Christine Swanson.
Speaker 3 (03:32):
Oh cool, right, say it's true. Yep, I'm making it.
Speaker 2 (03:38):
I remember. The thing that I love about you is
like and what has never changed is like and I
love that you call yours the spirited actor. But there
is a spirit that you embody that reeks of authentensity
and integrity that fast forward from when we first met
(04:01):
until now. I have a profound understanding of how that
is lacking in our industry.
Speaker 4 (04:11):
Wow, and the fact that you know we are reconducting
I just feel like that is that's god like putting
me back together with people who are like minded, who
are genuine in their pursuit of this craft for purposes
outside of themselves.
Speaker 2 (04:31):
Oh wow, that's selerity.
Speaker 3 (04:34):
So that's you, Thank you, I received that that.
Speaker 5 (04:39):
Wow.
Speaker 1 (04:39):
I'm going to have to replay that all day today
because you know, that is the truth, and that is
something you know we're going to jump in because as
a female director in this industry, how are you embraced
because we do have a different energy, We have a nurturing,
(05:01):
we have you know, a focus.
Speaker 3 (05:05):
How is that?
Speaker 1 (05:06):
How has been how has that been received for you
as a director in television and.
Speaker 2 (05:11):
So well, I think you know, if you remember me
starting out, I was kind of wide eyed, bushytail. Yeah.
I had no preconceived notion about how anything worked. All
I had was a passion and some modicum of talent
that I wanted to offer the industry. So on some level,
(05:34):
sometimes when when all everything is like in sync, that
is enough talent and passion, okay, right strickly on the
creative side of things, talent and passion, it is enough, okay, Okay.
(05:57):
In the industry, however, that's not the focus. So that's
two sides of a conversation. If if we're talking about
an artist, I don't look at myself as a female,
and I don't look at how I'm going to be embraced.
I I just go for the jugular, right, That's all
(06:18):
I know. Right right now, when you're you apply that
to the business side of it, Now, we have to
kind of look at a pre existing culture and hierarchy
that has very systemic issues that.
Speaker 3 (06:35):
Have happened to do with you, with you really so
I can I can.
Speaker 2 (06:42):
Tell you experiences and stories about that part of it,
which which which in many ways can look like a struggle.
But I just don't look at at struggles as obstacles.
I look at struggles as opportunities, right, how I can
mount myself in ways that I feel like God has
(07:05):
called me to function absolutely. So It's like I think
when people see the work and if they like it,
maybe it parlays to other work. But I have never
suffered for lack of imagination or or work because of
(07:26):
systemic issues outside of myself.
Speaker 1 (07:31):
Well, and when you talk about being yourself, you were
You've been consistent in that energy. That was the like
energy that attracted both of us because we didn't know
each other. But it was like, hey, hey, right, I
think that was so that was a moment. But I
the challenges I can say that actors have right working
(07:58):
you know, how acts work with a male director versus
a female director, And me as an acting coach, I've
been on those sets and I'm you, yeah, director, director.
Speaker 3 (08:11):
That's what you know.
Speaker 1 (08:13):
But then you start to get specific. You're a female,
then you're a director of color, and it's like, but
I'm a creative being like and so to me, the
blessing is you have created a path, your own path,
and you continue to create that path where yes, how
great would it be to just be recognized as a director?
Speaker 3 (08:34):
Period?
Speaker 2 (08:35):
That said no, well yeah, And then the thing is again, Tersey,
I don't look at myself in that way, like I don't.
I don't look at myself as a female director, black director,
But I'm just looking at as I approach it as
a creative entity. And then when I work with actors.
To me, what I love to do is this, and
(08:56):
maybe it has to do with me. I think has
more to do with me being a mom than a fever.
So I like to do like just say, like when
I'm working on an episodic right, typically the usual cast.
They're comfortable in their skin and what I try to do.
So what I try to do is just ingratiate myselfs
(09:19):
to them in ways that they know that I'm here
for them if they need And then sometimes I have
to push them to try some things that they're not
being pushed about. Right. People that I pay a lot
of attention to are the day players, because one if
(09:40):
a day player is not on their toes, if they're
not present, you will lose a lot of time and
that's not something you can afford to do. So what
I to do, though, is to make sure that I
spend as much time as I can with the day players.
(10:00):
I like with them in advance. I'll call them, I'll
meet with them before their day to shoot, so they
get comfortable with me. So that so the first time
meeting me is not on set, right, because what happens
is nerves kick in and then they start, you know,
freak out because now they're they're just trying to please
(10:23):
me because this is the first time they've met me.
So what I do is put them at ease and
like have conversations with them of their day. One of shooting.
So then day one of shooting, we've broken the ice already,
you know, we got the next level of our relationship
and hopefully they're a little bit more at ease, so
(10:45):
then we can tap in to really the creative parts
that we want to explore. So I'll do that. But again,
I think that's that could be a mommy thing. I
don't know, you.
Speaker 1 (10:54):
Know, I think what actors need to know first of all,
is how rare that is.
Speaker 2 (11:01):
I don't know that. I don't know that.
Speaker 3 (11:02):
It's happened most.
Speaker 1 (11:05):
You know, I've just been really blessed to be on
the set for six years on all of Buster Rhymes
and Eves projects.
Speaker 3 (11:12):
And when we have rehearsals, you know day.
Speaker 1 (11:15):
Players and for those of you who don't know what
a day player is, that's an actor that works one
day in it. And so for Christine to take time
out of her day, which it just doesn't include actors.
It includes maybe going over wardrobe, or maybe there's special
effects or what there's a bunch of stuff going on
(11:35):
in your world, but you to take that time, yeah,
and recognize their value. They're that exactly. That's a blessing, Christine,
because I'm I'm when they call first team to the set,
I'm with first team and it's very rare, you know
(11:56):
that a day player again, you know, we will have
a rehearsal with the day player, but the director is
not focusing on the day player. The director is focusing
on my client or you know, the other celebrities.
Speaker 2 (12:09):
Well, if the day player is not on point, guess what, yep,
I inherently so that I make sure like my day
is not going to be held up because the day
player is not showing up. And you my job is
to make sure everyone shows up. And that's the camera
(12:30):
and behind the camera. So that's my job as a director.
And I don't there are no small players in so
I don't you know, there's there's kind of like quality
to the set that I bring because that's just how
I like to work, right, And I love that.
Speaker 1 (12:49):
And even for me as an acting coach on the
set and I'm watching the monitor, I have coached extras
because I go to them and I ask permission for
the from the director and I'm like, do you guys
want to do what they're doing?
Speaker 3 (13:03):
It starts here, right, you know, why.
Speaker 1 (13:06):
Are you walking across the street you don't need words
to tell us something, you know. So as as a director,
that is you guys, I pray that you guys are
really holding onto these gyms right here, because again it's
very rare. I've seen a director take that time and
you talk about rehearsal. Rehearsal is luxury. When they said
(13:29):
we have rehearsal, I would be jumping up a day
on the class.
Speaker 2 (13:35):
When I'm out of town on a job, you know,
like especially do an episodic and few so far, but like,
if I'm in New York City working, I'm not taking
the weekends off. You know. I'm calling my day players
and I'm like, hey, you want to meet up for coffee.
I'm calling crew members and saying, hey, if you have time, let's,
(13:57):
you know, let's talk and meet up. And I'm not
trying to make people will more, but I'm I'm I'm
here and willing and ready to work and if you're amenable,
let's let's get a jump on this. You know. So
there's an episode of Chicago PD. I did this episode
six eight and it's the first time the black Mail
(14:18):
lead I had a love interest.
Speaker 3 (14:22):
Oh wow, Okay, sakes.
Speaker 2 (14:24):
Were very high for him. So this season six right,
and so six years the brother ain't had a love interest, right, Hey,
that's the script that I get. They gave me a
black love story, and so I went, I went up
to that actor and I said, listen, are you ready
(14:44):
to throw down? Like I'm ready, I'm ready. I said, Okay,
if you're ready, let's go fly. Right. So that I
did with him that he was never used to doing,
and one of those and because he's the right regular,
he's a series regular, right right, I was like, we're
(15:05):
gonna rehearse on the weekends. Wow. So he and the
lead actress that I cast for that episode, they had
like this epic love scene. Right, it's his first love
scene ever, like on this series, on a show where
all the crew members know him, cast members know him,
(15:25):
and they're clowning him like, oh yeah, this is your
first love scene. So I knew he was gonna be moving. Okay.
The actress, she was a guest star and she was
kind of more seasoned in having done scenes before. So
what I did was over the weekend, I'm like, we're
gonna come together and we're just gonna rehearse some things. Okay.
(15:48):
So I had them go over lines with each other.
I mean so much so that they had a level
of comfort that was kind of different than you would
see on a regular show where people are meeting for
the first time. And another thing that I did was
I actually practiced the love scene. Wow, like almost like
(16:11):
cut by cut, okay, as you know, love scenes are
just it's a very technical thing. Well, right, so I
threw a blanket on my bed in my apartment. I'm like,
all right, guys hop on, okay, And we actually maneuvered
the love scene bit by bit. And as actors, you know,
(16:31):
they had to know like, okay, can I touch you
here and I touch you there. It's like tongue or no,
no tongue. So everybody familiar with what they were used,
what they were okay with.
Speaker 3 (16:44):
Right.
Speaker 2 (16:44):
We got all the kings out, we got all the
nerves out right. When they showed up on set for
that scene. I mean like it was like clockwork. It
was like we were able to discover more, you know,
because we weren't. There was no stagnation in the newness
of having to do a love scene for the first
(17:07):
time for him because he had already practiced. Right. So
it's like I love working with actors in that way.
If they're available, right, it all makes them magic. Okay,
so you have available for that though, you are.
Speaker 3 (17:22):
A true blessing.
Speaker 1 (17:23):
I'm telling you I've been on sets not only as
an acting coach, but my career started as a casting director,
and so to watch great directors and the way in
which you communicate you are an actor's dream because you're
speaking their language. There's a comfort in coming onto a
(17:43):
set as an actor and being able to communicate with
the director. I know that that refrigerator is filled by
a prop person, but I want to know what your
idea of what I eat right and if it aligns
and you are that director that I could have a
conversation where I absolutely what and that just brings so
(18:07):
much more depth and volume their performance. I think. So, No,
I'm a confirm it. I'm gonna speak for the actors, Christine.
I'll speaking for the actors, because.
Speaker 3 (18:22):
I was going to.
Speaker 1 (18:22):
Say day players turn into contract players, contract players turn
into stars and listen. And I remember reading an article
on Premiere magazine.
Speaker 3 (18:34):
Michael J.
Speaker 1 (18:35):
Fox worked with Ellen Chineworth and he said she was
the only casting director that treated him like a human
being because he was doing some extra work. She ended
up casting all of the Back to the Future, you know,
because there's you know, celebrities have and they have choices
and when you do things like that for actors and
(18:56):
what you've done, yes, they have a comfort and a
dynamic before ormance. But as an actor, to be able
to give them that comfort so that they can do
the best that they can.
Speaker 2 (19:06):
Absolutely what I love.
Speaker 3 (19:10):
I love.
Speaker 2 (19:12):
I love actors because to me as a as a
director and a filmmaker, they're like crayons to me, right,
So I take that's what I color with, you know,
And so I just want to have flexibility, and when
they're more available, the more flex so you I just
(19:35):
to me, it's a comfort thing. And I really try
to create relationships with actors that put them at ease
and put them control, like they have a lot of
control in my world, you know, And I like to
create the space for them to feel safe then to
kind of be imagined in ways that I want them
(20:01):
to surprise me, you know. So it's just that's what
it's so fun for me, you know. So I don't
I take the weight out of it, because part of
it we all have to be connected and available. So
whatever tensions are around, my job is to make it
safe for actors. You know. I typically block for them
(20:25):
in ways that that you know, sometimes on network stuff
that I might get in trouble for. Like somebody said
to me, like, I don't know why she spends so
much time talking to day players, And I think it
came from like let's just say an A D or whatever. Right,
stay in your lane, yeah, and don't step in mind.
(20:49):
You know, this is what a director does. And I
don't care if it's episodic and nobody else cares about
day players. You know, That's not my approach. So I
I'm in with the filmmaking approach. And like sometimes they're
just they're punching out product, right.
Speaker 1 (21:06):
And the structure there's there's a template that you know,
they set the template for law and order.
Speaker 3 (21:11):
This is the way it's done, you know, color within
the lines.
Speaker 2 (21:14):
Yeah, I don't know. I don't know how to do that,
I know, And that's what I know. It doesn't change
the fact that I'm on time and I'm on schedule.
I just I just elevate the product, you know. And
what I've learned is this, like I have to do
that because that's who I am. But that doesn't mean
(21:37):
everybody appreciates that.
Speaker 1 (21:39):
I mean, we can't change other people, right, but then
in who we are, people can conform in some way.
Speaker 3 (21:47):
So you just you be you. I agree with you.
Speaker 1 (21:50):
But I'm been an actress and I'm like, wow, I
want to be an actress just to have a conversasue
with Christine.
Speaker 3 (21:58):
But that's so cool, which brings me.
Speaker 1 (22:01):
Let's talk about the movie that's coming out now on Lifetime,
The Clark.
Speaker 3 (22:07):
My god, I grew up with the Clarxists, love with
the Claque. How is that experience working?
Speaker 2 (22:15):
Well? You know, I came on board this project. You know,
I'm from Detroit, right, Yeah, when I heard that this
movie was being made and they approached me to direct it,
and you know, as they were looking at several directors,
I told them, listen, I'm from Detroit and I'm a
good filmmaker. You want me on this project? Wow, That's
(22:42):
how I pitched myself. I'm like, you want me on
this project because the thing that Detroit teaches people is
is like this kind of grit that is that like,
in other words, don't don't get in a fight with me, because.
Speaker 3 (22:59):
You'll lose wow, wow.
Speaker 2 (23:04):
Or craziness. You know, depends on who you ask. Ask
my husband, So say that to say like that, the
Clark's sisters are who they are because of this internal
grit of their mother, Mattie Moth Clark, who defied her circumstances,
(23:26):
who defied like church politics, and created musical geniuses who
pretty much are responsible for how gospel music sounds today. Amen, exactly.
So when you're dealing with a woman who is of
that stature and of that level of grit and determination,
(23:49):
I'm like, yeah, you want me to direct this? Yeah, seriously,
I was walking in Maddie Moss clark anointing, so or
at least I felt that I felt like I understood
what she did, because if you talk about her, they're like, man,
she was mean, she did not play, but the fire
(24:11):
sounded good, right, right. She made history.
Speaker 1 (24:17):
And we're talking a different time, you know, we're not
talking in nineteen nineties.
Speaker 3 (24:24):
It was such a backdrop.
Speaker 2 (24:27):
Of what she you know, history had to endure and
overcame in spite of so to me like that kind
of dedication and commitment to craft, right, despite the odds.
I don't see that I don't see that today. So
I was very much inspired by everything that Maddie Moss
(24:49):
Clark stood for and if I could do justice in
any to bringing their story to light and them that
I want that shot. Wow, And I got it, you know.
And you know, There's so much I could talk about
in terms of the production part of it. But a
(25:11):
lot of the reason why this this movie is going
to pop two reasons. Two things. One is the incomparable
congenue Ellis.
Speaker 3 (25:22):
Oh my god, Oh my god, such a fan.
Speaker 2 (25:27):
I mean yeah, And I just say this, Tracy, because
I've yes, you can, I've come you know, I you know,
I was, I was. I was away from the industry
for about fifteen years raising my children. I've kind of
eased back into this and I've been able to work
with a lot of different people, and I've worked from
everybody in the past. Nobody can hold a candle to Ellis.
(25:54):
I'm not even exaggerating.
Speaker 1 (25:57):
Wow.
Speaker 2 (25:58):
I believe you though. And she she's a little bit
more low key, right briging Mississippi, Like who lives in Mississippi? Right,
Morgan Freeman does, Yes, comes from Mississippi. When I you'll
(26:19):
see like when you see what what she does. It's like,
see and look, this is me as a directory working
with the Naja new ellis when you see what she's
bringing this, I'm like, okay, all right, let me make
space for this. Nice what she's doing and where she's
(26:41):
going is somewhere of the worldly. And like my job
as a director is to notice that. See, I don't
there's what I can't teach her acting, that's not you
know what I'm saying, Like right, so in a relationship
with somebody of her training in caliber, Oh, it's like,
(27:04):
let me let me clear space, right, Oh, you want
to try this, Okay, let me make this happen. Okay,
you want to go here. Let's see what that looks like.
Oh that's great, that's great. Now what if we added
this on top? Okay, try that? Okay, now we're playing right. Yeah,
it's when you're when you can hit that sweet spot
(27:26):
right playing right? Gosh, that's heavy, I know, I know
that really.
Speaker 1 (27:33):
And one of the things that in talking about character development, yes,
talking to actors, now, how important are classes or coaching
to build these tools? Because I think that there are
(27:54):
classes and coaching and they're going to teach you acting
in schools, they're going to teach you the fundamentals and act,
but when you get on a set, it's a totally
different dynamic. And I don't think acting classes teach you
how to work on a set.
Speaker 3 (28:07):
And so.
Speaker 1 (28:10):
You know, there's already a level of nervousness when you
go on because I'm working now, I'm a working actor.
Speaker 3 (28:15):
Then who's the director, who's the stars? You know, so.
Speaker 1 (28:20):
There's subease. Like you said, they're not preparing the day
they meet you. They get prep time way before. So
there's work to be done. What is that work that
you suggest that actors do?
Speaker 2 (28:33):
So the second level of the second thing that makes
this movie pop and like and something that I attempted
was this. The original plan for Lifetime was to cast
actors to dub the singing parts that the original Clark
sisters were going to lay down the vocals for. When
(28:56):
I came a job, I was like, hmm, I don't
know about that, yeah, because you know, I'm I'm I
have a gospel ear. You know, my gospel of music
doesn't work like that. It doesn't work when people are
dubbing it, right, So I'm I think we need to
cast real singers and everybody was like, no, we don't
(29:20):
want to do that, No, no, no. So long story short,
So this is my job as a director when you're
dealing with people who are when you're dealing with the network,
you know, like, it's a different thing when it's in
my own independent film. But I had show them better
than tell them.
Speaker 3 (29:36):
Oh.
Speaker 2 (29:37):
What I did was so I had a friend that
I was working with for years on my on my musical.
I knew her to be like an extraordinary voice that
nobody really knew about in the world, in the world
of acting. Right. So, and she happened to look like Derinda. Right,
(29:58):
So I flew her to Detroit. Well, I told her
to meet me in Detroit now with Kiara Sheard, who
is Karen Clark, Sheard's daughter. And I knew the two
of them. I'm like, she's Karen, she's Derinda. And here
go sit out a keyboard sing a song, and I
(30:18):
videotape them singing. And then I had them both work
with an acting coach. I don't know if you know,
Josie Harris. So I brought Josie in, I flew her
into Detroit and worked with them on seam work, you know, extensively, extensively,
(30:40):
and then and and then so we put their acting
their audition tape. We filmed that too, so we sent
all of that to the producers. They sent it to
the network. They saw them singing, and what they felt
when they saw them singing on that tape, that's all
they see and that is all I tried to convey.
Singing live, it will make you feel something. And if
(31:03):
you feel that, we have to apply it to the
film because only in doing it that way do we
properly honor the legacy of the Clark sisters. So that
was my idea, was to bring in real singers. And
Donald Lawrence and his genius he was the music p
three told me he needed three voices, so we found
(31:25):
the voices that he blended together to create the Clark
Sister sound. And when the Clark sisters listened for the
first time, they were like, they sound better than us.
Speaker 3 (31:35):
Oh my god.
Speaker 2 (31:36):
I'm not even joking. Like my job, it's my job,
like as a director, to find the magic. So if
people can trust that, and I'm gonna tell you, in
this industry, it's predicated on fear. And the thing is, Tracy,
I don't stay in that language. I don't the language
(31:58):
of fear. So I'm like, I know, intuitively and instinctively,
can we, you know, make this, make this work? You know?
So they did and what you see is magic. Now.
It took acting. It took an acting coach, and actually
acting coaches, because I actually hired several to work with
(32:19):
actresses because they are your singers, and you are new
to this medium, and there's a lot that you don't understand.
So I mean, you know, I'm not going to say
that was easy. Right. Sometimes with singers, they take for
granted how easy it is for them to sing. They're
used to performance in that way. They think, however, erroneously,
(32:47):
that they can apply their point of view about performance
as a singer to performance as an actor. And they
are really exclusive. They could not be no different, you know,
or more different, and that's something that took a lot
of time to ease them into. And I dare say, like,
you know that more work can can be had post
(33:11):
movie if you want an actress, So I cannot. I'm
so excited to say enough important acting training and acting
practice than here to work NonStop character work and rehearsals
are important to crafting a performance. When this is not
(33:34):
your medium, it's important when it is your medium. Absolutely,
I cannot tell you how much Andrea new ellis stressed rehearsals.
She would be the first one to arrive and the
last one to leave, you hear me. So people watch
(33:54):
and learn, watch the work ethics.
Speaker 1 (33:56):
That's so yes and respect that I want to go on. However,
we're at the ends by I have to. I have
to invite you back because there are some goods. I
am so grateful for everything that you've given the audience
and I actors, you are blessed because you know, just
(34:21):
quickly just being in situations where directors their main concern.
Speaker 3 (34:25):
Is the shot, what is the shot like? Or you know,
or a.
Speaker 1 (34:30):
Director or an actor is on set and they're preparing
for an emotional scene and they they do it, and
I see them struggling to find that space that you
are laughing. Well, everybody's key keying and laughing and hanging out,
and it's like, you know, and I'm protective like that.
So I run over and I'm like, come on, you guys,
(34:53):
give them that space, you know. So I just appreciate love,
and I'm speaking for all actors like you are Rare.
Speaker 3 (35:00):
I am very grateful. You are a blessing for us.
Speaker 2 (35:03):
One thing, if it doesn't work for me emotionally, I
don't care about the shot. Okay.
Speaker 1 (35:09):
I love that because that's why I'm I'm on the
set because that's where I come from as an acting coach.
I'm emotional. I want to, you know, connect and feel.
But you don't care what the shot. I mean the shot.
I trust the shot. But I'm telling you I've gone
to directors and said, I don't really understand producers. I
don't really understand what the director is saying to my client.
(35:31):
And they're like, you know, Chasey, honestly, we don't either.
Speaker 2 (35:35):
That's not good.
Speaker 3 (35:36):
You've got to be able to communicate something, you know.
Speaker 1 (35:39):
So we're gonna we're gonna have more conversations about that.
Speaker 2 (35:44):
Okay.
Speaker 1 (35:45):
I'm gonna invite you back on that is a guarantee.
Speaker 3 (35:49):
I'm so pakful, okay.
Speaker 1 (35:51):
And I just want to thank our guests again, director,
extraordinary filmmaker. You're just a beautiful spirit, Christine, And thank
you again.
Speaker 3 (36:02):
So people talk to you soon.
Speaker 2 (36:03):
Thank you cool.
Speaker 1 (36:05):
And next we have class in session on the Spirited
Actor Podcast with.
Speaker 3 (36:10):
Me Tracy Moore.
Speaker 1 (36:13):
Welcome back to the Spirited Actor Podcast with me Tracy Moore,
and now my favorite segment class in session.
Speaker 3 (36:22):
And today we're going to work on monologues, you guys.
Speaker 1 (36:25):
And this is the first time that we've really talked
about monologues and seen a monologue. So we have Spirited
Actor alumni Julisa Capri who's here with us. Julisa say, hey,
good to see you.
Speaker 3 (36:40):
Good to see you too, healthy in the world.
Speaker 1 (36:44):
Yeah, but it's just it's good to see you look good. Okay,
So tell us the title and the character of the monologue.
Speaker 3 (36:56):
Okay, the title of this is, uh, this play is Jitney.
It's by August Wilson and the character name Okay, excellent,
So whenever you're ready, Eric Gimmy was.
Speaker 1 (37:12):
Absolutely sorry.
Speaker 3 (37:20):
A house, no, Dnall.
Speaker 2 (37:24):
You ain't bought no house without me.
Speaker 5 (37:27):
I mean, how many times in your life do you
get to pick out a house. You bought a den
for Darnell, That's what you did so you can sit
down there and watch your football games.
Speaker 3 (37:40):
What about the kitchen, I mean, the bathroom? How many
windows does the bedroom have? I mean, is there a
place for Jesse to play?
Speaker 5 (37:47):
Yeah?
Speaker 3 (37:49):
You can't just go and surprise me without a house.
Speaker 5 (37:51):
And I was supposed to.
Speaker 3 (37:52):
Say, oh, Darnelle, that's nice.
Speaker 5 (37:55):
At what point I would have But I'm not seventeen
no more have responsibilities.
Speaker 2 (38:02):
I want to know if.
Speaker 5 (38:03):
I got to hook up for the wash and the
dry because I gotta watch Justice clothes.
Speaker 3 (38:07):
I want to know if I got a yard, and
then do it have a fence? And how about Chester
gotta go to school.
Speaker 5 (38:13):
I ain't worried about where to put the TV at.
It's what's important to me. And you're supposed to know that.
Dark Now you're supposed to know what's important to me.
Speaker 2 (38:24):
Like like I'm supposed.
Speaker 5 (38:25):
To know what's important to you.
Speaker 2 (38:28):
Now.
Speaker 3 (38:28):
I am not asking you to do this by yourself.
Speaker 5 (38:32):
I mean I am here with you just together, see
house and no house. We still ain't got no food money.
Speaker 3 (38:42):
But you would have come and told me. I mean,
if you would have, if you would have shared this
with me, we.
Speaker 5 (38:49):
Could have went to my mother, got eighty hours for
the house and still have money for food.
Speaker 1 (38:54):
You just don't know.
Speaker 2 (38:56):
Wrong done now, I mean you you did the right thing.
Speaker 3 (39:01):
Just good at all?
Speaker 2 (39:02):
All?
Speaker 5 (39:07):
Wow.
Speaker 1 (39:08):
A lot of power in that monologue, A lot of
power So this is the deal. A monologue is a
piece for you as actors to choose, right, So you
choose between comedy or dramatic. This was clearly dramatic and
two minutes. It's nothing. You know, we don't go past
(39:28):
two minutes.
Speaker 3 (39:29):
Right.
Speaker 1 (39:31):
This piece is really good for you because I can
see the versatility.
Speaker 3 (39:34):
And your talent.
Speaker 1 (39:36):
You want to use this two minutes to show all
of the ebbs and flows and the valleys. Right, So
I want to start out first of all with it's
not about the house. Let's talk about the truth. It's
not about the house. It's about the fact that what
what is it really really about.
Speaker 6 (39:56):
The fact that he's not sharing things with me, like
he's doing things and sneaking welcome do it by myself,
and that doesn't.
Speaker 2 (40:01):
Feel like a relationship to me.
Speaker 6 (40:03):
And I feel like I'm the one taking the brunt
of making sure that we're being responsible parents and he's
still just being the way we were before.
Speaker 1 (40:12):
Because you guys met when you were seventeen, How old
was he?
Speaker 3 (40:18):
He was eighteen?
Speaker 1 (40:19):
We were young with you didn't know anything, and the
only reference that you guys have unless there's somebody in
your life that's guiding you.
Speaker 3 (40:28):
And mentoring you is what you guys know when you were.
Speaker 1 (40:31):
Kids, So that he hasn't moved from that because he
doesn't know anything else.
Speaker 3 (40:36):
You've moved from it. Why have you moved from it?
What made you move from it?
Speaker 6 (40:40):
We have a child, like, you have no choice but
to grow up when you have a child, like, especially
if you wants to be a good parent.
Speaker 3 (40:46):
And I feel like in the.
Speaker 6 (40:48):
Midst of this, we're starting to grow apart because I'm
parenting and he's still being the child. And I don't
need to raise two children. I want to raise one
collectively with myself.
Speaker 3 (41:00):
Of the other.
Speaker 1 (41:01):
So you see how you have in this conversation with me,
That's how you need to have this conversation with him.
But if you know in a conversation there's levels, especially
when we're trying to convince someone, you know, we might
go through guilty, We might go through you know, being manipulative.
So in the beginning, what is the value of a house?
He can surprise you at a bouquet of flowers, but
(41:23):
to surprise you at a house.
Speaker 3 (41:26):
Listen, there was background.
Speaker 1 (41:27):
Check in, credit check in, like this was really really important,
And there's a trust thing there. So there's a lot
of things that you're like, it's a house, there's responsibilities.
We as a couple should talk about these things. But
he's only reacting and acting from what he knows, which
(41:48):
is not So.
Speaker 3 (41:49):
You have to break this down to him, and that's
what you should think about it in the beginning. You know, I.
Speaker 1 (41:57):
Instead of being angry, build your self to that anger
because that's engaging to watch. And also I like how
you build yourself to the point of like almost exhaustion
and tears to get him to understand what you are
trying to say. Okay, and we need to know at
(42:18):
the end does he get it, because your reaction is
going to let us know whether you know, you throw
your hands and air like a you know what I mean.
Speaker 3 (42:27):
We know he didn't get it.
Speaker 1 (42:30):
You know what I mean. So you need to let
us see through this character what the resolution was. Okay,
digest some of that stuff. Also, it's really important that
actors remember to keep your inner voice working. Your inner
voice always has to work. For instance, you know when
(42:51):
you said seventeen, it's like, yeah, I know, we were kids, like,
but we brought up We're not seventeen anymore.
Speaker 3 (42:59):
If You're voice is working. There's things that.
Speaker 1 (43:01):
Go through women's minds when we think, like this should
be so simple.
Speaker 7 (43:06):
Yeah, I gotcha, all right, Okay, let's do it again.
A house, A house?
Speaker 3 (43:20):
Don't know. You ain't want no house without me? How
many times in your life do you get to pick
out a house?
Speaker 5 (43:35):
You want a den for Donnell, that's what you did
so you can you can sit down there and watch
your football games.
Speaker 2 (43:43):
What about the kitchen, the bathroom?
Speaker 3 (43:46):
I mean, how many windows does the bedroom?
Speaker 2 (43:48):
Hat is any place for Jesse to play. You can't
just go.
Speaker 5 (43:55):
And surprise me with a house, and I'm supposed to say, oh, well,
oh that's nice.
Speaker 3 (44:02):
At one point I would have, but I am not seventeen.
No more responsibilities. I want to know if we got
to hook up for the washing and the dryer, because
I gotta wash Joseph me. I want to know if we.
Speaker 8 (44:17):
Got a yard and do have a fense? Yes, you
gotta go to school. I worried about where to put
the TV at. It's not a most important.
Speaker 5 (44:27):
To me, and you supposed to know that, Dunnell. You're
supposed to know it's important to me. It's like I
am supposed to know it's important to you.
Speaker 3 (44:39):
You know I am not asking me to do this
by yourself.
Speaker 2 (44:47):
I am here with you. We are in this together.
But see a house or no house.
Speaker 3 (44:55):
We still ain't got no food money.
Speaker 2 (44:58):
But if you to come it told.
Speaker 3 (45:00):
Me if you want to share this with me.
Speaker 2 (45:04):
Mother got eighty dollars for my house and still had
money for food.
Speaker 5 (45:11):
You did it all know, you did the right thing,
but you you just did.
Speaker 2 (45:18):
It all wrong.
Speaker 3 (45:23):
He doesn't get it. He doesn't get it. He's never
gonna get it. And did it feel better? Did it
feel different?
Speaker 2 (45:32):
It did feel different?
Speaker 3 (45:33):
Yeah, you know, like you got to talk to him.
You gotta get him to understand.
Speaker 1 (45:39):
And at the end, raise the stakes when you say
you did it all wrong, you did it right because
he's standing there thinking, I did the best thing in.
Speaker 2 (45:48):
The whole wide world.
Speaker 1 (45:49):
I got a house for the woman I love in
my child, you know what I mean. So connect with
what he's feeling a little bit more and that because
the tears are already there. But that's going to give
you something else when you see his pain. Look at
his pain.
Speaker 3 (46:08):
Okay, So you're saying that you said, raise the stakes.
Speaker 1 (46:14):
When you Yeah, because when you say, you did it
all wrong, but you did it right.
Speaker 3 (46:20):
But you did it all wrong. You did the right thing.
You just approached it wrong. You should have approached it.
Speaker 1 (46:26):
You should have approached it by sitting down and saying,
let's together by house.
Speaker 3 (46:32):
What do you want?
Speaker 1 (46:32):
Three bedrooms, one bath. He should have done that, but
he didn't. And the way he did it was wrong
to you, but it's right. But in that exchange you
should feel his emotion because when you say you did
it all wrong, I mean naturally, he could be like wow, right,
and then you're like, no, no, no, no, you did it right,
(46:53):
which lifts him up a little bit. But you did
it wrong the way you approached it.
Speaker 3 (46:58):
That's okay, okay, excellent. Thank you so much. Dialogue, Kay, okay,
thank you for being in class and session.
Speaker 1 (47:16):
And next we have give love, and now it's time
forgive love.
Speaker 3 (47:22):
Chance never helps.
Speaker 1 (47:23):
Those who do not help themselves. When you find yourself
going through challenging times, you should know this too shall pass.
And I know that it's easy to say, and I
know that it sounds cliche, but there's a favor I
have this favorite.
Speaker 3 (47:42):
Song by George Benson.
Speaker 1 (47:44):
Right, this is years ago. This is going to the
archives people.
Speaker 3 (47:48):
But he has a.
Speaker 1 (47:48):
Song that says everything must change, Winter turns the spring,
wounded hearts must heal. And when you're caught up in
a challenging time, when you're caught up in a lot
of emotional care, yes you can't really see clearly. But
when you sit still and you envision that you take
that breath. Yes it is challenging. Yes we all are
(48:12):
going through this. But one day we're going to go outside.
One day we're going to take a breath. One day
we're going to let that sun. And I think one
of the most beautiful exchanges that I've had with Soriah
is just being so grateful for everything that you have.
Speaker 3 (48:32):
Everything. She said to me the other day, Grandma.
Speaker 1 (48:35):
We were going to the store really super quickly, and
she said, Grandma, I don't need any toys.
Speaker 3 (48:41):
Because I'm good. I got toys.
Speaker 1 (48:44):
And I thought, wow, that's so cool, because she really
is taking time and playing with her dolls and her
paints and putting her crayons back in the right place,
making sure she doesn't break them. There's so much grade
during this time, and gratitude is magic. And if we
all spend ten minutes a day, just sitting in a
(49:07):
space and being grateful for what we have. We can
produce and manifest more of that.
Speaker 3 (49:15):
That's going to happen, and that's going to come.
Speaker 1 (49:18):
But just as we are doing all the right things
now and washing our hands and staying inside, we have
to be conscious that when this changes, we're going to
have a different outlook. We're going to have a different perspective,
and that's okay. Don't fear the unknown, embrace it with
love and gratitude. Thank you for joining us on the
(49:42):
Spirited Actor podcast with me Tracy Moore. I look forward
to our next Spirited podcast.
Speaker 2 (49:48):
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.
Speaker 2 (00:54):
Now.
Speaker 3 (00:54):
I know.
Speaker 1 (00:55):
I know actors want to get the job.
Speaker 3 (00:58):
I get that, but being.
Speaker 1 (00:59):
Remembered by casting director that is powerful meditation of the day.
You're not famous until my mother has heard of you,
Jay Leno. There are plenty of reasons why people choose
this business. I feel that it is important that you
understand all the reasons why you are pursuing a career
(01:19):
as an actor. One of the most common reasons that
I've heard is to be famous. Fame has a lot
of consequences. The most obvious one is your lack of privacy.
If that doesn't bother you, then great, but if it does,
then you need to reevaluate this career choice. There are
a lot of perks in this business, but it is
(01:41):
important that you remain grounded and focused. One of the
ways you can do that is by understanding what your
true goals are. Today, I will respect my privacy. Welcome
to the Spirited Active podcast. Asked with me Tracy Moore.
(02:02):
And I can't even begin to tell you how much
love I have in my heart for this guest. I
met Christine Swanson, director Extraordinaire nineteen ninety eight. Christine looked
up at the date nice, Oh my god, And I
(02:25):
just remember you and Michael and such a beautiful couple
and just really fun, creative.
Speaker 3 (02:34):
Filmmaking filmmaker's energy right, And.
Speaker 1 (02:40):
You said you had a film And I feel like
you gave me a postcard because I feel like I
had some sort of documentation of it, and I was like,
I'm definitely going. But as soon as I saw it,
I was like, she's gonna win, She's gonna win.
Speaker 3 (02:54):
I did, and you won, and I was like, oh
my god, Like it was such a great film. It
was really a great film.
Speaker 1 (03:02):
So to be able to fast forward twenty twenty and
have you have a plethor of films and things we're
going to talk about audience again. You guys need to
get your pen and pencil computer however you document because
the jewels, the diamonds that are going to be dropped
(03:24):
in this interview. Nice, fine ladies and gentlemen, put your
hands together for Christine Swanson.
Speaker 3 (03:32):
Oh cool, right, say it's true. Yep, I'm making it.
Speaker 2 (03:38):
I remember. The thing that I love about you is
like and what has never changed is like and I
love that you call yours the spirited actor. But there
is a spirit that you embody that reeks of authentensity
and integrity that fast forward from when we first met
(04:01):
until now. I have a profound understanding of how that
is lacking in our industry.
Speaker 4 (04:11):
Wow, and the fact that you know we are reconducting
I just feel like that is that's god like putting
me back together with people who are like minded, who
are genuine in their pursuit of this craft for purposes
outside of themselves.
Speaker 2 (04:31):
Oh wow, that's selerity.
Speaker 3 (04:34):
So that's you, Thank you, I received that that.
Speaker 5 (04:39):
Wow.
Speaker 1 (04:39):
I'm going to have to replay that all day today
because you know, that is the truth, and that is
something you know we're going to jump in because as
a female director in this industry, how are you embraced
because we do have a different energy, We have a nurturing,
(05:01):
we have you know, a focus.
Speaker 3 (05:05):
How is that?
Speaker 1 (05:06):
How has been how has that been received for you
as a director in television and.
Speaker 2 (05:11):
So well, I think you know, if you remember me
starting out, I was kind of wide eyed, bushytail. Yeah.
I had no preconceived notion about how anything worked. All
I had was a passion and some modicum of talent
that I wanted to offer the industry. So on some level,
(05:34):
sometimes when when all everything is like in sync, that
is enough talent and passion, okay, right strickly on the
creative side of things, talent and passion, it is enough, okay, Okay.
(05:57):
In the industry, however, that's not the focus. So that's
two sides of a conversation. If if we're talking about
an artist, I don't look at myself as a female,
and I don't look at how I'm going to be embraced.
I I just go for the jugular, right, That's all
(06:18):
I know. Right right now, when you're you apply that
to the business side of it, Now, we have to
kind of look at a pre existing culture and hierarchy
that has very systemic issues that.
Speaker 3 (06:35):
Have happened to do with you, with you really so
I can I can.
Speaker 2 (06:42):
Tell you experiences and stories about that part of it,
which which which in many ways can look like a struggle.
But I just don't look at at struggles as obstacles.
I look at struggles as opportunities, right, how I can
mount myself in ways that I feel like God has
(07:05):
called me to function absolutely. So It's like I think
when people see the work and if they like it,
maybe it parlays to other work. But I have never
suffered for lack of imagination or or work because of
(07:26):
systemic issues outside of myself.
Speaker 1 (07:31):
Well, and when you talk about being yourself, you were
You've been consistent in that energy. That was the like
energy that attracted both of us because we didn't know
each other. But it was like, hey, hey, right, I
think that was so that was a moment. But I
the challenges I can say that actors have right working
(07:58):
you know, how acts work with a male director versus
a female director, And me as an acting coach, I've
been on those sets and I'm you, yeah, director, director.
Speaker 3 (08:11):
That's what you know.
Speaker 1 (08:13):
But then you start to get specific. You're a female,
then you're a director of color, and it's like, but
I'm a creative being like and so to me, the
blessing is you have created a path, your own path,
and you continue to create that path where yes, how
great would it be to just be recognized as a director?
Speaker 3 (08:34):
Period?
Speaker 2 (08:35):
That said no, well yeah, And then the thing is again, Tersey,
I don't look at myself in that way, like I don't.
I don't look at myself as a female director, black director,
But I'm just looking at as I approach it as
a creative entity. And then when I work with actors.
To me, what I love to do is this, and
(08:56):
maybe it has to do with me. I think has
more to do with me being a mom than a fever.
So I like to do like just say, like when
I'm working on an episodic right, typically the usual cast.
They're comfortable in their skin and what I try to do.
So what I try to do is just ingratiate myselfs
(09:19):
to them in ways that they know that I'm here
for them if they need And then sometimes I have
to push them to try some things that they're not
being pushed about. Right. People that I pay a lot
of attention to are the day players, because one if
(09:40):
a day player is not on their toes, if they're
not present, you will lose a lot of time and
that's not something you can afford to do. So what
I to do, though, is to make sure that I
spend as much time as I can with the day players.
(10:00):
I like with them in advance. I'll call them, I'll
meet with them before their day to shoot, so they
get comfortable with me. So that so the first time
meeting me is not on set, right, because what happens
is nerves kick in and then they start, you know,
freak out because now they're they're just trying to please
(10:23):
me because this is the first time they've met me.
So what I do is put them at ease and
like have conversations with them of their day. One of shooting.
So then day one of shooting, we've broken the ice already,
you know, we got the next level of our relationship
and hopefully they're a little bit more at ease, so
(10:45):
then we can tap in to really the creative parts
that we want to explore. So I'll do that. But again,
I think that's that could be a mommy thing. I
don't know, you.
Speaker 1 (10:54):
Know, I think what actors need to know first of all,
is how rare that is.
Speaker 2 (11:01):
I don't know that. I don't know that.
Speaker 3 (11:02):
It's happened most.
Speaker 1 (11:05):
You know, I've just been really blessed to be on
the set for six years on all of Buster Rhymes
and Eves projects.
Speaker 3 (11:12):
And when we have rehearsals, you know day.
Speaker 1 (11:15):
Players and for those of you who don't know what
a day player is, that's an actor that works one
day in it. And so for Christine to take time
out of her day, which it just doesn't include actors.
It includes maybe going over wardrobe, or maybe there's special
effects or what there's a bunch of stuff going on
(11:35):
in your world, but you to take that time, yeah,
and recognize their value. They're that exactly. That's a blessing, Christine,
because I'm I'm when they call first team to the set,
I'm with first team and it's very rare, you know
(11:56):
that a day player again, you know, we will have
a rehearsal with the day player, but the director is
not focusing on the day player. The director is focusing
on my client or you know, the other celebrities.
Speaker 2 (12:09):
Well, if the day player is not on point, guess what, yep,
I inherently so that I make sure like my day
is not going to be held up because the day
player is not showing up. And you my job is
to make sure everyone shows up. And that's the camera
(12:30):
and behind the camera. So that's my job as a director.
And I don't there are no small players in so
I don't you know, there's there's kind of like quality
to the set that I bring because that's just how
I like to work, right, And I love that.
Speaker 1 (12:49):
And even for me as an acting coach on the
set and I'm watching the monitor, I have coached extras
because I go to them and I ask permission for
the from the director and I'm like, do you guys
want to do what they're doing?
Speaker 3 (13:03):
It starts here, right, you know, why.
Speaker 1 (13:06):
Are you walking across the street you don't need words
to tell us something, you know. So as as a director,
that is you guys, I pray that you guys are
really holding onto these gyms right here, because again it's
very rare. I've seen a director take that time and
you talk about rehearsal. Rehearsal is luxury. When they said
(13:29):
we have rehearsal, I would be jumping up a day
on the class.
Speaker 2 (13:35):
When I'm out of town on a job, you know,
like especially do an episodic and few so far, but like,
if I'm in New York City working, I'm not taking
the weekends off. You know. I'm calling my day players
and I'm like, hey, you want to meet up for coffee.
I'm calling crew members and saying, hey, if you have time, let's,
(13:57):
you know, let's talk and meet up. And I'm not
trying to make people will more, but I'm I'm I'm
here and willing and ready to work and if you're amenable,
let's let's get a jump on this. You know. So
there's an episode of Chicago PD. I did this episode
six eight and it's the first time the black Mail
(14:18):
lead I had a love interest.
Speaker 3 (14:22):
Oh wow, Okay, sakes.
Speaker 2 (14:24):
Were very high for him. So this season six right,
and so six years the brother ain't had a love interest, right, Hey,
that's the script that I get. They gave me a
black love story, and so I went, I went up
to that actor and I said, listen, are you ready
(14:44):
to throw down? Like I'm ready, I'm ready. I said, Okay,
if you're ready, let's go fly. Right. So that I
did with him that he was never used to doing,
and one of those and because he's the right regular,
he's a series regular, right right, I was like, we're
(15:05):
gonna rehearse on the weekends. Wow. So he and the
lead actress that I cast for that episode, they had
like this epic love scene. Right, it's his first love
scene ever, like on this series, on a show where
all the crew members know him, cast members know him,
(15:25):
and they're clowning him like, oh yeah, this is your
first love scene. So I knew he was gonna be moving. Okay.
The actress, she was a guest star and she was
kind of more seasoned in having done scenes before. So
what I did was over the weekend, I'm like, we're
gonna come together and we're just gonna rehearse some things. Okay.
(15:48):
So I had them go over lines with each other.
I mean so much so that they had a level
of comfort that was kind of different than you would
see on a regular show where people are meeting for
the first time. And another thing that I did was
I actually practiced the love scene. Wow, like almost like
(16:11):
cut by cut, okay, as you know, love scenes are
just it's a very technical thing. Well, right, so I
threw a blanket on my bed in my apartment. I'm like,
all right, guys hop on, okay, And we actually maneuvered
the love scene bit by bit. And as actors, you know,
(16:31):
they had to know like, okay, can I touch you
here and I touch you there. It's like tongue or no,
no tongue. So everybody familiar with what they were used,
what they were okay with.
Speaker 3 (16:44):
Right.
Speaker 2 (16:44):
We got all the kings out, we got all the
nerves out right. When they showed up on set for
that scene. I mean like it was like clockwork. It
was like we were able to discover more, you know,
because we weren't. There was no stagnation in the newness
of having to do a love scene for the first
(17:07):
time for him because he had already practiced. Right. So
it's like I love working with actors in that way.
If they're available, right, it all makes them magic. Okay,
so you have available for that though, you are.
Speaker 3 (17:22):
A true blessing.
Speaker 1 (17:23):
I'm telling you I've been on sets not only as
an acting coach, but my career started as a casting director,
and so to watch great directors and the way in
which you communicate you are an actor's dream because you're
speaking their language. There's a comfort in coming onto a
(17:43):
set as an actor and being able to communicate with
the director. I know that that refrigerator is filled by
a prop person, but I want to know what your
idea of what I eat right and if it aligns
and you are that director that I could have a
conversation where I absolutely what and that just brings so
(18:07):
much more depth and volume their performance. I think. So, No,
I'm a confirm it. I'm gonna speak for the actors, Christine.
I'll speaking for the actors, because.
Speaker 3 (18:22):
I was going to.
Speaker 1 (18:22):
Say day players turn into contract players, contract players turn
into stars and listen. And I remember reading an article
on Premiere magazine.
Speaker 3 (18:34):
Michael J.
Speaker 1 (18:35):
Fox worked with Ellen Chineworth and he said she was
the only casting director that treated him like a human
being because he was doing some extra work. She ended
up casting all of the Back to the Future, you know,
because there's you know, celebrities have and they have choices
and when you do things like that for actors and
(18:56):
what you've done, yes, they have a comfort and a
dynamic before ormance. But as an actor, to be able
to give them that comfort so that they can do
the best that they can.
Speaker 2 (19:06):
Absolutely what I love.
Speaker 3 (19:10):
I love.
Speaker 2 (19:12):
I love actors because to me as a as a
director and a filmmaker, they're like crayons to me, right,
So I take that's what I color with, you know,
And so I just want to have flexibility, and when
they're more available, the more flex so you I just
(19:35):
to me, it's a comfort thing. And I really try
to create relationships with actors that put them at ease
and put them control, like they have a lot of
control in my world, you know, And I like to
create the space for them to feel safe then to
kind of be imagined in ways that I want them
(20:01):
to surprise me, you know. So it's just that's what
it's so fun for me, you know. So I don't
I take the weight out of it, because part of
it we all have to be connected and available. So
whatever tensions are around, my job is to make it
safe for actors. You know. I typically block for them
(20:25):
in ways that that you know, sometimes on network stuff
that I might get in trouble for. Like somebody said
to me, like, I don't know why she spends so
much time talking to day players, And I think it
came from like let's just say an A D or whatever. Right,
stay in your lane, yeah, and don't step in mind.
(20:49):
You know, this is what a director does. And I
don't care if it's episodic and nobody else cares about
day players. You know, That's not my approach. So I
I'm in with the filmmaking approach. And like sometimes they're
just they're punching out product, right.
Speaker 1 (21:06):
And the structure there's there's a template that you know,
they set the template for law and order.
Speaker 3 (21:11):
This is the way it's done, you know, color within
the lines.
Speaker 2 (21:14):
Yeah, I don't know. I don't know how to do that,
I know, And that's what I know. It doesn't change
the fact that I'm on time and I'm on schedule.
I just I just elevate the product, you know. And
what I've learned is this, like I have to do
that because that's who I am. But that doesn't mean
(21:37):
everybody appreciates that.
Speaker 1 (21:39):
I mean, we can't change other people, right, but then
in who we are, people can conform in some way.
Speaker 3 (21:47):
So you just you be you. I agree with you.
Speaker 1 (21:50):
But I'm been an actress and I'm like, wow, I
want to be an actress just to have a conversasue
with Christine.
Speaker 3 (21:58):
But that's so cool, which brings me.
Speaker 1 (22:01):
Let's talk about the movie that's coming out now on Lifetime,
The Clark.
Speaker 3 (22:07):
My god, I grew up with the Clarxists, love with
the Claque. How is that experience working?
Speaker 2 (22:15):
Well? You know, I came on board this project. You know,
I'm from Detroit, right, Yeah, when I heard that this
movie was being made and they approached me to direct it,
and you know, as they were looking at several directors,
I told them, listen, I'm from Detroit and I'm a
good filmmaker. You want me on this project? Wow, That's
(22:42):
how I pitched myself. I'm like, you want me on
this project because the thing that Detroit teaches people is
is like this kind of grit that is that like,
in other words, don't don't get in a fight with me, because.
Speaker 3 (22:59):
You'll lose wow, wow.
Speaker 2 (23:04):
Or craziness. You know, depends on who you ask. Ask
my husband, So say that to say like that, the
Clark's sisters are who they are because of this internal
grit of their mother, Mattie Moth Clark, who defied her circumstances,
(23:26):
who defied like church politics, and created musical geniuses who
pretty much are responsible for how gospel music sounds today. Amen, exactly.
So when you're dealing with a woman who is of
that stature and of that level of grit and determination,
(23:49):
I'm like, yeah, you want me to direct this? Yeah, seriously,
I was walking in Maddie Moss clark anointing, so or
at least I felt that I felt like I understood
what she did, because if you talk about her, they're like, man,
she was mean, she did not play, but the fire
(24:11):
sounded good, right, right. She made history.
Speaker 1 (24:17):
And we're talking a different time, you know, we're not
talking in nineteen nineties.
Speaker 3 (24:24):
It was such a backdrop.
Speaker 2 (24:27):
Of what she you know, history had to endure and
overcame in spite of so to me like that kind
of dedication and commitment to craft, right, despite the odds.
I don't see that I don't see that today. So
I was very much inspired by everything that Maddie Moss
(24:49):
Clark stood for and if I could do justice in
any to bringing their story to light and them that
I want that shot. Wow, And I got it, you know.
And you know, There's so much I could talk about
in terms of the production part of it. But a
(25:11):
lot of the reason why this this movie is going
to pop two reasons. Two things. One is the incomparable
congenue Ellis.
Speaker 3 (25:22):
Oh my god, Oh my god, such a fan.
Speaker 2 (25:27):
I mean yeah, And I just say this, Tracy, because
I've yes, you can, I've come you know, I you know,
I was, I was. I was away from the industry
for about fifteen years raising my children. I've kind of
eased back into this and I've been able to work
with a lot of different people, and I've worked from
everybody in the past. Nobody can hold a candle to Ellis.
(25:54):
I'm not even exaggerating.
Speaker 1 (25:57):
Wow.
Speaker 2 (25:58):
I believe you though. And she she's a little bit
more low key, right briging Mississippi, Like who lives in Mississippi? Right,
Morgan Freeman does, Yes, comes from Mississippi. When I you'll
(26:19):
see like when you see what what she does. It's like,
see and look, this is me as a directory working
with the Naja new ellis when you see what she's
bringing this, I'm like, okay, all right, let me make
space for this. Nice what she's doing and where she's
(26:41):
going is somewhere of the worldly. And like my job
as a director is to notice that. See, I don't
there's what I can't teach her acting, that's not you
know what I'm saying, Like right, so in a relationship
with somebody of her training in caliber, Oh, it's like,
(27:04):
let me let me clear space, right, Oh, you want
to try this, Okay, let me make this happen. Okay,
you want to go here. Let's see what that looks like.
Oh that's great, that's great. Now what if we added
this on top? Okay, try that? Okay, now we're playing right. Yeah,
it's when you're when you can hit that sweet spot
(27:26):
right playing right? Gosh, that's heavy, I know, I know
that really.
Speaker 1 (27:33):
And one of the things that in talking about character development, yes,
talking to actors, now, how important are classes or coaching
to build these tools? Because I think that there are
(27:54):
classes and coaching and they're going to teach you acting
in schools, they're going to teach you the fundamentals and act,
but when you get on a set, it's a totally
different dynamic. And I don't think acting classes teach you
how to work on a set.
Speaker 3 (28:07):
And so.
Speaker 1 (28:10):
You know, there's already a level of nervousness when you
go on because I'm working now, I'm a working actor.
Speaker 3 (28:15):
Then who's the director, who's the stars? You know, so.
Speaker 1 (28:20):
There's subease. Like you said, they're not preparing the day
they meet you. They get prep time way before. So
there's work to be done. What is that work that
you suggest that actors do?
Speaker 2 (28:33):
So the second level of the second thing that makes
this movie pop and like and something that I attempted
was this. The original plan for Lifetime was to cast
actors to dub the singing parts that the original Clark
sisters were going to lay down the vocals for. When
(28:56):
I came a job, I was like, hmm, I don't
know about that, yeah, because you know, I'm I'm I
have a gospel ear. You know, my gospel of music
doesn't work like that. It doesn't work when people are
dubbing it, right, So I'm I think we need to
cast real singers and everybody was like, no, we don't
(29:20):
want to do that, No, no, no. So long story short,
So this is my job as a director when you're
dealing with people who are when you're dealing with the network,
you know, like, it's a different thing when it's in
my own independent film. But I had show them better
than tell them.
Speaker 3 (29:36):
Oh.
Speaker 2 (29:37):
What I did was so I had a friend that
I was working with for years on my on my musical.
I knew her to be like an extraordinary voice that
nobody really knew about in the world, in the world
of acting. Right. So, and she happened to look like Derinda. Right,
(29:58):
So I flew her to Detroit. Well, I told her
to meet me in Detroit now with Kiara Sheard, who
is Karen Clark, Sheard's daughter. And I knew the two
of them. I'm like, she's Karen, she's Derinda. And here
go sit out a keyboard sing a song, and I
(30:18):
videotape them singing. And then I had them both work
with an acting coach. I don't know if you know,
Josie Harris. So I brought Josie in, I flew her
into Detroit and worked with them on seam work, you know, extensively, extensively,
(30:40):
and then and and then so we put their acting
their audition tape. We filmed that too, so we sent
all of that to the producers. They sent it to
the network. They saw them singing, and what they felt
when they saw them singing on that tape, that's all
they see and that is all I tried to convey.
Singing live, it will make you feel something. And if
(31:03):
you feel that, we have to apply it to the
film because only in doing it that way do we
properly honor the legacy of the Clark sisters. So that
was my idea, was to bring in real singers. And
Donald Lawrence and his genius he was the music p
three told me he needed three voices, so we found
(31:25):
the voices that he blended together to create the Clark
Sister sound. And when the Clark sisters listened for the
first time, they were like, they sound better than us.
Speaker 3 (31:35):
Oh my god.
Speaker 2 (31:36):
I'm not even joking. Like my job, it's my job,
like as a director, to find the magic. So if
people can trust that, and I'm gonna tell you, in
this industry, it's predicated on fear. And the thing is, Tracy,
I don't stay in that language. I don't the language
(31:58):
of fear. So I'm like, I know, intuitively and instinctively,
can we, you know, make this, make this work? You know?
So they did and what you see is magic. Now.
It took acting. It took an acting coach, and actually
acting coaches, because I actually hired several to work with
(32:19):
actresses because they are your singers, and you are new
to this medium, and there's a lot that you don't understand.
So I mean, you know, I'm not going to say
that was easy. Right. Sometimes with singers, they take for
granted how easy it is for them to sing. They're
used to performance in that way. They think, however, erroneously,
(32:47):
that they can apply their point of view about performance
as a singer to performance as an actor. And they
are really exclusive. They could not be no different, you know,
or more different, and that's something that took a lot
of time to ease them into. And I dare say, like,
you know that more work can can be had post
(33:11):
movie if you want an actress, So I cannot. I'm
so excited to say enough important acting training and acting
practice than here to work NonStop character work and rehearsals
are important to crafting a performance. When this is not
(33:34):
your medium, it's important when it is your medium. Absolutely,
I cannot tell you how much Andrea new ellis stressed rehearsals.
She would be the first one to arrive and the
last one to leave, you hear me. So people watch
(33:54):
and learn, watch the work ethics.
Speaker 1 (33:56):
That's so yes and respect that I want to go on. However,
we're at the ends by I have to. I have
to invite you back because there are some goods. I
am so grateful for everything that you've given the audience
and I actors, you are blessed because you know, just
(34:21):
quickly just being in situations where directors their main concern.
Speaker 3 (34:25):
Is the shot, what is the shot like? Or you know,
or a.
Speaker 1 (34:30):
Director or an actor is on set and they're preparing
for an emotional scene and they they do it, and
I see them struggling to find that space that you
are laughing. Well, everybody's key keying and laughing and hanging out,
and it's like, you know, and I'm protective like that.
So I run over and I'm like, come on, you guys,
(34:53):
give them that space, you know. So I just appreciate love,
and I'm speaking for all actors like you are Rare.
Speaker 3 (35:00):
I am very grateful. You are a blessing for us.
Speaker 2 (35:03):
One thing, if it doesn't work for me emotionally, I
don't care about the shot. Okay.
Speaker 1 (35:09):
I love that because that's why I'm I'm on the
set because that's where I come from as an acting coach.
I'm emotional. I want to, you know, connect and feel.
But you don't care what the shot. I mean the shot.
I trust the shot. But I'm telling you I've gone
to directors and said, I don't really understand producers. I
don't really understand what the director is saying to my client.
(35:31):
And they're like, you know, Chasey, honestly, we don't either.
Speaker 2 (35:35):
That's not good.
Speaker 3 (35:36):
You've got to be able to communicate something, you know.
Speaker 1 (35:39):
So we're gonna we're gonna have more conversations about that.
Speaker 2 (35:44):
Okay.
Speaker 1 (35:45):
I'm gonna invite you back on that is a guarantee.
Speaker 3 (35:49):
I'm so pakful, okay.
Speaker 1 (35:51):
And I just want to thank our guests again, director,
extraordinary filmmaker. You're just a beautiful spirit, Christine, And thank
you again.
Speaker 3 (36:02):
So people talk to you soon.
Speaker 2 (36:03):
Thank you cool.
Speaker 1 (36:05):
And next we have class in session on the Spirited
Actor Podcast with.
Speaker 3 (36:10):
Me Tracy Moore.
Speaker 1 (36:13):
Welcome back to the Spirited Actor Podcast with me Tracy Moore,
and now my favorite segment class in session.
Speaker 3 (36:22):
And today we're going to work on monologues, you guys.
Speaker 1 (36:25):
And this is the first time that we've really talked
about monologues and seen a monologue. So we have Spirited
Actor alumni Julisa Capri who's here with us. Julisa say, hey,
good to see you.
Speaker 3 (36:40):
Good to see you too, healthy in the world.
Speaker 1 (36:44):
Yeah, but it's just it's good to see you look good. Okay,
So tell us the title and the character of the monologue.
Speaker 3 (36:56):
Okay, the title of this is, uh, this play is Jitney.
It's by August Wilson and the character name Okay, excellent,
So whenever you're ready, Eric Gimmy was.
Speaker 1 (37:12):
Absolutely sorry.
Speaker 3 (37:20):
A house, no, Dnall.
Speaker 2 (37:24):
You ain't bought no house without me.
Speaker 5 (37:27):
I mean, how many times in your life do you
get to pick out a house. You bought a den
for Darnell, That's what you did so you can sit
down there and watch your football games.
Speaker 3 (37:40):
What about the kitchen, I mean, the bathroom? How many
windows does the bedroom have? I mean, is there a
place for Jesse to play?
Speaker 5 (37:47):
Yeah?
Speaker 3 (37:49):
You can't just go and surprise me without a house.
Speaker 5 (37:51):
And I was supposed to.
Speaker 3 (37:52):
Say, oh, Darnelle, that's nice.
Speaker 5 (37:55):
At what point I would have But I'm not seventeen
no more have responsibilities.
Speaker 2 (38:02):
I want to know if.
Speaker 5 (38:03):
I got to hook up for the wash and the
dry because I gotta watch Justice clothes.
Speaker 3 (38:07):
I want to know if I got a yard, and
then do it have a fence? And how about Chester
gotta go to school.
Speaker 5 (38:13):
I ain't worried about where to put the TV at.
It's what's important to me. And you're supposed to know that.
Dark Now you're supposed to know what's important to me.
Speaker 2 (38:24):
Like like I'm supposed.
Speaker 5 (38:25):
To know what's important to you.
Speaker 2 (38:28):
Now.
Speaker 3 (38:28):
I am not asking you to do this by yourself.
Speaker 5 (38:32):
I mean I am here with you just together, see
house and no house. We still ain't got no food money.
Speaker 3 (38:42):
But you would have come and told me. I mean,
if you would have, if you would have shared this
with me, we.
Speaker 5 (38:49):
Could have went to my mother, got eighty hours for
the house and still have money for food.
Speaker 1 (38:54):
You just don't know.
Speaker 2 (38:56):
Wrong done now, I mean you you did the right thing.
Speaker 3 (39:01):
Just good at all?
Speaker 2 (39:02):
All?
Speaker 5 (39:07):
Wow.
Speaker 1 (39:08):
A lot of power in that monologue, A lot of
power So this is the deal. A monologue is a
piece for you as actors to choose, right, So you
choose between comedy or dramatic. This was clearly dramatic and
two minutes. It's nothing. You know, we don't go past
(39:28):
two minutes.
Speaker 3 (39:29):
Right.
Speaker 1 (39:31):
This piece is really good for you because I can
see the versatility.
Speaker 3 (39:34):
And your talent.
Speaker 1 (39:36):
You want to use this two minutes to show all
of the ebbs and flows and the valleys. Right, So
I want to start out first of all with it's
not about the house. Let's talk about the truth. It's
not about the house. It's about the fact that what
what is it really really about.
Speaker 6 (39:56):
The fact that he's not sharing things with me, like
he's doing things and sneaking welcome do it by myself,
and that doesn't.
Speaker 2 (40:01):
Feel like a relationship to me.
Speaker 6 (40:03):
And I feel like I'm the one taking the brunt
of making sure that we're being responsible parents and he's
still just being the way we were before.
Speaker 1 (40:12):
Because you guys met when you were seventeen, How old
was he?
Speaker 3 (40:18):
He was eighteen?
Speaker 1 (40:19):
We were young with you didn't know anything, and the
only reference that you guys have unless there's somebody in
your life that's guiding you.
Speaker 3 (40:28):
And mentoring you is what you guys know when you were.
Speaker 1 (40:31):
Kids, So that he hasn't moved from that because he
doesn't know anything else.
Speaker 3 (40:36):
You've moved from it. Why have you moved from it?
What made you move from it?
Speaker 6 (40:40):
We have a child, like, you have no choice but
to grow up when you have a child, like, especially
if you wants to be a good parent.
Speaker 3 (40:46):
And I feel like in the.
Speaker 6 (40:48):
Midst of this, we're starting to grow apart because I'm
parenting and he's still being the child. And I don't
need to raise two children. I want to raise one
collectively with myself.
Speaker 3 (41:00):
Of the other.
Speaker 1 (41:01):
So you see how you have in this conversation with me,
That's how you need to have this conversation with him.
But if you know in a conversation there's levels, especially
when we're trying to convince someone, you know, we might
go through guilty, We might go through you know, being manipulative.
So in the beginning, what is the value of a house?
He can surprise you at a bouquet of flowers, but
(41:23):
to surprise you at a house.
Speaker 3 (41:26):
Listen, there was background.
Speaker 1 (41:27):
Check in, credit check in, like this was really really important,
And there's a trust thing there. So there's a lot
of things that you're like, it's a house, there's responsibilities.
We as a couple should talk about these things. But
he's only reacting and acting from what he knows, which
(41:48):
is not So.
Speaker 3 (41:49):
You have to break this down to him, and that's
what you should think about it in the beginning. You know, I.
Speaker 1 (41:57):
Instead of being angry, build your self to that anger
because that's engaging to watch. And also I like how
you build yourself to the point of like almost exhaustion
and tears to get him to understand what you are
trying to say. Okay, and we need to know at
(42:18):
the end does he get it, because your reaction is
going to let us know whether you know, you throw
your hands and air like a you know what I mean.
Speaker 3 (42:27):
We know he didn't get it.
Speaker 1 (42:30):
You know what I mean. So you need to let
us see through this character what the resolution was. Okay,
digest some of that stuff. Also, it's really important that
actors remember to keep your inner voice working. Your inner
voice always has to work. For instance, you know when
(42:51):
you said seventeen, it's like, yeah, I know, we were kids, like,
but we brought up We're not seventeen anymore.
Speaker 3 (42:59):
If You're voice is working. There's things that.
Speaker 1 (43:01):
Go through women's minds when we think, like this should
be so simple.
Speaker 7 (43:06):
Yeah, I gotcha, all right, Okay, let's do it again.
A house, A house?
Speaker 3 (43:20):
Don't know. You ain't want no house without me? How
many times in your life do you get to pick
out a house?
Speaker 5 (43:35):
You want a den for Donnell, that's what you did
so you can you can sit down there and watch
your football games.
Speaker 2 (43:43):
What about the kitchen, the bathroom?
Speaker 3 (43:46):
I mean, how many windows does the bedroom?
Speaker 2 (43:48):
Hat is any place for Jesse to play. You can't
just go.
Speaker 5 (43:55):
And surprise me with a house, and I'm supposed to say, oh, well,
oh that's nice.
Speaker 3 (44:02):
At one point I would have, but I am not seventeen.
No more responsibilities. I want to know if we got
to hook up for the washing and the dryer, because
I gotta wash Joseph me. I want to know if we.
Speaker 8 (44:17):
Got a yard and do have a fense? Yes, you
gotta go to school. I worried about where to put
the TV at. It's not a most important.
Speaker 5 (44:27):
To me, and you supposed to know that, Dunnell. You're
supposed to know it's important to me. It's like I
am supposed to know it's important to you.
Speaker 3 (44:39):
You know I am not asking me to do this
by yourself.
Speaker 2 (44:47):
I am here with you. We are in this together.
But see a house or no house.
Speaker 3 (44:55):
We still ain't got no food money.
Speaker 2 (44:58):
But if you to come it told.
Speaker 3 (45:00):
Me if you want to share this with me.
Speaker 2 (45:04):
Mother got eighty dollars for my house and still had
money for food.
Speaker 5 (45:11):
You did it all know, you did the right thing,
but you you just did.
Speaker 2 (45:18):
It all wrong.
Speaker 3 (45:23):
He doesn't get it. He doesn't get it. He's never
gonna get it. And did it feel better? Did it
feel different?
Speaker 2 (45:32):
It did feel different?
Speaker 3 (45:33):
Yeah, you know, like you got to talk to him.
You gotta get him to understand.
Speaker 1 (45:39):
And at the end, raise the stakes when you say
you did it all wrong, you did it right because
he's standing there thinking, I did the best thing in.
Speaker 2 (45:48):
The whole wide world.
Speaker 1 (45:49):
I got a house for the woman I love in
my child, you know what I mean. So connect with
what he's feeling a little bit more and that because
the tears are already there. But that's going to give
you something else when you see his pain. Look at
his pain.
Speaker 3 (46:08):
Okay, So you're saying that you said, raise the stakes.
Speaker 1 (46:14):
When you Yeah, because when you say, you did it
all wrong, but you did it right.
Speaker 3 (46:20):
But you did it all wrong. You did the right thing.
You just approached it wrong. You should have approached it.
Speaker 1 (46:26):
You should have approached it by sitting down and saying,
let's together by house.
Speaker 3 (46:32):
What do you want?
Speaker 1 (46:32):
Three bedrooms, one bath. He should have done that, but
he didn't. And the way he did it was wrong
to you, but it's right. But in that exchange you
should feel his emotion because when you say you did
it all wrong, I mean naturally, he could be like wow, right,
and then you're like, no, no, no, no, you did it right,
(46:53):
which lifts him up a little bit. But you did
it wrong the way you approached it.
Speaker 3 (46:58):
That's okay, okay, excellent. Thank you so much. Dialogue, Kay, okay,
thank you for being in class and session.
Speaker 1 (47:16):
And next we have give love, and now it's time
forgive love.
Speaker 3 (47:22):
Chance never helps.
Speaker 1 (47:23):
Those who do not help themselves. When you find yourself
going through challenging times, you should know this too shall pass.
And I know that it's easy to say, and I
know that it sounds cliche, but there's a favor I
have this favorite.
Speaker 3 (47:42):
Song by George Benson.
Speaker 1 (47:44):
Right, this is years ago. This is going to the
archives people.
Speaker 3 (47:48):
But he has a.
Speaker 1 (47:48):
Song that says everything must change, Winter turns the spring,
wounded hearts must heal. And when you're caught up in
a challenging time, when you're caught up in a lot
of emotional care, yes you can't really see clearly. But
when you sit still and you envision that you take
that breath. Yes it is challenging. Yes we all are
(48:12):
going through this. But one day we're going to go outside.
One day we're going to take a breath. One day
we're going to let that sun. And I think one
of the most beautiful exchanges that I've had with Soriah
is just being so grateful for everything that you have.
Speaker 3 (48:32):
Everything. She said to me the other day, Grandma.
Speaker 1 (48:35):
We were going to the store really super quickly, and
she said, Grandma, I don't need any toys.
Speaker 3 (48:41):
Because I'm good. I got toys.
Speaker 1 (48:44):
And I thought, wow, that's so cool, because she really
is taking time and playing with her dolls and her
paints and putting her crayons back in the right place,
making sure she doesn't break them. There's so much grade
during this time, and gratitude is magic. And if we
all spend ten minutes a day, just sitting in a
(49:07):
space and being grateful for what we have. We can
produce and manifest more of that.
Speaker 3 (49:15):
That's going to happen, and that's going to come.
Speaker 1 (49:18):
But just as we are doing all the right things
now and washing our hands and staying inside, we have
to be conscious that when this changes, we're going to
have a different outlook. We're going to have a different perspective,
and that's okay. Don't fear the unknown, embrace it with
love and gratitude. Thank you for joining us on the
(49:42):
Spirited Actor podcast with me Tracy Moore. I look forward
to our next Spirited podcast.
Speaker 2 (49:48):
Thank you,
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