The Spirited Actor - Daryl Sledge

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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's Balls to Tupac, and

(00:24):
I realized that rappers and musical artists they needed help
transitioning to acting. My clients consist of musical artists from
Buster Rhymes to Eve, Missy Elliott, Angela Ye from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel

(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now I know, I know actors want to
get the job. I get that, but being remembered by
a casting director that is powerful. And now it's time
for meditation of the DEMI don't let what you cannot

(01:07):
do interfere with what you can. John Wooden, be brave,
Be courageous. That's what I tell Soria to do every day.
I am so proud to see her navigate through the
school bullies, even though I know she's afraid. Whenever they

(01:27):
bother her, she says to them, does it make you
feel good? To make me feel bad? And they run
they leave her alone. And even though she was afraid
to say it, she did it anyway. Today I will
be brave without fear. Before we get started, I'd like

(01:53):
to remind everyone to look out for my new show
Inside the Black Box. I'll be co hosting with the
Great Joe Morton. Will be on Crackle Network real soon.
I'll keep you posted. Welcome to the Spirited Actor Podcast
with me Tracy Moore. You know I love to share
my friends with you and I'm very, very blessed to

(02:15):
have these special people in my life and they continue
to be in my life. So ladies and gentlemen, I
want you to put your hands together for Producer Extraordinaire
Darryl Slang. Thank you Darrell for being here. My pleasures,
my pleasure. I you know, um, I'm prepping for the show.

(02:36):
I got really super excited because first of all, we
haven't had a bunch of producers on. So I love
when we have producers on because it's your perspective of
how actors should have a relationship with you on the
set and how things run on the set from a
business side, right. And also, I don't know if I

(02:58):
said this to you. I had a flashback of us
having um lunch and we were talking about how Darryl
was not an actor when he joined my class, and
you Darryl set it off for other producers and directors
to start taking my class. Yeah, because I remember there
were a couple of director friends of mine who I

(03:21):
remember Jesse Terrero came to my class one time right
after he did So Playing and you know, and it
was funny because I was like, oh, you know, my
class is transparent. I was like, yes, how did you
like Soul played? They were like we hated it? And
I was like, I'm sorry, Jesse, I'm sorry. He was like, no, Chasey,

(03:41):
I'm gonna be honest. I did it for, you know,
the opportunity and the money. And he had he did
a short film. Someone saw it in twenty and sent
two fox. The rest is history. So producing is not
the number one on my chart for me to do
because I love acti's directing and that sort of thing.
But I've done it and I and I and I
and I love when I do it. However, for me,

(04:06):
I just want to focus on directing and trusting someone
like you to produce. So Darrell, first of all, let's
start with um, tell us, tell us like your journey
on what what made you decide to go into the
entertainment business in the first place. You know, I'm not
really sure Tracy, what that answer is. I believe just

(04:27):
like a doctor, a lawyer, teacher, chemist, and engineer, I
think you become those things because somewhere down the line,
there's a calling when your life to be those things.
I think. I think at some point you don't really
realize it, and then that musters up, it flows up,
and it says this is what you're gonna be because

(04:47):
you start gravitating to that. So I don't think, I
think ever since I was a kid, I can recall
it will go on the South Side of Chicago, writing skits,
writing skits and putting them on in my grandmother's backyard
on the grass and inviting all the kids in. It
was cents to get in, and what these kids perform

(05:08):
something that I've written. So I think it's always been
in me. I think it's my calling. I think it's
something that well, I believe it's certainly something that I'm
supposed to do. This is what I was molded and
made to do. So to answer your question, I think
I can go all the way back to when I
was eight years old, uh, writing and performing in my
grandmother's backyard on the South side of Chicago, and the

(05:29):
kids came from all. I believe it. I believe it,
you know. Can I just say this because I didn't
know you were from Chicago. I I thought California or
maybe the East Coast. But let me tell you about
Chicago for now. It does. It all makes sense Chicago.
Out of all of the places that I've auditioned, all

(05:51):
of the people that I have audition Chicago people, they
are the most concident and and it's a confidence that
that also it's a presence and definitely a fearlessness, yeah,
you know, and a directiveness that I have never experienced

(06:14):
until I auditioned in Chicago. We were doing barbershop one
and they needed some other day players and I was
just kind of ease dropped and watching with the casting
director they had on set because I was coaching Eve
at the time. But wow, that's it's almost and and
I say this, you guys that most of the people

(06:35):
that I've met actors from Chicago, they're all successful, working
actors right now. I think it's because Chicago was a
city of first. It was, it was. It's a lot
of first in terms of black folk. You know, in Chicago, Detroit,
the Middle area St. Louis, those folks came from Mississippi, Alabama,
blah blah blah. I think on the East going up

(06:58):
to New York, those folks came from the North Carolinas
and South Carolinas and Virginias. I like to tease to say,
the people from Mississippi and Tennessee and Alabama, they had
it harder, so they knew what hard work was, you know.
And then and then just been in the city of Chicago,
where you had Johnson Publications, and you had the company
that did all that hair stuff, Apro She Ultra Savity

(07:20):
and jet. The Dosabo Museum, which was the largest black
at the time, was the largest black uh museum in
the country, in the world. It is. So Chicago is
known for having a lot of first you know, people
do things. What Atlanta is today is what Chicago was
forty years ago. So that's why, you know a lot

(07:41):
of people from Chicago migrate and leaned towards Atlanta, even college,
like you know, going to more House and going to
spell like that. Chicago has a plethora kids down there
at Clark Atlanta and w to spell me. Because I
think it's just Chicago is known for being the city
of first, powerful you guys, everybody, even in work. I
lived in Chicago two and a half months on barbershop one.

(08:04):
We stayed in the downtown area, set in place right
by Magnificent Road. Did Nobody told me about the hawk
the wind? Nobody told us. And we were there January
through March, coming off that lake. Ye know the funny part, Darrel,

(08:27):
even I we were we were leaving the hotel to
go have dinner, and they had all of these you know,
they look like guards, steal guards that were lined down
the street right And so we walked out and we
asked the guy, like, you know, what, what are those?
And he said, well, you know, when you walked down
the street, you got a hold on because sometimes that

(08:48):
hawk comes. Even I looked at each other. We were like,
we shouldn't be out there, and we went back our
weather place, the factor to toughen y'all up too. Yeah, well,
you know exactly. You know what these kids today they
get an inch or two and they complaining we had
to climb mountains of snow. You know, it could pour down,

(09:08):
and your mother and dad was like, okay, yeah, but
you know what, you're getting up in the morning going
to school. I remember in my senior year high school
with the wind blowing. One time it was eighty two
below zero and we still had to go to school. God,
so Chicago is no joke. And in Chicago, I just
want a side note, you guys, Chicago's winter is totally
different than New York winter. And then after I left Chicago,

(09:30):
I had to do a show in Toronto and that
was that was artic. Like I was like, okay, because
I told people in Chicago, you guys really were for coats.
I thought it was fashion, but it's warm, and you
know what to Tracy, I think what what really warms
us in Chicago is the camaraderie. Because again, those books

(09:51):
came from Mississippi, Tennessee, Alabama, and they knew each other
down South, and when they graded up to Chicago, they
still knew each other. So Chicago has this family orientation
that New York doesn't. New York is different because you know,
people are just it's like you live with each other,
but you're separate. In Chicago, those people come together, and
I think that's what makes Chicago. I think that's what

(10:13):
makes us feel so much like inclined to do well
because everybody is rooting for you. You know, my mom's
friends from down south, my grandmother's friends from down south
that she went to school with theory, yes, you know,
go to school, do this, and so I think we
had a lot of that, and I think a lot
of cities don't have that in terms of black people. Well,
you know, one of the things that I really admire

(10:36):
and I and I saw this in the beginning with
your work ethic. I don't know if this was if
this is a memory, but I feel like you used
to pull out like one of those most skin journals
or one of those journals that you could put in
your pocket and you had a black pen. Was that
you I think it probably was. That sounds like me
you taking like writing physically writing and taking notes, and

(10:59):
I was like, Yo, this student is serious. Yeah, I
was serious about your class because nobody like out of
like let's say, if I have twelve students, there's only
gonna be three people that are gonna like consistently do
the homework turning in if they start like the next
day after class, they're going to consistently do that. And
I just remember you having notes and be diligent in

(11:19):
that way, can you, Because at eight years old to
even think about an admission fee, I think it's brilliant.
This one thing to say, come watch my stuff, but
I'm gonna need you to put that was that was
my wine cann real yet and eight years old, I
am so with you. Can you explain, first of all,

(11:40):
what a producer's job is? And I've also been encouraging,
which we're gonna outside borrowing, but I've also encourage a
lot of my clients, my celebrity clients, to produce, and
they've taken me on with that. So can you explain
what a producer is and you know what they're entails?

(12:01):
You know, when I got in the game, there used
to be these talks of producers maybe like two types.
The line producer who runs the money, who watches the
money and is like the business producer, and the creative
producer is the one who finds the project, develops it
if it's independent, raised that money or somehow, if they're

(12:23):
fortunate enough, they have a deal with one of the
networks or uh studios and they bring in these projects.
Blah blah blah. That's but those things have changed. A
producer now is a producer. We don't you know, we
don't like to talk about on a line producer and
I'm a creative producer. If you're a producer, you're a
producer because you're doing the same thing. Even a person

(12:44):
like myself who find the projects and developed them, I'm
still concerned about the money. I'm still concerned about what
has been bought and we've fallen in. Is that line
budget being met and things like that. So our producer
basically finds the project and makes it. Ha been. That's
all that's in the nutshell. You know, you have an idea,
you read something. For instance, I remember years ago I

(13:07):
was on a subway and it felt like you may
have been a d or or que training because there
was one of those bigger cars. I remember that the
kid on that subway train who was homeless, but he
was graduating baltedictorian of his graduating class. Oh my god,

(13:27):
that's that. And so as if you're a producer, you're like, what, yep,
that's a story, you know. So a producer finds that
project and makes it happen. He surrounds us with individuals
who's going to help bring that vision. I have a
novel that I've optioned, and right now I've just hired
my screenwriter. And and so it's a step. You hire
your screenwriter, pomp out a dope as script, one that

(13:53):
no one can turn down, and then either find a
superstar kick ass director who says I want to do this,
or you find an actor who says I want to
do this, because both of them are powerful, and then
that gives you even more leverage to go to other
things to get bigger things happen. So, for instance, if
I you know this script we're gonna do, it's gonna
be kicked ass, It's gonna be And if Journey smellet

(14:17):
we have in mind to lead and Lettacy, Um, I've
been and talk to a Lettacy. You know, Okay, I'm
waiting on you I'm waiting on you, but if I
can get them. Of course, Now Deadline is barking about
you know that, blah blah blah. So you know, you
get that project and you make it happen. There is

(14:40):
no way to do it. You just do it. Just
do it. You know, people get all free. Anybody can
produce people of free. Oh no, I gotta be it.
I gotta go to school. No, you do it. If
you gotta sell chicken sandwiches, pump up sandwiches, whatever, the
world doesn't have to know about it, you make it happen.
You gotta phil cow just to get that money or whatever.

(15:02):
You make it app That's such Chicago attitude, you guys.
This is what I'm trying to tell you. Like there,
it's by any means necessary. What walls do we have to,
you know, knock down? There's no no. And that's just
my experience. And I'll just give you a quick example.
Gwyn McGee, who is an amazing actress from Chicago. I
met her like in the late eighties. Gwen was diligent

(15:26):
and we had composites back then, the actor's postcards, so
they would send like, oh, you know, catch me here,
catch me there. I had a Gwyn McGee wall, gwyn
McGee wall, because that's how much she was working, That's
how much she would send. She would send me a
postcard on my birthday. She found out my birthday. Like
all of these things to the point where I had

(15:46):
a project and I was like Gwyn McGee because I
would point to my wall at certain actors. I'm gonna
kisch yourself, right, Gwen got a commercial. The rest is history.
But again it's that foresight of possible non my vocabulary
can't be done. I don't know what you're talking about,
and how does that work today? Darryl in twenty two,

(16:08):
as a person of color, do you feel that we
have workable budgets? Do you think that that's changing in
the industry that black people and people of color are
gaining more ground and momentum in that we're definitely gaining
ground and momentum in terms of does that equate to
having a bigger budget. I don't know. I guess that

(16:30):
depends on who you are. If you are Binzel, if
you are Will Smith, those names like that, if you
have those types of people, well, will Packer about the
other brother who did Wakonda? What was it? Uh oh,
Chad rest in peace? Yeah, there are the director you
know if you're those types of people, Ryan Coogler, Yes,

(16:51):
I think you can definitely have an effect on the budget.
But things are definitely changing and going in our momentum.
For instance, you're finding a lot of actors are gaining
mean and getting production companies, you know what I mean,
they're signing feels. Uh, you're finding that they are now
we are now becoming people who can sign off on
films and things like that, like Charles King and people. Yes, yeah,

(17:13):
so yeah, ground is you know, we're breaking ground and
making ground. But they're still work to do, still work today.
And what advice would you give to actors because you know,
you and I came up at a different time and
we didn't have men, Darryl. If we had iPhones when
after my class, we would have been shooting epics. You

(17:35):
know what I'm saying, because you wouldn't you would have
had the pool of actors to tap into and we
would have It would have been a whole different time.
But now in two with you know, iPhones that you
could shoot a future with, Like, what are some of
the suggestions that you give actors who are frustrated waiting
for that call or to be discovered. What can they

(17:56):
do in that time? You gotta do it. You gotta
do the toilet period effect. No matter what you think
of his films or whatever, you gotta do the Tyler
Perry effect. You gotta do the John legals on the effect.
You gotta let people know you exist. Nobody knows you're
here unless you let them know you exist. If you're
sitting around waiting on someone to give you something, you
might as well just pack up and say it's not

(18:18):
gonna happen. You gotta let people know that I am here. Now.
Whether they like you or not, who knows, but you
gotta at least let them know you're there. One thing
about Tyler Perry. You may some people may not like whatever.
I don't know, but I respect that man because he
made Hollywood come to him. He wanted Hollywood. They they

(18:38):
turned the nose up at him, and he said that's okay.
He made them come to him, and then he got
to call the shots, which is a whole different audience
that Hollywood did not have, you know, and uh, and
his audience is loyal, so you know that's money. Then
Hollywood did not see, did not count on, and they

(19:01):
have all this Tyler Perry money coming in right, and
then you know what happens is crazy because what happens
is like people don't believe me, but I've been to
Hollywood in big meetings with my clients and big executives
in Hollywood, and it was mentioned once that this executive

(19:23):
someone bought up Tyler Perry. And the executive was like,
who's Tyler Perry? Now? Mind you, I'm telling you audience,
Tyler had maybe gross Hollywood like eighty three million at
that point and all his working films. And I sat
there in disbelief. And you know what the other thing is,
this is how powerful Hollywood is. They didn't even need

(19:45):
to know, you know what I mean. It wasn't like
Tyler Perry is breaking, you know, like back in the
day Eddie Murphy made an imprint on those studios, bringing
in billions. The biggest star, the biggest star in the
universe from what the biggest star, not biggest black star,

(20:07):
the biggest star anymore yours? So now I mean it
just and and you were inside the black box. Shameless
Book on Crackle TV view all ten episodes subscribed to
Darryl supported us on the very first show He's Friends
with Alicia was shot. So that was so cool that

(20:29):
when I nudget her on the set and I was like,
and I poured it up to you and she was like,
I love the It's like Kim Williams, one of the
casting directors, said that and do you find this in
producing or in your conversations that Hollywood is very comfortable

(20:53):
with light skinned people being the leading people and darker
complexion or brown people being and she went other and
it's a battle that she constantly fights every day, bringing
black people and people of color in the casting situations
that the producers may never have thought of. Right. And

(21:13):
I said to her, Kim, like, do you think Hollywood
wants to keep these stereotypical views? And she said, yes,
keep feeding these images, keep feeding because what doesn't change
When I came in this business in eighty five eighty
six at MTV, and they were always saying, Chasey, can
you get a Hallieberry type? Tacy, can you get a

(21:35):
Hollieberry type? And I'm like, you know, there's a spectrum
of black people. We in all colors. But that was
also translation a light skin. Well, they can. They can
do that because they run things. Not until we start
running things. And I'm not talking about a thousand of
us being in front of the camera. I'm talking about

(21:56):
really really being able to run at me. We can
make it happened because we have the Moonlah, we have
the capital, and we have the force behind us. Until
we do that, they can always do that. They can
determine what's in and what's not. You know how you
have those like certain models in their early nineties, they
were the eight model because they were black. You know,
they chose that one model that was it, and you're

(22:19):
the exotic one. So now you know, it's always it's
always the total one because they can do that. Not
until we joined forces and what we're doing now Tyler
open that studio. The sister in Atlanta now Studio Memphis,
Tennessee is supposed to supposedly opened up the biggest studio
bigger than Tyler Perry. Chicago is opening up one. Yeah, uh,

(22:41):
I heard of something someone say Oklahoma somewhere, but I
know Chicago Memphis were two of the newer one and
the sister in Atlanta were three of the newer ones
that I heard about so that's what we need to do.
We need to keep doing those types of things. You
need to keep building foundation. But Hollywood can do that
because we're always at their can call. They can say, oh,
it's like the weirds. Remember when the weird? Uh today

(23:04):
the color is green? Yes, and I'm telling you it's
all going on board. It's red. Tomorrow is gonna be
the light skinned next next week, I'll be tired to
night light skin. It'd be dark skinned. And then I'll
be tired of them too, and then it would be ambiguous,
because that's where we are. We're ethnically ambiguous. I can't
even tell you how many. And I know they're black,

(23:27):
a hundred percent black, right, their parents are black. But
it's like they'll go into an audition or they'll send
their self tape in and it's like, are you Dominican?
Are you? One of my actress the other day called
me and said they asked me about this Puerto Rican
like I'm black. I just you know, and I mean,
in a way, what the live auditions, not having live

(23:49):
auditions have done is limit that stereotypical ignorance in the
conversations in the rooms in which I have experienced ELSA
has experience when you know the views are based on,
you know, these false ideas, like directors saying to me, literally, Tracy,
can you ask that black man to be a little

(24:10):
more ghetto, a little more urban. That's an insult, that
is not a compliment. And so what I've done in
my experience, Darryl I I wouldn't do it. I would say,
I don't know what you're talking about. I don't know
how to articulate that to that. So then the director
would just get frustrated, or the director would go, can
you give me a little more jibe? Can you give
me a little more you know? And and so it

(24:32):
becomes like I know that I've advocated since eight seven
eight eight, when I was at MTV. I was bringing
comedians like Dave Chappelle and you know, different comedians up
to MTV because it was all white, and so I
would just throw in the choice here. You know, there's
a part of me that is still sad in that

(24:52):
in we're still having these conversations. And then Joe and
I are having these conversations. He's been in what's six
decades of work, you know what I mean? So do
you feel that we're like in terms of when you
talk about our stories, I think that it's so empowering
because we haven't told our stories right. Absolutely absolutely got

(25:13):
so many. You know, listen, I come from the world
of production and the assistant director a D department. You know,
I came in as Roger Bob gave me your friend
you refer to Roger Bob. That's how I got in
the industry. I always credit you as the person who
really started the engine for my career. Always credit you
for that because it was you that introduced me to

(25:34):
Roger Bob in two thousand to two thousand three and
I was already working. He said, hey, I said, listen,
I need to learn the industry. I got a job.
I don't need to make money now, but what I
need to do is be on set and see what
you guys do. Come on play with us. I kicked
as I worked hard. The next movie, he said, you're
ready to quit your other job because I'm ready to
hire you full time now. And that is exactly what
happened on another movie. But I remember a TV show,

(25:57):
a rural famous TV show I was working on and
I was running background in the beginning part of my
career as a p A. I was running background and
we were doing a club scene and this black first
a d who's here in New York, who I who
I really respect. I still respect him everything. He said, Hey, Joe,

(26:18):
I need some pretty girls. You know. Now you gotta
sit there and look at and think, like, what does
he mean by that? Who does he think it's pretty?
I think me my taste is Grace Jones is beautiful.
That's that's got to me. But you know he's gorgeous,
and you know, so I'm like, now what do I do?
So I bring him two beautiful sisters. He pulls me

(26:41):
to the side and said, you know better than this,
go back and you get me. You know what he
was talking about, Go back and get him. Blah blah blah.
They were right in the front of the camera. That
taught me something as a producer or as a budding producer,
that I will help to break those types of things.
And another thing that I won't allow on my set

(27:04):
is how people talk to people. I would not allow
any screaming yelling. One of my mentors, Joe Ready, who
was the big director here in New York, who did
uh taxi driver Martin Scorsese m, yes, of course, legendary. Yes,
Joe Ready is a legendary first a D. Legendary and

(27:24):
he was Martin Scorsese's first a D for years. He
does not allow anyone to be screened at yelled that
you can't raise your voice all on set, and that
taught me something that you can still be respectful. You
can still have a villain of we gotta work, but
you can still respect people because people will want to

(27:46):
work for you, you know what I mean, if they
feel that you really care about them. They But yeah,
that that goes back to what I got off the
track a little bit. But that goes back to that
when that a D did that to me, it tore
something in me. He said, yeah, actually put some background.
They need to look like that. And I was like,
whoa do. I'm gonna tell you this because we're we

(28:08):
Our interview is done. But we're blessed you guys, because
Darrel's gonna still stay with us. But Darryl, I was
on the show and I'm not gonna mention the show,
but it was a big show at that time, and
I was on this TV show and I went up
to the first a D who was a white woman
around the star of the show. He had two buddies

(28:30):
that I had cast. I said, do you want me
to bring the guys back for tomorrow? She said, she
looked me. She said, chrise, I could be used two monkeys.
I could have used two monkeys, very nonchalant, very nothing.
And I said, excuse me, and she said, I could
have just used two monkeys. And I was the type
of person on this show that everything that happened I documented,

(28:51):
And then I would go to the producer's office like
the principal's office every Friday and just go through my
laundry list of why they should fire me because I
couldn't take it. And then they called me back for
the next season. And I was like, are you guys crazy?
You want me back? I'm too local? But yeah, that's
what she said to my face. So I mean, we

(29:11):
are I believe what you're saying. We are making strides.
There are major changes in this industry. And definitely made
your first in this industry. But we still got a
way to go. We still still got a way to go,
and we respecting each other as long as we're alive
and breathing, as long as there's a people as long
as there's a people, because we're so far behind because

(29:31):
of the injustices that has happened to our people. We're
gonna always keep fighting and we're gonna never ever have enough.
We're gonna always have to keep fighting, always keep fighting,
you guys. Okay, So we're gonna keep fighting and we're
gonna be back on the Spirited Actor Podcast with me
Tracy Moore and so blessed. I hope you guys got
all these treasures from Darryll's Sledge Producer extraordinaire. We'll be

(29:56):
back with class in session. Welcome back to the spirit
It Actor Podcast with me Tracy Moore, and we still
are blessed to have Darryl sleds Producer each stradinare in
your presence, who has given you a poltha of jewels
today and given you also be brave, be courageous. So

(30:19):
I'm going to throw it to Elsa Lathan, who is
going to introduce our Spirited Actor alumni and they're going
to do a scene and then we're gonna throw it
to Darrel and get some feedback for the actors. Hey Elsa, Hey, Hey,
Hey Tracy. Everyone's good to see you today okay. So
today on class and Session, of course, you know we

(30:42):
have to showcase the dynamic talent of our spirited actor alumni.
So today we have Ms Lisa Capri, Hey, hey to Lisa.
Have Mr Julius Reese, so how are you doing? They
do have Miss Maya Bello. Alright, So today's scene is

(31:05):
Unconditional Love, written by the one and only Tracy Moore.
Interior car night Mark jumps into the back of a lift.
Next to him is Heather staring out the window. Hey,
how you doing? Very good? Sir Marco to run into

(31:30):
you a child? Locker on? Come on, you gotta you
would do anything to keep up with me. You put
a track by something else with my limp, it's my nose.
Don't flatter yourself. Have I called you, texted you or okay? Okay, okay,

(31:53):
I get it. When I'm done with you, I am done.
Oh that hurt girl? Come on, I know you better.
Lacking me on its corn. Her hits a bump and
that cause's headed to fall into Mark. She slowly gathers
her composure. So are you seeing anyone? Why do you care? Honestly,

(32:21):
I'm just making conversation until I it dropped off. So um,
let'm seeing one that's none of your business. Okay, Okay,
I just make a conversation. You know, car polls up

(32:44):
to a luxury condimenting um complex they God, yeah, it
was so nice seeing you and blah blah blah blah.
But Heather, Heather, for once, please let your guard down,
be serious for once. You're right. Yeah, I still love you, Heather,

(33:18):
and go tell Amy, Eugene bathany Maria, go tell him.
I said, Hi, Okay, oh okay, yeah, I'm gonna telling you. Said,
how about you put that list of restripping him out
because you got damn breast my like sprucy Parko spanks. Okay,
get out of here with your bad Breathford, please let
me out. Okay. I would throw it to you, Daryl.

(33:47):
I enjoyed the scene. You guys seem like you were
really having fun with it. It was it was a
sort of light It was, I guess, a serious issue,
but you guys make light of it, and I like that, maya.
I liked you to livery I like your You know
how you were having fun with it, but you kind
of meant what you were saying. You know how many
times have we heard young women say, uh oh, I'm

(34:09):
mad at him, I'm done with him, but they're really
not done with him, you know. And you definitely gave
me that. I knew you still have feelings for him.
And my brother, Julius, Julius you you you like us
typical brothers to man. You know, we want to act
like we got over somebody, but we didn't. You haven't
gotten over her either. I like you guys playing with it.
You had fun with it. I like that you didn't

(34:29):
take it too seriously, but you took it seriously enough.
And I like that. And you guys have fun with it.
And Tracy, great, great little monologue. Seeing you roll. I like,
thank you, thank you, thank you, thank you. And I
just wanted to throw in there. I always stressed Daryl
that there are no small parts and that you know,
I don't care if you have one line or hunting
two and five lines. You have to do a character righttown.

(34:52):
I just wanted to say, Julisa, it was very interesting
watching you deal with the situation because is it felt
like Darryl said, you know, you kept saying, Darryl, you
know how you are, you know how you really feel,
and that's what I felt like, ju Lisa when you
were talking like I felt like Lisa didn't overreact and
she and and we saw some of her opinion, but

(35:14):
for the most part she was like, I'm gonna let
them deal with it working out themselves. I just gotta
let me see where my next variety is. Well, you
know sometimes sometimes you know, what I try to tell
actors is we need dialogue. Because we are actors. You
have to have dialogue. But sometimes you can hide behind
that dialogue. Sometimes the hardest acting is being quiet, Hartist.

(35:35):
The hardest performance is being quiet because you had no
harder choice but to allow what's sitting on the inside
of you flow right. Some times you can get behind
a word. You can be like, oh, I'm not feeling
this today, But you can get behind those words and
blah blah blah and make it presentable. You know, I
got it done. But if I need you to emote,

(35:55):
you can't hide behind that. I need to see it,
I need to feel it, and I need to feel
it for you. So sometimes and many times, that's the hardest.
Let's take the piano with the movie the actress Holly Hunter.
There you go, one that didn't say one word in
the whole movie. And one best actress because doing all
this stuff and blah blah blah. Yeah and coded too recently, right, yes,

(36:18):
that's right, that's right, all sign like yeah. And I
think the little growth one best supporting actress, the growth
or something like that throughout the whole movie. So the
job to all three, thank thank you so much. And
ladies and gentlemen together. Good job to Elsa from doing
the reading and doing the reading of the you know,

(36:39):
setting it up, Thank you, thank you alright Elsa, Well
you guys. I just want to thank Darryl Slange again
for you know, all of the information and again like
to have a conversation with somebody who really does this,
who really has credits, and please go to IMDb dot um.

(37:00):
I always suggest that you guys do that to read
about our guests and to take this time. It's a blessing.
And I just want to thank Darryl Sledge for being
here today. Everybody put your hands together. Thank you, gud
something he wants to share. I just want to say
one quick thing. I want to say this too, particularly
black Americans or black actors in America, we are not

(37:23):
giving up on you. We support our brothers and sisters
from all over the diaspora. But there are producers like
me who have not given up on you and don't
think you are lesser than just because someone comes over
here with an accent and they seem like they're the
new exoted thing, and everybody is excited about them. I'm
excited about them too, but I'm just as excited about me,

(37:45):
and I won't forget you. This is who he is.
Thank you so much, Thank you, and we'll be back
on the Spirited Actual Podcast with me Tracy Moore to
give you love. And now it's time forgive love. I
just want to send prayers out to all of the
families and all of the victims of mass shootings in general.

(38:12):
And we've had a lot of mass shootings just within
this past week, and I just want to say a
career and offer my condolences to everyone. But I want
to ask you what are we teaching our children? Are
we teaching patients tolerance and love? Or do we not

(38:36):
have enough self control to have our children leave the
room during adult conversation. Our children are a reflection of
us and our home. This world has to change. We
have to love each other instead of killing each other.
Don't forget to look out for us on our new show,

(38:59):
Inside the black Box. My co host will be Joe
the Legend Morton. It's going to be The Spirited Actor
Podcast on Steroids. Will be streaming on the Crackle network.
I'll keep you posted. Thank you for joining us on
the Spirited Actor Podcast with me Tracy Moore. I look
forward to our next Spirited Podcast. Thank you,