April 7, 2020 • 39 mins
Kevin Harewood has been in the entertainment industry for over 25 years. Starting as New York Market College Promotion Rep of A&M Records while in college, he quickly made his way at A&M records Sales and Marketing Department. From his hard work he found promotions to Executive positions at Arista Records, Hush Productions/Orpheus Records, William Morris Agency and Correct Records/Grindstone Entertainment. He worked during this time with such artists like Freddie Jackson, Najee, Force MD's, Chris Rock, Vanessa Williams, Kashif and Martin Lawrence.
His company Edclectic Entertainment is a multi-tiered company that focuses on Distribution, Marketing, Management, Film Production. The Distribution arm of his company has assisted many artists in the Indie Soul community like Marlon Saunders, Gordon Chambers, Rhonda Thomas, Ola Onabule, and others. The Marketing arm of his company works with labels and artists such as Virgin, Three Keys, A440, Giant Step, Donnie, Les Nubians, Alyson Williams, Dome and Hil St. Soul, to name a few. The Management arm currently manages Jimmy Sommers, Steve Wallace and advises Gordon Chambers among other artists. The Film Production arm produced with Lock and Roll Productions the documentary "25 Strong - A Film about Basketball" and currently in production with the film "Am I Black Enough 4 You," which will feature comedian AJ Jamal. Kevin Harewood is the author of the book "Make Your Move" a guide to releasing your music independently which was released November of 2006.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
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
casting director that is powerful. Meditation of the day genius
(01:07):
is the power of lighting one's own fine fire. John Foster.
We cannot depend on anyone to lighten our spirit or
to carry our load. Sometimes we hope that other people
can make us happy or brighten our day. That's a
great thought, but we can make us happy if we
(01:28):
tap into what that is. If we are feeling low,
we should take ourselves for a walk or buy a
cup of latte. Find your happy thought. Know who or
what brings a smile to your face, Collect a bunch
of happy thoughts and tap into it. When your energy
is low, know that you have the power to turn
(01:52):
it all around. Welcome to the Spirited Actor Podcast with
me Tracy Moore, and today our guest has a phenomenal
amount of insight, expertise, experience. You guys need to grab
your iPads. You need to uh you know however you
(02:15):
documented on your phone, write it down. Um, you're gonna
have a lot to walk away with today. I am
just honored to be here and I'm honored to have
him as my guest, because we go back, like wow,
since the day one of me landing here in New
York City. And you know, I always tell Kevin this,
like Kevin was one of those people who I felt
(02:38):
really believed in me from the beginning. And you always
need one other person to believe in you, to parlay
your career along, so I am grateful for that. Ladies
and gentlemen, put your hands together for our guest today.
I don't know how many titles to call you, Kevin,
but I want to say producer, executive producer, extraordinary, air
(02:59):
film producer, so many aspects to this man, Mr Kevin Harewood.
Ladies and gentlemen, Yeah, thank you, thank you, You're welcome.
Oh my god, we go back to before clinton Ille
was gentrified. Yes, we do. Yeah, And when the cabs
(03:21):
were not coming in between Gates and Green, I was ye,
Gates and you are. Yeah. That's how far we go back,
Ladies and gentlemen. Now it's a new day. So I
want you to take my audience. You know, we have
actors from so blessed, not just the United States, but Amsterdam, London, Africa,
(03:47):
and I just want to give them have a conversation
about this business, and honest and true conversation about this business.
And so I just want you to take them because
you come from the music business and you part layed
that into film and TV. And how was that journey
for you? Well, what you say is ex accurate. I
(04:07):
would like to say it was all a plan but
it wasn't my plan. It would I would say, it's
more of God's plan. You know. I grew up in Brooklyn,
New York, was fortunately be educated in the New York
City Public school system and was fortunate to which I
didn't realize. It's fortunately time to attend Brooklyn College, which
(04:29):
at the time had one of the best television departments
in the state television and radio and film departments of
the States. And I was actually originally interested in music
and radio. While I was in college, I had to
study film stuff is the other to to particulate. But
you know, I was fortunate that we had great professors
and great training. And then I got into the record
(04:52):
business while I was still in college, working at A
and M Records, and then you know, became a manager,
you know, with Kashifa, Melvinemore and Legs, Freddy Jackson, people
like Naji, people like that at Hush Productions. And it
happened to be around the same time when music videos
started coming on, so that I was able to combine
(05:14):
my training of for you know, a visual production with
my love for music on a regular basis in a
manner that was believable to me because I think That's
the key thing is that you know, at that time,
there weren't a lot of black people visible in films,
(05:36):
so it's kind of sometimes hard to believe that you
could actually pull it off. And you know, people like
Spike and and and Reggie Huddling and Charles Lane and
Charles Barnett, name of Barnett, Judah Kitchens, they are approved
that you could actually pull it off in some form
(05:58):
of fashion. And it's rations to me, but you know,
it all just came together. So was that your inspiration
as well in terms of you deciding, Um, Death by
Temptation was Kevin's film. And I know there's a lot
of people out there that I know that film was
that something well we got um it was something in
(06:18):
a way, Um, you know, it was at a time where,
like I said, the music, my passion the film was
always there, but it was at a time where I
started to believe that you could actually do something in film.
And in addition to the music stuff that I was
doing that time, I started producing film and television you know,
as an outcohol some music video stuff that we were doing.
(06:41):
And it just led to where, you know, the Nelson
George actually brought James Bond the third and the script
that's Frattation to our office at our production and we
decided to, you know, to go with it. And we
were fortunate at the time James Bond had a relationship
with Kadeem Hardison. He got to Deem Hardison. I had
(07:02):
a relationship from when I for a short period of
time a few years I lived in Atlanta, and I
had a relationship with Bill Nunne. So we got Bill
n you know who's Bill None was one of my homies.
And actually when I worked at William Mars, he was
the first person I signed to William Mars. You know,
I worked there later and and Bill was homies with
(07:24):
Sam Jackson. So that's how we got Sam Jackson. Um.
And I'm just happy to come to the office with
Bill actually, And that's how I mean, I knew who
Sam was, but he wasn't you know, big ideas now
and I not reached out for him at that point
because I didn't know. I didn't know. I didn't know
(07:44):
like that, Like I said, you know it, it wasn't
my plan. A lot of things come together from higher forces. Yeah,
and I'm glad that you know, this is the Spirited
Actor podcast. And you know, I mean we don't focus
on a specific religion, but to me, spirit is that
core inside of you, you know, where your moral compass resides,
(08:08):
where your humanity resides, integrity. I did want to talk
about William Morris because I don't want to run past that,
because you know, that was a huge accomplishment being an
agent at William Morris Agency in Los Angeles. That's a
big deal. So, um, can you talk about your journey
as an agent in an agency of that caliber? And
(08:30):
for those of you who don't know, you know there
are three of the largest agencies, and especially at that
time you had CIA, William Mars, and I c M.
So they house your A list, actors, directors, writers, everybody.
So big deal. Well, my my journey again to William
Morris was something that I would have never planned what
(08:51):
had happened. We had relationships at William Mars because of
our management business, and then that led me to not
only know people that worked there, but kind of no
higher ups over there. Then they represented us in in
you know, taking death pn Temptation to the market, largely
(09:13):
because of the leverage of of what we were bringing
to them in the music business, and it was at
a time where, I mean, the agencies historically are lacking.
And this is something that to some extent exists to
this day as it as it relates to black culture
and and black entertainment agencies are not as audit as
(09:37):
they should be the major agencies. But it was at
a time where the number one music artists was black,
which was Michael Jackson. The number one TV person was black,
which was Bill Cosby, and the number one movie person
was Eddie Murphy was black. And you had these emergent
(09:58):
people like the Spike Lou you know, like the aforementioned
people like Spike Lee, like Reggie Hudlind so on and
so forth. You know, there was a scene emerging and
they wanted to get a piece of that, and they
knew that I had certain lationships to head up what
was then the Black Entertainment department at the agency. So
my foundation over there was still in music at the time.
(10:22):
I had the latitude, unlike other people to sign actors.
So again Bill Number was actually the very first person
I signed over there. And there was also a credo
that I had of a lot of music people making
the segue at the hysen of also being visual people
(10:44):
and active people. So we eventually, like you know, I
brought Vanessa Williams over there. Um, I didn't bring him
over there, but I worked with Carol Lewis, who with
Will Smith early on it. We got Will Smith on
Fresh Prince of bel Air show, we got Queen Latifa.
I'm going, you know, somebody like Melbourne Moore already was
(11:07):
a multi hyphenic, So I wouldn't Melbourne from the management
standpoint at Hush and then you know, continued at William
Morris Um. You know, so that's where that was, and
I learned a lot and some things did rise. You know,
it wasn't a fit for me in a standpoint of
staying there for like decades, but you know it's it's
(11:30):
you know, I'm very proud of you know what happened,
you know, with the growth of a Will Smith and
a Queen Latifa and and you know, and Bill Nunne
went from a guy that you know, I knew from
Southwest Atlanta, you know, for being one of the top
black child love You speak of the greats and what
(11:56):
is it about when you see talent? How do you
define talent? How do you know that you have talent
in the room when you're auditioning, or you know when
you're going to showcases or screening, to things like that.
There are intangible there are different things that I think
come and play. But one thing I will say is
(12:17):
that when it comes to you know, I've been fortunate
that I've worked in music, I've worked in tving film,
I've worked in comedy, and more recently, I've also been
like a media strategies in politics. And there's something about
the some intangible about the way that a public person
(12:43):
who has the goods to go to distance. There's there's
there's an intangible about the confidence that's in themselves, which
it's it's almost an arrogance, almost an ego, but it
doesn't really go past too much ego. And there's a
focus and and and a vigilance and how they go
(13:05):
about approaching what it is the approaching so that if
you look at Chris Rock, who I've worked with, if
you look like at a Cashi who I worked with,
if you look at Aba Duvenais more recently, or you
look at a Will Smith who when I met Will Smith,
it was at a very down period in his life
(13:26):
when him and Jazz first came to Los Angeles, there's
something there that you can see and you say, this
person has it. Like I remember, I signed was one
on the team that signed Martin Lawrence to the Willie
Marris Agency originally for touring, and was the person who,
after I left Willy Morris, put together the relationship that
(13:49):
led to the financing of the tour that became you
so crazy. Wow. I remember seeing Martin Lawrence and do
the right thing where he remember he was one of
the kids, was always like around and I was like,
there's something about this kid that's different than the other three,
(14:12):
all three of them there was remember they was right.
It was forget Steve Steven, Steve David, Um, I know
the comedian you're talking about, right exactly. And then the
young lady that went to Howard but it wasn't Kim.
But they were they were they were all great. But
they were in a movie with the Larry fishburn with
(14:36):
with with Roger Golden Smith, with like with Bill Nunn,
with with you know, with all these great people talking
about Martin Larrence in a small bit part that made
me say, this guy has it. So that when I
moved to Los Angeles and and would go to the
Comedy act Theater or go to certain comedies outs around
(14:57):
town and I would see him. It's like, that's the
he really hasn't you know? And you know when we
did the You So Crazy tour or the tour that
came to You So Crazy is how I described it,
because it wasn't You So Crazy? When when we it's
it's like Martin wasn't known, the Martin Show hadn't been
on TV yet, and De Comy Jam hadn't been on
(15:19):
TV yet. But I was asked who had the goods
to to make it happen um in the comedy space
and I was like, well, Chris Rock wasn't available because
he had just got SNLO tour. And I was like,
this is kid, Martin Lawrence, He's the one, and the
rest is history. That is I mean, you know, to
(15:43):
know and actors don't know this information because they're not
in the room. But there are times like you know,
to hear a story like that and you believed, and
there may have been other people in that space who
didn't believe, but you stood for you know, you did
for that person. You belie, Like how you know, how
do you maintain that fight in the room sometimes when
(16:06):
when not everybody agrees with you, well, because I know
that from my experience as a casting director, you know,
I mean sometimes you sometimes you have to you have
sometimes you have you see something and you just yourself
feel that you're right okay, and you're you're up against opposition,
(16:32):
and then you you just say, um, I believe in this.
I know that this will work given X, Y and
Z conditions. It helps if you are in a position
to help some of the condition. But sometimes you if
you really believe it, you just have to go it alone.
(16:52):
So I'll use the example. Oh, Bill None Again, I
mean Bill none Again was one of my homies from
when I lived in Atlanta, but Build none at the
time when I sign him to William Morris. In terms
of movies that have been out in in in in
you know, for people to see them, it had only
(17:13):
been school days, which he had, you know, a secondary part,
and it had been m Do the Right Thing had
just came out. Let's keep in mind that Do the
Right Thing as big and as influential. I mean, it's
been voted by I F I think one of the
top one hundreds movies ever made, but it's still there's
(17:37):
a difference between how white folks see something and black
folks see something, and especially white folks in Hollywood. So
that when when I signed William Morris um, I mean
when I signed Bill None to William Morris. And I
remember one of the agencies who ended up being a
(17:58):
very prominent agent represented George Cooley and all sorts of
people later in his career says to me, well, who
the hell is Bill nutt Hey? And I talked to
my guru at the copy at that time, and he's like,
you have to go what you believe. And Bill Nunn
ended up not only doing black movies, but you know,
(18:20):
doing regarding Handy, you know, and being in Spider Man
movies and having again one of the top careers of
any black character actor of the last you know, thirty
forty years. But you have to have an agent who
is going to go to bat for you and not
going to be afraid of just keeping you in that
(18:42):
one category because I know, you know, as a casting director,
the role could be written for an African American man,
I would bring in a Latino man or Middle Eastern
other ethenticity. You know, you take that chance so I
think that that is really important. I know that my
act years and listening to your background and your experience,
(19:04):
want to know and especially talking because we're in a
new day now, we're in Netflix, Hulu, Apple TV. What
are some tips that you want to give to actors
in terms of building their career or getting themselves. You know,
we're an addictive different marketing. I talked to casting directors
all the time about now you know, casting directors inclusive
(19:25):
of all the other information we ask you will ask
you what are your Instagram numbers? You know, where are
we now? I think that that's the key thing for
me is that whatever it is that you say you are,
you have to do it. So if you are an actor,
(19:47):
you have to act. Now what does that mean? You
know many people would sit around and wait for somebody
to give them their big chance. Well, I think that
technology has has moved to a place where, you know,
both with digital video technology and with things like i G.
(20:09):
Facebook Lives, stuff like that, you have to you have
the technology and the ability to create your own situations.
So that um, so that you know, I know, like
I look at a guy, um and you know, these
are people that I met, But I'm not tight with
(20:30):
but you know, you know, but I look at like
in recent times I look at I look at like
the career of Robbie Morgan and do incredible um actors,
right and Robbie, you know Robbie, I mean, they both
have done things that kind of like shine to them.
Robbie to me was like incredible and mud bound bound
(20:53):
mercy because I felt you should have got nominated me to.
The thing is where you look at stuff, if you
if you searched, you the internet, whether it's like betflicks
or even YouTube and stuff like that. You remember like
a few years back, you know, doing Black Month, HBO
would put on all these like short black films, you know,
(21:17):
doing that month or whatever, and you would see like
Dorian Mystic pop up when you look at the Robbie
you know, I mean, somebody sent me something the other
day that was like real obscure and like Robbie was
in it. So sooner or later, somebody you give somebody
that you give the powers that be more chances to
see you, and you also give your chance, you give
(21:40):
yourself more practice in your skill. So that so that
I mean you talk about I G numbers like you
know we just recently, you know, I'm in the process
of working on the project Little duvol Well, Little Duval,
you know, as as somebody reminded me, what's first out
here is a median name Roland Pop. It's not like
(22:03):
he just came out here living your best life was
out but he was one of the comedic pioneers in
the whole you know, I g you know, Facebook, like
millions of follows, you know, and that's indiculous. I mean,
you know, um, what's her name? The awkward space? Yeah, exactly,
(22:30):
So I think that's the first thing is that I mean,
you know, you know, it's another thing. Even going back
in time, people don't realize that for Colored Girls only
started and arrest. I was told started in a restaurant
in San Francisco, and say I was going to say
in San Francisco, Yes, and that that somebody or Tyler Perry,
(22:56):
mean Tyler Perry created his own way, you know, very
humble place that there actually, I means so many examples
there here is is um. I mean recently, just a
few weeks ago, directed by the name the Matthew Cherry
won the Academy Award for Best Animated Short Matthew Cherry
(23:18):
is a former NFL wide receiver football player. A couple
of years in NFL, got cut, didn't know what he
was gonna do with his life, started working on cruise,
had a vision like to be a director for working
on a cruise, got you know, literally was homeless at
one point, somehow got money to do a film basically
(23:40):
spot himself, a film called The Last Fall that that
that I'm had, Lance Gross and the Koba areon that
ended up being on BT. Did another film called Nine
Rides that I think you could see on Netflix, something
like that, where it was a film shot with iPhone
six says at that point about an uber type writer
(24:03):
riding around on on on New year Z and then
here we are, you know a few years later, and
the guys wanted Academy Award and basically he can choose
from what he wants, but if he didn't take up
his own destiny, we wouldn't be talking about this exactly.
And I think that's a great point. I told you
(24:25):
twenty eight minutes was going to fly by, and now
we have flown and I have so many other questions
that I wanted to ask you. I'm so grateful that
you took this time out and shared. Oh my god, Kevin, like,
you gotta come back because you know, I still want
to unroot questions that come up about when am I
going to make it, questions that you've heard about before.
(24:48):
And I just think that you have a diverse range
of talent from our A list talent to aspiring actors
and you've seen the growth in the process, so you
can give some more inside on that as well. But
I thank you because Kevin has given me opportunities as
a director which are so cool, Like I was really
(25:11):
blessed to work with him on a project that we'll
talk about, Kevin when I invite you back on you know,
because again, you just need that one person to believe
and even if you don't have that resume yet or
that real yet, that doesn't define the fact that you
you're not who you say you are. And that was
(25:31):
my takeaway. So I am grateful Kevin. Thank you, and uh,
you know I'm here. Oh yeah, Okay, don't go anywhere.
We'll be back with the Spirited Actor Podcast with Tracy Moore.
And welcome to the Spirited Actor Podcast with me Tracy Moore,
And now we have my favorite segment class in session.
(25:55):
Hi lean a motto. Hi, Tracy Moore, and we have
a newcomer here, you guys, we have Ryan st Clair.
Say hello Ryan, Hi, We're happy to happy here. I'm
so happy to be here. Thank you for having me on.
So we might need to haze them now. I'm just
playing bring him to the back. This is why this
(26:25):
is my favorite section. Okay, So this is how this goes.
Ryan is one of our spirited actors. I am going
to read the slug line and the action, and then
you guys are going to read the dialogue. And then
after that, I'm going to give you guys some constructive
criticism and we'll play. Okay, okay, all right, here we go,
(26:45):
you guys ready, Okay. Exterior raised Playhouse Night. Jerry sits
finishing a phone call to an advertising account executive. He
has come here to raise Playhouse for privacy tonight. Yeah,
the red Eye. I'll be in Arizona on Monday. Jerry
ad libs some salesman on tid Well's behalf. Dorothy approaches,
(27:09):
She gives him a few phone messages, sits down beat
of silence. He sees a look on her face that
is unfamiliar. It's my fault. What it's not fair to
you this whole thing. Let me help. I took advantage
of you. And worst of all, I'm not alone. I
(27:30):
did this with the kid. I was just on some
ride where I thought I was in love enough for
the both of us. But I did this, and at
least I can do something about it now. Well, I'm
not the guy who's going to run. I stick. I
don't need you to stick. I don't know my soul
(27:50):
or something. Why fucking not I deserve it, Dorothy? What
if I'm just not built that way? I think we
made a mistake here. Then now he can't stop? What
if it's true great at friendship, bad intimacy? I mean,
(28:11):
come on, it's the theme of my bachelor film. I know,
I watched it. I sort of know it by heart.
I don't like to give up. Please, my need to
make the best of things and your need to be
what responsible? Listen, if one of us doesn't say something now,
(28:33):
we might lose ten years being polite about it. So
I don't we just call this next world trip what
it is? Along break? What about Ray? She notes, the
only real glimpse of ache in that question. There's no
question you'll be friends. Of course you'll be friends. So
(28:54):
this break is it a breakup? Come on, Jerry, you
know this is not easy for me. I mean, on
the surface you I almost think everything was fine. See
I have this great, great guy who loves my kid
(29:19):
and he likes me a not too Jerry McGuire, a
man who speaks for a living has nothing to say. Yeah,
but I can't live that way. That's not the way
that m built. He moves to embracer, she pulls away first.
And see, wow, very nice, you guys, good read, good read. Okay,
(29:44):
So the first thing I want to say is that
when you guys read your sides, and this is what
they're called sides, pages from the script, you want to
read it to find out what the story is. So
you guys have had an opportunity to read it from
beginning to end, and so you know you're breaking up
with him, lean you know the pain of breaking up
(30:07):
and your child. You know, Um, when you're a single mom,
and I can speak about this from experience, and you
are dating or in a relationship with someone, it takes
a while before you introduce your child to that person
or at least in my experience. Right, you're protecting the
child because what if it doesn't work out? You don't
(30:28):
want to put a child through those emotional worlder coasters, right,
So you know this, and then at some point you
made a decision to introduce your child to him where
you felt like this was going somewhere we were. So
now not only is your heart broken, your child's heart
is broken. So it's this is a very uncomfortable situation
(30:53):
and both of you should be comfortable being uncomfortable. Does
that make sense? And for you, Ryan, you don't know
what's going on. You know. The beauty about filmmaking is
that every time you say these words, it is as
if it is the first time you have said these words,
(31:13):
gone through the emotion. You can't see it audience, but
Leon is very emotionally consumed right now. So we're gonna
let her have that in space. So I want you guys.
The other thing is when you see hyphens, or when
you see dot dot dot, hyphens usually are about interruption.
Dot dot dot is there's some sort of pause, you know.
(31:38):
Sometimes it could be an interruption as well, depend upon
how it's written. But here you are genuinely you don't
know what's going on until she starts to explain it.
So what's engaging for us to watch as an audience
is to see this being new to you and how
you deal with that, and then how you communicate that
to him because it is a very tough and you know,
(32:03):
breaking up is not easy and there's still an emotional
connection with you. That's why I don't want to. Yeah,
So what's interesting too and engaging to watch with you
is your conflict in your struggle between I gotta break
it with you, but I'm not I gotta break it
with you. Like, that's what's interesting to watch with you, Okay,
and then combined both of you have your own struggle
(32:27):
and challenge, So you should do that. You know the
audience can't see this, but like remember when you were
growing up and you would do this game, but it's
like you try to get this to go in never
mind did anybody else? Yes, Bruce is doing it. See
(32:49):
it's being able to do like three things at the
same time your brain operating your brain. So I'm saying
that to say that both of you should have an
interesting struggle for us the audience to see that the
both of you are coming together here in this moment. Okay,
So I would say, let's let's deal with the struggle
a little more, both of you. And then when you
(33:11):
get the realization that this is what's happening, like, how
are you how do you feel Ryan? How is that
going to affect your emotions? And you are emotionally connected
to this child? And children are honest, they either like
you or they don't. And she likes you. Okay, all right,
so we're gonna do it again. I'm not reading the
stage direction or anything. It's all on you, guys. Okay,
(33:32):
you guys are ready tonight, Yeah, the Red Eye. I'll
be in Arizona on Monday. It's my fault. It's not
fair to you this whole tell me, let me help.
I took advantage of you. And worst of all, I'm
(33:56):
not alone. I brought a kid into this. I was
just on some ride where I thought that I was
in love enough for the bolt of us and I
did this. But at least I can do something about
it now. Well, I'm not the guy who's going to run.
I stick. I don't need you, just stick. I don't
(34:17):
I don't know my soul or something. Why fucking not
I deserve it, Dorothy. What if I'm just not built
that way? I think that we made a mistake here.
What if it's true great at friendship bat at intimacy?
(34:39):
I mean, I mean, come on, it's the theme of
my bachelor film. I know I watched it. I don't
know by heart. I don't like to give up. Please,
like my need to just make the best of things
and your need to be what responsible? M If one
(35:01):
of us doesn't say something, now, we might lose ten
years being polite about it. So why don't we just
call this next trip? What? It is a nice long break?
What about Ray? There's no question will be friends? Of
(35:22):
course you'll be friends, So spreak is it a breakup?
Come on, Jerry, you know this is not easy for me.
I mean, on the surface, you think that everything was fine, right,
I've got this great guy just I was my kid.
(35:46):
Sure it does like me a hot I can't live
that way. I'm not built like that. And see we're
always crying with leon is oh tissue? Last looks tissue?
(36:11):
Oh my god? Much better? You guys? Did you feel that?
Did you feel the adjustment? And then even more, you know,
if we were to do it again, I would say,
look at each other. You know I loved when you know, Ryan,
you have the line here, I don't give up and
it says that. Um. The other line here is when
(36:34):
it says, uh, Jerry McGuire man who speaks for a living,
has nothing to say. That says a lot about your character.
That says a lot of what's going on in that moment.
So it's all about building actors from beginning to end.
You're not the same person on page one that you
are on page three, and so in an audition, if
(36:55):
we want to be engaged and watching that. Okay, wow,
thank you Ryan Saint Clair for coming in. Oh, thank
you so much for having me such a pleasure being here. Okay,
well you'll come back again, and are you okay, Leon, Yeah, okay, alright,
we gotta give a minute. Leanna modeled ladies and gentlemen listen,
(37:17):
Lean Angelissa will put their toenails in it. Okay, all right, Okay,
Well that's it for a class in session, and stay
tuned Forgive Love. And now it's time forgive Love. Get
your house in order mind, feed your mind with positive
(37:38):
and inspirational books, autobooks, poetry, anything that keeps your mind
in a positive and uplifting state. Body, put foods in
your body that are going to energize. You find an
exercise that you love. I love swimmings women is not
(38:00):
an exercise. It's fun. But when you find something that
you love, you're encouraged to do it. You need stamina.
As actors to be in this business. We don't do
normal nine and fives. Your hours can be sometimes night shoots,
which are the worst three pm until eight o'clock in
the morning. So you need your body to be strong.
(38:22):
And lastly, your soul your spirit, it's your base. You
want to nurture that. You want to always protect your
silence and protect your privacy, always have a place to retreat.
Whatever your spiritual base is, but that is your soul.
Your soul is your reminder of who you are and
(38:45):
who's you are. And when you know who's you are,
you know who you are. Thank you for joining us
on the Spirited Actor Podcast with me Tracy Moore. I
look forward to our next Spirited podcast. Thank you up
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
casting director that is powerful. Meditation of the day genius
(01:07):
is the power of lighting one's own fine fire. John Foster.
We cannot depend on anyone to lighten our spirit or
to carry our load. Sometimes we hope that other people
can make us happy or brighten our day. That's a
great thought, but we can make us happy if we
(01:28):
tap into what that is. If we are feeling low,
we should take ourselves for a walk or buy a
cup of latte. Find your happy thought. Know who or
what brings a smile to your face, Collect a bunch
of happy thoughts and tap into it. When your energy
is low, know that you have the power to turn
(01:52):
it all around. Welcome to the Spirited Actor Podcast with
me Tracy Moore, and today our guest has a phenomenal
amount of insight, expertise, experience. You guys need to grab
your iPads. You need to uh you know however you
(02:15):
documented on your phone, write it down. Um, you're gonna
have a lot to walk away with today. I am
just honored to be here and I'm honored to have
him as my guest, because we go back, like wow,
since the day one of me landing here in New
York City. And you know, I always tell Kevin this,
like Kevin was one of those people who I felt
(02:38):
really believed in me from the beginning. And you always
need one other person to believe in you, to parlay
your career along, so I am grateful for that. Ladies
and gentlemen, put your hands together for our guest today.
I don't know how many titles to call you, Kevin,
but I want to say producer, executive producer, extraordinary, air
(02:59):
film producer, so many aspects to this man, Mr Kevin Harewood.
Ladies and gentlemen, Yeah, thank you, thank you, You're welcome.
Oh my god, we go back to before clinton Ille
was gentrified. Yes, we do. Yeah, And when the cabs
(03:21):
were not coming in between Gates and Green, I was ye,
Gates and you are. Yeah. That's how far we go back,
Ladies and gentlemen. Now it's a new day. So I
want you to take my audience. You know, we have
actors from so blessed, not just the United States, but Amsterdam, London, Africa,
(03:47):
and I just want to give them have a conversation
about this business, and honest and true conversation about this business.
And so I just want you to take them because
you come from the music business and you part layed
that into film and TV. And how was that journey
for you? Well, what you say is ex accurate. I
(04:07):
would like to say it was all a plan but
it wasn't my plan. It would I would say, it's
more of God's plan. You know. I grew up in Brooklyn,
New York, was fortunately be educated in the New York
City Public school system and was fortunate to which I
didn't realize. It's fortunately time to attend Brooklyn College, which
(04:29):
at the time had one of the best television departments
in the state television and radio and film departments of
the States. And I was actually originally interested in music
and radio. While I was in college, I had to
study film stuff is the other to to particulate. But
you know, I was fortunate that we had great professors
and great training. And then I got into the record
(04:52):
business while I was still in college, working at A
and M Records, and then you know, became a manager,
you know, with Kashifa, Melvinemore and Legs, Freddy Jackson, people
like Naji, people like that at Hush Productions. And it
happened to be around the same time when music videos
started coming on, so that I was able to combine
(05:14):
my training of for you know, a visual production with
my love for music on a regular basis in a
manner that was believable to me because I think That's
the key thing is that you know, at that time,
there weren't a lot of black people visible in films,
(05:36):
so it's kind of sometimes hard to believe that you
could actually pull it off. And you know, people like
Spike and and and Reggie Huddling and Charles Lane and
Charles Barnett, name of Barnett, Judah Kitchens, they are approved
that you could actually pull it off in some form
(05:58):
of fashion. And it's rations to me, but you know,
it all just came together. So was that your inspiration
as well in terms of you deciding, Um, Death by
Temptation was Kevin's film. And I know there's a lot
of people out there that I know that film was
that something well we got um it was something in
(06:18):
a way, Um, you know, it was at a time where,
like I said, the music, my passion the film was
always there, but it was at a time where I
started to believe that you could actually do something in film.
And in addition to the music stuff that I was
doing that time, I started producing film and television you know,
as an outcohol some music video stuff that we were doing.
(06:41):
And it just led to where, you know, the Nelson
George actually brought James Bond the third and the script
that's Frattation to our office at our production and we
decided to, you know, to go with it. And we
were fortunate at the time James Bond had a relationship
with Kadeem Hardison. He got to Deem Hardison. I had
(07:02):
a relationship from when I for a short period of
time a few years I lived in Atlanta, and I
had a relationship with Bill Nunne. So we got Bill
n you know who's Bill None was one of my homies.
And actually when I worked at William Mars, he was
the first person I signed to William Mars. You know,
I worked there later and and Bill was homies with
(07:24):
Sam Jackson. So that's how we got Sam Jackson. Um.
And I'm just happy to come to the office with
Bill actually, And that's how I mean, I knew who
Sam was, but he wasn't you know, big ideas now
and I not reached out for him at that point
because I didn't know. I didn't know. I didn't know
(07:44):
like that, Like I said, you know it, it wasn't
my plan. A lot of things come together from higher forces. Yeah,
and I'm glad that you know, this is the Spirited
Actor podcast. And you know, I mean we don't focus
on a specific religion, but to me, spirit is that
core inside of you, you know, where your moral compass resides,
(08:08):
where your humanity resides, integrity. I did want to talk
about William Morris because I don't want to run past that,
because you know, that was a huge accomplishment being an
agent at William Morris Agency in Los Angeles. That's a
big deal. So, um, can you talk about your journey
as an agent in an agency of that caliber? And
(08:30):
for those of you who don't know, you know there
are three of the largest agencies, and especially at that
time you had CIA, William Mars, and I c M.
So they house your A list, actors, directors, writers, everybody.
So big deal. Well, my my journey again to William
Morris was something that I would have never planned what
(08:51):
had happened. We had relationships at William Mars because of
our management business, and then that led me to not
only know people that worked there, but kind of no
higher ups over there. Then they represented us in in
you know, taking death pn Temptation to the market, largely
(09:13):
because of the leverage of of what we were bringing
to them in the music business, and it was at
a time where, I mean, the agencies historically are lacking.
And this is something that to some extent exists to
this day as it as it relates to black culture
and and black entertainment agencies are not as audit as
(09:37):
they should be the major agencies. But it was at
a time where the number one music artists was black,
which was Michael Jackson. The number one TV person was black,
which was Bill Cosby, and the number one movie person
was Eddie Murphy was black. And you had these emergent
(09:58):
people like the Spike Lou you know, like the aforementioned
people like Spike Lee, like Reggie Hudlind so on and
so forth. You know, there was a scene emerging and
they wanted to get a piece of that, and they
knew that I had certain lationships to head up what
was then the Black Entertainment department at the agency. So
my foundation over there was still in music at the time.
(10:22):
I had the latitude, unlike other people to sign actors.
So again Bill Number was actually the very first person
I signed over there. And there was also a credo
that I had of a lot of music people making
the segue at the hysen of also being visual people
(10:44):
and active people. So we eventually, like you know, I
brought Vanessa Williams over there. Um, I didn't bring him
over there, but I worked with Carol Lewis, who with
Will Smith early on it. We got Will Smith on
Fresh Prince of bel Air show, we got Queen Latifa.
I'm going, you know, somebody like Melbourne Moore already was
(11:07):
a multi hyphenic, So I wouldn't Melbourne from the management
standpoint at Hush and then you know, continued at William
Morris Um. You know, so that's where that was, and
I learned a lot and some things did rise. You know,
it wasn't a fit for me in a standpoint of
staying there for like decades, but you know it's it's
(11:30):
you know, I'm very proud of you know what happened,
you know, with the growth of a Will Smith and
a Queen Latifa and and you know, and Bill Nunne
went from a guy that you know, I knew from
Southwest Atlanta, you know, for being one of the top
black child love You speak of the greats and what
(11:56):
is it about when you see talent? How do you
define talent? How do you know that you have talent
in the room when you're auditioning, or you know when
you're going to showcases or screening, to things like that.
There are intangible there are different things that I think
come and play. But one thing I will say is
(12:17):
that when it comes to you know, I've been fortunate
that I've worked in music, I've worked in tving film,
I've worked in comedy, and more recently, I've also been
like a media strategies in politics. And there's something about
the some intangible about the way that a public person
(12:43):
who has the goods to go to distance. There's there's
there's an intangible about the confidence that's in themselves, which
it's it's almost an arrogance, almost an ego, but it
doesn't really go past too much ego. And there's a
focus and and and a vigilance and how they go
(13:05):
about approaching what it is the approaching so that if
you look at Chris Rock, who I've worked with, if
you look like at a Cashi who I worked with,
if you look at Aba Duvenais more recently, or you
look at a Will Smith who when I met Will Smith,
it was at a very down period in his life
(13:26):
when him and Jazz first came to Los Angeles, there's
something there that you can see and you say, this
person has it. Like I remember, I signed was one
on the team that signed Martin Lawrence to the Willie
Marris Agency originally for touring, and was the person who,
after I left Willy Morris, put together the relationship that
(13:49):
led to the financing of the tour that became you
so crazy. Wow. I remember seeing Martin Lawrence and do
the right thing where he remember he was one of
the kids, was always like around and I was like,
there's something about this kid that's different than the other three,
(14:12):
all three of them there was remember they was right.
It was forget Steve Steven, Steve David, Um, I know
the comedian you're talking about, right exactly. And then the
young lady that went to Howard but it wasn't Kim.
But they were they were they were all great. But
they were in a movie with the Larry fishburn with
(14:36):
with with Roger Golden Smith, with like with Bill Nunn,
with with you know, with all these great people talking
about Martin Larrence in a small bit part that made
me say, this guy has it. So that when I
moved to Los Angeles and and would go to the
Comedy act Theater or go to certain comedies outs around
(14:57):
town and I would see him. It's like, that's the
he really hasn't you know? And you know when we
did the You So Crazy tour or the tour that
came to You So Crazy is how I described it,
because it wasn't You So Crazy? When when we it's
it's like Martin wasn't known, the Martin Show hadn't been
on TV yet, and De Comy Jam hadn't been on
(15:19):
TV yet. But I was asked who had the goods
to to make it happen um in the comedy space
and I was like, well, Chris Rock wasn't available because
he had just got SNLO tour. And I was like,
this is kid, Martin Lawrence, He's the one, and the
rest is history. That is I mean, you know, to
(15:43):
know and actors don't know this information because they're not
in the room. But there are times like you know,
to hear a story like that and you believed, and
there may have been other people in that space who
didn't believe, but you stood for you know, you did
for that person. You belie, Like how you know, how
do you maintain that fight in the room sometimes when
(16:06):
when not everybody agrees with you, well, because I know
that from my experience as a casting director, you know,
I mean sometimes you sometimes you have to you have
sometimes you have you see something and you just yourself
feel that you're right okay, and you're you're up against opposition,
(16:32):
and then you you just say, um, I believe in this.
I know that this will work given X, Y and
Z conditions. It helps if you are in a position
to help some of the condition. But sometimes you if
you really believe it, you just have to go it alone.
(16:52):
So I'll use the example. Oh, Bill None Again, I
mean Bill none Again was one of my homies from
when I lived in Atlanta, but Build none at the
time when I sign him to William Morris. In terms
of movies that have been out in in in in
you know, for people to see them, it had only
(17:13):
been school days, which he had, you know, a secondary part,
and it had been m Do the Right Thing had
just came out. Let's keep in mind that Do the
Right Thing as big and as influential. I mean, it's
been voted by I F I think one of the
top one hundreds movies ever made, but it's still there's
(17:37):
a difference between how white folks see something and black
folks see something, and especially white folks in Hollywood. So
that when when I signed William Morris um, I mean
when I signed Bill None to William Morris. And I
remember one of the agencies who ended up being a
(17:58):
very prominent agent represented George Cooley and all sorts of
people later in his career says to me, well, who
the hell is Bill nutt Hey? And I talked to
my guru at the copy at that time, and he's like,
you have to go what you believe. And Bill Nunn
ended up not only doing black movies, but you know,
(18:20):
doing regarding Handy, you know, and being in Spider Man
movies and having again one of the top careers of
any black character actor of the last you know, thirty
forty years. But you have to have an agent who
is going to go to bat for you and not
going to be afraid of just keeping you in that
(18:42):
one category because I know, you know, as a casting director,
the role could be written for an African American man,
I would bring in a Latino man or Middle Eastern
other ethenticity. You know, you take that chance so I
think that that is really important. I know that my
act years and listening to your background and your experience,
(19:04):
want to know and especially talking because we're in a
new day now, we're in Netflix, Hulu, Apple TV. What
are some tips that you want to give to actors
in terms of building their career or getting themselves. You know,
we're an addictive different marketing. I talked to casting directors
all the time about now you know, casting directors inclusive
(19:25):
of all the other information we ask you will ask
you what are your Instagram numbers? You know, where are
we now? I think that that's the key thing for
me is that whatever it is that you say you are,
you have to do it. So if you are an actor,
(19:47):
you have to act. Now what does that mean? You
know many people would sit around and wait for somebody
to give them their big chance. Well, I think that
technology has has moved to a place where, you know,
both with digital video technology and with things like i G.
(20:09):
Facebook Lives, stuff like that, you have to you have
the technology and the ability to create your own situations.
So that um, so that you know, I know, like
I look at a guy, um and you know, these
are people that I met, But I'm not tight with
(20:30):
but you know, you know, but I look at like
in recent times I look at I look at like
the career of Robbie Morgan and do incredible um actors,
right and Robbie, you know Robbie, I mean, they both
have done things that kind of like shine to them.
Robbie to me was like incredible and mud bound bound
(20:53):
mercy because I felt you should have got nominated me to.
The thing is where you look at stuff, if you
if you searched, you the internet, whether it's like betflicks
or even YouTube and stuff like that. You remember like
a few years back, you know, doing Black Month, HBO
would put on all these like short black films, you know,
(21:17):
doing that month or whatever, and you would see like
Dorian Mystic pop up when you look at the Robbie
you know, I mean, somebody sent me something the other
day that was like real obscure and like Robbie was
in it. So sooner or later, somebody you give somebody
that you give the powers that be more chances to
see you, and you also give your chance, you give
(21:40):
yourself more practice in your skill. So that so that
I mean you talk about I G numbers like you
know we just recently, you know, I'm in the process
of working on the project Little duvol Well, Little Duval,
you know, as as somebody reminded me, what's first out
here is a median name Roland Pop. It's not like
(22:03):
he just came out here living your best life was
out but he was one of the comedic pioneers in
the whole you know, I g you know, Facebook, like
millions of follows, you know, and that's indiculous. I mean,
you know, um, what's her name? The awkward space? Yeah, exactly,
(22:30):
So I think that's the first thing is that I mean,
you know, you know, it's another thing. Even going back
in time, people don't realize that for Colored Girls only
started and arrest. I was told started in a restaurant
in San Francisco, and say I was going to say
in San Francisco, Yes, and that that somebody or Tyler Perry,
(22:56):
mean Tyler Perry created his own way, you know, very
humble place that there actually, I means so many examples
there here is is um. I mean recently, just a
few weeks ago, directed by the name the Matthew Cherry
won the Academy Award for Best Animated Short Matthew Cherry
(23:18):
is a former NFL wide receiver football player. A couple
of years in NFL, got cut, didn't know what he
was gonna do with his life, started working on cruise,
had a vision like to be a director for working
on a cruise, got you know, literally was homeless at
one point, somehow got money to do a film basically
(23:40):
spot himself, a film called The Last Fall that that
that I'm had, Lance Gross and the Koba areon that
ended up being on BT. Did another film called Nine
Rides that I think you could see on Netflix, something
like that, where it was a film shot with iPhone
six says at that point about an uber type writer
(24:03):
riding around on on on New year Z and then
here we are, you know a few years later, and
the guys wanted Academy Award and basically he can choose
from what he wants, but if he didn't take up
his own destiny, we wouldn't be talking about this exactly.
And I think that's a great point. I told you
(24:25):
twenty eight minutes was going to fly by, and now
we have flown and I have so many other questions
that I wanted to ask you. I'm so grateful that
you took this time out and shared. Oh my god, Kevin, like,
you gotta come back because you know, I still want
to unroot questions that come up about when am I
going to make it, questions that you've heard about before.
(24:48):
And I just think that you have a diverse range
of talent from our A list talent to aspiring actors
and you've seen the growth in the process, so you
can give some more inside on that as well. But
I thank you because Kevin has given me opportunities as
a director which are so cool, Like I was really
(25:11):
blessed to work with him on a project that we'll
talk about, Kevin when I invite you back on you know,
because again, you just need that one person to believe
and even if you don't have that resume yet or
that real yet, that doesn't define the fact that you
you're not who you say you are. And that was
(25:31):
my takeaway. So I am grateful Kevin. Thank you, and uh,
you know I'm here. Oh yeah, Okay, don't go anywhere.
We'll be back with the Spirited Actor Podcast with Tracy Moore.
And welcome to the Spirited Actor Podcast with me Tracy Moore,
And now we have my favorite segment class in session.
(25:55):
Hi lean a motto. Hi, Tracy Moore, and we have
a newcomer here, you guys, we have Ryan st Clair.
Say hello Ryan, Hi, We're happy to happy here. I'm
so happy to be here. Thank you for having me on.
So we might need to haze them now. I'm just
playing bring him to the back. This is why this
(26:25):
is my favorite section. Okay, So this is how this goes.
Ryan is one of our spirited actors. I am going
to read the slug line and the action, and then
you guys are going to read the dialogue. And then
after that, I'm going to give you guys some constructive
criticism and we'll play. Okay, okay, all right, here we go,
(26:45):
you guys ready, Okay. Exterior raised Playhouse Night. Jerry sits
finishing a phone call to an advertising account executive. He
has come here to raise Playhouse for privacy tonight. Yeah,
the red Eye. I'll be in Arizona on Monday. Jerry
ad libs some salesman on tid Well's behalf. Dorothy approaches,
(27:09):
She gives him a few phone messages, sits down beat
of silence. He sees a look on her face that
is unfamiliar. It's my fault. What it's not fair to
you this whole thing. Let me help. I took advantage
of you. And worst of all, I'm not alone. I
(27:30):
did this with the kid. I was just on some
ride where I thought I was in love enough for
the both of us. But I did this, and at
least I can do something about it now. Well, I'm
not the guy who's going to run. I stick. I
don't need you to stick. I don't know my soul
(27:50):
or something. Why fucking not I deserve it, Dorothy? What
if I'm just not built that way? I think we
made a mistake here. Then now he can't stop? What
if it's true great at friendship, bad intimacy? I mean,
(28:11):
come on, it's the theme of my bachelor film. I know,
I watched it. I sort of know it by heart.
I don't like to give up. Please, my need to
make the best of things and your need to be
what responsible? Listen, if one of us doesn't say something now,
(28:33):
we might lose ten years being polite about it. So
I don't we just call this next world trip what
it is? Along break? What about Ray? She notes, the
only real glimpse of ache in that question. There's no
question you'll be friends. Of course you'll be friends. So
(28:54):
this break is it a breakup? Come on, Jerry, you
know this is not easy for me. I mean, on
the surface you I almost think everything was fine. See
I have this great, great guy who loves my kid
(29:19):
and he likes me a not too Jerry McGuire, a
man who speaks for a living has nothing to say. Yeah,
but I can't live that way. That's not the way
that m built. He moves to embracer, she pulls away first.
And see, wow, very nice, you guys, good read, good read. Okay,
(29:44):
So the first thing I want to say is that
when you guys read your sides, and this is what
they're called sides, pages from the script, you want to
read it to find out what the story is. So
you guys have had an opportunity to read it from
beginning to end, and so you know you're breaking up
with him, lean you know the pain of breaking up
(30:07):
and your child. You know, Um, when you're a single mom,
and I can speak about this from experience, and you
are dating or in a relationship with someone, it takes
a while before you introduce your child to that person
or at least in my experience. Right, you're protecting the
child because what if it doesn't work out? You don't
(30:28):
want to put a child through those emotional worlder coasters, right,
So you know this, and then at some point you
made a decision to introduce your child to him where
you felt like this was going somewhere we were. So
now not only is your heart broken, your child's heart
is broken. So it's this is a very uncomfortable situation
(30:53):
and both of you should be comfortable being uncomfortable. Does
that make sense? And for you, Ryan, you don't know
what's going on. You know. The beauty about filmmaking is
that every time you say these words, it is as
if it is the first time you have said these words,
(31:13):
gone through the emotion. You can't see it audience, but
Leon is very emotionally consumed right now. So we're gonna
let her have that in space. So I want you guys.
The other thing is when you see hyphens, or when
you see dot dot dot, hyphens usually are about interruption.
Dot dot dot is there's some sort of pause, you know.
(31:38):
Sometimes it could be an interruption as well, depend upon
how it's written. But here you are genuinely you don't
know what's going on until she starts to explain it.
So what's engaging for us to watch as an audience
is to see this being new to you and how
you deal with that, and then how you communicate that
to him because it is a very tough and you know,
(32:03):
breaking up is not easy and there's still an emotional
connection with you. That's why I don't want to. Yeah,
So what's interesting too and engaging to watch with you
is your conflict in your struggle between I gotta break
it with you, but I'm not I gotta break it
with you. Like, that's what's interesting to watch with you, Okay,
and then combined both of you have your own struggle
(32:27):
and challenge, So you should do that. You know the
audience can't see this, but like remember when you were
growing up and you would do this game, but it's
like you try to get this to go in never
mind did anybody else? Yes, Bruce is doing it. See
(32:49):
it's being able to do like three things at the
same time your brain operating your brain. So I'm saying
that to say that both of you should have an
interesting struggle for us the audience to see that the
both of you are coming together here in this moment. Okay,
So I would say, let's let's deal with the struggle
a little more, both of you. And then when you
(33:11):
get the realization that this is what's happening, like, how
are you how do you feel Ryan? How is that
going to affect your emotions? And you are emotionally connected
to this child? And children are honest, they either like
you or they don't. And she likes you. Okay, all right,
so we're gonna do it again. I'm not reading the
stage direction or anything. It's all on you, guys. Okay,
(33:32):
you guys are ready tonight, Yeah, the Red Eye. I'll
be in Arizona on Monday. It's my fault. It's not
fair to you this whole tell me, let me help.
I took advantage of you. And worst of all, I'm
(33:56):
not alone. I brought a kid into this. I was
just on some ride where I thought that I was
in love enough for the bolt of us and I
did this. But at least I can do something about
it now. Well, I'm not the guy who's going to run.
I stick. I don't need you, just stick. I don't
(34:17):
I don't know my soul or something. Why fucking not
I deserve it, Dorothy. What if I'm just not built
that way? I think that we made a mistake here.
What if it's true great at friendship bat at intimacy?
(34:39):
I mean, I mean, come on, it's the theme of
my bachelor film. I know I watched it. I don't
know by heart. I don't like to give up. Please,
like my need to just make the best of things
and your need to be what responsible? M If one
(35:01):
of us doesn't say something, now, we might lose ten
years being polite about it. So why don't we just
call this next trip? What? It is a nice long break?
What about Ray? There's no question will be friends? Of
(35:22):
course you'll be friends, So spreak is it a breakup?
Come on, Jerry, you know this is not easy for me.
I mean, on the surface, you think that everything was fine, right,
I've got this great guy just I was my kid.
(35:46):
Sure it does like me a hot I can't live
that way. I'm not built like that. And see we're
always crying with leon is oh tissue? Last looks tissue?
(36:11):
Oh my god? Much better? You guys? Did you feel that?
Did you feel the adjustment? And then even more, you know,
if we were to do it again, I would say,
look at each other. You know I loved when you know, Ryan,
you have the line here, I don't give up and
it says that. Um. The other line here is when
(36:34):
it says, uh, Jerry McGuire man who speaks for a living,
has nothing to say. That says a lot about your character.
That says a lot of what's going on in that moment.
So it's all about building actors from beginning to end.
You're not the same person on page one that you
are on page three, and so in an audition, if
(36:55):
we want to be engaged and watching that. Okay, wow,
thank you Ryan Saint Clair for coming in. Oh, thank
you so much for having me such a pleasure being here. Okay,
well you'll come back again, and are you okay, Leon, Yeah, okay, alright,
we gotta give a minute. Leanna modeled ladies and gentlemen listen,
(37:17):
Lean Angelissa will put their toenails in it. Okay, all right, Okay,
Well that's it for a class in session, and stay
tuned Forgive Love. And now it's time forgive Love. Get
your house in order mind, feed your mind with positive
(37:38):
and inspirational books, autobooks, poetry, anything that keeps your mind
in a positive and uplifting state. Body, put foods in
your body that are going to energize. You find an
exercise that you love. I love swimmings women is not
(38:00):
an exercise. It's fun. But when you find something that
you love, you're encouraged to do it. You need stamina.
As actors to be in this business. We don't do
normal nine and fives. Your hours can be sometimes night shoots,
which are the worst three pm until eight o'clock in
the morning. So you need your body to be strong.
(38:22):
And lastly, your soul your spirit, it's your base. You
want to nurture that. You want to always protect your
silence and protect your privacy, always have a place to retreat.
Whatever your spiritual base is, but that is your soul.
Your soul is your reminder of who you are and
(38:45):
who's you are. And when you know who's you are,
you know who you are. Thank you for joining us
on the Spirited Actor Podcast with me Tracy Moore. I
look forward to our next Spirited podcast. Thank you up
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