The Spirited Actor - Majorie Clark

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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 Smalls to Tupac, and

(00:24):
I realized the 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

(00:44):
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 day. Patience is bitter, but its

(01:08):
fruit is sweet. Jean Jack Russo, Things take time and
you are not in control some of you may flip
about this, but it's true. It's not your call. Focus
on the journey, the people that you meet, the wisdom

(01:30):
that you've gained. I had a challenging time days with
my eighteen year journey of Inside the Black Box. However,
I trusted the process, I believed in the timing, and

(01:51):
I have no regrets today. I will embrace that truth
that patience is a virtue. Before we get started, I'd
like 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.

(02:14):
I'll keep you posted. Welcome to the Spirited Actor Podcast
with me Tracy Moore. I feel like I have been
saving some of the jewels for you guys, and most importantly,
the treasured and cherished relationships that I have in this business.

(02:36):
You are going to meet producer, executive producer, creator extraordinaire
award winning my mentor in my head before I knew her,
and then my dearest from sister Fred Forever. Ladies and gentlemen,

(02:56):
please put your hands together, from Marjorie Clark Yay. Thank
you so much, Tracy, thank you for inviting me. I'm honored.
You know. I worked so much behind the camera and
I always shy away from these things, but I couldn't
say no to you. All over you and then we'll

(03:18):
be talking about Inside the black Box on Crackle t V.
And that's another phase. People need to know you. I
want to start off by telling you, guys, the reason
why Marjorie is so dear to my heart. She gave
me my first job as a casting director. She believed
in me in an interstitial that drop Spot Productions. Butch

(03:41):
Robinson was like, I'm gonna give you a shot, Tracy,
because I came into drop Spot with a monologue and
a performance straight from California. Why I've been positive and
all of those brothers said. Scott was like, settle that.
And then I feel I feel like I was hazed there.

(04:04):
But when I met you Montori and saw a woman,
a strong, dynamic woman who was positioned in power. I
had never seen that before. It was a true inspiration.
And then for you to trust and believe I didn't
have the laundry list resume at that time. I will

(04:27):
cherish you forever, traver. Absolutely. I love you, love you,
love you, love you. You know when we first met.
It's something about how people's energy approaches you. Because a
lot of people, especially in our industry, a lot of
people talk a good game, which you need to believe

(04:47):
in yourself. If you don't believe in you, I can't
believe in you. But some people talk it and then
you say, Okay, I'm gonna give you a chance. You know,
I come out of the um. I'm sort of on
the tail end of the black arts movement where everything
black we celebrate. We want to work with black people,

(05:08):
we want to support black artists. We believe in making
black nationalists. Things really come to fruition in our universe.
So when somebody black comes to me and says, Okay,
this is what I do, I'm like, okay, come on,
come on. And you came with it. I mean I

(05:28):
didn't know. I don't know how to cross references, like Okay,
who can I call and say if she really knows
what she's doing, who has right? You presented yourself as
you were, and as you were, was confident in this
is what I want to do, and we have an opportunity.
Let's do it. Yeah. When the interstitial that we did,

(05:50):
um Jack Benson was a p a I will never yet.
And for those of you who don't know Jack Benson,
I am DV dot com him however, one of the
creator producers of the hip hop mtvs v H one
hip Hop Awards, but just a plethora of work. But
he was a p A. So was it an informercial

(06:14):
we did or was it the music video for tayshaun Well.
I initially worked with you at dropt Squad and then
was that after because the interestitial was in this beautiful
home in Westchester. It was like the white picket sends
kind of a hill. We was the Gaffer Buglets House.

(06:35):
It's a it's a it's a it was an old
farmhouse that had been converted into a uh way Before
people did this, they converted this building into four different looks.
They had walls didn't move, they had furniture that can
come in and out. They had four different looks on
the exterior of the house. And you could turn the

(06:57):
walls around so that you can move in the bathroom,
you can shoot shooting the kitchen, you can change the um,
the cabinet, cabinet style, you can change everything in the house. So, yeah, yes,
it was an infomercial that we were doing yes days. Yes,
then it was somewhere I think that is somewhere that

(07:19):
have UM film made Lard and Andre Bey and Um,
Dave Robbed, Dave, David Taylor, David Writer, Yes, David Taylor,
and the I can't remember the other day of his
last name, Lord of Mercy and he was a producer. Yes,
Oh my goodness. Grew but it was still I mean

(07:42):
in terms of the female presence, your presence was the
only president that I really I admired, Not that I
didn't admire everyone else, but to see a woman and
to see someone that looked like me, and I just
started my locks at that time. And the Crown Act.
You're mad in a job with those things. Please please

(08:06):
if you can remember that those that was like eighty
nine and I was locked then I think I was locked.
Oh I was twisted with with Cowrie Shells on the end.
I know that. Yeah, it was, it was, but it
was really UM a period of time when black people

(08:29):
were really embracing their cultural heritage. So they did. We
could wear the clothes, we adapted the clothes. We weren't traditional,
but we were um. We we embraced our historical heritage
and it was great to be on a crew of
all black people black people and you didn't find those sets.

(08:55):
I know that UM. I was working my way towards
Spike Lee set because I worked with Paris Parkley UM
on a McDonald's commercial. You with Mayor like our paths
just kept crossing because I was Paris as producer at
Black and White Television. It was how did I meet Paris?

(09:17):
It was I was working with Sheldon Levy, who was
the black head of production at Sachi and Sachi, Yes right,
And he had ad had gotten Sacchi and Procter and
Gamble to invest money in the Apollo Theater and to
bring directors into P and g's fold of um expanding

(09:42):
into the black production community. And Sheldon and I sat
and looked at I have to say, seven zillion music
video tape, you know, big cassette of people. To find
the right person who could translate their music video skills
in to commercial work. We would do the series of

(10:03):
test commercials for P ANDNG at the Apollo so a
Proptan Gamble could invest money in the Apollo Theater. And
also you know check that, yes, we're trying to do
more for black people in the production business by hiring
these directors, and we did our first commercial with UM
for P and G and that's how I met Paris.

(10:24):
For Road Gain. It was a Road Gain commercial and
we shot at the Apollo Theater. Mission was to try
and find everybody who we possibly could, who ever worked
in the production business. And thanks to Grace Blake Frasier,

(10:44):
they had a list in every craft category, everybody black.
And that was something that they had started when Silver
Cup wanted to rebuild in in um a Storia in
Lorance City and also get some of that UM I

(11:06):
guess it is some tax rebates because they were doing more,
you know, for the black community, right, So they had
created this list. So I saw all these names, the
Fox family. I didn't even know. He was second generation
in electrics, who knew. So there were all these people
every craft category and we tried to hire everybody we knew,

(11:29):
and that's how we all started. So when Paris needed
a needed a producer for his his first big music
video with L. L. Cool J, remember that, Yes, I
remember remember those days. Remember he did UM this UM
industrial for McDonald's and Radiance was in it. Radiance I

(11:53):
remember Harvard was a little person and a person with
a whole lot of hair. How out of hairs? So
Radiants had a contract. You guys gave her a contract.
I signed it. So I'm outside just kind of chilling.
The hair person is like, because Radium want me in there.

(12:14):
She's like, oh, can you come inside? And so I
was like. Ray was crying and she said we gotta go.
I don't want to do this. And I was like,
why what happened? She said, they hurt my hair. Mommy
right here, they hurt my hair. They caught onto one
of those nuts. Ray was like, that was her last
day of working. She never worked again. He never was.
But so Riya, her daughter is so close to so

(12:36):
you'll see Sarria and my good have miles too. So
that's good. I have my actors in the family. So
he is doing well. He is on Inside the Black Box,
he's writing in the room with Spruce. Spruce has taking
him onto his wing. And then it's also an actor

(12:59):
on the show Fantastic. Yeah yeah, that's so great that yeah, yeah, yeah.
And he's doing great. He's in a play right now.
So I'm going to extend invitations. I'm going to have
him come on Kudo's corner and to announce his play
and give the information and then I'll extend invitation so
you can come. We'll go together. Please absolutely, I'll know

(13:21):
we're definitely doing that. Definitely. I'm so excited. So it's
gonna be a good at this kid. Yeah, I remember,
I know, I know. This is what I'm trying to
tell people, Like, we have a relationship, guys over and
I wanted to say how groundbreaking you are when you

(13:41):
brought up Grace, it reminded me she came to my
class one time and she was talking to my class
about how when she started she was a secretary to
one of the executives at the studio, and so people
in the class were like, secretary, this is like in
the right before she went to the howell okay, And

(14:02):
people were looking like, secretary, what's the staryway? She said, well,
you guys probably stay assistant. But this is how far
back it was. I was a secretary. I learned how
to type, I learned how to take notes. And I
always say to Grace A. Scott, so many people that
I stand you included on their shoulders. You are ground breaking, groundbreaking,

(14:27):
and what keeps you inspired in these days? Like I
was saying about the Crown Act. Where in two and
now we're just talking about the Crown Act. What is
it um that continues to keep you motivated, passionate and
opening these doors for um young black artists. There's so

(14:51):
many people you've discovered. You know that, No people don't
have faces on all the directors, producers, writers. We can
go on in on what keeps me motivated? The younger
people keep me motivated because when I was I think
I sent you my bio, which was in college. When
I was growing up, you know, the only black person

(15:14):
you saw in media was either in the movie once
or Sue Simmons or John Johnson on TV or UM Julia.
You know, the these roles that we are all doing.
You didn't see that, So you didn't know it existed
until I worked m somebody Tony Benilla, when we were
in Syracuse said met me in a hallway or something

(15:38):
and said, you know, we need some more black people
on the radio. Can you come? I like your voice?
And that was the beginning for me and the excitement
of seeing a creative process happened and get executed and
executed with people that look like me in every way.
Of its development. It's just exciting. And the shorthand that

(15:59):
we have as a culture is so different because there
are things that we don't have to say to each other.
We don't have to explain something, We don't have to
explain why somebody says something out of order and you
give them that look. You know, you don't have to
explain what that means because you have that. You know.
It inspires me because people like Grace and Sheldon and

(16:25):
Ray Johnson and Carmen Johnston and I forget her name,
and Carol McCoy, those people, to me were my inspiration
to say, oh they can do they do that, Oh
I want to do that. And then when I want
to do that, I want to bring somebody else because
I need somebody else to help me, you know. And
then they bring on the next. So it starts here

(16:45):
and then it goes like this, and as long as
you continue to see it go like this, that's the
inspiration that that keeps it going. They don't even have
to know, they don't have to know what I did
at all. The fact that you're in a position to
do something and that I would have was never able
to do when I was their age, That's my inspiration
right there, to just keep you on and in the

(17:07):
climate today, do you I was gonna say, do you
feel hopeful? Like how do you feel today in terms
of like you know us? Because you know, I feel
I met that place in my life in that chapter.
I've always given back, but it's so imperative for me
to leave certain knowledge and skills with other young people

(17:31):
that are taking position or excuse me. I remember when
I worked with Buster and even I was like, you
guys need to get production deals. These roles are cute,
but production deals you can create your own stuff and
you can reach out to Madonna Sony. Can't you have
the relationship right? Well? Now a lot of these who
are some are my clients. They are giving these deals

(17:54):
now lifetime giving you know, son Pepper a deal you know,
and other actors and acts who are developing those type
of relationships. We have more people. We didn't have, Will Packer,
We didn't have all of these opportunities when we were
coming up. Do you feel you know the opportunities are

(18:14):
there and we are really taking advantage of those opportunities
to either you know, mentor share our knowledge or like
you did, I'm gonna let you talk about your current project.
But how you did you know brilliant we partnered up.
Do you feel that we're moving in that direction? Oh?

(18:35):
I think so. I mean, think about it when we're
not back years ago there was Neema as a director. Right.
How many black women directors are out here now? Oh wow, yeah, exactly? Yeah,
you know, um yeah, producers, yeah, Will Packer, who do
we have before? But we have Will? We have everybody?

(18:58):
You I mean, think about it. Give all of the
people that you spawned, and that they spawned, and that
they spawned. You opened the door for a tremendous number
of artists. You know, when we were all doing artists
development with people, we would tell them like, yo, this
is your stuff, get your money? Did you what do?
What do our friends say? When I was a sony

(19:20):
and he said that to one of the rappers, like, dude,
you should not be coming up here to get money,
to borrow money, because we wouldn't be in this building
on the twenty six floor if you didn't make records
that you make. Get your money because all of this
is built on what you do and you and everybody
else like you. But why is the balance off fixing,

(19:41):
and so what do we have? We have so many
more black lawyers and entertainment lawyers. I saw Lisa Davis
on the cover of the New York Times Best Lawyers
in the hundred Best Lawyers in New York. Do we
remember she was working in a firm She's on the cover. Wow,
we were in so many places that that's the inspiration.

(20:03):
When I saw that, I'm like, I can't even I
never looked at that, but I saw her, you know,
and if I saw her, somebody else's somebody's kid will
see that and go, well, what's the big deal. Of course,
my nephews are born with knowing that there is a
black president, and to them that's like, well, why wouldn't
he right, Why wouldn't that happen? Why wouldn't you know

(20:27):
any of the things that we see now in every
there's not a single industry or in entertainment, even though
entertainment is still it is what it is, but there's
a lot more of us in it. Yeah, and I
cannot I cannot miss shouting out Warrenton, hudlind Oh, yeah,

(20:49):
Warrington without Warrenton and what he was trying to do,
whether or not he gets all of the accolades and
all the money that he should. What he did was
allow for all of us who thought we could make movies.
That gave everybody a platform to be able to share
what they were doing. And with that sharing, you got

(21:09):
somebody who gave you a critique that could make it
better the next time. And now you know that you're
a filmmaker. Okay, there you go, or one word will
tell somebody this is a great idea. You should do this,
and no one to say no, no, you cannot. Right,
It's whether you have the focus and the desire. I
think the desire is the hardest part is you gotta

(21:31):
really want it and you've got to be prepared to
sacrifice to get it. Eighteen years inside the black Bots
TV exactly like, yeah, I know you sacrifice. I know
you have sacrifice, just sendlessly to get here, absolutely to
absolutely do And it comes full circle because again you

(21:52):
spoke in the beginning about the opportunity and that you
know I didn't have to do the song and dance.
I really did believe, even my heart, that I could
do whatever it is that you asked of me. And
if I didn't know how I was gonna find me
because back then we worked twenty seven hours a day.
We worked, especially in black and white TV music videos.

(22:15):
I didn't you had to be on the set all
I would see, how would get there in the afternoon,
going home, and the early we shooting a film. But
we learned so much, so much, and we had so
much access to a budget back then. I want to

(22:36):
segue because I do not I didn't tell everybody, like
you know, I get the resume and stuff out there,
but I did not tell everyone your current project, which
I truly fell in love with. I just got back
from San Francisco celebrate my birthday out there and binged
on Netflix because I just wanted. Everybody was telling on

(23:00):
me to watch it, but I was like, I want
to just be in a space of you know, quiet,
not rushing. Have to do this. It was perfect and
really right now my number one favorite of all times.
Right now, I can't wait to tell coodyan k you
had wait to please tell them your project, because I

(23:20):
want to surprise them so well. I'm on I'm on
the finishing one that you guys are seeing, and I've
gotten another one that's coming that's gonna be really, really good.
I think especially if you're a basketball fan. Um, the
latest one is Genius and it's Coody and Chick, but
it's Cootie's vision. From the time that Coodie maybe twenty

(23:42):
five years ago and he had a show in Chicago.
There was a show like video music box was in
New York and it was called Channel zero and um,
Cootie was like co hosting with Danny Sorge and he
noticed this kid and he thought he had great rhymes
and they vibed, and he started to film them just
you know, out on a lark, like glad, you know,

(24:04):
let me, let me capture this because this kid is
going somewhere. And for twenty one year's Coody tracked with
They decided they were going to do a documentary about him.
They were going to follow his journey, and that's what
he did for twenty years. So a couple of years ago,
he's when I first met I first met them in
advertising and they worked with me, and they worked with

(24:27):
me with the Marine Corps and they got these marines
to come out of their marine training and talk like people,
which was a novelty to get someone who has been
on a film school. But they have an energy and
a vibe as black men to talk to someone and
you'll end up talking about you know, your grandparents and

(24:48):
and faith and everything. You know, the first call you,
they'll get that from you, not intentionally, that's just how
open their spirits are. So when I watched them do
this with these hardcore I mean hardcore, one of them
was a Purple Heart guy. It was a Purple Heart
and he got the games Purple Heart Marine two tours

(25:10):
in Iraq got him to open up about a whole
host of emotions, which was incredible, And I'm like, oh,
these are the guys I want to work with. Whatever
you're doing when I'm out of advertising, I want to
work with you. So I expected them to say something
that was I don't know, like more pop, you know
what culture related to hip hop or something like that.

(25:31):
And they said, the next project they want to do
is on Ernie Barnes. And I said, well, Arie Barnes, Like,
so you have in your mind, you know hip hop kids,
what do you know about art? And they had, they
had Mr Barnes and they had filmed stuff with Mr
Barnes and that's what they wanted to do. So I said,

(25:54):
as soon as I'm done with with advertising. I'm you know,
I'll if I can get the time, so out of
out of Uni world. And after fifteen years, I call
up Kodi and I said, listen, as that project still available,
and they said, oh it is, but we have this
other thing that maybe you can come help us with
and that was Muhammad Ali and that was our first

(26:15):
project together and that that's the one we got our
double a CP. Yeah. Yeah, But my connection to them
was more on an energy spirit level than anything else,
because I saw in them what made me love the
production business. It was the creativity. It was the getting
at the story. It was getting at the d and
telling it from a place of love. Of love it

(26:39):
is and they had that skill and that's not what
I do, but I do production management. I can organ
that you have an idea, I will help you getting
out the door. So their skills and mine, and that's
how we started together in this particular project. Um. They

(27:00):
had met another sister who because you know me, you've
never seen me at the parties. I'm not the one,
but they do their connections that way. And she had
you said, you know, I had this idea, and she said,
all right, I got you and she went and got
us a deal, got them a deal time to do

(27:20):
the Genius Project. It was supposed to initially be an
hour and then it was supposed to be maybe an
hour and a half, two hours, and then it became
a three part trilogy. And as part of the Creative
Control family, whatever they're gonna do, I'm going to be
a part of it. That's unbelievable. Congratulations and working with that, Um,

(27:44):
it's exciting. It's exciting. Other project on the board. UM.
If anybody in this group as a basketball fan, it's
Cold point Guards and it's about the point guards from
New York City from the late eighties to the early nineties.
Their skill set that they have playing on the street

(28:06):
and playing the street ball. They took it to the
NBA and they changed the role have how a point
guard works in the NBA. So Kenny Smith, Mark Jackson
ray for Austin roder Strickland. Uh kareem read god sham god.
We got coach by him. Since that's my ownA mater
to speak for Colonel Washington. And I'm missing somebody, did

(28:27):
I said Kyne Anderson, now Kenny Anderson. So it's those
eight and then the next level. It took after them,
and then the youngest ones was Cole Anthony and Kemba Walker.
And then we have some kids, and then we have Cam,
Cameron and Fat Joe speaking about how their involvement hip

(28:48):
Hop's involvement in and did you know that Cam was
a baller or Mace? Mace and Cam came up with
God Sham God and they used to all play on
the teams together and they were Wow, that was That's
a lot of almost worked on U oh Man with
Dwayne Martin the basketball movie, Uh Spikes movie. No, it

(29:14):
was Jeffrey who created Fresh Prince of bel Air Above
the Rim. Thank you girls on it Above the Rim.
I didn't want to do it because I felt like
I attend New Jersey Drive, I got offered to come
in for Belly. I just felt like I wanted to
go into a different direction. But I love basketball. Um,

(29:37):
Kevin Hare would teld me to give you a shout altum,
how is Kevin. He's Kevin great. Kevin is doing great
and he is so well, you know, he's involved in
basketball and stuff. Maybe there's a way you guys can
have a conversation. Okay, But I said hey and held
him call me. Okay, I'm gonna definitely tell him. And

(29:57):
then um also a friend of mine who Russ. He's
an actor, but he's also a basketball player. He's um
in the Orange team. I'm so bad at this and
the Bronx Gators gatersts. Okay, so we were at Gauchos
the Yeah, yeah, yeah, we were at the Gauchos. We

(30:20):
were riverside. We did um we are we also have
how did I forget the women? Nancy Lieberman, who used
to play any any, any real street baller in New
York knows Nancy Lieberman because she played with men. She
didn't play women's basketball, wanted men. She won the only
women and the only white woman who played at Rutger. Yeah,

(30:41):
the old cat. The cats know her. This one's gonna
be on showtime. It'll be on and yeah, I'm gonna
do something in this. It's gonna air in the summer.
I think the ball So that's fun. So in terms
of actress, Marjorie, do you want to give them, um,
you know, from I need to working on the set

(31:01):
to boundaries, whatever it is that you choose, give them
some tips on you know, how to stay inspired. First
of all, because you know, during the pandemic and just
our world in general, and because you always talk and
come from the spirit, and that can suthe their soul.
And then also, um, you know what they need to

(31:21):
do to be on this journey and not a destination
and and and and dreams to come true. Sure well
to listen knows very well because she and I worked
together during the pandemic. We worked on the Mahafa film
during the pandemic. So and she I have known her

(31:44):
as an actor for many, many years and watched her
blossom from a young person to a grown up person. Um,
what words of inspiration is, don't give up. Learn your craft.
Practice your craft, even if you are practicing your craft

(32:05):
in the mirror and you're talking to the cat, practice
your craft. Volunteer to be in any small community based
project and take projects that you feel good about. If
you don't feel good about it, you're never going to
show up with your best self. Yes, you know you
have to show up with with your If the role
is not for you, then don't do it. Don't do

(32:29):
it because not everything is going to take you to
the next step. Be in student films. We just did
I just did one that they're putting it into festival.
I work with Larry Banks at l I U and
I come in on the m f A program. We
teach production in the fall for the m f A
TV Writer's Program. Part of it is that they write.

(32:52):
They have it's a whole writer program, but there's in
a segment that they have to write, UM for a
pilot and then you have to shoot it and we
have to teach them how to wow. So we get
all these kind of actors. Um, we got a sag
waiver for you know U project and those kinds of things.
Even if the money is low, but you walk away

(33:13):
with a good product that helps develop your look to
the next casting person. You know what I mean. Um,
But don't give up and practice your craft. Learn your
craft well, find great teachers who can help you come
out of whatever that is that allows you to tap
into the spirit of who and who you see yourself

(33:36):
as in that character. Ladies and gentlemen, this just flew
by my tree. Is it so sad? But but I
I My prayer is that today I was talking about
relationships and continuing to build and forever and I'm so

(33:59):
glad at we were talking to you Marjorie Clark, Ladies
and shell together and we are so blessed. She's gonna
stick with us for a little bit. We're gonna come
back on the Spirited Actor Podcast with me and Tracy
Moore for Classroom Session. I'm excited. Welcome back to the
Spirited Actor Podcast with me Tracy Moore, and you guys

(34:21):
are still blessed. We have Marjorie Clark, producer extraordinaire who
is still with us. Yes, and you've got to listen
to this show for real that I have a treasure
chest right now, okay, filled with Marjorie Clark's, Jim's and
knowledge and wisdom man and just energy. Um. For real,

(34:43):
We're going into classroom session and for those of you
who are just joining us, UM, what we do here
is we read a scene with Spirit Actor alumni and
our guests can give us feedback whatever they feel that's
going to help the actors on their journey. So I'm
going to introduce to you guys actor. She is wonder woman,
Elsa Lathan. She cast for all of the class in session.

(35:07):
So Elsa, you want to share who our spirit actor
alumnis are? Today? Good morning everyone, UM, yesterday we have
our illustrious, spirited after alumni, ready to do this scene
for you today. We have Miss Lisa Capri, of course,
and for the first time we're introducing Mr Kian Williams,

(35:34):
so they'll be doing the scene today. Written by Dana
Kiel Who are ready When You're ready? No food in
the Car Written by Dana Kill Interior Lift car Day sixties.
Male lift driver Al sits behind the wheel curbside at
a passenger loading sign. Customer Latin female, thirty ish Carla

(35:57):
enters the front seat of the car. I bites and
shoes a breakfast biscuit from its raptor. Al pulls off
carlat noisily unwraps a bakery item and prepares to bite.
Our glances over to her. No eating in here, man,
get in here. I won't make a mess. Look now,

(36:19):
everyone says that, Okay, it's my car, my rules, you
can't eat in here. I mean, could you please make
an exception? I'm running late and I just no, ma'am,
there's no exceptions to the room. Okay, no exceptions. I'm
really sorry. I work hard to keep the car clean,
really really okay, yeah, yeah really. I go to the

(36:42):
Car Wars weekly ma'am, I'm back doing myself every week.
Al begins to drink his coffee from a travel mug.
The top comes off and the coffee spills all over
him and the seat. Calla pulls out a bottle of water.
You raises it to her mouth and begins to sit.

(37:03):
Excuse me, man, there's no drinking in the car. It's
just water. I know, man, but did no drinking in
the car? H sir? It is pretty hot this morning. Okay,
you know what it is out outside? I fail you

(37:24):
because there's a scorch out there. But guess what, no
drinking in this car? What I mean what? It doesn't
even make a mess with the top. Okay, ma'am, I understand,
but you need to obey the rules. And the rules
are there's no drinking in my car. Look, but you
don't have any signs posted. Thanks for putting that out.

(37:45):
Guess what I'm working on it. L attempts another simple
coffee and misses his mouth completely and pulls coffee right
onto himself. It looks like you have to eat and
drink on your way to works, and so no, guess what.

(38:05):
I was in a bit of a hurry so I
could pick you up, So I had to make some adjustments.
That make some changes. So now I'm drinking in front
of Sorry about that, okay, So maybe since she made
an exception for yourself, you can make an exception for me, ma'am.
Look now, sweet girl and all, but I'm sorry. There's

(38:28):
no eating or drinking in the vehicle. It's important to
keep the car clean real. Yes, so I can get
the great ratings, but a gleanininess. That's why it's so
nice back there. Help pulls to a stop and they've
arrived at her destination. Oh it's just a couple of

(38:52):
houses to the left. No, the APP says, we're right here.
The AB says is here. Okay, okay, but if you
can just full up, you know, just just a little
bit right over there. Look, ma'am, I have to head
to my next fair, all right, so thanks for choosing lift.
Have a good day. Have a nice day, ma'am makes me.

(39:16):
You're out the door on your way out. Let's see
telling you guys. Okay, I'm gonna throw it to you.
Marjorie Beyond, you made me hollow. Everything about you made
me hollow. And Julsa you know you know, yes, I

(39:40):
love me totally, totally. I think I was especially for
this sort of a scene, a little bit more incredulity
from you, Ju Lisa, sort of combination of Nigro what
and I can't believe I'm hearing this, And you didn't

(40:03):
do the writing, so you know you get to the
but you're doing it too. But your expression can imply
that you know what I mean. You can telegraph that
by how you respond to him every time he does
something crazy and you but it's interesting. Can you see
him pour coffee on himself if you're sitting behind him, Um,

(40:24):
you probably can hear it, but you can certainly give
the look of what do you know what I mean? Gotcha? Kean?
You just made me laugh too too. I loved it.
We know that driver, Yes, exactly right here. I don't

(40:44):
live here. The numbers. Ladies and gentlemen, please please put
your hands together for my dear sister friend just groundbreaking
the shoulders on which you are all standing on. Should
be grateful, and he should know your history, and he
should know the people who deserved beyond roses. We should

(41:08):
just have a day to just celebrate them and their
works and for you to share that with someone because
it's important. I'm here because of Marjorie. You're here because
of me. Again, keep passing it forward and on and
on and let's keep building. All the love in the
world to you, Marjorie Claric. Ladies, this is for you, Tracy,

(41:31):
because I'm so proud of you, of where you are
and what you're doing and how far you've come. I mean,
you were here, we took you, just showed up from
San Francisco. What a baby, what a cute Yes, like okay,

(41:51):
well I guess we have to take care of him.
So thank you, but thank you for the spirit that
you have, but that we have never made this connection. Yeah,
so our ancestors did something right. Amen. Amen, and still here.
Welcome back to the Spirited Actor Podcast with me Tracy Moore.

(42:13):
This is one of my favorite segments that was inspired
by my producer spruceinry Kudo's corner. He's gonna put together
a tune and watch. We are here to celebrate spirited actors,
spirited children's, spirited teens, who book a project, currently working

(42:38):
in something. Just to celebrate you. That's what it's about,
taking time and celebrating you. So I want to introduce
you to one of my Spirited Actor teen alumni. Hi,
tell us who you are. Hey, my name is Marquis
spirit Sannen, and you are on today because something exciting
just happened to you. Tell us about what you just looked. Yeah. So, um,

(43:02):
I'm working on a play. It's called Aladdin. Some people
are familiar with it, you know, Yes, I'm familiar. Yeah,
I love that play. And it's in New York City. Yeah,
so tell us the theater and where can we get
information or will you come? Will you give us the

(43:24):
information so that we can tell our audience. Um, it's
that it's in New York, kims, it's like inside of
a school hims in Queen's Europe. Okay, in Queens, New York.
And you know, Marquis, by being in the Spirited team

(43:46):
class that every role is important on your journey, correct, Yeah,
because everything is going to parley you to the next Yeah. Okay, great.
So I just wanna thank you for coming on. I
want you to send else of the information so that
we can talk about it or at least put it
somewhere where people can see and and support you in this.

(44:08):
And congratulations on getting a role, booking a roll. That's great. Yere,
I'm playing as a Yago. Yes, excellent. Alright, well it's
in Queens, I'm in Brooklyn. We can celebrate you, all right.
Thank you, Markie Quick, thank you, thank you, and we'll

(44:32):
be back with the Spirited Actor Podcast with me Tracy Moore.
For give Love. I'm gonna give some that and now
it's time to give love. So I went home for
my birthday to San Francisco, California. One of my favorite
things to do is to go to Oakland near Late
merrit Is called Lakeshore Drive, and we have breakfast at

(44:55):
this cafe and then they are like all these cute
little stores. But there's this one franchise, famous store that's
on the block and I always go there and I
buy things for Miles radiance myself, Riah. I love this store.
I have been shopping at this store a loyal customer

(45:16):
since the late eighties early nineties. When I walked into
this store, the prices have doubled, map doubled. I was appalled.
And the reason why I was appalled just because I
felt like I didn't get a heads up. I felt like,
as a loyal customer, nobody said because there's a new

(45:40):
famous creative director that's involved in this franchise store. The
prices are now different. I kept thinking about it. I
kept thinking about it, and this past Monday morning, I
called the corporate offices of this franchise store and I said,

(46:00):
I'm not here to complain. I'm here to understand why
I wasn't informed that these prices in my favorite store
have now increased. And more importantly, this store is about humanity,
right and at a time where we have pandemic, we

(46:20):
have a war, we have all kinds of economic inflation,
just that going on, Why at this time does my
favorite franchise store choose to double their crisis. And you
know what the pr person relation woman said to me,
She said, thank you Tracy so much for calling because

(46:44):
you bought an awareness to me that I want to
bring to the men. Well she's the same man. Sorry,
but the people in charge I just sume it, but
that I want to bring to their attention and we
do talk about humanity, and you're right, as a loyal customer,
there should have been some sort of heads up. I'm

(47:04):
here to tell you have to advocate for yourself. And
maybe I didn't make this tremendous change and they're gonna
slash their prices today. But I was heard and they
also sent me a twenty dollar gift certificate. Follow your Truth,

(47:26):
don't forget to look out for us on our new show,
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

(47:48):
forward to our next Spirited Podcast. Thank you,