December 3, 2024 • 44 mins
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Speaker 1 (00:00):
Hello, and welcome to the Spirited Actor Podcast with me
Tracy Moore. I was a casting director for film and
TV and commercials for over thirty years. I transitioned to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Domez.
I auditioned every rapper from Biggie Smalls to Tupac, and
(00:24):
I realized that rappers and musical artists they needed help
transitioning to acting. My clients consist of musical artists from
Buster Rhymes to Eve, Missy Elliott, Angela Yee from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now I know, I know actors want to
get the job. I get that, but being remembered by
casting director that is powerful. And now it's time for
meditation of the day. Though I am not naturally honest,
(01:09):
I am so sometimes by chance. William Shakespeare, I used
to have a big problem being honest with others about
how I felt. This problem developed in my childhood because
I was the kid who people enjoyed making fun of.
I wore a size ten shoe in third grade and
I was five six. In a strange way, I became popular.
(01:33):
Instead of letting them know the pain inside of me,
I went along with them and thought of myself as
a joke. As I grew older, I realized how important
it is to be honest with yourself. If you don't,
you will allow pain and anger to make a home
in your heart, and they don't make good company. Today,
(01:54):
I will learn to be honest with myself and express
my true feelings so I can learn to live in freedom.
Welcome to the Spirited Actor Podcast with me Tracy Moore.
And I can't even tell you how I always tell
you how excited I am with my guests, and today
(02:18):
is no exception, and so I just want you all
to put your hands together for my dear friend and
director extraordinaire, Michael Boogie. Pick me yeay, Michael, I'm having
some technical difficulties with.
Speaker 2 (02:37):
My phone right now. Do you guys see me?
Speaker 3 (02:39):
Good?
Speaker 4 (02:40):
You guys see me? Okay?
Speaker 2 (02:41):
Good?
Speaker 1 (02:41):
All right, yay, I see you, Boogie, So Boogie, welcome
to the show, Welcome to this thank you, thank you
so much for being on the show. I wanted you
on the show for so many reasons. Because ladies and gentlemen,
we go way back.
Speaker 2 (02:57):
They'll tell them how far back.
Speaker 4 (02:59):
I will tell a commercial.
Speaker 2 (03:03):
It was a Spike commercial, I think the first time.
Speaker 4 (03:06):
That's how I was gonna just say that project. I
wasn't gonna say the year.
Speaker 3 (03:10):
Nothing okay, because we look good, you know, black one crack.
Speaker 1 (03:15):
I'm just saying we have and as you could tell
with our banter, we've known each other for quite some time.
And I do want to say this about you, Boogie.
One thing that I've always admired. I met Boogie doing
a Spike Lee commercial and Boogie was working.
Speaker 4 (03:34):
At forty acrecent a mule.
Speaker 1 (03:36):
He was already implanted there when I came, I was freelancing.
Speaker 4 (03:39):
He was really working at right.
Speaker 1 (03:42):
And you have always like you know, there's so much
pressure and energy on a set, and especially when you
have a crew over fifty and Boogie man like you
maintain control, you maintain professionalism, and.
Speaker 4 (04:02):
Even when you know like it would get a little tense,
sometimes you have to use your voice, even when you right.
Speaker 1 (04:09):
But even when you did that, Boogie, it was digestible
because you know, growing up in this business, because Boogie
was when I met him, he was a second ad
second assistant director for actors out there who don't know
the terminology, and he rose.
Speaker 4 (04:27):
So we're going to talk about his career.
Speaker 1 (04:29):
But there's just a certain way you can handle people,
and I just always respected the way you handled people,
and especially I dealt with extras, casting all of.
Speaker 3 (04:41):
Those extras right, and we know the history of that
and how the AD department sometimes unfortunately deal with actors
and background actors right, you know, as if they're not humans.
So that that was always something for me, you know, everybody,
you know, was important to the sect from my body
from the top about them. You know, that was just
my you know, my my my way of looking at things.
(05:04):
So that's how I poached it well.
Speaker 1 (05:07):
And I think that that was important, you said, teach
treating them like humans. Because when I was on New
York and the cover extras were addressed as skins, that
was the first time I.
Speaker 2 (05:18):
Left us for the right.
Speaker 3 (05:21):
The paper that they named the own is called Skins,
which is I never knew where it came from.
Speaker 1 (05:26):
Wow, that was I was like, you know, because I
was like, oh, where do you want my actors? And
they're like, the skins can go over there, Like oh
my god.
Speaker 4 (05:35):
You know.
Speaker 1 (05:36):
So one of the things that I also want actors
to understand is the power that ads have because as
a second ad, you know, you have a lot of jobs,
but I know one specifically, my relationship with you was
making sure that the actors were in place for the
(05:56):
day of the shoot.
Speaker 4 (05:57):
All of that.
Speaker 1 (06:00):
But sometimes a director may need someone that has not been.
Speaker 2 (06:05):
Cast right right, he's good for that, and.
Speaker 1 (06:11):
They go to the the first assistant director will communicate
that to you, and it's your job if you could
just explain to actors, you know, because you know how
actors are, Oh it's just extra work. Oh it's not important,
but you can tell them the importance of it.
Speaker 3 (06:28):
I mean, you know, because sometimes some doing background extra
workt has led the principal work. You know, if you
have a right look, if you you know, sometimes things
are spontaneous.
Speaker 2 (06:37):
Sometimes people have.
Speaker 3 (06:37):
A very distinct look that they want to kind of
position or place, you know. So it is a living,
breathing animal when you're shooting, so you know, you got
to be present at every moment because things can change,
and you you know, I think actors need to really
look at the set and really understand what's going on,
the moving pieces of it, because they are integral part
of it. They're not just a problem, you know, so
(07:00):
you can you can take advantage of that, you know,
and like a collaborative thing.
Speaker 2 (07:03):
With the director and with the ad.
Speaker 3 (07:05):
So if your present, sometimes your presence could be felt,
somebody else could feel that presence and gravitate to you,
and then all of a sudden you got upgrade to
your principle.
Speaker 1 (07:15):
That's great, That's an important I used to stress actors
on New York Undercover. Don't bring your you know, Joan
Collins novels, you know, like you know, because you know,
we didn't have back then, we didn't have iPhones, So
you know, actors were doing puzzles on set, and I'm like, you, guys,
every set is the same, the protocol is and the
(07:35):
process is the same.
Speaker 4 (07:36):
The crew just shifts.
Speaker 1 (07:38):
So understand what that template is, Understand the relationship between
the ads, and you know, how you can get upgraded
on a set. What were some of the in situations
where you, as an eighth an ad did upgrade actors.
What was this specifically that you were looking for besides
(07:59):
actors being present that drew you to them and said,
you know what, let's grab this person to bump into
Denzel Washington.
Speaker 3 (08:08):
I mean, you know some you know when when the
background actor is understands that they're an actor. You know,
some background actors they really focus on the background as
opposed to the actors. Some background actors are actors, you know,
the actors. They move Black actors the attention. They pay
attention like actors. They'll hit a mark like they'll do
a background action the same every time. You know, they'll
(08:30):
be present, they're they're paying attention, and they they look
and see what's needed.
Speaker 2 (08:34):
Before you have to tell them, you know. And that's
what you want to work with.
Speaker 3 (08:37):
You want to work with people that could speak shorthand
with you because there's not a lot of time, you know,
So just be present and be collaborative, be you know,
see see it.
Speaker 2 (08:46):
If you see a need, you know, and ask questions,
Hey should I go? You know what I'm saying.
Speaker 3 (08:51):
Just be communicative and understand that you know, we all
we we don't know it all as ads, you know,
we listen to the director with us to the DP.
Speaker 2 (08:58):
There's all this noise going on. We need as much
help us we can get.
Speaker 3 (09:01):
And if the background actor has a great idea can
do something to make our job easier, you're going to
remember them, and we're gonna d if there's somebody that
could be upgraded.
Speaker 2 (09:08):
They're the first person that we're going to go wow,
you know.
Speaker 1 (09:13):
So, but can you share with our audience, like, tell
us how your journey began and and how.
Speaker 4 (09:23):
You your work at forty acres and everywhere. Lets tell
us what you've been up to.
Speaker 2 (09:28):
Many moons ago, you know, as you know on the
Spike job.
Speaker 3 (09:34):
You know, I start out as a intern and rose
up the ranks through production assistant, you know for many years,
you know, and then transitioned into being an assistant director
and joining the director's guild with with you know, director
and the AD is all part of the same deal.
And while I was a DING, I was always writing
(09:54):
and directing on the side anyway, So then I was
able to kind of transition out of a ding to
the directing because what I thought when I first started
was being an AD.
Speaker 2 (10:04):
Next up was being a director. But that's not how
it works.
Speaker 3 (10:06):
Typically, assistant directors don't become directors because assistant directing position
is such a logistical managerial position. A lot of producers
and network execs don't see ads as a creative position.
Speaker 2 (10:19):
It's not a creative position.
Speaker 3 (10:20):
It's easier for a script supervisor or director of photography
to move into the directing position before an a D
because the AD is it's in their mind. It's strictly logistical,
you know, So they don't they don't understand that they
also can have a creative vision. So that's what I
thought in the beginning. I said, I'll be an assistant
director and then I'll be a director. And they was like, no,
that's not how it typically works. Why are you in
(10:42):
a direct you know, because so it's different tracks, you know.
But I thank god I was directing while it was
a D. I was writing a directing So that was
when I got to use what I was learning that
I didn't even know that I learned being on said,
whether on with Spike or with Lee Daniels on pressures,
it's like you just taking information and then until you apply,
(11:02):
you didn't.
Speaker 2 (11:02):
Even know that you have it. You're like, oh, yeah,
I've seen that.
Speaker 3 (11:05):
I know how you know, saybe because you've been doing
it for so many years, you've seen it done that.
Speaker 2 (11:10):
It just it's just instinct after a while, right you know.
Speaker 4 (11:14):
And so while you were writing, you read your first film.
Let yeah, talk about.
Speaker 3 (11:19):
That, well, my first feature, you know, yes, yeah, I
was writing short films leading up to that, and then
I wrote my first feature film. You know, nobody said
somebody kills Me and I was working on Inside Man.
Speaker 2 (11:31):
I finished the script. I working on Inside Man at the.
Speaker 3 (11:33):
Second ad and Uh, Detective Neil Carter restling Wrestling Peace
he just passed last year. He was a technical advisor.
He was a homicide detective. That was, he was tasked
with teaching Denzel how to be a detective, basically how
to do so. And I gave to Detective Neil the
script and I was like, hey, just read this. I
(11:54):
want to make sure my detective verbiage is great. He
read it, He's like, I love it. I love the script.
I want to help you get it made. And we
raised the money and that's how it happened, you know,
and Spike came on to EPA and it just you know,
and that's that's how that that happened, you know, that
feature journey.
Speaker 2 (12:09):
You know, you're doing your first feature. You have no
idea what's.
Speaker 4 (12:12):
Happening the whole time the audience.
Speaker 1 (12:15):
Let me just say, because there's some humility here, Michael K.
Speaker 4 (12:19):
Williams was in this as.
Speaker 3 (12:20):
The star, so you know Nick Shawn Curse, Yeah, McCullen,
you know, Daniel was is a great cast. You know,
we didn't have a ton of money, but it was
a great cast, and it was it was my first feature.
I'm still working on the second one. The first one
is always the hardest, you know, and coming from the
(12:41):
world that I came from, unions and big movies and
having to kind of skim down, you know, was what's tough,
you know, just because unions. I'm a DJ, we got DJ,
we got sad people, we got at union, you know,
say so but kind of you know, gets used up
really quickly. Yeah, So that's why I'm a lot meaner,
(13:03):
leaner and meaner now.
Speaker 1 (13:05):
M after that experience, right, and and and working on
such amazing films. He just he mentioned Inside Man you
worked on.
Speaker 3 (13:17):
Malcolm, I'm best man. That's the first best Man. Yeah,
addition to second second. That's when I first joined the guild,
you know, around that time.
Speaker 1 (13:28):
And I didn't work with you on that, but I
coached Monica Calhoun on Best Man.
Speaker 4 (13:35):
But you know, I mean, like I always.
Speaker 1 (13:38):
Encourage, I don't even encourage, I stress my listeners to
go to IMDb dot com and to do their due
diligence on you know who you are in terms of
I have so many questions, but I want to zoom in.
I do, because, like you, there's just so much you guys,
please go to IMDb dot com and look at his credits.
Speaker 4 (14:02):
Because we I want to talk.
Speaker 1 (14:04):
About, like, you know, the Denzel Washington and working with
such a great.
Speaker 4 (14:09):
Actor, and what is it that.
Speaker 1 (14:15):
Because I I've never worked with Denzel before, and I've
had the pleasure of working with the Viola Davis. So
what is in the beginning of perfect what is what?
Speaker 4 (14:26):
What do you walk away with on a set?
Speaker 1 (14:30):
What do you learn about watching such a phenomenal actor?
Speaker 2 (14:34):
I mean, it's it's crazy.
Speaker 3 (14:35):
You know, I worked on He Got Game with, then
Zel's First Time and then Inside Man.
Speaker 2 (14:39):
But what I walk away is that you know his preparation, that.
Speaker 3 (14:42):
He's always ready, he can he turned it on so quickly,
you know, laughing and talking in one minute. And when
you're ready, he's it's like so quick, it's so so
much Shorthand's sout on. He just so present and intentional
that like he's like surgeon. He's like a surgeon. And
it's like it's kind of like when you you're watching
(15:04):
a ball player just play and they just they move
with such face, you.
Speaker 2 (15:09):
Know, and it's and it's easy.
Speaker 3 (15:10):
You know, people are yelling his name, Hey, come run,
making hugs, turn around, boom now the scene. It's like
it's it's he can just turn it on and it's
and he's just such a given spirit, you know, it
doesn't he'll make them in. He'll make them in to
greet somebody, just he'll make them. And he's so humble
and it's so seamless. It's just kind of like, you know,
(15:32):
and I've worked with actors that are not as successful,
that aren't that giving and don't have a bigger heart,
and you you know, and you you're like, he has
a big such a big heart and he's so giving
and he's so amazing, you know, and.
Speaker 2 (15:45):
He doesn't have to be He's Donzel, right, but he is,
you know.
Speaker 3 (15:49):
So it's just it from what I got, it just
it made me step up my game to know that, Okay,
I can be who I am. I could be Bookie,
I could be giving. I don't have to be someone else.
I could be however I am and excel and do
it how I do it and be successful. I don't
have to imitate someone, you know, because and if I'm
a given person, if I'm a soft spoken person, whatever
(16:11):
that is, I can be me and be successful.
Speaker 2 (16:14):
You know.
Speaker 3 (16:15):
That's what I got from it because it was just
it was unlike any other actor, because the room changed
when he walked in it, right, you know.
Speaker 1 (16:22):
Well, I can honestly say that, I mean, you've been
consistent you you are. When I met you, I felt
like and still feel like, you've always been yourself. But
that's what I have respected about your work. Even like
I said, like, I mean, I've worked with yellers. I
came in this industry with your what and so to
(16:45):
work with someone who's still you know, who engages with
you one as a human being, but you know you
have that power and force and assertiveness, but you don't.
You just don't have to yell you know, you get.
Speaker 3 (17:01):
It, you know, just to say the a D. I
worked with an ad call named Joe Reading.
Speaker 2 (17:06):
I was a PA.
Speaker 3 (17:07):
I was an additional PA on this film called Sleeper
for Brad Pitt.
Speaker 2 (17:12):
Was My job.
Speaker 3 (17:15):
Was to be on the roof and let them know
when helicopters are coming and no helicopter coming, we can
shoot in helicopter because we're near a heliport.
Speaker 2 (17:24):
And he was the most.
Speaker 3 (17:26):
Soft spoken and he he ads for all scort safety films,
you know, Causina.
Speaker 2 (17:32):
He was the most humble and soft spoken from safety.
And I was amazed.
Speaker 3 (17:37):
I was just like, very gracious, thank you very much, guys.
And I was amazed because I came from a world
of screamers.
Speaker 2 (17:44):
I was like, this work and there's two hundred people
on the crew.
Speaker 3 (17:48):
And that was when I was like, Okay, you know,
there's so many different ways to do it.
Speaker 2 (17:52):
You just have to be you in the midst of it.
Speaker 1 (17:55):
I you know, because I thought, in coming into this
business initially that that's what the process was. They're just yellers.
And it wasn't until I was on Kiss of Death
and I worked with the a D and her name
was Marlene.
Speaker 4 (18:10):
I don't remember her lassing.
Speaker 1 (18:11):
But same way, same way. And I was like, oh wait,
you don't have to yell all us out.
Speaker 2 (18:18):
You don't give me.
Speaker 3 (18:18):
Let me tell you another story I worked on. I
forgot the name of the TV show. The TV show
that came to New York from LA and so I
first died the five days in New York.
Speaker 2 (18:28):
And so we're shooting.
Speaker 3 (18:30):
We shot in the studio and the key grip came
up to me one day and he's his father was
the key grip on the Honeymoons.
Speaker 2 (18:38):
That's how long his lineage. You went.
Speaker 4 (18:40):
And he told me he loved me.
Speaker 2 (18:41):
He said, you know the A D.
Speaker 3 (18:45):
I love how you ad because people don't understand that
the AD's voice shouldn't be the loudest in the room
because once the.
Speaker 2 (18:50):
AD goes loud, everybody else goes loud, you know.
Speaker 3 (18:53):
And he says he liked how I managed the room,
and I just you know, So it was just interesting.
Speaker 2 (18:58):
I was like, your dad was the key grip on Honeymoon? Wow,
what the hell?
Speaker 4 (19:02):
Crazy?
Speaker 3 (19:02):
You know?
Speaker 2 (19:03):
So that was funny.
Speaker 1 (19:05):
Yeah, So in terms of your relationship with actors as
a director, you know, we're moving more and more out
of the live auditions and you know we're on the
self tape.
Speaker 4 (19:19):
What advice can you give actors.
Speaker 1 (19:21):
To stand out you know on those because I mean,
you know, I'm always.
Speaker 4 (19:26):
Honest with actors.
Speaker 1 (19:28):
And if I'm getting you know, six hundred to seven
hundred submissions per character, and I got ten characters.
Speaker 3 (19:34):
Right right, So I mean for me, it's almost the
same as when they come in the room. Just be present.
Just you know, nothing matters but that moment, you know,
to me, I find actor to be so distracted, just
it's just so distracted. It's like you had you work
your whole life, you paid money for headshots to take
classes off of this three minutes and you can't shut
(19:56):
the world off for three minutes. Wo I find myself,
you know, watching self takes and not and they're.
Speaker 2 (20:03):
Not even there. They're auditioning, but they're not even there,
you know.
Speaker 3 (20:08):
So to me, just be present, just be intentional about
how present tract and just really connect with the person
that's going to be on the other side of that
self taping because somebody's gonna be watching it, you know,
And and and really give and become something and get
and give up yourself, just give up yourself and stop
being in control. They just want to control everything, and
they don't realize, you know, sometimes you trying to control everything.
(20:32):
You don't realize some people, how many people can see
that you're not in control, you know, and really just
be vulnerable and just you know, show show your passion,
show your love for this, you know, and just kind of,
you know, just give it your all, you know, not
just enough that you think is good enough, give it.
Speaker 4 (20:50):
You all, right, And you know, I'm so surprised. Well, okay,
let me just say this.
Speaker 1 (20:56):
I'm surprised that you're saying this because are we taught
talking about a certain generation you know, yeah, we're talking yeah, okay,
can you speak on that.
Speaker 3 (21:07):
Yeah, because you know, there's some actors that you know
of over the older generation that a season that are
theater actors that are just they get it. It's like
it's like Denzela's second nature. They just they know how
to turn it on. But this generation, a newer generation,
they don't really know how to turn it on. It's
kind of like you know, Alan Irrison back in the
days where it's kind of like he didn't want to practice,
(21:28):
you know, but you have to practice like you're playing
in the game, right, and they think that they can
turn you ain't there yet to be able to turn
it on. You know, if you're doing the stuff tape
in ten minutes, you better be getting ready for it
in a half hour. You know, you got to get
ready for the game. Don't just turn the camera on
and now you're ready.
Speaker 2 (21:45):
You're not, you know.
Speaker 3 (21:46):
So I think this generation thinks that they're ready when
they're not ready. You know, they have to you have
to practice and you have to turn it on before
it's turned on.
Speaker 1 (21:55):
So those are type of those are that's information that
these actors would getting classes. Do you stress classes, private session?
Speaker 2 (22:04):
I mean whatever you can afford classes, private session? You know.
Speaker 3 (22:09):
I remember Denzel all have always having the having the
coach have you know what I'm saying, sharpening, sharpening, sharpening,
Michael Jordan in the gym shooting free throws that go
win in four rings, Like like what right, he never
stopped training, right, he never stopped training, you know, so
and let and tell you and let's until you get
out of the business. You know. So if you can
(22:29):
afford it, train and get ready what they say, you
get ready, you stay ready, so you don't got to
get ready, you'd be ready, right right.
Speaker 1 (22:37):
I just feel like there is in my experience within
I would say the last six to ten years, there's
this arrogance in actors. And first of all, they don't
do their due diligence right, And so I'm not asking
for a parade or any type of accolades.
Speaker 4 (22:57):
But I do want you to be familiar with.
Speaker 1 (23:00):
My credits and what I have accomplished and I and
as a casting director, I would be so you know,
I had to wean myself, but I would be insulted
by the fact that the actors didn't even take the
time to research the director, you know. So, do you
find that there is this arrogance, this attitude of immediate
(23:24):
gratification that I don't have to work as hard?
Speaker 2 (23:28):
Yeah, because they You know, the thing is when we came.
Speaker 3 (23:31):
Up, we had to really in order to get the knowledge,
we had to learn it, right, couldn't google how to.
Speaker 2 (23:38):
Be a peer. I had to I had to be
in a feeling.
Speaker 3 (23:40):
I had to learn this stuff real time right now,
you know, the information is so available.
Speaker 2 (23:44):
They think that they know there's no substitute for experience.
Speaker 3 (23:47):
There's exactly you know, So you know you don't know everything,
you know, so they had real life experience and then
the book in Google experience.
Speaker 2 (23:54):
You know, so they and they don't equate. They're not equal,
you know.
Speaker 3 (23:59):
So just because you know, you know some of the
verbiage and you you know what I'm saying, you just
really have to They need to respect the people that
came before them and respect the work, you know, and
and that's the I, M. D. B. And and people's journey.
You have to respect that work because you know, and
they and they eventually get it, you know, but we
want them to get it sooner. You know, they get
(24:21):
it once they really like, Wow, this isn't easy, you know,
but they have to you know, it's important that that
that they understand that you know that this isn't easy,
and that it takes time and it ain't gonna happen tomorrow,
and in the fact, you don't really want it to
happen tomorrow. It's kind of like, you know, the journey.
The bulk of the bulk of it is the journey.
(24:41):
The destination is going to be like that, you know,
so enjoy this journey is a it's a long journey.
But I wouldn't I would I wouldn't rather do any
other journey, but you know, and that's just what it is.
Speaker 2 (24:53):
It's a beautiful journey, So enjoy it.
Speaker 3 (24:55):
That stop focusing on where you trying to get, because
once you get there, you're gonna be trying to get.
Speaker 4 (24:59):
Somewhere else exactly.
Speaker 1 (25:02):
Oh, such great jewels, you guys. I pray that you've
documented this in some way, write it down recorded, Boogie,
we know what work ethic is about.
Speaker 4 (25:13):
You know, I know I have, and I'm sure your experience.
Speaker 1 (25:18):
Excuse me, I've been on a set for twenty four
hours literally a video.
Speaker 4 (25:25):
That's a video set, right.
Speaker 1 (25:27):
I'm a little older than Boogie, so on a music
video set with Lionel Martin.
Speaker 2 (25:33):
Do you classic concept?
Speaker 4 (25:35):
There you go?
Speaker 1 (25:36):
Okay, plastic classes. So I'm saying that to say that
when I speak to this generation about work ethic, even
how you say, oh, I don't want to sound like
my parents, But there's a part of me that feels
like I.
Speaker 4 (25:49):
Sound like my parents.
Speaker 1 (25:50):
But it's like, I know what it's like to stand
next to a propane heater and negative fifteen degree weather
and Chicago shooting exterior barbershop on the Thirteenth Hour with.
Speaker 4 (26:03):
Tim storm mm.
Speaker 1 (26:05):
But if you say to these kids, you know, well, listen,
we're gonna have to simulate winter in summer, so you
can wait, I have to wear a Parker how many wait?
Speaker 2 (26:17):
How do you this entire three twenty three?
Speaker 3 (26:22):
But I mean, and that that's just that's just you know,
I feel like that's just what it is. You know,
they can't really you know, we we came up in
another time, which I remember standing on the corner I
worked in the film. I forgot the name of the
Devil's Advocate. I was an additional advocate. I was in
additional PA starting out and Wow, the ad were the
(26:43):
Screamer and Cold Time at six am. The pas had
to be on set at five am on the corners
that they were locking up in the truck didn't even
arrive yet. Wow, in the dark on the corner standing there, Yeah,
no bag, nothing in your hand. But like it is,
like it was real deal. But it builds character. I mean,
(27:03):
that's her abuse now. And the thing is that is
a different time overall. So nobody's doing twenty four hours.
Nobody's gonna even be doing fourteen hours anymore. In my opinion,
behaved all the the call that came from the DJA
is like, Yeah, a lot of things are gonna have
to change, you know. So that's that's the new world,
and we got to relearn what we've learned, you know,
and then pivot.
Speaker 1 (27:25):
So that's actually a great segue because actors are going
to have to make some major adjustments. I have a
friend who I spoke to the other day and said
that she was interviewed as an intimacy coordinator. That's a
new job that they're going to have, you know, So
what what are some of the changes that maybe you
(27:47):
can speak about now that actors can start to mentally
prepare for.
Speaker 2 (27:52):
Yeah, I mean, you know, some of the protocol they're
talking about it.
Speaker 3 (27:55):
You know, everybody that's not on camera wearing masks, you know,
just the ppe that available on set, and a couple
of like you said, a couple of new crew positions,
you know, that are paying attention to self distancing.
Speaker 2 (28:08):
You know, all the prepackaged food.
Speaker 3 (28:09):
You know, you already talked about the auditioning remotely, you know,
and the rehearsals remotely. You know, just imagine zoom rehearsals,
you know, right, and then you know, just having you know,
on site departments where the hair, makeup and wardrobe never
come to set. And you know what I'm saying, because
they just and then when at three actors come on
(28:32):
the set, three crew members leaving just this kind of
thing that they have to move, you know where you
everybody in the monitors director like three monitors, one for
the director, one for the scriptural visor, and one for
the producers.
Speaker 2 (28:46):
Like never remember the day with d no video village
is you know.
Speaker 3 (28:54):
It's going to be social distance and it's nobody other
than those three people, the DP.
Speaker 2 (28:58):
The director, But remember the days twenty amount.
Speaker 1 (29:01):
Looking Well, that's where I mean as an acting coach,
that's where I am.
Speaker 2 (29:05):
I'm in that well you're gonna be and they might
have room.
Speaker 3 (29:08):
They talked about having remote like say bigger films like
if they're the trailer with you know where where you
can watch video village, so very visit's gonna be kind
of transmitted places you need to see it. It's gonna
be where you can have see right, you know. So
they and all of this stuff is gonna cost more
money budgetary, yeah, yeah, might.
Speaker 4 (29:27):
Be shorter hours.
Speaker 2 (29:29):
Yeah.
Speaker 3 (29:29):
So now these actors better know that they better hit
it there ain't no time to be flowbing lines, don't
coming unprepared.
Speaker 2 (29:35):
We don't want a lot of time.
Speaker 3 (29:36):
So now they're gonna cut the number of hours that
that we're gonna shoot eventually, because you know, the longer
people say around each other, the higher the risk of.
Speaker 2 (29:45):
Right of comamination.
Speaker 3 (29:47):
So they don't want And the thing is with what
they also said for that is that after the fourteenth,
after a certain number of hours, your resistance is is weaker.
So yeah, I said for sixteen hours, their resistance is
week So so.
Speaker 2 (29:59):
It's all all of these things are going to affect.
Speaker 3 (30:01):
Yeah, you have to be leaner, we have to be tighter,
we have to be more intentional and laughing. Hey, just
you go there and you do your business right and
you be about it and that's it, you know, well serious, no, no.
Speaker 1 (30:15):
You're right about the hours because you know a barbershop,
I did sixteen hours sixteen days and you can see down.
Speaker 3 (30:21):
Yeah, it diminishing returns and then what happened to your
immune system is is jacked up. So they so they're
gonna be shorter day, shorter page county. So it's not
going to be shooting seven page if you can't do
it in ten hours, all this coverage.
Speaker 2 (30:36):
Maybe it's two cameras shooting all the time.
Speaker 3 (30:38):
It's just, you know, nobody wants to spend as much
time as we used to spend on set anymore. Nobody
wants because there's a lot of people, so they want
to get in.
Speaker 4 (30:47):
Yeah, I don't even I'm not used to. I'm used
to being on a cruise one hundred and that. I mean,
you know, fifteen.
Speaker 1 (30:54):
People, that's a small crew. But I don't know a
crew that's less than two hundred.
Speaker 4 (31:00):
So you know, we boggie.
Speaker 1 (31:03):
I'm gonna invite you back on because I told you
twenty eight minutes was gonna fly by, and I'm getting
warning signs I did want to make I did want
to give clarity to video village for actors who don't know,
that is the space in which the director where you
see the director chairs for the director, the DP, the
script supervisor, all of the producers, writers. It's sort of this,
(31:27):
you know, we huddle around the monitor. I'm usually sitting
on an apple box in front of the monitor, try
to get distanced.
Speaker 4 (31:36):
But they always they're very gracious on set, and they
give me a director's chair. So that's our video village.
Speaker 1 (31:41):
I just want you, and I got a minute left,
if you could just give actors what is the best advice,
because you've given them some amazing nuggets.
Speaker 4 (31:52):
What is your best advice that you want to give them.
Speaker 2 (31:55):
I mean, I would say, just continue to work and
stay sharp. We're going to come out of this. You know.
Are you gonna come out of this better and sharper
or not? You know? So continue now.
Speaker 3 (32:05):
You got time to get that monologue tight, You got
time to work on stuff because once things open back
up or things want to get back to whatever normal,
we find that time is lost.
Speaker 2 (32:15):
So use this time.
Speaker 3 (32:16):
Why is it you know, read some scripts whatever, if
you want to write, Just just just utilize this time.
You know, take yourself and critique yourself, and you know,
just just do that work you know that you always
wanted to do in this time and shopping your tools.
Speaker 1 (32:31):
Wow, it was an excellent twenty eight minutes. I'm holding
on to all of that. I want you guys to
put your hands together for a director extraordinary mister Michael
Boogie Pigney, thank you for.
Speaker 2 (32:46):
Having me, Thank you having me so much for coming.
Speaker 4 (32:50):
I really really am grateful to have you here. So
we'll be back on.
Speaker 1 (32:56):
The Spirited Actor Podcast with you know my favorite segment
class in session.
Speaker 4 (33:04):
Welcome back to.
Speaker 1 (33:05):
The Spirited Actor Podcast with me Tracy Moore.
Speaker 4 (33:08):
And we are still blessed.
Speaker 1 (33:10):
To have Michael Boogie Pinckney with us Director extraordinaire. Yeah,
we're applauding him. He gave us some great nuggets.
Speaker 5 (33:21):
Man.
Speaker 1 (33:22):
I feel like I need to just saturate my mind
with all that he gave us today. So embrace it, actors.
I have Miss Julisa Capri spirit Actor Alumni on with us. Hey, so, hey,
I know my listeners know that you know this is
(33:42):
my favorite segment to high light specter alumni, give them
a platform, an opportunity for our guests to see their
talent and give constructive criticism. Soter Lisa, you can tell
us the title of the monologue and then whenever you're ready,
we still have book.
Speaker 5 (34:01):
It's called Nuts and so I'll just get I'll get
right into it.
Speaker 4 (34:06):
Okay.
Speaker 5 (34:07):
When I was a little girl, I used to say
I love you to the moon and down again, around
the world and back again. And she used to say
to me, I love you to the sun and down again,
around the stars and back.
Speaker 4 (34:18):
Again, And I used to think, Wow, I love Mama
and Mama loves me. What could go wrong? What went wrong?
Speaker 2 (34:31):
Mama?
Speaker 6 (34:33):
I love you and you love me, and what went wrong?
Speaker 2 (34:39):
You see?
Speaker 4 (34:39):
I know she loves me and I love her, so
what so what? She's over there and I'm over here.
She hates me because of the things that I've done.
Speaker 6 (34:47):
To her, and I, hey, y'all, those are the things
that she's done to me.
Speaker 4 (34:56):
See, he's staying in.
Speaker 6 (34:58):
A bad Ask and do you love your and.
Speaker 4 (35:00):
Then they say yes.
Speaker 5 (35:02):
You think you've asked something real, and they think they've
said something real.
Speaker 4 (35:07):
You think because you tossed the love. I'mund like a
frisbee that we're all supposed to get old running.
Speaker 5 (35:13):
Oh, something happens to some people. Sometimes they love you
so much. There's something noticing you're there because their teo's
loving you.
Speaker 4 (35:22):
They love you so much.
Speaker 6 (35:23):
Your love is like a gun and they just keep
fine and straight into your head. I mean, they love
you so much to go straight into the hospital. M Fama,
I know that you love me. There up, the love
(35:43):
is too much. It's too much, you're not know.
Speaker 1 (35:48):
H see, Okay, all right, So it was a little
choppy for me, I don't know how it.
Speaker 3 (35:57):
Was for Boogie, just a little choppy okay for me also,
but you know.
Speaker 5 (36:04):
My connection is that unstable on the thing across the screen.
Speaker 2 (36:07):
So yeah, that's fun. You know, I got it, I
got I got it. Though he's a professional, that was
an interesting monologue. It was an interesting monologue. Who are
you talking to? Were you talking to someone that? Were you?
Speaker 5 (36:22):
So she's on a stand talking to her mother's across
and then she's trying to convince them that she's not crazy,
even though she's been brought to a crazy house and
her mother is the impetus for a lot of stuff
that's going on in her life. And so her mother
is there, she's confronting her, but she's also trying to
let them know, let me out of this space.
Speaker 2 (36:43):
I'm not really crazy.
Speaker 3 (36:45):
Okay, Okay, interesting because I was trying to gauge you
and I knew it was a lot going on, you know,
So I'm you know, trying to follow the story, which
in which I feel like, you know, sometimes I feel
like actors. It's just like kind of like those singing shows.
It was like all better song selection. Sometimes I feel
like I active picked them monologue that because if for
(37:07):
me it kind of because there was so many moving pieces,
it kind of distracted me a little because I'm trying
to follow the story versus zeroing in on your acting ability.
I found myself kind of like getting the gauge because
it was it was kind of dense, you know, the story,
the story of the monologue.
Speaker 2 (37:26):
You know what I'm saying.
Speaker 3 (37:26):
That's just that's just why I found myself trying to
really follow and make sense of this story, and that
took too much of my attention, you know.
Speaker 2 (37:35):
What I'm saying. I don't know if you ever experienced that, Tracy.
Speaker 1 (37:39):
Yes, I mean we don't see a lot of monologues,
but I think that this monologue is from the film Nuts.
Barbara Streisam was the one that was in the stand,
and I think for me it was more of the
jerkiness because I do know them monologue, so I can't
(38:01):
really I don't care. But you know, one of the
things that it is going to be challenging, in my opinion,
is the technology because we're all going to be audit
when we get back in, so I don't know how
that's going to be. Because casting directors are saying to
me now that most of the auditions are going to
(38:22):
be zoom.
Speaker 4 (38:24):
Callbacks are going to be zoom.
Speaker 1 (38:25):
When some Sinclair was on and she said that she
did a Zoom callback with a director, So you know,
we are going to experience some of these glitches. You know, prayerfully,
you know you'll get another chance to do it again.
But that's something that I think is really going to
have to be a discussion because zoom is not flawless
(38:48):
unless there's another platform that is created specifically for this.
Speaker 3 (38:54):
That's a good idea for something, some technology to come
from casting directors for it, because you know, Zoom is
all we got, That's what everybody has.
Speaker 4 (39:02):
And everybody's on it. Everybody's been on it since we've
been down and even before that.
Speaker 1 (39:07):
But I think that their needs because I really feel
like the challenge is going to be.
Speaker 4 (39:18):
The challenge is really going to be, you know, the.
Speaker 1 (39:23):
Fluency that you have of course in the live one,
didn't you know, and being able to and then you freeze,
you know, when you were talking about rehearsal, I watched
a rehearsal a couple of weeks ago and it was great,
but then it was freezing, and you know that causes thing.
So we're gonna have to work out those glitches. But
you know, overall, like I love this platform to be
(39:45):
able to do this.
Speaker 4 (39:47):
You know, and you know her from the neighborhood. You
may not know her talent, but I knew.
Speaker 2 (39:52):
I came to the showcase I saw you did. I
was already talking about it. Are you sitting or standing?
Speaker 5 (39:59):
I am because I was just short sitting monologue.
Speaker 2 (40:03):
Okay, the sitting monologue, Okay.
Speaker 4 (40:05):
It's she's sitting in the witness stand.
Speaker 2 (40:08):
Uh see.
Speaker 3 (40:09):
I guess you know the thing for me a lot
of times the monologues that have a lot of components
from films to help it along.
Speaker 2 (40:17):
If you don't have it, you know, the witness you
know what I'm saying.
Speaker 3 (40:19):
So it's like, because now we it's hard for me
as the viewer to visualize what the world is. So
if you pick a monologue that you know, you're doing
things based you know, creatively and as for the monologue
based on the context.
Speaker 2 (40:35):
But I don't know the context, I'm not gonna really
get it.
Speaker 3 (40:38):
So I you know, so whether it's good or bad,
it's kind of like I'm kind of lost in the context.
Speaker 2 (40:45):
Of where you know.
Speaker 3 (40:47):
So so for me, I find you know, monologues that
work best are ones that don't that kind of our
standalone you know, if you really you know, you're familiar
with the film nuts and you know what I'm saying.
If you aren't familiar thing, you're not going to be
as moved.
Speaker 2 (41:03):
You know. It's kind of like a song people sing
a song on Oh.
Speaker 3 (41:05):
I really loved that song, whether they did a good
job or not, I love that song, and that's the
focus versus somebody that picked a bad song and your
voice is amazing and you're like, all right, you know
the song and great the voice, you know what I'm saying.
Speaker 2 (41:20):
So it's hard to kind of separate and kind of
decide which is it.
Speaker 3 (41:23):
And if you're doing a self tape, you ain't. There
ain't no time to figure out which is it. It's next,
you know what I'm saying. So it's kind of like,
really see, you know, step outside of what what monologue
you're doing, to see if it makes how how would.
Speaker 2 (41:37):
The viewers see it?
Speaker 3 (41:38):
Not how you feel about it, because you probably like
I love this mylog, but sometimes actors tend to make
it more about them than anybody else when it Unfortunately,
it ain't about you when you're doing the audition. It's
about what you're given to the person watching. So so
that's that would just be my note in terms of
figuring out is there better monologue for me to see
only your talent and not try to suffer with the
(42:00):
context of what's going on, you know, So that's all
I can focus on, you know.
Speaker 4 (42:05):
Okay, Wow, that's a great point. I've never thought about
it in that way. That's a great point. Thank you
so much.
Speaker 1 (42:12):
So, and I always ask because yeah, I mean, I
definitely want to have you come back on in class
and session and see a scene and see the work
and yeah, because that's all original work as well.
Speaker 4 (42:25):
But everybody puts your hands together and send virtual hugs
to our guest, mister Michael Boogie Pinkney. Yeah, and we
recorded this.
Speaker 2 (42:41):
That was fierce.
Speaker 1 (42:44):
Okay, So we will be back with the Spirited Actor
Podcast with me Tracy Moore and I will be giving
you love. And now it's time to give love. If
you want more trust in your life, you have to
be more trustworthy. If you want love in your life,
(43:07):
you have to be of love. Whatever it is that
you want in your life. You have to be of that.
If you want people to trust your word and be
of your word, you have to be of your word.
Whatever it is that you want more of in your life,
(43:28):
it starts with you, and it starts with your thoughts,
and it goes into your words and it manifests into
what it is that you want. You must learn to
trust your thoughts, you must learn to trust your words,
and you must learn to use the words that are
(43:50):
going to manifest what it is that you want. If
you want abundance, you can't speak of lack. If you
want happiness, you can't speak of sad. This the things
that you want, the things that you will manifest in
your life, are the things that you speak clearly and
(44:11):
stay focused and hold that vision. Whatever it is that
you want in your life, be of it. Thank you
for joining us on the Spirited Actor podcast with me
Tracy Moore. I look forward to our next Spirited podcast.
Thank you
Hello, and welcome to the Spirited Actor Podcast with me
Tracy Moore. I was a casting director for film and
TV and commercials for over thirty years. I transitioned to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Domez.
I auditioned every rapper from Biggie Smalls to Tupac, and
(00:24):
I realized that rappers and musical artists they needed help
transitioning to acting. My clients consist of musical artists from
Buster Rhymes to Eve, Missy Elliott, Angela Yee from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now I know, I know actors want to
get the job. I get that, but being remembered by
casting director that is powerful. And now it's time for
meditation of the day. Though I am not naturally honest,
(01:09):
I am so sometimes by chance. William Shakespeare, I used
to have a big problem being honest with others about
how I felt. This problem developed in my childhood because
I was the kid who people enjoyed making fun of.
I wore a size ten shoe in third grade and
I was five six. In a strange way, I became popular.
(01:33):
Instead of letting them know the pain inside of me,
I went along with them and thought of myself as
a joke. As I grew older, I realized how important
it is to be honest with yourself. If you don't,
you will allow pain and anger to make a home
in your heart, and they don't make good company. Today,
(01:54):
I will learn to be honest with myself and express
my true feelings so I can learn to live in freedom.
Welcome to the Spirited Actor Podcast with me Tracy Moore.
And I can't even tell you how I always tell
you how excited I am with my guests, and today
(02:18):
is no exception, and so I just want you all
to put your hands together for my dear friend and
director extraordinaire, Michael Boogie. Pick me yeay, Michael, I'm having
some technical difficulties with.
Speaker 2 (02:37):
My phone right now. Do you guys see me?
Speaker 3 (02:39):
Good?
Speaker 4 (02:40):
You guys see me? Okay?
Speaker 2 (02:41):
Good?
Speaker 1 (02:41):
All right, yay, I see you, Boogie, So Boogie, welcome
to the show, Welcome to this thank you, thank you
so much for being on the show. I wanted you
on the show for so many reasons. Because ladies and gentlemen,
we go way back.
Speaker 2 (02:57):
They'll tell them how far back.
Speaker 4 (02:59):
I will tell a commercial.
Speaker 2 (03:03):
It was a Spike commercial, I think the first time.
Speaker 4 (03:06):
That's how I was gonna just say that project. I
wasn't gonna say the year.
Speaker 3 (03:10):
Nothing okay, because we look good, you know, black one crack.
Speaker 1 (03:15):
I'm just saying we have and as you could tell
with our banter, we've known each other for quite some time.
And I do want to say this about you, Boogie.
One thing that I've always admired. I met Boogie doing
a Spike Lee commercial and Boogie was working.
Speaker 4 (03:34):
At forty acrecent a mule.
Speaker 1 (03:36):
He was already implanted there when I came, I was freelancing.
Speaker 4 (03:39):
He was really working at right.
Speaker 1 (03:42):
And you have always like you know, there's so much
pressure and energy on a set, and especially when you
have a crew over fifty and Boogie man like you
maintain control, you maintain professionalism, and.
Speaker 4 (04:02):
Even when you know like it would get a little tense,
sometimes you have to use your voice, even when you right.
Speaker 1 (04:09):
But even when you did that, Boogie, it was digestible
because you know, growing up in this business, because Boogie
was when I met him, he was a second ad
second assistant director for actors out there who don't know
the terminology, and he rose.
Speaker 4 (04:27):
So we're going to talk about his career.
Speaker 1 (04:29):
But there's just a certain way you can handle people,
and I just always respected the way you handled people,
and especially I dealt with extras, casting all of.
Speaker 3 (04:41):
Those extras right, and we know the history of that
and how the AD department sometimes unfortunately deal with actors
and background actors right, you know, as if they're not humans.
So that that was always something for me, you know, everybody,
you know, was important to the sect from my body
from the top about them. You know, that was just
my you know, my my my way of looking at things.
(05:04):
So that's how I poached it well.
Speaker 1 (05:07):
And I think that that was important, you said, teach
treating them like humans. Because when I was on New
York and the cover extras were addressed as skins, that
was the first time I.
Speaker 2 (05:18):
Left us for the right.
Speaker 3 (05:21):
The paper that they named the own is called Skins,
which is I never knew where it came from.
Speaker 1 (05:26):
Wow, that was I was like, you know, because I
was like, oh, where do you want my actors? And
they're like, the skins can go over there, Like oh
my god.
Speaker 4 (05:35):
You know.
Speaker 1 (05:36):
So one of the things that I also want actors
to understand is the power that ads have because as
a second ad, you know, you have a lot of jobs,
but I know one specifically, my relationship with you was
making sure that the actors were in place for the
(05:56):
day of the shoot.
Speaker 4 (05:57):
All of that.
Speaker 1 (06:00):
But sometimes a director may need someone that has not been.
Speaker 2 (06:05):
Cast right right, he's good for that, and.
Speaker 1 (06:11):
They go to the the first assistant director will communicate
that to you, and it's your job if you could
just explain to actors, you know, because you know how
actors are, Oh it's just extra work. Oh it's not important,
but you can tell them the importance of it.
Speaker 3 (06:28):
I mean, you know, because sometimes some doing background extra
workt has led the principal work. You know, if you
have a right look, if you you know, sometimes things
are spontaneous.
Speaker 2 (06:37):
Sometimes people have.
Speaker 3 (06:37):
A very distinct look that they want to kind of
position or place, you know. So it is a living,
breathing animal when you're shooting, so you know, you got
to be present at every moment because things can change,
and you you know, I think actors need to really
look at the set and really understand what's going on,
the moving pieces of it, because they are integral part
of it. They're not just a problem, you know, so
(07:00):
you can you can take advantage of that, you know,
and like a collaborative thing.
Speaker 2 (07:03):
With the director and with the ad.
Speaker 3 (07:05):
So if your present, sometimes your presence could be felt,
somebody else could feel that presence and gravitate to you,
and then all of a sudden you got upgrade to
your principle.
Speaker 1 (07:15):
That's great, That's an important I used to stress actors
on New York Undercover. Don't bring your you know, Joan
Collins novels, you know, like you know, because you know,
we didn't have back then, we didn't have iPhones, So
you know, actors were doing puzzles on set, and I'm like, you, guys,
every set is the same, the protocol is and the
(07:35):
process is the same.
Speaker 4 (07:36):
The crew just shifts.
Speaker 1 (07:38):
So understand what that template is, Understand the relationship between
the ads, and you know, how you can get upgraded
on a set. What were some of the in situations
where you, as an eighth an ad did upgrade actors.
What was this specifically that you were looking for besides
(07:59):
actors being present that drew you to them and said,
you know what, let's grab this person to bump into
Denzel Washington.
Speaker 3 (08:08):
I mean, you know some you know when when the
background actor is understands that they're an actor. You know,
some background actors they really focus on the background as
opposed to the actors. Some background actors are actors, you know,
the actors. They move Black actors the attention. They pay
attention like actors. They'll hit a mark like they'll do
a background action the same every time. You know, they'll
(08:30):
be present, they're they're paying attention, and they they look
and see what's needed.
Speaker 2 (08:34):
Before you have to tell them, you know. And that's
what you want to work with.
Speaker 3 (08:37):
You want to work with people that could speak shorthand
with you because there's not a lot of time, you know,
So just be present and be collaborative, be you know,
see see it.
Speaker 2 (08:46):
If you see a need, you know, and ask questions,
Hey should I go? You know what I'm saying.
Speaker 3 (08:51):
Just be communicative and understand that you know, we all
we we don't know it all as ads, you know,
we listen to the director with us to the DP.
Speaker 2 (08:58):
There's all this noise going on. We need as much
help us we can get.
Speaker 3 (09:01):
And if the background actor has a great idea can
do something to make our job easier, you're going to
remember them, and we're gonna d if there's somebody that
could be upgraded.
Speaker 2 (09:08):
They're the first person that we're going to go wow,
you know.
Speaker 1 (09:13):
So, but can you share with our audience, like, tell
us how your journey began and and how.
Speaker 4 (09:23):
You your work at forty acres and everywhere. Lets tell
us what you've been up to.
Speaker 2 (09:28):
Many moons ago, you know, as you know on the
Spike job.
Speaker 3 (09:34):
You know, I start out as a intern and rose
up the ranks through production assistant, you know for many years,
you know, and then transitioned into being an assistant director
and joining the director's guild with with you know, director
and the AD is all part of the same deal.
And while I was a DING, I was always writing
(09:54):
and directing on the side anyway, So then I was
able to kind of transition out of a ding to
the directing because what I thought when I first started
was being an AD.
Speaker 2 (10:04):
Next up was being a director. But that's not how
it works.
Speaker 3 (10:06):
Typically, assistant directors don't become directors because assistant directing position
is such a logistical managerial position. A lot of producers
and network execs don't see ads as a creative position.
Speaker 2 (10:19):
It's not a creative position.
Speaker 3 (10:20):
It's easier for a script supervisor or director of photography
to move into the directing position before an a D
because the AD is it's in their mind. It's strictly logistical,
you know, So they don't they don't understand that they
also can have a creative vision. So that's what I
thought in the beginning. I said, I'll be an assistant
director and then I'll be a director. And they was like, no,
that's not how it typically works. Why are you in
(10:42):
a direct you know, because so it's different tracks, you know.
But I thank god I was directing while it was
a D. I was writing a directing So that was
when I got to use what I was learning that
I didn't even know that I learned being on said,
whether on with Spike or with Lee Daniels on pressures,
it's like you just taking information and then until you apply,
(11:02):
you didn't.
Speaker 2 (11:02):
Even know that you have it. You're like, oh, yeah,
I've seen that.
Speaker 3 (11:05):
I know how you know, saybe because you've been doing
it for so many years, you've seen it done that.
Speaker 2 (11:10):
It just it's just instinct after a while, right you know.
Speaker 4 (11:14):
And so while you were writing, you read your first film.
Let yeah, talk about.
Speaker 3 (11:19):
That, well, my first feature, you know, yes, yeah, I
was writing short films leading up to that, and then
I wrote my first feature film. You know, nobody said
somebody kills Me and I was working on Inside Man.
Speaker 2 (11:31):
I finished the script. I working on Inside Man at the.
Speaker 3 (11:33):
Second ad and Uh, Detective Neil Carter restling Wrestling Peace
he just passed last year. He was a technical advisor.
He was a homicide detective. That was, he was tasked
with teaching Denzel how to be a detective, basically how
to do so. And I gave to Detective Neil the
script and I was like, hey, just read this. I
(11:54):
want to make sure my detective verbiage is great. He
read it, He's like, I love it. I love the script.
I want to help you get it made. And we
raised the money and that's how it happened, you know,
and Spike came on to EPA and it just you know,
and that's that's how that that happened, you know, that
feature journey.
Speaker 2 (12:09):
You know, you're doing your first feature. You have no
idea what's.
Speaker 4 (12:12):
Happening the whole time the audience.
Speaker 1 (12:15):
Let me just say, because there's some humility here, Michael K.
Speaker 4 (12:19):
Williams was in this as.
Speaker 3 (12:20):
The star, so you know Nick Shawn Curse, Yeah, McCullen,
you know, Daniel was is a great cast. You know,
we didn't have a ton of money, but it was
a great cast, and it was it was my first feature.
I'm still working on the second one. The first one
is always the hardest, you know, and coming from the
(12:41):
world that I came from, unions and big movies and
having to kind of skim down, you know, was what's tough,
you know, just because unions. I'm a DJ, we got DJ,
we got sad people, we got at union, you know,
say so but kind of you know, gets used up
really quickly. Yeah, So that's why I'm a lot meaner,
(13:03):
leaner and meaner now.
Speaker 1 (13:05):
M after that experience, right, and and and working on
such amazing films. He just he mentioned Inside Man you
worked on.
Speaker 3 (13:17):
Malcolm, I'm best man. That's the first best Man. Yeah,
addition to second second. That's when I first joined the guild,
you know, around that time.
Speaker 1 (13:28):
And I didn't work with you on that, but I
coached Monica Calhoun on Best Man.
Speaker 4 (13:35):
But you know, I mean, like I always.
Speaker 1 (13:38):
Encourage, I don't even encourage, I stress my listeners to
go to IMDb dot com and to do their due
diligence on you know who you are in terms of
I have so many questions, but I want to zoom in.
I do, because, like you, there's just so much you guys,
please go to IMDb dot com and look at his credits.
Speaker 4 (14:02):
Because we I want to talk.
Speaker 1 (14:04):
About, like, you know, the Denzel Washington and working with
such a great.
Speaker 4 (14:09):
Actor, and what is it that.
Speaker 1 (14:15):
Because I I've never worked with Denzel before, and I've
had the pleasure of working with the Viola Davis. So
what is in the beginning of perfect what is what?
Speaker 4 (14:26):
What do you walk away with on a set?
Speaker 1 (14:30):
What do you learn about watching such a phenomenal actor?
Speaker 2 (14:34):
I mean, it's it's crazy.
Speaker 3 (14:35):
You know, I worked on He Got Game with, then
Zel's First Time and then Inside Man.
Speaker 2 (14:39):
But what I walk away is that you know his preparation, that.
Speaker 3 (14:42):
He's always ready, he can he turned it on so quickly,
you know, laughing and talking in one minute. And when
you're ready, he's it's like so quick, it's so so
much Shorthand's sout on. He just so present and intentional
that like he's like surgeon. He's like a surgeon. And
it's like it's kind of like when you you're watching
(15:04):
a ball player just play and they just they move
with such face, you.
Speaker 2 (15:09):
Know, and it's and it's easy.
Speaker 3 (15:10):
You know, people are yelling his name, Hey, come run,
making hugs, turn around, boom now the scene. It's like
it's it's he can just turn it on and it's
and he's just such a given spirit, you know, it
doesn't he'll make them in. He'll make them in to
greet somebody, just he'll make them. And he's so humble
and it's so seamless. It's just kind of like, you know,
(15:32):
and I've worked with actors that are not as successful,
that aren't that giving and don't have a bigger heart,
and you you know, and you you're like, he has
a big such a big heart and he's so giving
and he's so amazing, you know, and.
Speaker 2 (15:45):
He doesn't have to be He's Donzel, right, but he is,
you know.
Speaker 3 (15:49):
So it's just it from what I got, it just
it made me step up my game to know that, Okay,
I can be who I am. I could be Bookie,
I could be giving. I don't have to be someone else.
I could be however I am and excel and do
it how I do it and be successful. I don't
have to imitate someone, you know, because and if I'm
a given person, if I'm a soft spoken person, whatever
(16:11):
that is, I can be me and be successful.
Speaker 2 (16:14):
You know.
Speaker 3 (16:15):
That's what I got from it because it was just
it was unlike any other actor, because the room changed
when he walked in it, right, you know.
Speaker 1 (16:22):
Well, I can honestly say that, I mean, you've been
consistent you you are. When I met you, I felt
like and still feel like, you've always been yourself. But
that's what I have respected about your work. Even like
I said, like, I mean, I've worked with yellers. I
came in this industry with your what and so to
(16:45):
work with someone who's still you know, who engages with
you one as a human being, but you know you
have that power and force and assertiveness, but you don't.
You just don't have to yell you know, you get.
Speaker 3 (17:01):
It, you know, just to say the a D. I
worked with an ad call named Joe Reading.
Speaker 2 (17:06):
I was a PA.
Speaker 3 (17:07):
I was an additional PA on this film called Sleeper
for Brad Pitt.
Speaker 2 (17:12):
Was My job.
Speaker 3 (17:15):
Was to be on the roof and let them know
when helicopters are coming and no helicopter coming, we can
shoot in helicopter because we're near a heliport.
Speaker 2 (17:24):
And he was the most.
Speaker 3 (17:26):
Soft spoken and he he ads for all scort safety films,
you know, Causina.
Speaker 2 (17:32):
He was the most humble and soft spoken from safety.
And I was amazed.
Speaker 3 (17:37):
I was just like, very gracious, thank you very much, guys.
And I was amazed because I came from a world
of screamers.
Speaker 2 (17:44):
I was like, this work and there's two hundred people
on the crew.
Speaker 3 (17:48):
And that was when I was like, Okay, you know,
there's so many different ways to do it.
Speaker 2 (17:52):
You just have to be you in the midst of it.
Speaker 1 (17:55):
I you know, because I thought, in coming into this
business initially that that's what the process was. They're just yellers.
And it wasn't until I was on Kiss of Death
and I worked with the a D and her name
was Marlene.
Speaker 4 (18:10):
I don't remember her lassing.
Speaker 1 (18:11):
But same way, same way. And I was like, oh wait,
you don't have to yell all us out.
Speaker 2 (18:18):
You don't give me.
Speaker 3 (18:18):
Let me tell you another story I worked on. I
forgot the name of the TV show. The TV show
that came to New York from LA and so I
first died the five days in New York.
Speaker 2 (18:28):
And so we're shooting.
Speaker 3 (18:30):
We shot in the studio and the key grip came
up to me one day and he's his father was
the key grip on the Honeymoons.
Speaker 2 (18:38):
That's how long his lineage. You went.
Speaker 4 (18:40):
And he told me he loved me.
Speaker 2 (18:41):
He said, you know the A D.
Speaker 3 (18:45):
I love how you ad because people don't understand that
the AD's voice shouldn't be the loudest in the room
because once the.
Speaker 2 (18:50):
AD goes loud, everybody else goes loud, you know.
Speaker 3 (18:53):
And he says he liked how I managed the room,
and I just you know, So it was just interesting.
Speaker 2 (18:58):
I was like, your dad was the key grip on Honeymoon? Wow,
what the hell?
Speaker 4 (19:02):
Crazy?
Speaker 3 (19:02):
You know?
Speaker 2 (19:03):
So that was funny.
Speaker 1 (19:05):
Yeah, So in terms of your relationship with actors as
a director, you know, we're moving more and more out
of the live auditions and you know we're on the
self tape.
Speaker 4 (19:19):
What advice can you give actors.
Speaker 1 (19:21):
To stand out you know on those because I mean,
you know, I'm always.
Speaker 4 (19:26):
Honest with actors.
Speaker 1 (19:28):
And if I'm getting you know, six hundred to seven
hundred submissions per character, and I got ten characters.
Speaker 3 (19:34):
Right right, So I mean for me, it's almost the
same as when they come in the room. Just be present.
Just you know, nothing matters but that moment, you know,
to me, I find actor to be so distracted, just
it's just so distracted. It's like you had you work
your whole life, you paid money for headshots to take
classes off of this three minutes and you can't shut
(19:56):
the world off for three minutes. Wo I find myself,
you know, watching self takes and not and they're.
Speaker 2 (20:03):
Not even there. They're auditioning, but they're not even there,
you know.
Speaker 3 (20:08):
So to me, just be present, just be intentional about
how present tract and just really connect with the person
that's going to be on the other side of that
self taping because somebody's gonna be watching it, you know,
And and and really give and become something and get
and give up yourself, just give up yourself and stop
being in control. They just want to control everything, and
they don't realize, you know, sometimes you trying to control everything.
(20:32):
You don't realize some people, how many people can see
that you're not in control, you know, and really just
be vulnerable and just you know, show show your passion,
show your love for this, you know, and just kind of,
you know, just give it your all, you know, not
just enough that you think is good enough, give it.
Speaker 4 (20:50):
You all, right, And you know, I'm so surprised. Well, okay,
let me just say this.
Speaker 1 (20:56):
I'm surprised that you're saying this because are we taught
talking about a certain generation you know, yeah, we're talking yeah, okay,
can you speak on that.
Speaker 3 (21:07):
Yeah, because you know, there's some actors that you know
of over the older generation that a season that are
theater actors that are just they get it. It's like
it's like Denzela's second nature. They just they know how
to turn it on. But this generation, a newer generation,
they don't really know how to turn it on. It's
kind of like you know, Alan Irrison back in the
days where it's kind of like he didn't want to practice,
(21:28):
you know, but you have to practice like you're playing
in the game, right, and they think that they can
turn you ain't there yet to be able to turn
it on. You know, if you're doing the stuff tape
in ten minutes, you better be getting ready for it
in a half hour. You know, you got to get
ready for the game. Don't just turn the camera on
and now you're ready.
Speaker 2 (21:45):
You're not, you know.
Speaker 3 (21:46):
So I think this generation thinks that they're ready when
they're not ready. You know, they have to you have
to practice and you have to turn it on before
it's turned on.
Speaker 1 (21:55):
So those are type of those are that's information that
these actors would getting classes. Do you stress classes, private session?
Speaker 2 (22:04):
I mean whatever you can afford classes, private session? You know.
Speaker 3 (22:09):
I remember Denzel all have always having the having the
coach have you know what I'm saying, sharpening, sharpening, sharpening,
Michael Jordan in the gym shooting free throws that go
win in four rings, Like like what right, he never
stopped training, right, he never stopped training, you know, so
and let and tell you and let's until you get
out of the business. You know. So if you can
(22:29):
afford it, train and get ready what they say, you
get ready, you stay ready, so you don't got to
get ready, you'd be ready, right right.
Speaker 1 (22:37):
I just feel like there is in my experience within
I would say the last six to ten years, there's
this arrogance in actors. And first of all, they don't
do their due diligence right, And so I'm not asking
for a parade or any type of accolades.
Speaker 4 (22:57):
But I do want you to be familiar with.
Speaker 1 (23:00):
My credits and what I have accomplished and I and
as a casting director, I would be so you know,
I had to wean myself, but I would be insulted
by the fact that the actors didn't even take the
time to research the director, you know. So, do you
find that there is this arrogance, this attitude of immediate
(23:24):
gratification that I don't have to work as hard?
Speaker 2 (23:28):
Yeah, because they You know, the thing is when we came.
Speaker 3 (23:31):
Up, we had to really in order to get the knowledge,
we had to learn it, right, couldn't google how to.
Speaker 2 (23:38):
Be a peer. I had to I had to be
in a feeling.
Speaker 3 (23:40):
I had to learn this stuff real time right now,
you know, the information is so available.
Speaker 2 (23:44):
They think that they know there's no substitute for experience.
Speaker 3 (23:47):
There's exactly you know, So you know you don't know everything,
you know, so they had real life experience and then
the book in Google experience.
Speaker 2 (23:54):
You know, so they and they don't equate. They're not equal,
you know.
Speaker 3 (23:59):
So just because you know, you know some of the
verbiage and you you know what I'm saying, you just
really have to They need to respect the people that
came before them and respect the work, you know, and
and that's the I, M. D. B. And and people's journey.
You have to respect that work because you know, and
they and they eventually get it, you know, but we
want them to get it sooner. You know, they get
(24:21):
it once they really like, Wow, this isn't easy, you know,
but they have to you know, it's important that that
that they understand that you know that this isn't easy,
and that it takes time and it ain't gonna happen tomorrow,
and in the fact, you don't really want it to
happen tomorrow. It's kind of like, you know, the journey.
The bulk of the bulk of it is the journey.
(24:41):
The destination is going to be like that, you know,
so enjoy this journey is a it's a long journey.
But I wouldn't I would I wouldn't rather do any
other journey, but you know, and that's just what it is.
Speaker 2 (24:53):
It's a beautiful journey, So enjoy it.
Speaker 3 (24:55):
That stop focusing on where you trying to get, because
once you get there, you're gonna be trying to get.
Speaker 4 (24:59):
Somewhere else exactly.
Speaker 1 (25:02):
Oh, such great jewels, you guys. I pray that you've
documented this in some way, write it down recorded, Boogie,
we know what work ethic is about.
Speaker 4 (25:13):
You know, I know I have, and I'm sure your experience.
Speaker 1 (25:18):
Excuse me, I've been on a set for twenty four
hours literally a video.
Speaker 4 (25:25):
That's a video set, right.
Speaker 1 (25:27):
I'm a little older than Boogie, so on a music
video set with Lionel Martin.
Speaker 2 (25:33):
Do you classic concept?
Speaker 4 (25:35):
There you go?
Speaker 1 (25:36):
Okay, plastic classes. So I'm saying that to say that
when I speak to this generation about work ethic, even
how you say, oh, I don't want to sound like
my parents, But there's a part of me that feels
like I.
Speaker 4 (25:49):
Sound like my parents.
Speaker 1 (25:50):
But it's like, I know what it's like to stand
next to a propane heater and negative fifteen degree weather
and Chicago shooting exterior barbershop on the Thirteenth Hour with.
Speaker 4 (26:03):
Tim storm mm.
Speaker 1 (26:05):
But if you say to these kids, you know, well, listen,
we're gonna have to simulate winter in summer, so you
can wait, I have to wear a Parker how many wait?
Speaker 2 (26:17):
How do you this entire three twenty three?
Speaker 3 (26:22):
But I mean, and that that's just that's just you know,
I feel like that's just what it is. You know,
they can't really you know, we we came up in
another time, which I remember standing on the corner I
worked in the film. I forgot the name of the
Devil's Advocate. I was an additional advocate. I was in
additional PA starting out and Wow, the ad were the
(26:43):
Screamer and Cold Time at six am. The pas had
to be on set at five am on the corners
that they were locking up in the truck didn't even
arrive yet. Wow, in the dark on the corner standing there, Yeah,
no bag, nothing in your hand. But like it is,
like it was real deal. But it builds character. I mean,
(27:03):
that's her abuse now. And the thing is that is
a different time overall. So nobody's doing twenty four hours.
Nobody's gonna even be doing fourteen hours anymore. In my opinion,
behaved all the the call that came from the DJA
is like, Yeah, a lot of things are gonna have
to change, you know. So that's that's the new world,
and we got to relearn what we've learned, you know,
and then pivot.
Speaker 1 (27:25):
So that's actually a great segue because actors are going
to have to make some major adjustments. I have a
friend who I spoke to the other day and said
that she was interviewed as an intimacy coordinator. That's a
new job that they're going to have, you know, So
what what are some of the changes that maybe you
(27:47):
can speak about now that actors can start to mentally
prepare for.
Speaker 2 (27:52):
Yeah, I mean, you know, some of the protocol they're
talking about it.
Speaker 3 (27:55):
You know, everybody that's not on camera wearing masks, you know,
just the ppe that available on set, and a couple
of like you said, a couple of new crew positions,
you know, that are paying attention to self distancing.
Speaker 2 (28:08):
You know, all the prepackaged food.
Speaker 3 (28:09):
You know, you already talked about the auditioning remotely, you know,
and the rehearsals remotely. You know, just imagine zoom rehearsals,
you know, right, and then you know, just having you know,
on site departments where the hair, makeup and wardrobe never
come to set. And you know what I'm saying, because
they just and then when at three actors come on
(28:32):
the set, three crew members leaving just this kind of
thing that they have to move, you know where you
everybody in the monitors director like three monitors, one for
the director, one for the scriptural visor, and one for
the producers.
Speaker 2 (28:46):
Like never remember the day with d no video village
is you know.
Speaker 3 (28:54):
It's going to be social distance and it's nobody other
than those three people, the DP.
Speaker 2 (28:58):
The director, But remember the days twenty amount.
Speaker 1 (29:01):
Looking Well, that's where I mean as an acting coach,
that's where I am.
Speaker 2 (29:05):
I'm in that well you're gonna be and they might
have room.
Speaker 3 (29:08):
They talked about having remote like say bigger films like
if they're the trailer with you know where where you
can watch video village, so very visit's gonna be kind
of transmitted places you need to see it. It's gonna
be where you can have see right, you know. So
they and all of this stuff is gonna cost more
money budgetary, yeah, yeah, might.
Speaker 4 (29:27):
Be shorter hours.
Speaker 2 (29:29):
Yeah.
Speaker 3 (29:29):
So now these actors better know that they better hit
it there ain't no time to be flowbing lines, don't
coming unprepared.
Speaker 2 (29:35):
We don't want a lot of time.
Speaker 3 (29:36):
So now they're gonna cut the number of hours that
that we're gonna shoot eventually, because you know, the longer
people say around each other, the higher the risk of.
Speaker 2 (29:45):
Right of comamination.
Speaker 3 (29:47):
So they don't want And the thing is with what
they also said for that is that after the fourteenth,
after a certain number of hours, your resistance is is weaker.
So yeah, I said for sixteen hours, their resistance is
week So so.
Speaker 2 (29:59):
It's all all of these things are going to affect.
Speaker 3 (30:01):
Yeah, you have to be leaner, we have to be tighter,
we have to be more intentional and laughing. Hey, just
you go there and you do your business right and
you be about it and that's it, you know, well serious, no, no.
Speaker 1 (30:15):
You're right about the hours because you know a barbershop,
I did sixteen hours sixteen days and you can see down.
Speaker 3 (30:21):
Yeah, it diminishing returns and then what happened to your
immune system is is jacked up. So they so they're
gonna be shorter day, shorter page county. So it's not
going to be shooting seven page if you can't do
it in ten hours, all this coverage.
Speaker 2 (30:36):
Maybe it's two cameras shooting all the time.
Speaker 3 (30:38):
It's just, you know, nobody wants to spend as much
time as we used to spend on set anymore. Nobody
wants because there's a lot of people, so they want
to get in.
Speaker 4 (30:47):
Yeah, I don't even I'm not used to. I'm used
to being on a cruise one hundred and that. I mean,
you know, fifteen.
Speaker 1 (30:54):
People, that's a small crew. But I don't know a
crew that's less than two hundred.
Speaker 4 (31:00):
So you know, we boggie.
Speaker 1 (31:03):
I'm gonna invite you back on because I told you
twenty eight minutes was gonna fly by, and I'm getting
warning signs I did want to make I did want
to give clarity to video village for actors who don't know,
that is the space in which the director where you
see the director chairs for the director, the DP, the
script supervisor, all of the producers, writers. It's sort of this,
(31:27):
you know, we huddle around the monitor. I'm usually sitting
on an apple box in front of the monitor, try
to get distanced.
Speaker 4 (31:36):
But they always they're very gracious on set, and they
give me a director's chair. So that's our video village.
Speaker 1 (31:41):
I just want you, and I got a minute left,
if you could just give actors what is the best advice,
because you've given them some amazing nuggets.
Speaker 4 (31:52):
What is your best advice that you want to give them.
Speaker 2 (31:55):
I mean, I would say, just continue to work and
stay sharp. We're going to come out of this. You know.
Are you gonna come out of this better and sharper
or not? You know? So continue now.
Speaker 3 (32:05):
You got time to get that monologue tight, You got
time to work on stuff because once things open back
up or things want to get back to whatever normal,
we find that time is lost.
Speaker 2 (32:15):
So use this time.
Speaker 3 (32:16):
Why is it you know, read some scripts whatever, if
you want to write, Just just just utilize this time.
You know, take yourself and critique yourself, and you know,
just just do that work you know that you always
wanted to do in this time and shopping your tools.
Speaker 1 (32:31):
Wow, it was an excellent twenty eight minutes. I'm holding
on to all of that. I want you guys to
put your hands together for a director extraordinary mister Michael
Boogie Pigney, thank you for.
Speaker 2 (32:46):
Having me, Thank you having me so much for coming.
Speaker 4 (32:50):
I really really am grateful to have you here. So
we'll be back on.
Speaker 1 (32:56):
The Spirited Actor Podcast with you know my favorite segment
class in session.
Speaker 4 (33:04):
Welcome back to.
Speaker 1 (33:05):
The Spirited Actor Podcast with me Tracy Moore.
Speaker 4 (33:08):
And we are still blessed.
Speaker 1 (33:10):
To have Michael Boogie Pinckney with us Director extraordinaire. Yeah,
we're applauding him. He gave us some great nuggets.
Speaker 5 (33:21):
Man.
Speaker 1 (33:22):
I feel like I need to just saturate my mind
with all that he gave us today. So embrace it, actors.
I have Miss Julisa Capri spirit Actor Alumni on with us. Hey, so, hey,
I know my listeners know that you know this is
(33:42):
my favorite segment to high light specter alumni, give them
a platform, an opportunity for our guests to see their
talent and give constructive criticism. Soter Lisa, you can tell
us the title of the monologue and then whenever you're ready,
we still have book.
Speaker 5 (34:01):
It's called Nuts and so I'll just get I'll get
right into it.
Speaker 4 (34:06):
Okay.
Speaker 5 (34:07):
When I was a little girl, I used to say
I love you to the moon and down again, around
the world and back again. And she used to say
to me, I love you to the sun and down again,
around the stars and back.
Speaker 4 (34:18):
Again, And I used to think, Wow, I love Mama
and Mama loves me. What could go wrong? What went wrong?
Speaker 2 (34:31):
Mama?
Speaker 6 (34:33):
I love you and you love me, and what went wrong?
Speaker 2 (34:39):
You see?
Speaker 4 (34:39):
I know she loves me and I love her, so
what so what? She's over there and I'm over here.
She hates me because of the things that I've done.
Speaker 6 (34:47):
To her, and I, hey, y'all, those are the things
that she's done to me.
Speaker 4 (34:56):
See, he's staying in.
Speaker 6 (34:58):
A bad Ask and do you love your and.
Speaker 4 (35:00):
Then they say yes.
Speaker 5 (35:02):
You think you've asked something real, and they think they've
said something real.
Speaker 4 (35:07):
You think because you tossed the love. I'mund like a
frisbee that we're all supposed to get old running.
Speaker 5 (35:13):
Oh, something happens to some people. Sometimes they love you
so much. There's something noticing you're there because their teo's
loving you.
Speaker 4 (35:22):
They love you so much.
Speaker 6 (35:23):
Your love is like a gun and they just keep
fine and straight into your head. I mean, they love
you so much to go straight into the hospital. M Fama,
I know that you love me. There up, the love
(35:43):
is too much. It's too much, you're not know.
Speaker 1 (35:48):
H see, Okay, all right, So it was a little
choppy for me, I don't know how it.
Speaker 3 (35:57):
Was for Boogie, just a little choppy okay for me also,
but you know.
Speaker 5 (36:04):
My connection is that unstable on the thing across the screen.
Speaker 2 (36:07):
So yeah, that's fun. You know, I got it, I
got I got it. Though he's a professional, that was
an interesting monologue. It was an interesting monologue. Who are
you talking to? Were you talking to someone that? Were you?
Speaker 5 (36:22):
So she's on a stand talking to her mother's across
and then she's trying to convince them that she's not crazy,
even though she's been brought to a crazy house and
her mother is the impetus for a lot of stuff
that's going on in her life. And so her mother
is there, she's confronting her, but she's also trying to
let them know, let me out of this space.
Speaker 2 (36:43):
I'm not really crazy.
Speaker 3 (36:45):
Okay, Okay, interesting because I was trying to gauge you
and I knew it was a lot going on, you know,
So I'm you know, trying to follow the story, which
in which I feel like, you know, sometimes I feel
like actors. It's just like kind of like those singing shows.
It was like all better song selection. Sometimes I feel
like I active picked them monologue that because if for
(37:07):
me it kind of because there was so many moving pieces,
it kind of distracted me a little because I'm trying
to follow the story versus zeroing in on your acting ability.
I found myself kind of like getting the gauge because
it was it was kind of dense, you know, the story,
the story of the monologue.
Speaker 2 (37:26):
You know what I'm saying.
Speaker 3 (37:26):
That's just that's just why I found myself trying to
really follow and make sense of this story, and that
took too much of my attention, you know.
Speaker 2 (37:35):
What I'm saying. I don't know if you ever experienced that, Tracy.
Speaker 1 (37:39):
Yes, I mean we don't see a lot of monologues,
but I think that this monologue is from the film Nuts.
Barbara Streisam was the one that was in the stand,
and I think for me it was more of the
jerkiness because I do know them monologue, so I can't
(38:01):
really I don't care. But you know, one of the
things that it is going to be challenging, in my opinion,
is the technology because we're all going to be audit
when we get back in, so I don't know how
that's going to be. Because casting directors are saying to
me now that most of the auditions are going to
(38:22):
be zoom.
Speaker 4 (38:24):
Callbacks are going to be zoom.
Speaker 1 (38:25):
When some Sinclair was on and she said that she
did a Zoom callback with a director, So you know,
we are going to experience some of these glitches. You know, prayerfully,
you know you'll get another chance to do it again.
But that's something that I think is really going to
have to be a discussion because zoom is not flawless
(38:48):
unless there's another platform that is created specifically for this.
Speaker 3 (38:54):
That's a good idea for something, some technology to come
from casting directors for it, because you know, Zoom is
all we got, That's what everybody has.
Speaker 4 (39:02):
And everybody's on it. Everybody's been on it since we've
been down and even before that.
Speaker 1 (39:07):
But I think that their needs because I really feel
like the challenge is going to be.
Speaker 4 (39:18):
The challenge is really going to be, you know, the.
Speaker 1 (39:23):
Fluency that you have of course in the live one,
didn't you know, and being able to and then you freeze,
you know, when you were talking about rehearsal, I watched
a rehearsal a couple of weeks ago and it was great,
but then it was freezing, and you know that causes thing.
So we're gonna have to work out those glitches. But
you know, overall, like I love this platform to be
(39:45):
able to do this.
Speaker 4 (39:47):
You know, and you know her from the neighborhood. You
may not know her talent, but I knew.
Speaker 2 (39:52):
I came to the showcase I saw you did. I
was already talking about it. Are you sitting or standing?
Speaker 5 (39:59):
I am because I was just short sitting monologue.
Speaker 2 (40:03):
Okay, the sitting monologue, Okay.
Speaker 4 (40:05):
It's she's sitting in the witness stand.
Speaker 2 (40:08):
Uh see.
Speaker 3 (40:09):
I guess you know the thing for me a lot
of times the monologues that have a lot of components
from films to help it along.
Speaker 2 (40:17):
If you don't have it, you know, the witness you
know what I'm saying.
Speaker 3 (40:19):
So it's like, because now we it's hard for me
as the viewer to visualize what the world is. So
if you pick a monologue that you know, you're doing
things based you know, creatively and as for the monologue
based on the context.
Speaker 2 (40:35):
But I don't know the context, I'm not gonna really
get it.
Speaker 3 (40:38):
So I you know, so whether it's good or bad,
it's kind of like I'm kind of lost in the context.
Speaker 2 (40:45):
Of where you know.
Speaker 3 (40:47):
So so for me, I find you know, monologues that
work best are ones that don't that kind of our
standalone you know, if you really you know, you're familiar
with the film nuts and you know what I'm saying.
If you aren't familiar thing, you're not going to be
as moved.
Speaker 2 (41:03):
You know. It's kind of like a song people sing
a song on Oh.
Speaker 3 (41:05):
I really loved that song, whether they did a good
job or not, I love that song, and that's the
focus versus somebody that picked a bad song and your
voice is amazing and you're like, all right, you know
the song and great the voice, you know what I'm saying.
Speaker 2 (41:20):
So it's hard to kind of separate and kind of
decide which is it.
Speaker 3 (41:23):
And if you're doing a self tape, you ain't. There
ain't no time to figure out which is it. It's next,
you know what I'm saying. So it's kind of like,
really see, you know, step outside of what what monologue
you're doing, to see if it makes how how would.
Speaker 2 (41:37):
The viewers see it?
Speaker 3 (41:38):
Not how you feel about it, because you probably like
I love this mylog, but sometimes actors tend to make
it more about them than anybody else when it Unfortunately,
it ain't about you when you're doing the audition. It's
about what you're given to the person watching. So so
that's that would just be my note in terms of
figuring out is there better monologue for me to see
only your talent and not try to suffer with the
(42:00):
context of what's going on, you know, So that's all
I can focus on, you know.
Speaker 4 (42:05):
Okay, Wow, that's a great point. I've never thought about
it in that way. That's a great point. Thank you
so much.
Speaker 1 (42:12):
So, and I always ask because yeah, I mean, I
definitely want to have you come back on in class
and session and see a scene and see the work
and yeah, because that's all original work as well.
Speaker 4 (42:25):
But everybody puts your hands together and send virtual hugs
to our guest, mister Michael Boogie Pinkney. Yeah, and we
recorded this.
Speaker 2 (42:41):
That was fierce.
Speaker 1 (42:44):
Okay, So we will be back with the Spirited Actor
Podcast with me Tracy Moore and I will be giving
you love. And now it's time to give love. If
you want more trust in your life, you have to
be more trustworthy. If you want love in your life,
(43:07):
you have to be of love. Whatever it is that
you want in your life. You have to be of that.
If you want people to trust your word and be
of your word, you have to be of your word.
Whatever it is that you want more of in your life,
(43:28):
it starts with you, and it starts with your thoughts,
and it goes into your words and it manifests into
what it is that you want. You must learn to
trust your thoughts, you must learn to trust your words,
and you must learn to use the words that are
(43:50):
going to manifest what it is that you want. If
you want abundance, you can't speak of lack. If you
want happiness, you can't speak of sad. This the things
that you want, the things that you will manifest in
your life, are the things that you speak clearly and
(44:11):
stay focused and hold that vision. Whatever it is that
you want in your life, be of it. Thank you
for joining us on the Spirited Actor podcast with me
Tracy Moore. I look forward to our next Spirited podcast.
Thank you
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