The Spirited Actor - Sharron Cannon

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Episode Transcript

Speaker 1 (00:00):
Hello, and welcome to the Spirited Actor Podcast with me
Tracy Moore. I was a casting director for film and
TV and commercials for over thirty years. I transition to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Thomas.
I audition every rapper from Biggie's Balls to Tupac, and

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

(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now I know, I know actors want to
get the job. I get that, but being remembered by
casting director that is powerful. And now it's time for
meditation of the day. If you follow the natural intuitions,

(01:09):
you get the most success out of life. RISA. Trust
your instincts. You have to learn, and you have to
listen and witness it for yourself, otherwise it's not a
confirmation to you. Right, there are things that you distinctly set.
Have you ever had that feeling of like you're walking

(01:31):
down the street and you pass like this little alleyway
and you look down, and then you say to yourself,
I'm not going down that alleyway, And then something aside
you is like, don't go down that alleyway. Follow that.
Trust that that is instinct, that is something alerting you
of maybe possible danger or the fact that you have

(01:52):
no business going down that dark alley in the first place.
Trust that what you see in your life is real.
You know a lot of times I like when people
say to me, well, the reality is tracy, and they
they they emphasize that reality as if I live in
some fantasy world. I give them a past because I

(02:15):
know the truth and I don't need to try to
convince them of the truth. But what I do know
is that my instincts have always been right, and I've
always been obedient and listening to that, listening with my
ears and listening with my heart. Today I will listen
without doubt to myself before we get started. I'd like

(02:38):
to remind everyone to look out for my new show,
Inside the Black Box. I'll be co hosting with the
great Joe Morton. Will be on Crackle Network real soon.
I'll keep you posted. Welcome to the Spirited Actor Podcast
with me and Tracy Moore. I am so excited every

(02:58):
single show because I get an opportunity to share with
you some of the most remarkable people in this business.
You will know their credits, you will know their work,
but sometimes we rarely get to get a face attached
to that, and so that's why I get excited, because
I can bring these faces and names together on this

(03:21):
podcast today. I have been begging, Okay, I'm just playing.
I have been requesting our presence on the podcast. You know,
I haven't been begging you, guys, but I've just been
really excited because I wanted her on this podcast and
stay one, because she is a plethora of information, her wisdom,

(03:44):
she's been here several times before, and her experience in
this business as a producer groundbreaking. I remember product placement.
I didn't even know what that was until you know, um,
Sharon was in that position and explained it, and just
so many other groundbreaking things. So, ladies and gentlemen, I

(04:05):
would like you to get up and put your hands
together for multi multi hyphenative. Sharon Cannon, thank you, Tracy.
We were in the trenches together. What you talk about
when when people say gorilla filmmaking, I'm like, let me
see your resume, let me see let's talk about gorilla,

(04:28):
because you want to talk about gorilla. Sharon and I
could go way back. We could go back to music
video days. But I'm unless Sharon take it further. But
music video days when Sharon and I were on these
multimillion dollar sets, because that's the money they used to
swing back then. And we were there for twenty four
hours looking out for each other, like Okay, you get

(04:49):
some sleep and then I'll come back in the trunk
and then I'll get sleep and then we get busted.
Yeah we did. We we the director would the world traysleep? No, no, no,
no no. We were just resting our eyes, just resting
our eyes. That's it. It's twenty three hours by now, dude,

(05:10):
give us a break. Twenty three hour music videos. Ladies
and gentlemen, we're talking Jodicee. Boys to men are Kelly
and public announcement. That's right, Keith Sweat, so Witney Houston,
I mean Sharon's credits. Let's start at the beginning, Trump,

(05:34):
because Sharon came from Los Angeles to New York and
I came from San Francisco. That's our many one of
many common denominators. However, how did it start with you? Oh? God?
You know, I have to go back to south South
Central on this one because my mother was running a

(05:55):
restaurant that was that in the back was again I'm
ling joint and we were flipping burgers. So it was
going the back, yeah, because it was it was a
straight up joint in the back, gambling joint, poker, everything,
and it was doing the burger wars. It was the

(06:16):
seventies and it was you know, fat burgers, and you know,
fat burger wasn't the best burger during that time. There
was a lot of families and and they're still out
there in South Central with some of the best burgers
that you would ever find. Anyway, my mother was running
this joint and we were flipping burgers and every all
the celebrities used to come to Central Avenue because it

(06:37):
was on Central Avenue, and Eddie Smith and Curtis used
to come in the joint and you know, my dream
was to do Hollywood from day one. I wanted to
produce or something, and Eddie Smith gave me a chance
as a coordinator on his shows. As a matter of fact,
I never got credit on this shows. I did that

(06:58):
extras casting or the greatest which was sek Jack Which
way is up? You know? So I really had a
real experience in Hollywood before Hollywood was what we know
it is to be now. They were all working towards
getting black stunt men and women and extras in films.

(07:21):
So it was a good time. And Eddie Smith is
a very well known guy in Hollywood. That's in my beginning.
So when you because you talked about producing but just
wanting to be in Hollywood, there weren't a lot of
faces that looked like you at that time. So was
that a tochurren for you? Or was that motivation to

(07:41):
crack that? You know? Motivation motivation? Yeah. You know some
of my friends that I met in l A. I
met on those sets are Reggie Donne, the greatest, quite cool,
What's which way is up? With Richard Pryce? You know,
some of my dear dear friends that we're really doing

(08:02):
the work back in the day quite who also shot
wats that. So I know, I'm growing out names that
some of your your population may not know, but they
need to know to I am BB dot comm and
so yeah, they really need to know these people because
these folks were definitely breaking barriers in Hollywood. And we

(08:24):
also had a wonderful institution called Inner City Cultural Center,
and I started producing little small theater vignettes out of
Inner City Culture. So so it's it's been a it's
been a road. It's so in in you because I
know we have experiences like that when we're primarily the

(08:46):
only person of color in the room, and you know,
our challenges in terms of our experiences in Hollywood being
a person of color and then being a woman as well.
How have you got through those challenges and obstacles, because
one of the things about you is that you constantly

(09:07):
stay relevant. Like I don't even want to stay relevant,
I know, I want to say, ahead of your time,
talk about those challenges and then give us some examples
of when you saw your vision was on point and
people were still like, oh, I don't know, you know,
and then boom, it's right before them. Yeah, you know,
I have to even start out with my parents because

(09:29):
you know, we were to go off to college and
become a doctor or lawyer. I mean, and I came
back home and said, hey, I'm gonna make movies. And
they were like, what the hell is that? And I
told my mother I could be an actress, that I
could act like a lawyer and act like a doctor.
Do you think that was sweaty? You know my mother

(09:51):
and I know your mother, and I know they too well. Yes.
So you know, we came through the civil rights movement.
You know, our population were the ones that integrated school,
so we were always doing something for our people, and
we had to represent, you know, we couldn't just show

(10:11):
up and not represent. We had to show up and represent.
And you know one of the things that you and
I talked about before is that we have to always
know more than the other folks on there. And we couldn't.
We couldn't articulated, but we had to know, and then
when they do come to us and ask us that question,
we had the right answers. It was a lot of motivation,

(10:32):
particularly Hollywood in those days. So we're talking about the
late seventies early eighties, and you know, my father, I
was really fortunate because my father, you know, we although
I was born in Cleveland and I was raised between
Florida and California, and my father had worked with Jim
Brown on the Niggro Economic Summit so back in the day.

(10:57):
So we knew Jim Brown from the days of Shaker
Heights back in the day. And I'm still very good
friends with he and his children because we all kind
of grew up together, Kim Brown, Kevin Brown, Jim Jr.
We all grew up together. So when I moved to Hollywood,
I had access to someone that was really in Hollywood,
and it was Jim Brown. And I'll never forget I'm

(11:20):
gonna tell this story. I'll never forget that one of
the first interviews I had was with Richard Pryor and
I was in college. And this was after I had
gotten me experience with Eddie Smith, because I knew then
I had a little bit experience and I really wanted
to do stuff right back then. Also, Marvin Gaye was

(11:41):
producing a track meet annually. I had been working as
a coordinator with that track meet every year. Jim Brown,
Oh my god, out of all people. I called Jim
Brown and I said, hey, I got word that Richard
Pryor is looking for h an assistant. And he said, oh,
he said, you want to interview. I said yes. He said,

(12:02):
I'm not sure, but I'll let you know. He got
me a job, got me a job. He got me
an interview with Richard. We go to his favorite restaurant
and Richard piece moving back and forth. He's trying to
figure out how to tell me no, and I can't
figure it. Wow, you know, he said to me. He said, Sharon,

(12:27):
I want you to finish school because I was at Pepperdine.
Then I want you to finish school. And he said,
I don't think this is the job for you. And
he said that so fast, and I I broke down
and started crying. And I cried, and he held for
his car and said, keep my car. He threw me
in this cute little four fifty sell Mercedes and he

(12:48):
drove me up my hauland drive down PC and he
was like, I didn't tell you that. You know, you
were not gonna be friends. I told you just this
is not the right job for you. That's all I'm saying.
We can still work together because I think I'll do
things together, and I'm like, what this job Hollywood was different?
Then a great story, Oh my god, and we finally

(13:13):
I calmed down, we got back and god it was
two months later, and you know, Richard was in the hospital.
So it just goes to show you how also because
of the spirits that I have around me, I'm somewhat
protected in a way. You and I care about that
before Paul Mooney said it best, Paul Mooney said, Cannon,

(13:35):
he was trying to protect you, don't you know. And
I'm like, no, I wanted that job. I really wanted
that job. Out of that relationship, Paul Mooney and I
up until he died, has been very very good friends,
very good friends. Hollywood. Back in the day it was
a place that a lot of black folks was united

(13:57):
somewhat and all are trying to accomplish somewhat of the
same goals. And then you know, after what they called
the Black Exploration, which I never understood that name because
I didn't see any implording. Yeah, I didn't see exploring
black folk. Um, what I saw is that we had
a chance to get out and showed the images in

(14:17):
which we all was duty fully trying to fight for
so the network was very different. The network was a
lot of black folk. And I met Jim brew Baker
through Jim Brown because he was a part he was.
He was trying to get Jim to act in one

(14:39):
of his movies. It was Jim brew Baker that got
me through to working with a very diverse group of
people in Hollywood. And so when you work with Jim Brewbreaker,
because you were working with a lot of in working
with him, and for those of you who don't know
who Jim Brewbreaker is, I always tell you that I
am DV dot com these people, That's not our job

(15:02):
to give you all the information. You have to do
your due diligence. However, in this case, he was the
production was a unit production manager at Universal Studios No.
At that time, Jim brew Baker was an executive producer.
The Duck Stories Above the Rim was the first movie
that I worked with him. Yeah, he was an executiveve

(15:24):
and then he wanted to do Nutty Professor. He became
the president of Universal Physical Production and I stayed with
him throughout that part of his life as well. So
in that when you're working in that capacity, you're working
with the directors. Um, I remember when you know you
would be in the meetings because you were on training

(15:46):
day and I remember, way before the script even was
was out, you were interviewing directors. I remember when you
had a meeting with Antoine for kor. How is that
at that level different for actors just the production in general,
your day to day Well, first of all, actors should
know that their reputation precedes them. Okay, uh, I may

(16:13):
throw out because I used to get a lot of
calls from New York because at this time I had
lived in l A. I had worked at the Mayor's
Office of Film in New York, I had worked at
die Hard and now I'm back in l A in
that position with Jim Brubaker, right, So I had worked
on both coasts, So I had both coasts contacted me

(16:33):
when they realized that the type of position I had
with brew Baker, Right, he really trust me and I'm
so thankful for him. And I used to bring folks
to the table, and if I threw some names out
and if they fucked up, excuse me for saying it
like that, I get called out like, hey, did you
know that he did X, Y and zero on the

(16:55):
on the set whatever. And you know, it was always
hard because I'm know, I'm always trying to get my
folks to get seen. I didn't hire anyone. I don't
want anything anybody to think that I hired these people.
But what I did is that I vetted them so
the executive producer can look at the lists and hire
the people that I pulled together. And she always champion

(17:18):
you guys. That's one of the things that I got
from you know, Sharon, is that we always try to
create a space, you know, to bring others in. And
like you said, you know, we can open the door,
but you gotta walk through it, and you've got to
be prepared walking through. You know. I remember u N
spiked specifically with the union, got a lot of people

(17:43):
in the unions. And that's powerful, you guys, because you
know that unions represent you and they protect you and
they arbitrate for you. And so to be able to
bring a group of people and people of color who
have never had that just working maybe as freelance or
getting paid under the table, you got that. You championed

(18:05):
a lot of people in that journey. You know, that
was a great period for me. Uh in a lot
of ways. It was before it was doing my baseline time,
and it was before the Mayor's Office of Film because
they have been a client. And uh, those that don't
know who must Stop mcginni, giz, you need to know

(18:28):
that must Stop was stopping productions in New York. And
my folk in l A Was calling me saying, Hey,
we're pulling out of New York. And I'm like, you
can't pull out of New York. We're pulling out of
New York. So what I did, along with David Dinkins
was the mayor at that time, and we pulled together

(18:51):
all of the physical production presidents to come to New
York and have a conversation about what we were going
to do to get more people into the unions and
how we were gonna stop Mustafa from stopping productions and
them losing money because that's the reason why they were
canceling out New York. So we had a round table

(19:12):
discussion and I was very much a part of that
and coordinating those efforts with the Mayor's Office of Film
at that time, and as a part of that, we
got folks into the union, which is one of the
you know, when you think about your life. And you know,
my friends called me the Renaissance woman because I see
to him at the scope right when I think about

(19:39):
the impact that some of those positions made. You know,
I'm so thankful to have worked with Darnell Martin, the
first African American woman to have a studio film, which
she wrote direct and as a producer, along with Lane
Jane Jenger and and Carly I mean and and Carly

(20:02):
was an executive over at the record label. That's right,
it was Ji. So I I am so fortunate to
have worked in a lot of first is not my first,
but a lot of other black women, black folks first.
I am so blessed. And to know what that impact

(20:25):
is is so important to our history. It's like at Baseline.
Baseline was the first online company before the World Wide Web.
I want that with Jim. I got a lot of
gyms in my life with Jim Monico, who was a
professor at n y U. And understanding what type of

(20:49):
impact that was that because I remember the day when
we put in Oscar the show's credits for I Am
what is now known as I Am d TV. Yeah,
that's right. You know, I was a part of launching
that and folks will never probably really know my name
or what I've done, but I know and I'm very

(21:11):
clear about some of my impact. And we're clear. And
that's why it's so important to know your history, to
know the people that open those doors for you, because
that's why you're there. And then to continue on. We
passed the baton on, but you gotta you gotta have
that knowledge. You gotta have that due diligence. And one

(21:33):
of the things in you know, I mean we were
making jokes about the music video in twenty four hours.
They were twenty four hours both Sharon and I. I
had my daughter and um Sharon had two children, and
we talk about community. If I got stuck on a set,
you know, casting or at the office, I could call Sharon.

(21:55):
Sharon would pick my daughter up and hold her at
my house with her Utter Asia, who you all know,
casting director extraordinaire and so radiance in Asia would hang
out until I'm finished. I would come to Sharon's house.
By then it's dinner, Sharon. When I tell you the
epitome of like forget about Mark for Stewart, Okay, Sharon

(22:17):
Cannon's son, Sharon Cannon, like I learned so much as
a mom from Sharon, Like she she has gadgets, she
has like just I'm saying, like having dinner at Sharon's
is not just eating food. She has placed mats. She
has like a setting, a floral setting. She has candles, like,

(22:39):
she's real silverware that you polish, generational silverware that you
It happened on my grandmother and my and my mother
right for that because at the no, can't leave that
out because my father was a far better cook than
my mother. My mother was. She would make the presentation

(23:04):
I loved or like Sharon would have the cake stand
and there'd be cakes and because way before the Kardashians
and their glasses and candy and all of that, like
this was going to Sharon's house and it was just
it was so what is it the sheet but it's
something chic, like I don't know it's a word that comes.

(23:26):
But in terms of the design like it was and
then the music literally it was like a film. All
the all the essentials were there because she said designed
the table. The food was the president. That's where I
learned presentation with food with Cheron. Yeah, you know, I

(23:46):
was married. I was married again to a Broadway musician
and my first my first out in New York was
because of nel Carter. I was Neil Carter's assistant. I
ran around town bringing bags and holding bags and you know,
making meetings. And you know, there's one other thing I

(24:07):
want to mention. During that time, Nel Carter was very
good friends with Joe Pap and yeah, with Joe papp
and and Joe Pap at that time was trying to
save the New York theaters because cop was trying to
tear them all down and bill high rises, but he
had saved the theaters. And along with that, it was

(24:30):
the same times Square because if you know Time Square,
doing that time period, it was rough. Yes, yes, you
could walk from forty second and like Seventh Avenue down
to eleven and it was just shady, Like you I
felt like I needed a selling shot. Every time I

(24:50):
walked down there. There was just you know, the porn shops,
the drugs. It was like I remember one time when
I first came to New York, it was like LSD
extacy cocaine. I was like, ah, Barbi super bowls out here,
you know, that's right, But it was Sharon and I
discussed this earlier because I knew that Sharon, Sharon is
apart one and apart two ladies and gentlemen. So we're

(25:12):
gonna have her on for part two because there's so
many other things I want her to share. Her story
working on Above the Rim with Tupac are late great Tupac,
and she introduced me to Tupac. So what we're gonna
do is we are going to bring Sharon back for
part two. But Sharon, before we go to class in session,
any more treasures and diamonds you want to drop on

(25:35):
these folks. Yes, you know. When I think about actors,
you know, one of the things that I think actors
should always be prepared to do is understanding how they
could insert themselves into the character. And I know you
as the spirited You know, I found my Spirited Actor

(25:57):
card because you remember you and our partner on the
early day. I found it. It is so important that
they insert themselves in ways that will go far, because
it's a you know, you read about this character on paper,
but how do you bring it to life right? And

(26:19):
I think it's very important because that's what people take
away from your performance is how did you make that
your character? Well, we got some characters coming up to you.
I'm excited. So we you guys hold on. We're still
blessed to have Sharon Cannon with us. So we'll be
back with the Spirited Actor Podcast with me Tracy Moore,

(26:41):
and we're gonna do class in session. Yay, welcome back
to the Spirited Actor Podcast with me Tracy Moore. And
we still have Sharon Pannen. Yes, so we are going
to move into as Sharon you can come up. Yeah,

(27:02):
We're gonna move into classic session right now. And so
as always, you know, we call her wonder woman. You
know she's a casting director as well. Um, we're gonna
bring to the stage Elsa Athan and she's gonna introduce
our Spirited Actor alumni. Hello, Hello again everyone, wonderful interview. Sharon,
definitely enjoyed all of those gyms you dropped. Thanks Elsa.

(27:27):
Today we have another two of our wonderful Spirited Actor alumni.
We have missed Shamika Nelson. No, hey Sharika, and we
have missed to Tunisha person he Anisia. Thanks for being on.

(27:48):
Thank you. And today we'll be doing one of our
writers in Residents Scenes Community Lunch written by Lee and
a motto okay, So whenever you're ready, I'll say you
can collet interior lunch room day. Kelly walks into the
lunch room to find her boss Patty there with her
hand in the fridge grabbing a plate. Oh hey, Patty, Hey, Kelly,

(28:16):
tough meeting a daday run. Tell me about it, Marcia.
That told us how he even really feels? Right? Um, Patty,
I think that's my lunch. M No, it's mine. We

(28:37):
probably have the same container. Did you get that from
the top left side of the refrigerator, because if so,
that's my lunch. Your what? Oh, you know what, I'll
just check. Good idea. Patty blocks the fridge. Maybe i'll

(29:03):
check it later, better idea. Pattie smiles and walks out.
So Kelly checks the fridge and that's totally her food
missing again. She encourages herself to grow some and heads
over to Patty's cubicle. Excuse me, Patty, Oh, you know,

(29:30):
it's a funny thing. You came over here because I
was just thinking to myself, So what a great choice
that I made hiring you. You know what, I'm so
grateful for my job. Thank you again, thank you. This
might be just a little bit of a mix up,
but that is my lunch. I checked. Are you accusing me?

(30:02):
Two weeks in and you're accusing me your boss, I
might add, as if I can't afford to buy my
own lunch. No, no, no, no, no no no, that's
that's not at all. I mean, I'm just saying that
it just might be a little bit of a mix up.
That's that's. That's all I'm saying. Yeah, but you know, uh,

(30:28):
it's okay. I'm not even hungry. Yeah, I'll just try
to get in tomorrow, noberries. Okay. Kelly runs out of
Patty's cubicle, noticing her own sweater hanging on Patty's coat
right too. See, yeah, I'm gonna go into Eustrod and

(30:50):
whatever you want to give them. Wow, I don't have
any anything that I would tell you to fix. I
love Shamika being Kelly, and love is it ta Tanisha?
Did I say that right? Tunisia to Tunisia being Patty.
I love the expressions, uh in both of you because Kelly.

(31:15):
At first I thought Kelly was gonna be too nice
when her eating her eating her lunch, and then when
you notice that she had your sweater to your whole
expression just really like was all there. I I enjoyed that.
Excellent job, ladies, thank you so much. You know, one

(31:38):
of the things about the spirited actors is they're always
prepared because they never know when they're gonna get this call.
And we just love giving them the opportunity to showcase
their talents with people who work in this business and
continue to create opportunities for you guys. Definitely, Sharon is
a real physical fighter if she had to be. But

(32:00):
she does fight for actors, man, I'm telling you she does. Know,
Like because Sharon is that producer that I would go
to and I would say, could we get a plus ten? Right,
We've talked about this, so in your deal, getting an
additional plus ten so that you can pay your your
agent gets paid, it doesn't come out of yours. Sharon
is one of those producers that would give a plus

(32:22):
ten because she's on your side. She chance friends actors.
So you need a producer like that because most of
the producers they're about money. M are we gonna make
these numbers at the end of the day, Like their
heads are all over the place. But if you genuinely
had an issue and I've seen this myself. If you
genuinely maybe gotten stuck or need a nudge, Sharon is

(32:45):
that producer to go to your and she's the one
you want to come to your trade where to you know,
jarre you back, So kudos to her. But thank you
you guys, thank you spirit Actor. I'm like, thank you
Elsa and gentlemen, please stand up, put your hands together. Again. Phenomenal, phenomenal,

(33:07):
powerful and continues. Part two is going to be even
more powerful because way to hear what she's doing next,
which you won't be surprised because again groundbreaking, groundbreaking. Okay,
thank you Sharon Cannon for being on the Spirited Actified.
Thank you anytime, and we'll be back with the Spirited
Actor podcast with me Tracy Moore. And I'm gonna give

(33:30):
you some love. That's what I'm gonna do. Give me
some love. Now it's time for give love. So the
other day I was having this conversation about Soria in
terms of standing up for herself right and and what
you believe in and what you believe is right, and
she said, you know, sometimes Grandma get embarrassed when we
go to target. And I was like, why do you
get embarrassed when we got to Target, and she said, because, well,

(33:51):
one of the things that you do is you'll take
out your wife's and you'll wipe down the payment machine,
which I do because they stopped doing it. There was
a time during the pandemic when they did it. Now
they don't, and so I want to continue that process, right,
And then she said that I will ask certain things
of the people that work at Target, and then if

(34:12):
they don't show me, or if they don't help me out,
then you know, I will continue with dialogue that might
be a little loud. And I said, well, first of allus, rat,
I'm not yelling at anyone. I'm just being firm and specific, right,
and usually I'm gonna be honest with you guys. It
occurs when I say to an employee, can you tell

(34:34):
me where the greeting cards are? And they will point
in a direction to say somewhere down there. Now, somewhere
down there is not specific like I, oh, fourteen E
and that's what I'm looking for. And yes, I'm an arie.
Sometimes I do get a little impatient with that type
of direction. However, I did say to Soriah that my

(34:55):
intention is not to embarrass you. My intention is to
teach you to stand up to what is right. And
just because people roll their eyes at me or suck
their teeth when I take out my wife's to wipe
the machine down, is not going to stop me from
doing that, And their judgment and their shame is not

(35:18):
going to stop me from doing that. That is my comfort,
and that is my belief, and that is what I
stand on. Don't forget to look out for us on
our new show, Inside the Black Box. My co host
will be Jove the Legend Morton. It's going to be
The Spirited Actor Podcast on Steroids. Will be streaming on

(35:39):
the Crackle network. I'll keep you posted. Thank you for
joining us on the Spirited Actor Podcast with me Tracy Moore.
I look forward to our next Spirited Podcast. Thank you,