March 24, 2020 • 44 mins
Brooklyn born and raised,Twinkie has 30 years of experience in the entertainment industry. She began casting music videos then grew to shorts and feature films.
cast short films for AFI & USC students. Most notable to date is director Ryan Coogler. While attending USC, Twinkie cast Cooglers award winning short film FIG then went on to cast Fuitvale Station. She has also cast Stomp The Yard, Jumping the Broom, Notorious, Filly Brown, Sparkle, Southside with You, BEATS then Televisions Being Mary Jane. “While casting those films I learned more about producing then most recently I’ve been bitten by the directing bug.
Twinkies directorial debut is an award winning short film called The Counter: 1960. The Counter has touched lives around the globe. It chronicles the lives of three current day “woke” black college students who slip into the past and relive the lunch counter sit ins of the segregated south in 1960. Will the be served?? Twinkie is also Executive Producer of a Christmas film for Lifetime Television and a MACRO Young Adult film called Young Wild Free.
“Directing and Producing are my new frontier, Twinkie says, I see things differently, in a new way. Its so wonderful how new challenges make you feel even more alive. Seeing the world from this new vantage point is exhilarating!”
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hello, and welcome to the Spirited Actor Podcast with me
Tracy Moore. I was a casting director for film and
TV and commercials for over thirty years. I transition to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Thomas.
I audition every rapper from Biggie's Balls to Tupac, and
(00:24):
I realized that rappers and musical artists they needed help
transitioning to acting. My clients consist of musical artists from
Buster Rhymes to Eve, Missy Elliott, Angela Ye from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now. I know. I know actors want to
get the job. I get that, but being remembered by
casting director that is powerful. Meditation of the day. Can't
(01:06):
nothing make your life work if you ain't the architect
Terry McMillan, Our life is in our hands. We have
the power to create the life we've envisioned if we
honestly believe it. We must first think about the direction
we want to go, and then watch how the universe
provides us with the tools to progress. I test this
(01:29):
theory on a daily basis by thinking about people, and
they will suddenly appear or call. I used to fear
this power, but now I have learned to use it
in a positive way into the best of my ability.
Today I will test my powers in a positive way
and watch the blessings flow. Welcome to the Spirited Actor
(01:52):
Podcast with me Tracy Moore, and today our guest is
legendary and I'm saying it, I don't care. Legendary casting
director Twinkie Tracy Bird. Ladies and gentlemen, put your hands together.
We're gonna talk about her directing career too, but right
now we're going to talk about her legendary casting career.
(02:15):
Oh my legendary castes while I'm washing dishes in the
kitchen and it's still growing. That's okay, she's ten, am.
You know. This is how we do. Um. We are
so blessed. We are so blessed, ladies and gentlemen to
have you here. Man, thank you Twinkie, let's talk about
everything so everybody can know everything. And I just have
(02:36):
to say, well, well, we're going to talk about the
directing because when I saw the original picture, I immediately
thought of you, and then I was really happy that
you posted your you know, your your post. Yeah, so
we're gonna talk about that, you guys, We're gonna hold
on and talk about that. But first we're gonna talk
about casting, because this is why I love Twinkie. First
of all, I've known Twinky for years. Okay, but just
(03:00):
take decades because that just covers the more. Okay, alright, decades.
I've known it for decades. I knew when her name
was Tracy. But and um, in knowing you, um, I
love the fact that Twinkie is brutally honest. She has
(03:22):
your best interest in mind always, and you are motivated,
motivated to bring in your best person, your best self
in that room. So you guys need to really like,
I get wonderful d m s about how you guys
enjoy the show and how inspiring and enlightening and empowering.
(03:45):
So this is what's going to happen. You're gonna go
warp speed today. Okay, I need you guys to put
your seatbelts on because Twinkie is about to drop a
whole bunch of knowledge, a whole bunch of insights, whole
bunch of wisdom. And I want you guys to be
conscious of documenting this, whether you're recording it, whether you're
gonna come back and listen to it again or write
(04:06):
it down. I'm telling you this. You want to sit
down and listen to this whole interview uninterrupted. Okay, we
gotta start at the beginning, miss miss Burgh, Yes, ma'am. Okay, alright,
so so tell us your beginnings. Let's talk about because
I know that you live in California, Los Angeles, California.
But Twinkies from New York. You guys Brooklyn, I am
(04:27):
from Brooklyn. B k all day, I tell you. But
Inkling came while I was working at ad Agency in
um in Manhattan, in the city. It just kept hitting
me to do casting, like I loved watching the Cozy
Show in a different world, and so I had to
find out what a casting director to do? What is that?
(04:48):
What's that all about? And I literally worked on the
same floor with casting because we and they had in
house casting at the AD Agency. Commercial casting, so literally
we're working on the same for the casting. I asked
my then um, the then casting director and house casting director,
can I find out what's going on? Like what do
you guys do? And this little baby comes up to me,
(05:09):
pamper baby, since that was one of the AD agencies
major clients, and sat on my lap because I had
dolls and and pictures of beautiful black people all up
against my walls and all across. I had just literally
made a collage on the wall because I was the
only black person at the AD Agency, the only black
secretary that's what they called us in those days, secretaries
(05:33):
at the AD Agency. And I wanted to see black
people when I walked into work, so I created a
wall of black people so that I could see and
say good morning Gregory Hines and good morning to all. Yes, Um,
And you know I didn't even ask permission. I just
started pulling out pictures from Essence and Ebony magazines and
(05:53):
taping them up on the wall. So this little baby
comes and sit down and wants to play and play
my keyboard and just would not get up. And I said,
well it was time for the baby to go in
and audition and the baby would not get up, and um,
I said, well, I'll take her in. And I took
the baby into the room and I got to find
out what happened beyond the door. And that was when
(06:18):
I was introduced to casting. And they asked me, are
you the baby wrangler? And I said how much do
they make? And they were like, oh, send me five
an hour. I said, yep, baby wrangle. I'm just like, listen,
you just start to go with the slow. People ask
you questions. You like, don't be afraid, don't be afraid
to say, you know what I'm inger in that area,
(06:39):
Please enlighten me. And once they enlighten you, you're like, okay,
then you have you got blink, You got that five
second blink. What's gonna do Malcolm Glad, Well, well I'm
gonna say yes. That's what I'm gonna say. I'm gonna
say yes. Yes. So in saying yes, I learned what
happened beyond the door, and I realized that that was
(07:00):
my I was like on fire. I'm like, oh my gosh. This.
So I ended up We had a ross reports back
in those Yes, I remember ross report. It was four
dollars yes, and you could only get it at certain
at certain news stands, and um, I had to travel
because I lived in Sheep, said Bay. So I had
(07:20):
to travel to get to the news stands and buy
my Ross report. And I said, I want to know
who the casting director is of Cosby Show. I wanted
to look them up and see if I could get
a job with them at night and on the weekends
because I was working at the ad agency. So I
kept calling and calling and calling until finally Julie Hughes
from US Forecasting, Yes, okay, you can come and talk
(07:40):
to me. So I went after work with a big
old legal pad because I worked in the business of
barters department and tons of legal pads, and and I
asked her a ton of questions and she said, okay,
you're fifteen minutes, are almost up. Last question and I said, okay,
let me skip down. Who gets your coffee and empties
(08:01):
the garbage? He said, no one. I said, I would
like to apply for that job. Well, it wasn't a job,
but I'd like to do that, right, is what I did? Yeah,
that is what I did. For a couple of weeks.
I emptied garbage and got coffee. And then I saw
your ad and backstage west for some pickup shots for
(08:24):
just another girl on the I R T. And you
were looking for actors, background and people. And I said, Dad,
do you think if I call her that she would
let me like assist her in some way or in turn?
And he said, nothing be to fail you, but to try,
So you gotta drop these quotes. So I called you.
(08:47):
I think it was a backstage or the Village boys.
You put an ad in one of the papers and yes,
and I just going through all the ads and I
called you and you said, okay, surely did and I
was I was assisting you was downtown booklet, yeah, that day,
and just being around it, around the energy, you know
(09:11):
what it feels right, you know what it feels right,
and it just felt right, and I was like more
and more of this, and I had to speak about
how to attract more, what do I need to do?
Who do I need to talk? Well? And that your
energy was that, you know, your energy was inviting and
it was passionate. You know, it was back then by
any means necessary, because that's pretty much how we had
(09:33):
to be film makers back then, So, you know, because
there weren't opportunities there there are no casting schools or
casting director courses to be a casting director, so, uh,
for me, it was trial and error. I mean, you know,
I did call casting directors up and asked for their advice.
They said no, and then I said, okay, Well I
(09:53):
called them back and said, I'm a student at m
y U and I'm doing an article on how underrated
casting directors are. And that's how I got rates protocol things,
you know, things like that. But you know, there were
very few casting directors of color back then. Were there
any casting directors that you knew of, UM that you
(10:13):
wanted to UM, you know, work alongside of as well?
The only one that I knew of the only one
that I knew of was you and Robbie read at
that time Wow and UM. And you have to dig
and find those in so you have to literally sit
before I m dB. You had to sit in the
movie theater and watch the credits beginning to end and
(10:35):
try to make notes in the dark. That's right, That's right.
I was telling somebody today about UM. Back when there
was when Warrington and Reggie Reginald Huntland, they had what
it was called American Uh, it was it was before
Urban World and before a BFF as well, but they
had the original like, um, Black Film Festival where yeah,
(10:59):
Black Film was foundation. Was that was it? That was it,
That was Black Shoemakers Foundation. And they still there's still
a version of it now so they still get together.
But Black Shoomakers Foundation was a big deal back in
those days. Becoming a member was a big Yes, it was.
I was one of those people that went around to
get people to join. Yes, And it was also one
(11:22):
of those things where at that time, and I'm just
gonna say it and put it out there, we loved
being black and black in the titles was not a
negative thing and being black is not something that we
were running away from. It was something that we were
running towards. And um, we loved ourselves and each other.
And it was a lot more brothers sister attitude and energy,
(11:46):
especially in Brooklyn and in the New York area. It
was just it was, it was. It was a great time.
It was a It was an amazing, amazing era and
time and the level of genius and fearlessness that we
all be played in an industry where they didn't even
know to know us and we had no formal training
(12:10):
or very little or what we could pick up from
other people and what we could glean from from articles
or what have. We just did the best we could
with what we had and we created a whole new style.
We created genius because we are genius until proven otherwise,
get to be proven otherwise beautiful soul. So Twinky, can
(12:32):
I ask you why do you think? Because I think
that we are in a very trying time right now,
and um, I'm choosing to write about it because you know,
we're creative beings and like you know, you we transition
at a point. But um, through my writing, I want
to say things, but um, you know you are talking
(12:53):
about the time that was so precious when I think
about it, all of these works, you know, going to
see the premier of Hollywood Shuffle and watching the Rise
of the Robert Townsend, ken, I Wade all everybody right,
So what's what's happening different now? Why do we fall
out of love with ourselves? Or why aren't we in
love with ourselves? The programming we have to watch, what
(13:17):
we're listening to and how we are eating. What our
diet is, our diet, our our mental, emotional and physical diet.
We are digesting and we are taking in so much
negativity that you hate you hate yourself. But that's the programming, right,
(13:42):
You're being programmed to hate yourself, and then they make
it look so pretty that you think you're thinking for yourself. Well,
actually you're thinking how you're being programmed to think exactly. Wow.
So we have to watch our programming. We're watching way
too much. We are listening way too much. We really are.
(14:06):
When you know, we are really plugged in and we've
we've got to unplug and got to unplug. That's a
great thing to have the ability to unplug. What do
what do you tell actors who I know you're in
l A. I know they are stressed out. They're stressed
out here in New York as well, howsoever, I know
they are stressing out. What do you tell them? How
(14:28):
how can they unplug and just decompress and trust the process. Well, firstly,
I you know, I have people that contact me or
send me d M, and I actually answer most of
my d M when I have the time, I can
respond to d M. But a lot of times I
let them know. I was like, you need to frantic,
(14:49):
you need to go to the park, you need to
go to the hill. You need to, um, turn their
phone off, take off your shoes and walk around in
the grass. You need to hug a tree. You need
to feel the vibration of the planet, that you are
disconnected who you really are. Yeah, you just struck a chord.
(15:12):
Go see the water. Just go fit and be quiet.
Mm hmm. I have to say that that is the
the best the best best advice that you can give
is to be silent. Because, Um, when you said hugged tree, Um,
that just struck a memory. Because when Miles was in
(15:35):
the hospital after his accident, UM, one of my friends said,
when you leave the hospital, go hug a tree. And
it was and it was like January in New York,
so there was a lot of snow and it was
extremely cold. Um. And I didn't understand, but I did it.
But there was a connection in hugging a tree that
(15:56):
was undescribable. And today in UM LinkedIn, I saw scientists
have discovered that trees have heartbeats. I just read it today.
So to know you saying huggy tree, I hugged a
tree and have this experience and connection and then to
(16:17):
know it's live, like huh, that's really deep. I'm appreciate
loving you on that point. It is real, real and
yeah what and my friends will tell you, they're like,
oh no, you need to when you get all cooka
go somewhere. Isn't that a daily basis? Yes, and get
(16:41):
away from the growing folks because we know how to
handle it. We over here breathing, got our feet in
the grass and looking at the ocean. So how do
we communicate the message to the millennials, to this generation
that you know, one acting is not just picking up
(17:01):
a piece of paper and you know, saying some lines,
there's work to be done. How do we convey that message?
And you know, you and I come from guerrilla filmmaking.
I know what it's like, standing up, sleeping. We know
how to you know, we've been on twenty four our
music videos. So you know, I don't know if that
work ethic exists. I you know, Um, they do it differently.
(17:25):
I have to go love for that. Okay, you do
it differently. They are creating. I mean some of these
young people are making a hundred thousand dollars a year
or more, some of them making that in a month.
With social media, they're using their voice, their talent to
talk about travel, and they're traveling the world. Some of
(17:45):
them are talking about dance and their love of dance.
Some of them are teaching things on social media. Some
of them are just doing gossip on social media, which
is no different than Joan Rivers or any of the
other um that we uh, Windy Williams and such so.
But either way, they are online creating. UM. I follow
a number of people on YouTube. They got YouTube university,
(18:07):
that's what I call it. You and they have taught
me how to put on my makeup this is young people.
Have taught me how to without a baby hair and
which gel edge, so yeah, they got my edges right. Yeah.
And they taught me how to blend my lip colors.
So um, there's a lot too they are. They are
(18:28):
doing their thing in a different way. It's just now
it's about blending the two, I feel, blending their work
ethic with the work, blending um etiquette with their work. Right.
I was just talking to them. I was just said,
had a huge meeting yesterday and had a conversation with
a studio executive and he said, you know, we had
(18:51):
to have a whole workshop on how to answer the
phones here at the network Okay, millennials do not. They
had to have a workshop on how to answer the
phone because young people text, they don't make phone calls.
They don't know how to connect, They don't know how
to create conference calls. They don't know how to say
(19:11):
good morning, welcome to such and such a phone, so
how is your you know, they don't know how to
write down a message, the time and date of the message,
who the message is for, or put it into the
log or how and thank you and have a nice day.
And they don't know how to do that. So we
have to blend what we know with what they know,
and we need to come So the generations really need
(19:32):
to come together. And it's how we handle them, how
we talk to them, how we let them know that
we're here to help you and you help us, and
let's just create the synergy in the symbiotic relationship instead
of this antagonistic kind of you need to do and
you don't do, and helcome you can't. Yeah, and you
(19:52):
know what do? You make an excellent point because I
think that the communication for me in coaching, the challenge
that I find is that, um, when I went to
school and and you know, school, you have English, and
you have comprehension, right, So when actors are reading the sides,
(20:12):
they're not pulling the information. And everybody's taught differently, and
I've I've learned that everyone is an individual, UM, but
being able to read the sides and then extract the
information from that to have a conversation after about you know,
what what is this about? And you know, tell me
some things about the character UM. And there could be
(20:32):
obvious clues they're like in the action. And I had
a conversation with one of the casting directors about how,
in her experience, a lot of actors don't read the action,
so how do you know what's going on? So in
in having a conversation with this generation and really merging
our powers together, how what is the conversation that we
(20:55):
should be having with them? UM. Reading comprehension is a
huge thing. It's a huge conversation because if you don't read,
you cannot comprehend. And because of that, you find yourself
watching shows and being a part of shows where UM
(21:16):
and projects where people can't articulate themselves so they throw
a base or or or something because the writing is
so simplistic, because communication is not a part of the
writing true communication, which means listening and not speaking, listening
to hear and understand, not to reply, get your point exactly.
(21:41):
Those conversations aren't happening, and we in class, in the
workshops and in class. I was at Tasha Smith class
last night. Hey with Michael, with Michael, with Michael Kay
Williams and yes, yes, it was so it was so. Yes,
(22:02):
shout out to Michael Kay. And I was with Kondon
Um Marvin Jones, he's on Black Lightning. It was. It
was epic. Gerard Haynes, who I cast in South Side
with you, and he was on a show called The Village. Uh.
It was a packed house. And a sister named Cash Dolluh,
sister rapper from Detroit. I just met her for the
(22:24):
first time and we were just in class, just chopping
it up and crossing all kinds of conversations and just
trying to just just communicating in a way coming away
where we're not using any devices, We're not tweeting and texting.
We were literally present. I'm wanted to take my shoes off.
(22:46):
It got so good to me. He was like, we
just meet a brother in a corner with the Jim
Bay right now because of the level of communication that
was happening in that room, and if we deep decompressed
and if we just detached from that matrix, we have
to gather together and really commune and talk and so
(23:06):
that our young people, so that all of our people
we and and I have learned there's a on Instagram.
There is a person a few people that I follow
visage Black Glamour and Hollywood something. I have to find
it on my phone, but they can tease vintage black Glamour.
They can tease on Instagram to make you read in
(23:29):
a way that really will change your life. Hollywood underscore
Rick r I s the way they document stories and um, yeah,
the way they document those stories and talk and talk
to people and tell you backstories. It makes you want
(23:50):
to read. It makes you want to or even I
use my social media for that reason. I had one
young lady telling me, oh, there are no dark skinned
women in Hollywood and it's still not fair. And I
was like, sister, you want bokly Tyson familiar with Dear Richard,
and I had to. I started using my instamating my
Instagram for good. I was like, Okay, Google, let's Google
(24:15):
for more information. Let's find out the shoulders we stand
on and do that to empower you, because no one
can take it away from you. You You can sit in
the room across the across the desk from any person
and you are Do you know what I love to do.
I like to fight fire with water. I don't want
to fight fire with fire. I want to extinguish it.
(24:36):
So finish it. I have the knowledge to finish this conversation, sir,
don't tell me who and what I am. I know
who and what I am. I know whose shoulders I
stand on. I have got some examples. I want to
hear it. Here it goes, and I'm put out an
example after example, and then I'm done. Finish them, Finish them.
(24:57):
You're so powerful. I told you Part are two, Part three.
You know we might have to talk to I heard.
I'm just saying, ladies and gentlemen, let me let me um.
Let's list some credits. Let's list some credits. Now that
Mario just gave me the five five fingers, that means
five minutes. See what I tell you? What did I
(25:19):
tell you when we started this out? Okay, because I
need the credits and I need you to drop pearls
and then we need you to come back. That's just it, Okay,
the credit go with the credits. Girl Stump the Yard,
Notorious Jumping the Broom, Sparkle, Philly brown Foot Fille Station
(25:39):
with this ring when the bow breaks outside with you
being Mary Jane. Oh gosh, I know I'm forgetting. That's
the beginning with Oh my god, you guys need to
I MD dot com American Skin, American Skin soon come by,
(25:59):
Nate park Girl, Oh I love a Parker God. Okay,
good and the other directed my short film, so my
directorial debut, The Counter nineteen sixty. Please tell them because
it's so relevant right now. Please tell them about your
directorial debut. And also, Ladies and Gentlemen Award winning Short film,
(26:23):
Thank You, Award winning Yes Short Film, Yes, my short film,
The Counter nineteen sixty. I take three Woke Black Kids
HBCU students back in time to relive the nineteen sixty
lunch counter sit in. The question is will they be served?
Because y'all think y'all are different. You think that when I,
if I was back there, I wouldn't have done this
(26:43):
and I wouldn't have done that. And that's what happened.
Your slaves to your phone right now, tell me you're
not enslaved. Tell me and that, Yeah, leave your phone
at home, good luck. Yeah, you just want to take
in a breath of Twinkie bird. That's what you want
to do. Take her in And actors, here's a treat.
(27:03):
Drop some pearls on it. Drop some pearls. You got
three pearls. You can drop three pearls that you can
you can drop. Prepare actors, stay, get in your moments.
When you're having your moments, really truly logged them down.
Love those moments, those feelings. You're gonna need to go
back to them and use them in your work. You're
(27:25):
also supposed to be studying the art. Get out there,
get to museum, art events, cultural events, go to plays, theater.
I need you to get out there and truly live life.
Do the things you're scared to do. Cross that bridge,
get on that train, get on that plane, do that thing,
because that exhilarating feeling you're gonna need it, that new experience,
(27:49):
you're gonna need it. Your job is literally to breathe life,
so you need to live life fully. Let's go. I
would just start crying and like, what do you understand Tweaky,
Tracy Bird, Ladies and gentlemen, this is this is what
we're bringing to the Spirited Actor Podcast. I am just
(28:11):
speechless right now. Twinkie, you were absolutely awesome And actors,
I'm guess you were. I mean again, Part two, Part three,
I'll give you a call and we can discuss some dates.
You guys, We're gonna have Twinkie Tracy Bird back to
drop some more knowledge to Also, I do want her
(28:32):
back to talk about people that she has discovered in
Hollywood because she has a pleasora of actors that she
has given them opportunities and now they're all working outstanding
Hollywood actors. That's what they are. They're working out there.
Um wow, thank you, thank you Tweaky. And is there
(28:54):
anything because we have a book, would you like for
actors to stay in touch with you? And also where
can get your book? Oh my gosh. My book is
called Channeling Becky. It's a completely different side of myself.
It's about my dating struggle in Hollywood and that can
be found on Amazon Channeling Becky. And yes, the title
is provocative for a reason. To check it out and
(29:15):
find out and you can find me on Instagram, Facebook
and Twitter. I am Twinky Bird because I am an artist.
I am that I am. Yes, you are what you are,
and you are an amazing creative being and we were
so blessed to have you today. Thank you so much,
Twinky for blessing us. Thank you, and you have a
great day out in Los Angeles because it's a little
(29:38):
cold and rainy here. All right, stop bragging, Okay, I
have a great day. Thank you. Tway, all right, and
we'll be back with the Spirited Actor Podcast Class and Session.
Thank you. Welcome to the Spirited Actor Podcast with me
Tracy Moore. And there is a lot going on in
(29:59):
this studio today. I love by people. Shout out to
my producer Spruce Henry. Give it up ladies, Mario. Okay,
and um Marcus is outside of the booth today, but
we're gonna give him a shout out to Hey Marcus.
So we are in class and Session now, and before
(30:23):
we get into it, I just have to read a
letter from one of our Spirited Actor alumni. This is
to our Spirited Actor alumni, leon A Motto, Leon a Motto. Okay,
it's hello. I'm writing you today to inform you that
you were a finalist for this year's awards, which took
place at this year's sun Dance Film Festival. Here's something
(30:48):
important for you to know. Your short film reached the
final rounds. It means to me is you have talent
and it was recognized by others. I thank you from
the bottom of my heart for showing your work to
us and hope you will try again. Although you may
not have won this year's award, you are a winning talent.
(31:12):
This is to Lion, a model, so we active love
not her first film, first film as a filmmaker. What Lean, Sorry,
I know, I know, but it's Leon. It's that's her name, Leon,
a motto. Leon. Just tell us a little bit about
this please. Um it's it literally is in alignment with
(31:34):
what Twinkie was just talking about. Is a short film
about the conscious freedom that children have. That I believe
that when we become adults the programming, we lose it.
And um, I just like documentary style followed a child
and there um being inquisitive and curious and just I'm
trying to get back to that free place, like Twinkie said,
(31:55):
disconnecting and getting lost and being present. I just want
you know heard it here on the Spirited Actor podcast
Leona Motto, first film and a beautiful letter from an
outstanding producer. Outstanding. Yes, and you don't get personalized letters
like that that say from the bottom of my heart
(32:17):
you touched him. Excellent. Alright, she is a reflection of
all them. Okay, we are now in class in session,
and I am going to be giving you guys some
feedback and constructive criticism today. I'm very excited about that. Um.
So we're gonna do a scene. Um and this actually
(32:38):
is a show that's going to be coming back to
New York Gossip Girls. Uh so, let's read from these
sides you guys ready, alright? Yes, and you know Interior
The Secret Bathroom Constance High School, Noon, Diane enters a
single stall bathroom, exasperated. She's surprised is Jane Diane doesn't
(33:03):
wait for an intro sales Rax Sally isn't even clever.
If you're got to deface someone's locker, at least be original.
I mean it's even worse than d I y, Diane,
I don't get it. You know, I'm a freshman. Why
does the whole school wake up with admission to funk?
With me. Isn't there something else you'd rather be doing,
(33:23):
like bribing your way into college, expanding your car your
carbon footprint? Like, what is your problem with me? I'm
so sorry? Do I know you know? No? But let
me let me guess you're the add to the Kogate
dynasty or niece of the third Earl of Kensington. Right,
(33:47):
Jane smiles. People don't usually stand up to her. No,
but close if you're really asking your whole look right now,
screams hoboken uniqlow. Back to school sale presentation matters around here.
Try switching up. That may ease off you a bit.
Maybe I don't care about how I present myself. I
(34:07):
care about how I represent myself. And this is who
I am. Someone who doesn't have a spare five grand
to drop one clothes that I can only wear once.
You know know that spend that kind of money. You
just have to not look like a page in a catalog.
You say that to you, but I say that tattoo
that you're trying to cover up. Diane pulls up her sleeve.
Jane is right, I know you're new here. Pro tip
(34:31):
there's some great consignment stores like Aina and Housing Works
and not. The housing works in house kitchen Broadway in
nineties is a gym, and all the classic pieces end
up there, like five percent off the original price for most,
for most of the world, five percent is still too much.
I buy my own clothes. I don't have a credit card.
(34:53):
My parents pay off without looking. I pay it off
me with whatever jobs I can pick up. You're right,
I'm sorry that was presumptuous of me. I beat Diane softens,
and I'm sorry. I know I just barged and unloaded
on you. I didn't expect anyone to be in my
secret spot. Your secret spot. Yeah, I come here whenever
(35:17):
I need to gather my thoughts. Me too. I mean,
there's usually no one in here, and it's the only
room in concerts with zero reception. You like zero reception,
You don't need four g to survive. Cute. What I
like in fashion, I make up for and fight. They
share a smile. So now what I'm assuming neither one
(35:42):
of us wants to give up this spot. How about
a compromise. We can share it? Maybe this time every day? Okay,
I can try that. I'm sorry, I still don't know
your name. D I y Diane Jeane Halloween you I know,
(36:03):
they share a friendly handshake, same time tomorrow, I'll be here.
They smile again and Jane leaves. Diane takes a beat,
then rolls up her sleeve showing her tattoo. End. Very
nice ladies. So one of the things that I want
to say is that when you get sides, um, I
(36:24):
usually say read them three times. The first time you're
reading the sides pages of a script is to understand
what the story is, what is going on? The second time,
what is the relationship between the characters, and then the
third time. As actresses, you're going to choose how you're
going to be Jane be Diane. Right. So, um, when
(36:45):
we read the whole thing from beginning to end, what
we understand is that you guys aren't friends in the beginning,
but then somehow you ease into this kind of friendship
by the end. Right. So, as an actress, you have
to say to yourself, how am I going to get here?
Because you come in very strong. Diane comes in very forceful.
You know, kids are picking on you, bullying you, and
(37:06):
you obviously go to a school that is not you know,
there's a private school, but these kids are cogate heirs
or Earl of Kensington Royalty. Right, So this is an
elevated richness that is not a private school. Okay, So
(37:26):
if you don't have that experience yourself, you're gonna need
to do some research on what these type of schools
are they boarding schools, you know how much you know?
I know there's a school um in Manhattan for kids
like preschoolers waiting lists, you know, and it's like a
hundred dollars a year for a five year old. So
I'm just saying, you've got to be conscious of the
(37:47):
wealth that we're talking about, and it's a different kind
of wealth. So in knowing that you guys are going
to be kind of friends at the end, you have
to find places you're uncomfortable, but you have to be
comfortable being uncomfortable. Right. So an example is before you guys,
it says here when Jane um it says your line
(38:12):
is you're right, I'm sorry that was presumptuous of me.
On page two and it says a beat and then
it says, Diane softens the fact that you are giving
her information like go to ENA's and housing worth that
right there, and you should sort of open yourself up
to Diane, because that's saying to you, she's helping you.
(38:34):
She's making an effort to tell you what your real
problem is. Uni Glow, you're standing out. Why don't you
tone it down? And then you could still be amongst us.
And she's also saying, even though I'm of this school,
this is not who I am either, because I don't
drop five thousand and without my with my parents not looking.
And you don't have to do that. So let me
(38:56):
show you some tricks of the trade. So when that
starts to happen, both of you should start to soften
and sort of like, Okay, You're like, maybe she's not
that bad and she just needs a little bit. She's
a freshman. You know you got a school freshman. So
let's take it again, and let's let's allow this friendship
(39:18):
that happens at the end the beginning of a friendship.
Let's see the makings of that in the middle. Alright, cool,
So you know I'm not gonna read any of the action.
Actress is going to read straightforward. Okay, here we go, ladies,
Uh sales wax Sally isn't even clever. If you've got
to deface someone's locker at least be original. It's even
(39:41):
worse than d I y Diane. Look, I don't get it.
You know, I'm a freshman. Why does the whole school
wake up with the mission to funk with me? I mean,
isn't there anything else you'd rather be doing, like bribing
your way into college or expanding your carbon footprint? Look like,
what is your problem with me? I'm sorry? Do I
(40:02):
know you? No? Let me guess you're the heir of
the Kolgate dynasty or the niece of the third Earl
of Kensington. Right, no, but close, if you're really asking
your whole look right now, screams hoboken. YOUNI glow back
to school's sale presentation matters around here. They're try switching
(40:27):
it up and there might ease off you a bit.
Maybe I don't care about how I present myself. I
care about how I represent myself. And this this is
who I am, someone who doesn't have a spare five
grand to drop on clothes that I can only wear once.
You don't have to spend that kind of money. You
(40:47):
just have to not look like a page in a catalog.
So you say that's you, But I say the tattoo
you're trying to cover up. I know you're new here.
Pro tip there's some Greek in Simon stores like Aina
and Housing Works and not the housing works in house kitchen,
bra Away and six is a gym, and all the
(41:09):
classic pieces end up like five percent off the original price.
For most of the world, five is still too much.
I buy my own clothes. I don't have a credit card.
My parents pay off without looking. I pay it off
me with whatever jobs I can pick up. You're right,
(41:30):
I'm sorry that was presumptuous of me, And I'm sorry.
I know I just larged in and unloaded on you.
I didn't expect anyone to be in my secret spot.
Oh you're a secret spot? Yeah, I mean I come
here whenever I need to gather my thoughts. Me too.
(41:52):
There's usually no one in here, and it's the only
room in conserts with zero reception. You like zero reception?
Come on, you don't need your four ge to survive? Cute?
What I like in fashion I make up for and fight.
Mm hmm. So, but now I'm assuming neither one of
(42:13):
us wants to give up the spot. How about a
compromise we can share it? Maybe this time every day, Okay,
I can try that. I'm sorry, I still don't know
your name. D I y Diane, Jane? How do I you?
I know? Same time tomorrow I'll be here and seeing
(42:39):
excellent ladies. I love when actors follow direction. And you, guys,
um it was worn during this time. You know. Did
you guys feel that as well? Yeah? And you could
feel the I love the force you came in with
Diane and then you kind of had to slow your roll.
Jane was like, all right, I hear your frustrations. I'll
(43:00):
take that out on me. What's that you know? So
and then it grew into like now we feel like, okay,
they're going to meet at the secret spot and they're
gonna learn to be friends. Excellent. Ah, this is why
I love doing class and session. Thank you to lean
A Motto and Jelisa Capri. Thank you spe An Actor alumni.
(43:22):
And we'll be back with Give Love and now it's
time for give Love. Patience is truly a virtue and
a necessity for actors. So Sarria is my granddaughter and
she's seven and when she was three years old, she
got really frustrated because she couldn't snap her fingers and
(43:43):
I was like Siah, you have to practice. You practice
every day and be patient with yourself. Don't get angry,
don't get frustrated. Just know that it's a process and
you need to be patient. Well, after several months, Sria
successfully learned how to snap her fingers and loudly. The
(44:05):
great part about this lesson for Soriah and for actors,
things take time. I know that you want to get
the job. I know that you want to get on
the set and and you want to work with actors
and certain directors. But acting is a process and it's
a journey. Be patient with yourself, Be patient with the process,
(44:28):
and allow the experiences to help strengthen you and strengthen
your talent. You are where you are because that is
where you're supposed to be. Take your time, be patient,
and no there is a role and a great opportunity
waiting for you. Thank you for joining us on the
(44:50):
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 transition to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Thomas.
I audition every rapper from Biggie's Balls to Tupac, and
(00:24):
I realized that rappers and musical artists they needed help
transitioning to acting. My clients consist of musical artists from
Buster Rhymes to Eve, Missy Elliott, Angela Ye from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now. I know. I know actors want to
get the job. I get that, but being remembered by
casting director that is powerful. Meditation of the day. Can't
(01:06):
nothing make your life work if you ain't the architect
Terry McMillan, Our life is in our hands. We have
the power to create the life we've envisioned if we
honestly believe it. We must first think about the direction
we want to go, and then watch how the universe
provides us with the tools to progress. I test this
(01:29):
theory on a daily basis by thinking about people, and
they will suddenly appear or call. I used to fear
this power, but now I have learned to use it
in a positive way into the best of my ability.
Today I will test my powers in a positive way
and watch the blessings flow. Welcome to the Spirited Actor
(01:52):
Podcast with me Tracy Moore, and today our guest is
legendary and I'm saying it, I don't care. Legendary casting
director Twinkie Tracy Bird. Ladies and gentlemen, put your hands together.
We're gonna talk about her directing career too, but right
now we're going to talk about her legendary casting career.
(02:15):
Oh my legendary castes while I'm washing dishes in the
kitchen and it's still growing. That's okay, she's ten, am.
You know. This is how we do. Um. We are
so blessed. We are so blessed, ladies and gentlemen to
have you here. Man, thank you Twinkie, let's talk about
everything so everybody can know everything. And I just have
(02:36):
to say, well, well, we're going to talk about the
directing because when I saw the original picture, I immediately
thought of you, and then I was really happy that
you posted your you know, your your post. Yeah, so
we're gonna talk about that, you guys, We're gonna hold
on and talk about that. But first we're gonna talk
about casting, because this is why I love Twinkie. First
of all, I've known Twinky for years. Okay, but just
(03:00):
take decades because that just covers the more. Okay, alright, decades.
I've known it for decades. I knew when her name
was Tracy. But and um, in knowing you, um, I
love the fact that Twinkie is brutally honest. She has
(03:22):
your best interest in mind always, and you are motivated,
motivated to bring in your best person, your best self
in that room. So you guys need to really like,
I get wonderful d m s about how you guys
enjoy the show and how inspiring and enlightening and empowering.
(03:45):
So this is what's going to happen. You're gonna go
warp speed today. Okay, I need you guys to put
your seatbelts on because Twinkie is about to drop a
whole bunch of knowledge, a whole bunch of insights, whole
bunch of wisdom. And I want you guys to be
conscious of documenting this, whether you're recording it, whether you're
gonna come back and listen to it again or write
(04:06):
it down. I'm telling you this. You want to sit
down and listen to this whole interview uninterrupted. Okay, we
gotta start at the beginning, miss miss Burgh, Yes, ma'am. Okay, alright,
so so tell us your beginnings. Let's talk about because
I know that you live in California, Los Angeles, California.
But Twinkies from New York. You guys Brooklyn, I am
(04:27):
from Brooklyn. B k all day, I tell you. But
Inkling came while I was working at ad Agency in
um in Manhattan, in the city. It just kept hitting
me to do casting, like I loved watching the Cozy
Show in a different world, and so I had to
find out what a casting director to do? What is that?
(04:48):
What's that all about? And I literally worked on the
same floor with casting because we and they had in
house casting at the AD Agency. Commercial casting, so literally
we're working on the same for the casting. I asked
my then um, the then casting director and house casting director,
can I find out what's going on? Like what do
you guys do? And this little baby comes up to me,
(05:09):
pamper baby, since that was one of the AD agencies
major clients, and sat on my lap because I had
dolls and and pictures of beautiful black people all up
against my walls and all across. I had just literally
made a collage on the wall because I was the
only black person at the AD Agency, the only black
secretary that's what they called us in those days, secretaries
(05:33):
at the AD Agency. And I wanted to see black
people when I walked into work, so I created a
wall of black people so that I could see and
say good morning Gregory Hines and good morning to all. Yes, Um,
And you know I didn't even ask permission. I just
started pulling out pictures from Essence and Ebony magazines and
(05:53):
taping them up on the wall. So this little baby
comes and sit down and wants to play and play
my keyboard and just would not get up. And I said,
well it was time for the baby to go in
and audition and the baby would not get up, and um,
I said, well, I'll take her in. And I took
the baby into the room and I got to find
out what happened beyond the door. And that was when
(06:18):
I was introduced to casting. And they asked me, are
you the baby wrangler? And I said how much do
they make? And they were like, oh, send me five
an hour. I said, yep, baby wrangle. I'm just like, listen,
you just start to go with the slow. People ask
you questions. You like, don't be afraid, don't be afraid
to say, you know what I'm inger in that area,
(06:39):
Please enlighten me. And once they enlighten you, you're like, okay,
then you have you got blink, You got that five
second blink. What's gonna do Malcolm Glad, Well, well I'm
gonna say yes. That's what I'm gonna say. I'm gonna
say yes. Yes. So in saying yes, I learned what
happened beyond the door, and I realized that that was
(07:00):
my I was like on fire. I'm like, oh my gosh. This.
So I ended up We had a ross reports back
in those Yes, I remember ross report. It was four
dollars yes, and you could only get it at certain
at certain news stands, and um, I had to travel
because I lived in Sheep, said Bay. So I had
(07:20):
to travel to get to the news stands and buy
my Ross report. And I said, I want to know
who the casting director is of Cosby Show. I wanted
to look them up and see if I could get
a job with them at night and on the weekends
because I was working at the ad agency. So I
kept calling and calling and calling until finally Julie Hughes
from US Forecasting, Yes, okay, you can come and talk
(07:40):
to me. So I went after work with a big
old legal pad because I worked in the business of
barters department and tons of legal pads, and and I
asked her a ton of questions and she said, okay,
you're fifteen minutes, are almost up. Last question and I said, okay,
let me skip down. Who gets your coffee and empties
(08:01):
the garbage? He said, no one. I said, I would
like to apply for that job. Well, it wasn't a job,
but I'd like to do that, right, is what I did? Yeah,
that is what I did. For a couple of weeks.
I emptied garbage and got coffee. And then I saw
your ad and backstage west for some pickup shots for
(08:24):
just another girl on the I R T. And you
were looking for actors, background and people. And I said, Dad,
do you think if I call her that she would
let me like assist her in some way or in turn?
And he said, nothing be to fail you, but to try,
So you gotta drop these quotes. So I called you.
(08:47):
I think it was a backstage or the Village boys.
You put an ad in one of the papers and yes,
and I just going through all the ads and I
called you and you said, okay, surely did and I
was I was assisting you was downtown booklet, yeah, that day,
and just being around it, around the energy, you know
(09:11):
what it feels right, you know what it feels right,
and it just felt right, and I was like more
and more of this, and I had to speak about
how to attract more, what do I need to do?
Who do I need to talk? Well? And that your
energy was that, you know, your energy was inviting and
it was passionate. You know, it was back then by
any means necessary, because that's pretty much how we had
(09:33):
to be film makers back then, So, you know, because
there weren't opportunities there there are no casting schools or
casting director courses to be a casting director, so, uh,
for me, it was trial and error. I mean, you know,
I did call casting directors up and asked for their advice.
They said no, and then I said, okay, Well I
(09:53):
called them back and said, I'm a student at m
y U and I'm doing an article on how underrated
casting directors are. And that's how I got rates protocol things,
you know, things like that. But you know, there were
very few casting directors of color back then. Were there
any casting directors that you knew of, UM that you
(10:13):
wanted to UM, you know, work alongside of as well?
The only one that I knew of the only one
that I knew of was you and Robbie read at
that time Wow and UM. And you have to dig
and find those in so you have to literally sit
before I m dB. You had to sit in the
movie theater and watch the credits beginning to end and
(10:35):
try to make notes in the dark. That's right, That's right.
I was telling somebody today about UM. Back when there
was when Warrington and Reggie Reginald Huntland, they had what
it was called American Uh, it was it was before
Urban World and before a BFF as well, but they
had the original like, um, Black Film Festival where yeah,
(10:59):
Black Film was foundation. Was that was it? That was it,
That was Black Shoemakers Foundation. And they still there's still
a version of it now so they still get together.
But Black Shoomakers Foundation was a big deal back in
those days. Becoming a member was a big Yes, it was.
I was one of those people that went around to
get people to join. Yes, And it was also one
(11:22):
of those things where at that time, and I'm just
gonna say it and put it out there, we loved
being black and black in the titles was not a
negative thing and being black is not something that we
were running away from. It was something that we were
running towards. And um, we loved ourselves and each other.
And it was a lot more brothers sister attitude and energy,
(11:46):
especially in Brooklyn and in the New York area. It
was just it was, it was. It was a great time.
It was a It was an amazing, amazing era and
time and the level of genius and fearlessness that we
all be played in an industry where they didn't even
know to know us and we had no formal training
(12:10):
or very little or what we could pick up from
other people and what we could glean from from articles
or what have. We just did the best we could
with what we had and we created a whole new style.
We created genius because we are genius until proven otherwise,
get to be proven otherwise beautiful soul. So Twinky, can
(12:32):
I ask you why do you think? Because I think
that we are in a very trying time right now,
and um, I'm choosing to write about it because you know,
we're creative beings and like you know, you we transition
at a point. But um, through my writing, I want
to say things, but um, you know you are talking
(12:53):
about the time that was so precious when I think
about it, all of these works, you know, going to
see the premier of Hollywood Shuffle and watching the Rise
of the Robert Townsend, ken, I Wade all everybody right,
So what's what's happening different now? Why do we fall
out of love with ourselves? Or why aren't we in
love with ourselves? The programming we have to watch, what
(13:17):
we're listening to and how we are eating. What our
diet is, our diet, our our mental, emotional and physical diet.
We are digesting and we are taking in so much
negativity that you hate you hate yourself. But that's the programming, right,
(13:42):
You're being programmed to hate yourself, and then they make
it look so pretty that you think you're thinking for yourself. Well,
actually you're thinking how you're being programmed to think exactly. Wow.
So we have to watch our programming. We're watching way
too much. We are listening way too much. We really are.
(14:06):
When you know, we are really plugged in and we've
we've got to unplug and got to unplug. That's a
great thing to have the ability to unplug. What do
what do you tell actors who I know you're in
l A. I know they are stressed out. They're stressed
out here in New York as well, howsoever, I know
they are stressing out. What do you tell them? How
(14:28):
how can they unplug and just decompress and trust the process. Well, firstly,
I you know, I have people that contact me or
send me d M, and I actually answer most of
my d M when I have the time, I can
respond to d M. But a lot of times I
let them know. I was like, you need to frantic,
(14:49):
you need to go to the park, you need to
go to the hill. You need to, um, turn their
phone off, take off your shoes and walk around in
the grass. You need to hug a tree. You need
to feel the vibration of the planet, that you are
disconnected who you really are. Yeah, you just struck a chord.
(15:12):
Go see the water. Just go fit and be quiet.
Mm hmm. I have to say that that is the
the best the best best advice that you can give
is to be silent. Because, Um, when you said hugged tree, Um,
that just struck a memory. Because when Miles was in
(15:35):
the hospital after his accident, UM, one of my friends said,
when you leave the hospital, go hug a tree. And
it was and it was like January in New York,
so there was a lot of snow and it was
extremely cold. Um. And I didn't understand, but I did it.
But there was a connection in hugging a tree that
(15:56):
was undescribable. And today in UM LinkedIn, I saw scientists
have discovered that trees have heartbeats. I just read it today.
So to know you saying huggy tree, I hugged a
tree and have this experience and connection and then to
(16:17):
know it's live, like huh, that's really deep. I'm appreciate
loving you on that point. It is real, real and
yeah what and my friends will tell you, they're like,
oh no, you need to when you get all cooka
go somewhere. Isn't that a daily basis? Yes, and get
(16:41):
away from the growing folks because we know how to
handle it. We over here breathing, got our feet in
the grass and looking at the ocean. So how do
we communicate the message to the millennials, to this generation
that you know, one acting is not just picking up
(17:01):
a piece of paper and you know, saying some lines,
there's work to be done. How do we convey that message?
And you know, you and I come from guerrilla filmmaking.
I know what it's like, standing up, sleeping. We know
how to you know, we've been on twenty four our
music videos. So you know, I don't know if that
work ethic exists. I you know, Um, they do it differently.
(17:25):
I have to go love for that. Okay, you do
it differently. They are creating. I mean some of these
young people are making a hundred thousand dollars a year
or more, some of them making that in a month.
With social media, they're using their voice, their talent to
talk about travel, and they're traveling the world. Some of
(17:45):
them are talking about dance and their love of dance.
Some of them are teaching things on social media. Some
of them are just doing gossip on social media, which
is no different than Joan Rivers or any of the
other um that we uh, Windy Williams and such so.
But either way, they are online creating. UM. I follow
a number of people on YouTube. They got YouTube university,
(18:07):
that's what I call it. You and they have taught
me how to put on my makeup this is young people.
Have taught me how to without a baby hair and
which gel edge, so yeah, they got my edges right. Yeah.
And they taught me how to blend my lip colors.
So um, there's a lot too they are. They are
(18:28):
doing their thing in a different way. It's just now
it's about blending the two, I feel, blending their work
ethic with the work, blending um etiquette with their work. Right.
I was just talking to them. I was just said,
had a huge meeting yesterday and had a conversation with
a studio executive and he said, you know, we had
(18:51):
to have a whole workshop on how to answer the
phones here at the network Okay, millennials do not. They
had to have a workshop on how to answer the
phone because young people text, they don't make phone calls.
They don't know how to connect, They don't know how
to create conference calls. They don't know how to say
(19:11):
good morning, welcome to such and such a phone, so
how is your you know, they don't know how to
write down a message, the time and date of the message,
who the message is for, or put it into the
log or how and thank you and have a nice day.
And they don't know how to do that. So we
have to blend what we know with what they know,
and we need to come So the generations really need
(19:32):
to come together. And it's how we handle them, how
we talk to them, how we let them know that
we're here to help you and you help us, and
let's just create the synergy in the symbiotic relationship instead
of this antagonistic kind of you need to do and
you don't do, and helcome you can't. Yeah, and you
(19:52):
know what do? You make an excellent point because I
think that the communication for me in coaching, the challenge
that I find is that, um, when I went to
school and and you know, school, you have English, and
you have comprehension, right, So when actors are reading the sides,
(20:12):
they're not pulling the information. And everybody's taught differently, and
I've I've learned that everyone is an individual, UM, but
being able to read the sides and then extract the
information from that to have a conversation after about you know,
what what is this about? And you know, tell me
some things about the character UM. And there could be
(20:32):
obvious clues they're like in the action. And I had
a conversation with one of the casting directors about how,
in her experience, a lot of actors don't read the action,
so how do you know what's going on? So in
in having a conversation with this generation and really merging
our powers together, how what is the conversation that we
(20:55):
should be having with them? UM. Reading comprehension is a
huge thing. It's a huge conversation because if you don't read,
you cannot comprehend. And because of that, you find yourself
watching shows and being a part of shows where UM
(21:16):
and projects where people can't articulate themselves so they throw
a base or or or something because the writing is
so simplistic, because communication is not a part of the
writing true communication, which means listening and not speaking, listening
to hear and understand, not to reply, get your point exactly.
(21:41):
Those conversations aren't happening, and we in class, in the
workshops and in class. I was at Tasha Smith class
last night. Hey with Michael, with Michael, with Michael Kay
Williams and yes, yes, it was so it was so. Yes,
(22:02):
shout out to Michael Kay. And I was with Kondon
Um Marvin Jones, he's on Black Lightning. It was. It
was epic. Gerard Haynes, who I cast in South Side
with you, and he was on a show called The Village. Uh.
It was a packed house. And a sister named Cash Dolluh,
sister rapper from Detroit. I just met her for the
(22:24):
first time and we were just in class, just chopping
it up and crossing all kinds of conversations and just
trying to just just communicating in a way coming away
where we're not using any devices, We're not tweeting and texting.
We were literally present. I'm wanted to take my shoes off.
(22:46):
It got so good to me. He was like, we
just meet a brother in a corner with the Jim
Bay right now because of the level of communication that
was happening in that room, and if we deep decompressed
and if we just detached from that matrix, we have
to gather together and really commune and talk and so
(23:06):
that our young people, so that all of our people
we and and I have learned there's a on Instagram.
There is a person a few people that I follow
visage Black Glamour and Hollywood something. I have to find
it on my phone, but they can tease vintage black Glamour.
They can tease on Instagram to make you read in
(23:29):
a way that really will change your life. Hollywood underscore
Rick r I s the way they document stories and um, yeah,
the way they document those stories and talk and talk
to people and tell you backstories. It makes you want
(23:50):
to read. It makes you want to or even I
use my social media for that reason. I had one
young lady telling me, oh, there are no dark skinned
women in Hollywood and it's still not fair. And I
was like, sister, you want bokly Tyson familiar with Dear Richard,
and I had to. I started using my instamating my
Instagram for good. I was like, Okay, Google, let's Google
(24:15):
for more information. Let's find out the shoulders we stand
on and do that to empower you, because no one
can take it away from you. You You can sit in
the room across the across the desk from any person
and you are Do you know what I love to do.
I like to fight fire with water. I don't want
to fight fire with fire. I want to extinguish it.
(24:36):
So finish it. I have the knowledge to finish this conversation, sir,
don't tell me who and what I am. I know
who and what I am. I know whose shoulders I
stand on. I have got some examples. I want to
hear it. Here it goes, and I'm put out an
example after example, and then I'm done. Finish them, Finish them.
(24:57):
You're so powerful. I told you Part are two, Part three.
You know we might have to talk to I heard.
I'm just saying, ladies and gentlemen, let me let me um.
Let's list some credits. Let's list some credits. Now that
Mario just gave me the five five fingers, that means
five minutes. See what I tell you? What did I
(25:19):
tell you when we started this out? Okay, because I
need the credits and I need you to drop pearls
and then we need you to come back. That's just it, Okay,
the credit go with the credits. Girl Stump the Yard,
Notorious Jumping the Broom, Sparkle, Philly brown Foot Fille Station
(25:39):
with this ring when the bow breaks outside with you
being Mary Jane. Oh gosh, I know I'm forgetting. That's
the beginning with Oh my god, you guys need to
I MD dot com American Skin, American Skin soon come by,
(25:59):
Nate park Girl, Oh I love a Parker God. Okay,
good and the other directed my short film, so my
directorial debut, The Counter nineteen sixty. Please tell them because
it's so relevant right now. Please tell them about your
directorial debut. And also, Ladies and Gentlemen Award winning Short film,
(26:23):
Thank You, Award winning Yes Short Film, Yes, my short film,
The Counter nineteen sixty. I take three Woke Black Kids
HBCU students back in time to relive the nineteen sixty
lunch counter sit in. The question is will they be served?
Because y'all think y'all are different. You think that when I,
if I was back there, I wouldn't have done this
(26:43):
and I wouldn't have done that. And that's what happened.
Your slaves to your phone right now, tell me you're
not enslaved. Tell me and that, Yeah, leave your phone
at home, good luck. Yeah, you just want to take
in a breath of Twinkie bird. That's what you want
to do. Take her in And actors, here's a treat.
(27:03):
Drop some pearls on it. Drop some pearls. You got
three pearls. You can drop three pearls that you can
you can drop. Prepare actors, stay, get in your moments.
When you're having your moments, really truly logged them down.
Love those moments, those feelings. You're gonna need to go
back to them and use them in your work. You're
(27:25):
also supposed to be studying the art. Get out there,
get to museum, art events, cultural events, go to plays, theater.
I need you to get out there and truly live life.
Do the things you're scared to do. Cross that bridge,
get on that train, get on that plane, do that thing,
because that exhilarating feeling you're gonna need it, that new experience,
(27:49):
you're gonna need it. Your job is literally to breathe life,
so you need to live life fully. Let's go. I
would just start crying and like, what do you understand Tweaky,
Tracy Bird, Ladies and gentlemen, this is this is what
we're bringing to the Spirited Actor Podcast. I am just
(28:11):
speechless right now. Twinkie, you were absolutely awesome And actors,
I'm guess you were. I mean again, Part two, Part three,
I'll give you a call and we can discuss some dates.
You guys, We're gonna have Twinkie Tracy Bird back to
drop some more knowledge to Also, I do want her
(28:32):
back to talk about people that she has discovered in
Hollywood because she has a pleasora of actors that she
has given them opportunities and now they're all working outstanding
Hollywood actors. That's what they are. They're working out there.
Um wow, thank you, thank you Tweaky. And is there
(28:54):
anything because we have a book, would you like for
actors to stay in touch with you? And also where
can get your book? Oh my gosh. My book is
called Channeling Becky. It's a completely different side of myself.
It's about my dating struggle in Hollywood and that can
be found on Amazon Channeling Becky. And yes, the title
is provocative for a reason. To check it out and
(29:15):
find out and you can find me on Instagram, Facebook
and Twitter. I am Twinky Bird because I am an artist.
I am that I am. Yes, you are what you are,
and you are an amazing creative being and we were
so blessed to have you today. Thank you so much,
Twinky for blessing us. Thank you, and you have a
great day out in Los Angeles because it's a little
(29:38):
cold and rainy here. All right, stop bragging, Okay, I
have a great day. Thank you. Tway, all right, and
we'll be back with the Spirited Actor Podcast Class and Session.
Thank you. Welcome to the Spirited Actor Podcast with me
Tracy Moore. And there is a lot going on in
(29:59):
this studio today. I love by people. Shout out to
my producer Spruce Henry. Give it up ladies, Mario. Okay,
and um Marcus is outside of the booth today, but
we're gonna give him a shout out to Hey Marcus.
So we are in class and Session now, and before
(30:23):
we get into it, I just have to read a
letter from one of our Spirited Actor alumni. This is
to our Spirited Actor alumni, leon A Motto, Leon a Motto. Okay,
it's hello. I'm writing you today to inform you that
you were a finalist for this year's awards, which took
place at this year's sun Dance Film Festival. Here's something
(30:48):
important for you to know. Your short film reached the
final rounds. It means to me is you have talent
and it was recognized by others. I thank you from
the bottom of my heart for showing your work to
us and hope you will try again. Although you may
not have won this year's award, you are a winning talent.
(31:12):
This is to Lion, a model, so we active love
not her first film, first film as a filmmaker. What Lean, Sorry,
I know, I know, but it's Leon. It's that's her name, Leon,
a motto. Leon. Just tell us a little bit about
this please. Um it's it literally is in alignment with
(31:34):
what Twinkie was just talking about. Is a short film
about the conscious freedom that children have. That I believe
that when we become adults the programming, we lose it.
And um, I just like documentary style followed a child
and there um being inquisitive and curious and just I'm
trying to get back to that free place, like Twinkie said,
(31:55):
disconnecting and getting lost and being present. I just want
you know heard it here on the Spirited Actor podcast
Leona Motto, first film and a beautiful letter from an
outstanding producer. Outstanding. Yes, and you don't get personalized letters
like that that say from the bottom of my heart
(32:17):
you touched him. Excellent. Alright, she is a reflection of
all them. Okay, we are now in class in session,
and I am going to be giving you guys some
feedback and constructive criticism today. I'm very excited about that. Um.
So we're gonna do a scene. Um and this actually
(32:38):
is a show that's going to be coming back to
New York Gossip Girls. Uh so, let's read from these
sides you guys ready, alright? Yes, and you know Interior
The Secret Bathroom Constance High School, Noon, Diane enters a
single stall bathroom, exasperated. She's surprised is Jane Diane doesn't
(33:03):
wait for an intro sales Rax Sally isn't even clever.
If you're got to deface someone's locker, at least be original.
I mean it's even worse than d I y, Diane,
I don't get it. You know, I'm a freshman. Why
does the whole school wake up with admission to funk?
With me. Isn't there something else you'd rather be doing,
(33:23):
like bribing your way into college, expanding your car your
carbon footprint? Like, what is your problem with me? I'm
so sorry? Do I know you know? No? But let
me let me guess you're the add to the Kogate
dynasty or niece of the third Earl of Kensington. Right,
(33:47):
Jane smiles. People don't usually stand up to her. No,
but close if you're really asking your whole look right now,
screams hoboken uniqlow. Back to school sale presentation matters around here.
Try switching up. That may ease off you a bit.
Maybe I don't care about how I present myself. I
(34:07):
care about how I represent myself. And this is who
I am. Someone who doesn't have a spare five grand
to drop one clothes that I can only wear once.
You know know that spend that kind of money. You
just have to not look like a page in a catalog.
You say that to you, but I say that tattoo
that you're trying to cover up. Diane pulls up her sleeve.
Jane is right, I know you're new here. Pro tip
(34:31):
there's some great consignment stores like Aina and Housing Works
and not. The housing works in house kitchen Broadway in
nineties is a gym, and all the classic pieces end
up there, like five percent off the original price for most,
for most of the world, five percent is still too much.
I buy my own clothes. I don't have a credit card.
(34:53):
My parents pay off without looking. I pay it off
me with whatever jobs I can pick up. You're right,
I'm sorry that was presumptuous of me. I beat Diane softens,
and I'm sorry. I know I just barged and unloaded
on you. I didn't expect anyone to be in my
secret spot. Your secret spot. Yeah, I come here whenever
(35:17):
I need to gather my thoughts. Me too. I mean,
there's usually no one in here, and it's the only
room in concerts with zero reception. You like zero reception,
You don't need four g to survive. Cute. What I
like in fashion, I make up for and fight. They
share a smile. So now what I'm assuming neither one
(35:42):
of us wants to give up this spot. How about
a compromise. We can share it? Maybe this time every day? Okay,
I can try that. I'm sorry, I still don't know
your name. D I y Diane Jeane Halloween you I know,
(36:03):
they share a friendly handshake, same time tomorrow, I'll be here.
They smile again and Jane leaves. Diane takes a beat,
then rolls up her sleeve showing her tattoo. End. Very
nice ladies. So one of the things that I want
to say is that when you get sides, um, I
(36:24):
usually say read them three times. The first time you're
reading the sides pages of a script is to understand
what the story is, what is going on? The second time,
what is the relationship between the characters, and then the
third time. As actresses, you're going to choose how you're
going to be Jane be Diane. Right. So, um, when
(36:45):
we read the whole thing from beginning to end, what
we understand is that you guys aren't friends in the beginning,
but then somehow you ease into this kind of friendship
by the end. Right. So, as an actress, you have
to say to yourself, how am I going to get here?
Because you come in very strong. Diane comes in very forceful.
You know, kids are picking on you, bullying you, and
(37:06):
you obviously go to a school that is not you know,
there's a private school, but these kids are cogate heirs
or Earl of Kensington Royalty. Right, So this is an
elevated richness that is not a private school. Okay, So
(37:26):
if you don't have that experience yourself, you're gonna need
to do some research on what these type of schools
are they boarding schools, you know how much you know?
I know there's a school um in Manhattan for kids
like preschoolers waiting lists, you know, and it's like a
hundred dollars a year for a five year old. So
I'm just saying, you've got to be conscious of the
(37:47):
wealth that we're talking about, and it's a different kind
of wealth. So in knowing that you guys are going
to be kind of friends at the end, you have
to find places you're uncomfortable, but you have to be
comfortable being uncomfortable. Right. So an example is before you guys,
it says here when Jane um it says your line
(38:12):
is you're right, I'm sorry that was presumptuous of me.
On page two and it says a beat and then
it says, Diane softens the fact that you are giving
her information like go to ENA's and housing worth that
right there, and you should sort of open yourself up
to Diane, because that's saying to you, she's helping you.
(38:34):
She's making an effort to tell you what your real
problem is. Uni Glow, you're standing out. Why don't you
tone it down? And then you could still be amongst us.
And she's also saying, even though I'm of this school,
this is not who I am either, because I don't
drop five thousand and without my with my parents not looking.
And you don't have to do that. So let me
(38:56):
show you some tricks of the trade. So when that
starts to happen, both of you should start to soften
and sort of like, Okay, You're like, maybe she's not
that bad and she just needs a little bit. She's
a freshman. You know you got a school freshman. So
let's take it again, and let's let's allow this friendship
(39:18):
that happens at the end the beginning of a friendship.
Let's see the makings of that in the middle. Alright, cool,
So you know I'm not gonna read any of the action.
Actress is going to read straightforward. Okay, here we go, ladies,
Uh sales wax Sally isn't even clever. If you've got
to deface someone's locker at least be original. It's even
(39:41):
worse than d I y Diane. Look, I don't get it.
You know, I'm a freshman. Why does the whole school
wake up with the mission to funk with me? I mean,
isn't there anything else you'd rather be doing, like bribing
your way into college or expanding your carbon footprint? Look like,
what is your problem with me? I'm sorry? Do I
(40:02):
know you? No? Let me guess you're the heir of
the Kolgate dynasty or the niece of the third Earl
of Kensington. Right, no, but close, if you're really asking
your whole look right now, screams hoboken. YOUNI glow back
to school's sale presentation matters around here. They're try switching
(40:27):
it up and there might ease off you a bit.
Maybe I don't care about how I present myself. I
care about how I represent myself. And this this is
who I am, someone who doesn't have a spare five
grand to drop on clothes that I can only wear once.
You don't have to spend that kind of money. You
(40:47):
just have to not look like a page in a catalog.
So you say that's you, But I say the tattoo
you're trying to cover up. I know you're new here.
Pro tip there's some Greek in Simon stores like Aina
and Housing Works and not the housing works in house kitchen,
bra Away and six is a gym, and all the
(41:09):
classic pieces end up like five percent off the original price.
For most of the world, five is still too much.
I buy my own clothes. I don't have a credit card.
My parents pay off without looking. I pay it off
me with whatever jobs I can pick up. You're right,
(41:30):
I'm sorry that was presumptuous of me, And I'm sorry.
I know I just larged in and unloaded on you.
I didn't expect anyone to be in my secret spot.
Oh you're a secret spot? Yeah, I mean I come
here whenever I need to gather my thoughts. Me too.
(41:52):
There's usually no one in here, and it's the only
room in conserts with zero reception. You like zero reception?
Come on, you don't need your four ge to survive? Cute?
What I like in fashion I make up for and fight.
Mm hmm. So, but now I'm assuming neither one of
(42:13):
us wants to give up the spot. How about a
compromise we can share it? Maybe this time every day, Okay,
I can try that. I'm sorry, I still don't know
your name. D I y Diane, Jane? How do I you?
I know? Same time tomorrow I'll be here and seeing
(42:39):
excellent ladies. I love when actors follow direction. And you, guys,
um it was worn during this time. You know. Did
you guys feel that as well? Yeah? And you could
feel the I love the force you came in with
Diane and then you kind of had to slow your roll.
Jane was like, all right, I hear your frustrations. I'll
(43:00):
take that out on me. What's that you know? So
and then it grew into like now we feel like, okay,
they're going to meet at the secret spot and they're
gonna learn to be friends. Excellent. Ah, this is why
I love doing class and session. Thank you to lean
A Motto and Jelisa Capri. Thank you spe An Actor alumni.
(43:22):
And we'll be back with Give Love and now it's
time for give Love. Patience is truly a virtue and
a necessity for actors. So Sarria is my granddaughter and
she's seven and when she was three years old, she
got really frustrated because she couldn't snap her fingers and
(43:43):
I was like Siah, you have to practice. You practice
every day and be patient with yourself. Don't get angry,
don't get frustrated. Just know that it's a process and
you need to be patient. Well, after several months, Sria
successfully learned how to snap her fingers and loudly. The
(44:05):
great part about this lesson for Soriah and for actors,
things take time. I know that you want to get
the job. I know that you want to get on
the set and and you want to work with actors
and certain directors. But acting is a process and it's
a journey. Be patient with yourself, Be patient with the process,
(44:28):
and allow the experiences to help strengthen you and strengthen
your talent. You are where you are because that is
where you're supposed to be. Take your time, be patient,
and no there is a role and a great opportunity
waiting for you. Thank you for joining us on the
(44:50):
Spirited Actor Podcast with me Tracy Moore. I look forward
to our next Spirited podcast. Thank you,
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