The Spirited Actor - Ulysses Terrero

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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 transitioned to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Domez.
I auditioned every rapper from Biggie Smalls to Tupac, and

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

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

(01:09):
of a lifelong romance. Oscar Wilde, who I have to
say amen to that one, because we need to love
ourselves more. One of the questions that I ask in
my private sessions is how do you celebrate yourself? And

(01:31):
I can tell you that fifty percent of the people
that I ask that they don't. Actually it's probably seven percent.
I'm being nice, but people don't celebrate themselves every day.
I have a challenge for you. It's not TikTok, it's
not you know, Instagram. It's just a Tracy challenge. And

(01:55):
I want to challenge all of you to celebrate yourself
every single day. And it doesn't have to be with money.
One of my favorite things is just to walk to
the park and put my feet in the grass or
hug a tree. So I want to encourage all of
you to be good to yourself, to love yourself, and
to be nice to yourself, because no one is going

(02:18):
to do it better than you. No one is going
to love you as much as you love yourself, and
the love that you give to yourself pours out into others.
So today, spend time celebrating and loving you. Before we
get started, i'd like to remind everyone to look out
for my new show Inside the Black Box. I'll be

(02:41):
co hosting with the Great Joe Morton. We'll be on
Crackle Network real soon. I'll keep you posted. Welcome to
the Spirited Actor Podcast with me Tracy Moore. You guys
are not ready. You are not ready. I already know this,
but you're gonna be ready. By the end of this interview.
You will be ready. Let me tell you. One of

(03:01):
the blessings that I have in my life is relationships.
And when I look back at how long I have
known this gentleman, it is amazing to me that we
are still in touch, we are still in each other's worlds,
and we still have a dibneric friendship. It's just it's
a blessing.

Speaker 2 (03:21):
It's a blessing. Okay.

Speaker 1 (03:24):
I need you guys to understand that you are standing
on this man's shoulders actors, and I want you to
also understand that our guest and myself we have fought
from day one for people of color, and we continue
to fight for people of color. I need you guys
to understand that because we're in two thousand, twenty three

(03:48):
and I have known him at least nineteen ninety three,
ninety four. I want to say, because I started New
York Undercover in ninety four Ladies and Gentlemen, a phenomenal
human being, A caring, loving, supportive human being for y'all, actors,

(04:09):
you need to know, because you need to know the
people that stand by you, fight for you. I want
you to put your hands together and stand up, stand
up in your living room.

Speaker 2 (04:20):
I want you to put your.

Speaker 1 (04:21):
Hands together for casting director extraordinaire, producer extraordinay, director extraordinary,
Ladies and Gentlemen. Please, my dear friend, my spiritual brother, Ulystisterrrera.

Speaker 3 (04:37):
Wow, Oh my, the truth, Oh my lord, what an introduction.

Speaker 4 (04:43):
You know.

Speaker 1 (04:43):
What's brilliant, Juie. The fact that you have an acting background.

Speaker 2 (04:50):
I don't.

Speaker 1 (04:51):
I mean, I kind of do in San Francisco, But
I'm just saying you. When I met you, you were
actively pursuing a career as an actor, so you have
that understanding. And then as a professional, this is what
you do. And the other day you guys. I saw
him on live, I heard him, I supported him, and
I was like, I want him on the podcast to

(05:12):
talk to you directly, because a lot of things have
changed since COVID and I have so many similar experiences
with Julie. I have people I don't know why actors.
I don't know why you guys think that you can
just go out and come into this profession with no experience.

Speaker 2 (05:32):
Why would you even.

Speaker 1 (05:33):
Want to do that and put yourself out there? So I, Julie,
I'm giving you the platform, man, please talk to these people.
I will interject, but I would this is your live
again on iHeart Radio.

Speaker 3 (05:47):
Please, I mean where do we start? What do we
talk about? I mean, like I said, you know lately
for me, like you said, is because of Zoom now
everyone things they can be an actor now, so you
get a lot of people that harass you to give
them an opportunity. When you do, it's like they're terrible
and it's just like the first question to ask him

(06:09):
is like you know, what kind of training do you have?
Like training, I'm a natural? I'm like natural? What disaster?
Because it's like it's just like I can't no more.
And then it's like you know, then there's this new
thing where it's like this thing called influencers now, right,
so if you bought a million followers, now you think
I want to put you in a movie. You know,

(06:29):
but it's like you have to be a good actor
and ninety nine out of one hundred. Influencers that come
into the casting are really bad because telling jokes on Instagram,
we're showing your butt or whatever people are doing again numbers.
That's one thing. But acting, it's a craft, it's an
art form. It's a you know, it's a career that

(06:49):
you have to manifest to. You have to train, you
have to study like it's a full time gig, you know,
to get the rewards that everybody wants. People want to
be like on a serious regular on a TV show
on a big network, but you have to be brilliant
to get that opportunity, and it takes years. There's no
naturals on a TV series. You know, anybody in the

(07:11):
TV series was a natural. I was a natural that
got a little independent film, woke up, smelled the coffee.
Then they trained and then they eventually twenty years later,
got that opportunity. So you know, like I said, you know,
we've both been blessed to have a lot of you know, uh,
celebrity friends because we knew them before they were celebrities

(07:31):
and now now they're big, and you know, we might
have had our hands in that a little bit. So
they give the love and pop up to our classes
and stuff, and you know, like Louis school sman. You know,
I do know if you guys know who that is. Yes,
he's on you know, he's the father on Wednesdays he
was you know, Colito's wave Wan Pachanga. But but you know,

(07:52):
east comes to many of my classes and you know
he said, uh, he was a social worker in the
projects and no Eastside project and front of his you know,
kept telling me, should be a movie, should be a movie.
She red movies and give him an opportunity. And he
did a little movie and he was so great for
everybody loved him, so they gave him another opportunity and

(08:13):
another opportunity. Then he got Miami Vice, a big role,
and that's when he realized he couldn't act and was like,
oh shit, this thing is hard. And then he went
to the actors studio. You know, when he was in
Miami Advice, he went to the actors studio because that's
what he realized. Okay, these one line is just cool.
Being myself is cool. But to get the real money,

(08:35):
you have to do these pages that somebody else wrote,
these characters that somebody else created. That's nothing like you,
and you got to figure out how to become the
person on the page. And that's when he realized he
had to study. You know, I want.

Speaker 1 (08:50):
I wanted to ask you because like I stress to
all actors that they have to read aloud every single day,
three hundred and sixty five days a year, like when
Michael Jordan was practicing every night the free.

Speaker 2 (09:03):
Throws and stuff.

Speaker 1 (09:05):
Because in my experience and just wanting to get your input,
people can't read, Ulie. They cannot read. And when I
say that to them, I'm saying, breathing life into the words.
Because you know this too, because you know a lot
of directors and we got to give a shout.

Speaker 2 (09:27):
Out to Jesse. Got to give a shout out because
that's why that's what I do too. I love me
so Jesse. But directors.

Speaker 1 (09:34):
I had a conversation with Benny Boom, and Benny was saying,
like maybe two takes Tracy, maybe two, so there's no
longer coming on set warm up. You know, you got
to come on Volcanic cop That's what I tell them, right,
and have at least ten I say, ten to fifteen
choices every scene you're doing, so you can have your
archives to pull out right.

Speaker 2 (09:56):
But the reading is challenging for me Uli because.

Speaker 1 (10:02):
I had a reading for a project that I had
cast two years ago and it was so difficult getting
through that reading because a lot of the actors don't
know how to read and blow life. They're just reading,
And I say to them, we don't hire readers. We
hire characters. Characters have characteristics and they do things. So

(10:26):
in terms of like, you know, I want you to
speak on reading, but what other things do you highly
recommend and stress to these young actors out here who
just think all.

Speaker 2 (10:36):
I need to do is just memorize some lines.

Speaker 3 (10:39):
Yeah, I mean, like I said, that's what I encourage
not to do. You know, what I encourage is to
understand the character. You know, like like who is this character?
You know, what's the relationship with the person you're talking to,
what's the purpose of the conversation, what's your goal? You know?
Where are you you outside? Is it cold? Is it?

(11:00):
How do you sitting down? You know? How you dressed?
How do you feel? You know? You know, you know
understand And sometimes this is given in the script, sometimes
it's not, and if it's not, you know, you have
to with the with the majority of the information you got,
you got to make a call or judgment and go,
you know what, this guy's from here, you know she's
from there. You know this is the and create the

(11:22):
backstory because without a backstory, you're only going to be
the lines. But once you know the objective of the
scene and the characters and the relationship, now the words
can come out like the director would like them for
them to come out. For example, if the line is like, hey,
how you doing right, and you just the lines, you go, hey,
how you doing right? But if you know the backstory,

(11:42):
and the backstory is like, this is the guy who
was screwing around with your wife for two years? Who's
your best friend who just found that has been screwing
your wife? You know, how are you going to say that? Now?
Now you're like, you know, hey, how you doing? You know,
like the tune's going to be different, you know. And
that's what a lot of people, most new actors or

(12:03):
want to be actors or or or you know, first
time actors do. They just worry about memorizing these lines,
and that's how they're coming. Hey how you doing? How's everything? Okay? Cool?
You know what I'm going to kill you tomorrow and
it's like, wait a minute, yeah, it just happened here.
But when you know the backstories, like hey, how you doing.
You know you're dying tomorrow, right, you know, you're like,

(12:25):
oh wow, this versus an actor. They did the work.
But like I said, this is not this is stuff
that you know they learned in your class, you know
what I mean? These are things you just said some
things right now. I was like, well, that's a good idea.
I don't think I've ever done that before. So I
just learned the jewel talking to you right now, you
know so so.

Speaker 1 (12:43):
But it's vice versa, and like I want the audience
to know that. Like when I first started casting, there
were like five casting directors, including Yulie, that I trusted
and that I you know, if they needed anything, I
would refer saying, you know, we we we help each
other out like that.

Speaker 2 (13:03):
So it's never I never felt competition.

Speaker 1 (13:06):
I never felt like, oh, you know, I don't want
to take a job from you Ley or whatever. I
felt we were all blessed back then, and we were
always working, all of us.

Speaker 2 (13:13):
We were always working.

Speaker 1 (13:17):
So I think that that's a great thing for you
guys to know is that there's no competition between us.

Speaker 2 (13:22):
We share.

Speaker 1 (13:24):
The other thing is is that I encourage people who
take my class to take your class after, because well,
I think I think what's really important is that actors
get a variety of teachers because not everybody is the
same and not everybody teaches the same. But like, what
I've started to enforce basically based on you is creating

(13:47):
sort of this agreement with actors. You know in the
beginning that talking to elsa about but you know, homework
assignments have to be turned in. I'm not giving you
homework assignments just because I'm playing teacher. I'm giving you
homework assignments because the business part of it is what
you need to focus on the business, and the spiritual

(14:08):
side is knowing and understanding the manifestation process and the
usage of your words. If you keep telling me you're
a struggling actor, you're going to be a struggling actor.
So you need to make adjustments in your words.

Speaker 2 (14:18):
Right. But when people don't turn.

Speaker 1 (14:20):
In their homework or they turn it in the day
of when it's supposed to do, what I'm trying to
teach you, guys is discipline and routine because if you're
not a morning person, you got to change your life
if you plan on being an actor, because we shoot
our shooting schedule, right, you know, if you're late all

(14:40):
the time, you got to change your life because we
need you to be on time. We hire business people.
So I just want to make that clear because that's
one of the aspects that I love about Julie when
some Sinclair Ui knows our usual suspects who we can
tap into Yolanda Hunt that are always or to assist us.

Speaker 3 (15:01):
Right.

Speaker 1 (15:02):
But I have a question in terms of you made
a really good point in terms of the characters in
your audition, and now with zooms are you finding because
you know, I always want to give the benefit of
the doubt, but if you were to put on a percentage,

(15:24):
what is the percentage of actors in your opinion that
are not.

Speaker 2 (15:30):
Training?

Speaker 1 (15:31):
Is one thing, but in the zoom being equipped with
the proper background sound shooting, what is the percentage of
actors that are really prepared out there?

Speaker 3 (15:42):
Well, it's unfortunate that I'm gonna have to break this
down good in a racist or a racial a breakdown,
But if it's a if it's a Corcasian character, we're
looking for maybe nine out of ten are perfect on

(16:04):
pointe we needed. If it's African American, you know, I
would say nowadays, in twenty twenty three, I would say
like seven, seven out of ten, you know, sure for sure.
And if it's Latino or other they two percent two

(16:26):
out of ten. You know, it's really it's really bad.
Like I said, the thing is is like you know,
you know, you know, we come we come from from
the big beginning of time where there was not much
color on TV. So we were part of that movement.
And you know, so I was part of the fight.

(16:46):
You know, I did the Black Lives Matter, I did,
I was part of all that stuff. But now there
is opportunity, you know for African American actors, there is
now so now that there's opportunities, you know, African Americans,
I stepped up to the plate and taking in the opportunities.
There's still no opportunities for Latinos for you know, why
spend money to study if there's no future? Why why

(17:09):
learn what you have to do if there's no additions. Now,
if you're Mexican and you live in LA there's there's opportunities,
you know, to a certain degree, you know, but like
Puerto Rican or Dominican or another type of Latino, like
if you don't have the standard accident that they actually
for on TV. Right now, there's two movies right now

(17:30):
that came out. One is The The Friedo's I think
it is with Jesse Garcia. Even then there's another one
that's on Disney with uh uh. It's called The Loorous.
The Law's something. I just saw it today briefly, so
I know the name of it. But you know, a

(17:50):
strong actress to the horror of Delors something like that.
But anyway, you know, if you watch, if you see
the trailers, you know, those are all my friends. I
know everybody knows movies. Wow, And they don't talk like this,
you know, they had to thought like this, like everyone
talks like this, like I don't even know if I'm

(18:11):
doing it right. But it's like it's like if there's
a Latin role on the I tell you, I tell
your story. So I was casting this movie for this
big studio. We were looking for this specific type of actress, right.
I don't want to I don't want get in trouble
with the students. I won't say the description. But we
never found her, So the movie never happened. Big studio,

(18:34):
nice budget starring role for someone of my ethnicity, with
my complexion, you know, certain specific things to the title
and young, a young actor, and we couldn't find anybody.
So the movie never happened.

Speaker 1 (18:52):
You know, wow, and they have the financing and everything.

Speaker 3 (18:55):
Yeah, ten million dollars, big movie and then potentially a
sitcom afterwards, and we couldn't find it. We found three
girls that were amazing, but they were just two old,
supposed to be high school. They were like a year
two old. We had three amazing options, but they were
a year two old. And then we found one that
was young, but she didn't want She didn't agree with

(19:16):
you know, the sources attached to the character. She didn't
want to play that kind of role. But anyway, but
the long story shortness, so the character had a mother, right,
a Latin mother, right. Every single Latin woman that came
into the audition out of la was like, let's say,
the girls. That was ironic because like, well, you're not here,

(19:36):
why you're not whole? Like they all spoke like that,
and I was just like, but I knew all of them,
So I was calling like what's this terrible? Actually you're doing?
You said Latina? I know, yeah, but not like like
where is where does that actually come from? That it
was Mexican? Yeah, I'm like what they're like, yo, Like

(19:59):
that's how it is over here when they say Latin
and the scripts over there, that's what that means. You
have to ask. We all learned it. Wow, I learned
that if you watch all the movies like Ozart, right, yeah, No,
the new thing is now we're the new black now.
So now when you do a movie, there's a lead
black actor, lead female, you know, LGTVQ, all these characters,

(20:25):
and we're the drug dealers now like we're the drug dealers.
We're the ones that get killed in the first five minutes,
which been to African American actors twenty years ago. But
the good thing is that we have the blueprint now,
so as Latinos were like, okay, this is the blueprint.
This is what they did is you know, so now
as Latinos, we just got to follow. The only difference
is that you know, like Tyler Perry, God bless him

(20:47):
so much, like you know, he had support, especially for
the church, so he did all those plays. So we
throw that into films. Every single person that's seen those
plays ran to the movie, didters to support this young
filmmaker African American and they all ran to the movie
to this let's support this great guy. And he became

(21:08):
successful because he had the fan base. If you ever
go see a Tyler Perry movie in the theater, it
feels like church, right right, family, the kids, the grandparents,
there's Hallelujah. Like it feels like because he had the
support from the from the church and everybody follow him.
Black he is. But we do it like we can

(21:28):
follow the blueprint all we want, But if we do
the Latin Hollywood shuffle, right, are Latinos gonna go see it?
You know? Probably not? You know, I don't know. Like
like like I said, there was a Baker The Beauty,
which is a bunch of great actors, a great show
on CBS. Nobody, ABC, nobody saw it. But at the

(21:51):
same time too, they didn't market.

Speaker 2 (21:52):
It either because they don't know how.

Speaker 3 (21:56):
Yeah, they'll put a they'll put it on Mound is
a Spanish speaking audience English show show that'll make no sense.
Then there was then there was In the Heights, you know,
which is an attempt of a Broadway show turned to
film with you.

Speaker 2 (22:15):
Know, worked with Leslie Grace on that.

Speaker 1 (22:19):
Okay, oh you were c a called me for her awesome,
I love her.

Speaker 3 (22:26):
But but but nobody saw that show, right, you know,
and the average Dominican didn't see that show. Oh no,
because it didn't seem more that didn't You're a fucking hater, right, sorry, right,
curse on the show. Sorry. Then then then there was
a Goalita Chronicles, which I'm the one that cast the girl,
the lead girl, which is a cute family. Nobody saw that.

(22:51):
Then there was a uh, you know, West Side Story,
which had a few Latinos in there with but but
nobody saw it. It might have been Spielberg's worst movie ever
and probably the most Latinos in it. So it's like, so,
if you're Hollywood, why would you want to do stuff

(23:11):
for Latinos in it? Right?

Speaker 2 (23:13):
If you see that, there's no profit? Nobody, why is that?
Why is it that we don't have that support?

Speaker 3 (23:20):
Because because there's so many of us, I said Freddie Rodriguez,
you know, he did Addy, He did a great movie,
Nothing but the Holidays. It was a a Christmas story,
Christmas story with latinos in it. Every Latino was in that.
You know, a bunch of Latino actors in that, and

(23:40):
nobody saw it. You know, it was a great movie.
It was about a land family Christmas in Chicago, and
nobody saw it. You know. So my whole thing is
like the different the thing is that there's so many
different Latinos. Right, if the stars of Puerto Rican, then
everybody else is hating on it, and even the Puerto
Ricans are hated on it. If the if the if

(24:03):
the movie is Dominicans, no one's seen that. You know,
we're like, well, African Americans went through in America. That's
what we go through in the Spanish community. Like we're
the blacks of the Latin space. Like if you're doing hey,
I'm dating a Dominican, it's like, oh, like why are
you doing that for?

Speaker 1 (24:19):
You know? Wow, So within the culture like us dealing
with light skin versus dar skiffs.

Speaker 3 (24:26):
But it's worse, it's worse for us in the Latin
space than in America. That we have more racism amongst
Latinos than we do in America.

Speaker 2 (24:35):
Wow.

Speaker 3 (24:36):
You know, So, like I said, I just directed this
thing for Amazon. It's called hip hop or Sam but
it's spelled hip hop ex seamp it means hip hop forever.
And this year with the fifty anniversary of hip Hop, right, yes,
and they did a bunch of shows and specials and
this and that, and nobody mentioned one latinum.

Speaker 1 (24:57):
Nobody, And I mean truth be told the fever in
the Bronx because my ex husband managed UTFO.

Speaker 2 (25:07):
And Full Force, so I was always up in the fever.

Speaker 3 (25:13):
Sala. Yes.

Speaker 1 (25:14):
Now, yes, he was best friends with my ex husband.
So come on, now, we got to give credit where
credit is due.

Speaker 3 (25:22):
No, no, But the thing, the thing is that the
thing is that in the documentary.

Speaker 5 (25:26):
Right.

Speaker 3 (25:26):
So the first hip hop movie ever done was Wild Style. Right.
They're doing the forty anniversary this week actually in New
York City, and they're adducting some of the guys into
the Hall of Fame. Right. But the first rap group
ever they had, they had uh what's his name?

Speaker 1 (25:45):
Uh?

Speaker 3 (25:50):
The Spanish guy that damn I can't out and forget it.
But I'm a post. I posted it like three days ago. Okay,
as a first as a rap scene, I send it
to you. There's a rap scene and as an African America,
he starts the rapper then The second guy that raps
is Charlie Chase, which he was the DJ of the

(26:12):
Crush group of uh Go Crush, right, he was a DJ,
but he's the second guy the raps. And then the
third guy that raps is the rapper from the first
group ever in hip hop every like the fifth seed
was Spanish. Was like just just in this battle scene
the twit three first rappers, that rapper Spanish. Yeah, it's
like how how how how were we not mention you

(26:35):
know what I mean?

Speaker 1 (26:37):
I know I got here, Yep, sugar Hill Gang. I
got here, and that's what I said to run DMC.
When I first landed here. My girlfriend was being managed
by Russell Simmons and so I she was my roommate.
I was at Green Street Studio, and I lived at

(26:59):
the Feet, I lived at the garage, funhouse, rock scene,
because these were all the places that UTFO performed. He
also managed Lisa Lisa and called Jam. So I was,
you know, around with them, and so to me when
you know, because I'm coming from San Francisco, I don't
know anything about Bronx, Brooklyn nothing, So I was always

(27:21):
going straight to the Bronx. So I thought that that's
where rap originated it is, and then the other thing
that was really huge here was breakdancing and graffiti. And
the majority of guys that I saw were Latina.

Speaker 2 (27:36):
Yes, so they were.

Speaker 1 (27:39):
I don't understand like the influence because at one time,
right before my daughter's dad passed, he was in talks
with sal about doing the movie The Fever. Okay, yes,
which you would have seen everybody come through there. Madonna
was there one time. I was there and nobody knew her.

(28:01):
She was just walking around with Dolly's on. That's what
I said, with the lace and stuff and fluttering around.

Speaker 2 (28:06):
I'm like, who's this chick?

Speaker 1 (28:08):
You know what I'm saying, Like I did, but Yulie,
this is what I did. I was at the Roxy
because she used to always flirt with my ex husband
and Russell Simmons, right, and so one day I went
up to her. I said, listen, chick, I don't know
who you are, but I'm gonna need you to stay
away from my man. This woman needs you to do
Madonna whoever. Right then with my husband when we got divorced,

(28:29):
he was like, I'm trying.

Speaker 2 (28:30):
To manage Donna. If it wasn't for you, I didn't know,
I didn't know.

Speaker 1 (28:40):
It was a great when I tell you it was
a great time.

Speaker 2 (28:44):
And then you had like Jive was a Jive, I'm
not Jive one of the Yeah, maybe it was.

Speaker 1 (28:52):
It was one of the smaller record companies that was
really giving out those deals to rappers at that time. Yeah,
because Russell was there with Jam, but there was an
Anne Carly.

Speaker 3 (29:02):
Worked with Burnell Records.

Speaker 1 (29:04):
Yep, Barry Okay, So it was very wise at Jive Records.
They were handing out those deals at that time. And
I just remember when Lisa hit that. You know, I
was tapped in even more because what I didn't know
was within the Latino community, there was Dominicans, there was
Cubid like. I didn't know the specific groups. And then

(29:27):
I learned that when I came here. Because one of
the things you said, I come from California, Mexicans is
all that I grew up with. So I was saying
to you, the thing that bothers me is the stereotypical
images that Hollywood continues to perpetuate today because I don't
know if you guys knew listeners, but they want to

(29:49):
do the Fidel Castro movie Hollywood, and they want to
cast James Franco as Fidel Castro instead of John Leggamos.

Speaker 2 (29:57):
Who would that would be his Oscar? Right there? Like
where is the.

Speaker 1 (30:04):
Logic in this type of casting with Hollywood?

Speaker 3 (30:10):
And I'm telling you that the logic is that when
they do put the Latino in there, nobody goes to
see it and the numbers don't make sense. That's the problem.
That's why I say everybody can complain. Like I told,
I told people on my side, if you're into the
Transformer chain, go check it out because the leader is Latino.

(30:31):
You know, Anthony Rainmods is the star Transformers. So if
you know, if you want to make a change, you
want to make a difference, go check out the Transformers
this weekend, because like I said, if the numbers coming high,
they would have been like, oh shit, maybe we should
do this last thing. But if the numbers coming low,
they're gonna be like you see, you see technical Sorry

(30:53):
it's okay, but it'd be like you see, that's that's
why we don't do it. You know. But But like
I said, just to just to wrap up on the
on the documentary we did, the whole purpose of that
was to start a conversation that you know, we were here,
we were always here. We grew up in there. We
came like in the in the ninety nineteen, ninety, nineteen twenties,

(31:16):
that's when like the Puerto Ricans started coming to the
United States and stuff, you know, way before hip hop started.
So yeah, lived in the neighborhoods. We went to the scene.
We were there, we were at the park. And then
what happened was graffiti started first because people were writing
on the walls to like, you know, just make a statement,
like you know, right leave so I was here or

(31:37):
you know, I'm important, that makes sense. Then the dj
started second, where they started like taking loops I mean
like yeah, like samples and scratching them. And then the
breakdancers started happening, and then the DJs were like yes, yes, y'a,
you don't staff throw your hands in the air like
you just don't care. And then and then people were

(31:57):
like and then started throwing stuff on that, and then
raps started happening. So hip hop is is has those
four pillars of breakdancing, graffiti, uh mcne and DJing. But
Msteen was the last one to flourish, you know, and
I guess the most importance. But that's what this documentary was,
just to show that, but also show how we were there,

(32:19):
We were there, were still there and now you know
we we're the highest thing in music right now. You know,
you knows get the most views, and music now is
based on views you got. You know, if you look
at the top ten most watched videos and YouTube history,
nine or Latino or eight or Latino. So you know,
I mean billions of views. And I'm blessed to say

(32:42):
you know, I've directed or my brothers directed half of them,
you know, So so you know, But like I said, look,
the bottom line is we have to support one another.
That's why you called me. Uh, Tracy called me. She
never calls me, so you call me is for a
good reason. She said, hey, are you available tomorrow too?

(33:04):
I mean at twelve, I was like done, that's it.
I don't know what I was coming.

Speaker 2 (33:09):
From, Rubbie. We also have other plans for you too
in season three. Well we're not.

Speaker 1 (33:14):
I can't talk to you officially about it until we're
supposed to know. They told us ten days on Friday,
we'll get the official word. So I think we're at
day seven now. But once we get the official word.
I have plans because what you don't know is that
when that article first came out about Fidel Castro, I

(33:34):
sent it to Crackle and said, this is why inside
the Black Box is here. It's a platform to bring
awareness to these things because we need to focus on
solutions because we you know the problem.

Speaker 2 (33:49):
What are the solutions to this?

Speaker 1 (33:50):
Because that's what I want to So once we get
that official word, you'll get another call from me. And
now I'm thinking, Yulie, we have to do something like
I'm thinking maybe you and I partner up and maybe
do a workshop or something like. I feel like within
both communities there needs to be more support.

Speaker 2 (34:13):
There needs to be the self love.

Speaker 1 (34:15):
It starts with self love, because if you love yourself,
it's a natural extension to help other people. And so
this whole competitive jealousy thing, there's enough out there for
all of us. We're in streaming.

Speaker 2 (34:26):
World right now.

Speaker 1 (34:27):
You can make a film on your phone, so there's
no more excuses. It really is about us coming together
as communities, and you know, culturally, I mean, because what
this world is gonna look different in ten years. I
keep telling my granddaughter who's ten Hunger Games and I
keep telling Radiance and Miles hunger games, like, so we're

(34:49):
going to have to learn how to help each other
and work together.

Speaker 2 (34:52):
Otherwise I don't know. I don't know.

Speaker 1 (34:55):
We've got three minutes and I want to give them
all to you. Whatever you want to give to the
act in terms of tips, what they need to do,
here's your platform, just real quick.

Speaker 3 (35:06):
The problem is, like you said, we have to support
on another. John Levuzamo was the first Latino ever to
go against Hollywood and say I have a problem with
this shit, Like how how do we finally have an
amazing leading role opportunity for Latino male and you don't
give it to us? You know, how can we get oscars?
How can we make We can't sell Latin stories because

(35:29):
we don't have a face to put in the poster,
you know, And now there's an opportunity for a face
for a poster, you give it to the white guy.
Like come on, guys, and you know who supported him? Who? Nobody?

Speaker 2 (35:42):
Wow?

Speaker 3 (35:45):
One Latino now, one Latino? Now, one Latino said Hey,
I got you, John, This is some bs you know.
You know why because all the Latinos that are famous
enough they got they're the number fifth person on the
TV show, you know, the sixth character on that movie
living a great life. They don't want to damage that

(36:09):
they finally got in thirty years later. Finally, you know,
and then I got to rock the boat. And nine
out of ten Latina women in Hollywood are married to
a Caucasian medal, you know what I'm saying. So, so
they're not at the Latin party. They're not. They're not
after the Latin uh protests, you know what I'm saying,

(36:32):
they're not there. So it's like, you know, so that's
the problem. No one's no one could take a chance
to say, hey, what's up Hollywood? Because they got their spot,
you know what I'm saying. That's why they ain't no
Latin Lives Matter protests.

Speaker 1 (36:48):
You know, listen, well you know they finally stimulate something.
But we we need you to talk about this because
it doesn't like I just how you know, we're America
is a pulpourri of cultures. How do you just focus
on one culture and just exclude other cultures or give
them brand?

Speaker 2 (37:08):
Break comes here and there?

Speaker 1 (37:10):
Like what's going to happen, which I feel is that
culturally we're going to start empowering ourselves at least we
should start empowering ourselves, like you know, blessed we have
a Tyler Perry or a Shanda Rhymes or Ava, you know,
but we need to start empowering ourselves in our communities
and not feeling like lack or I'm missing out. That's
not you know, you help someone in that. It's going

(37:32):
to tenfold with everything else, and you can't have the fear.
People said, are you afraid to do the show? No,
I'm not afraid to do the show because this is
the truth. This is what's really going.

Speaker 2 (37:41):
On and people need to know that.

Speaker 1 (37:44):
So prayerfully you and I will be a part of
continue to be a part of the change. But I'm
going to brainstorm and put some energy out there. We
got to do something. We got to do something together,
like in addition to what other other plans I have
for you. So we're not at the end of the show,
you guys. We're just at the end of the interview,

(38:05):
and we're going to invite Elsa and our actors, our
two actors to come on and ask your question. Our
three actors. Well, we have Rain is gonna be a
part of class and session. So Elsa do you have
the actors you can introduce.

Speaker 4 (38:23):
Yes, today, I think you can come on him and.

Speaker 2 (38:31):
Hey, you guys say your name for Ulie. He is
a casting director.

Speaker 4 (38:40):
First question will be from Epic Virus.

Speaker 2 (38:44):
Hi am epic.

Speaker 6 (38:47):
First question, Well, first, what one I know that you
guys delved into the black thereof of the Latin roles
and whatnot. What's one role that you've seen just tastefully
done that you say you're proud of.

Speaker 2 (39:06):
Because I am a.

Speaker 6 (39:08):
Latino woman, I'm African American and Latina, so it's important
that the conversation you guys were having really important. But
has there been a role where you're like, not, that's
the way to do it. But when you think of it,
it's portrayed eloquently, tastefully when it comes to the heritage
of Latin.

Speaker 2 (39:26):
America, you know what I mean.

Speaker 3 (39:29):
That's a good question.

Speaker 6 (39:33):
Like, I know we made zero in on the negative
and what we may lack, But what is one where
you're like, you know what, this was done well though,
we can keep up this caliber.

Speaker 3 (39:45):
I'm trying to think of. I mean, I'm a big
fan of John like and I'm just sure me too.
I'm just trying to think of all the films I
watched to see which one was my favorite is.

Speaker 1 (39:57):
But I mean, I will have to say this, really
he did a film on HBO with Rayleota, Got Rest
his Soul, where he was investigating an arsenist and it
turned out that Grayleiota was the arsonist and that was
his boss.

Speaker 2 (40:17):
It was a real trilogy Quist and that was.

Speaker 1 (40:23):
Some really great work of John really great, you know,
going head to head with Raleota. I thought that was
some great work. But Wow, for us to even be
thinking like this is.

Speaker 3 (40:35):
Yeah, because there is no I mean, like I said,
anything that comes to mind for me is like all
Latin Latin film. Like I saw this movie called Rudy
and Cursey, which you know, I was on a road
trip in Miami, a road trip in Mexico and my
brother and we stopped in ten different cities and every

(40:58):
theater was sold out for the day. And it's like,
that's what I understood why Hollywood wants Mexican actors, because
you have the theaters in Mexico, so if it does
well there, you get all your money back there. So
we couldn't see it anywhere. And then finally our last
stop was Cabo and Gobo's More where all the tourists come.
So so we saw it there. It wasn't sold out there,

(41:19):
but we saw it there. It was two of you know,
Mexico's greatest actors of all time, and they were going
neck connect with each other, and it was just it
was just brilliant. It was just brilliant. These actors like
like Diego Diego Luna and Guillellmo.

Speaker 2 (41:40):
From Scandal.

Speaker 3 (41:43):
I'm not sure. I guess I don't watch Yeah, yeah.

Speaker 2 (41:46):
He was, he was one of the leads.

Speaker 3 (41:48):
I don't watch TV stuff, but but yeah, so but
but so that that one, definitely, you know, it made
me understand why it was sold out in every city,
and it was just like, you know, it was just
great acting. You know, just create act Those those guys
are like they're different, you know, they're different, you know,
because I think the problem now with a lot of

(42:10):
Latinos I see is that they don't want to be after.
They want the residuals that actors get. Like like like
like say, I started teaching and I started doing seminars
and talking to the kids because I feel like when
when when hip hop took off, you know, I was

(42:31):
one of the top casting directors in the music video space.
So they did a thing called Access Granted on BT
and MTV Nigga Video and I was on that thing
almost almost every week because they used to do everybody's videos,
so I was on there almost every week, so you
would see me there where like the biggest stars in
the world. And I feel like kids were like, I
want to do casting, I want to direct, because they

(42:54):
wanted to be on Access Granted with the celebrities and
the hot models, but they didn't really want to direct.
They didn't really want to do Cassie, they didn't really
want to be an actor. They just wanted what they saw.
And that's why my Instagram you never see unless I repost,
which is out of respect and love. I don't put
nothing up showing the glamour of this lifestyle because I

(43:15):
don't want to continue to you knows mislead people to
what this is because it's seven days a week. Twenty
four was a day you don't have no friends, You're
home alone most of the time, like it's a lonely place.
You know, your friends think you're crazy. You know, it's like,
you know, it's just it's now what people think it is.
Now once a month, i might get invited to the

(43:36):
Oscars and I'm chilling with superstars and it looks like
I'm living the glamorous life. But for the next thirty days,
I'm here. I'm here all the time. This is where
I'm at most of the time in my life. But yeah,
like I said, that's a problem. Like, say me trying
to think of a role of a long person. I
was thinking in English and I couldn't figure it out

(43:58):
because I mean, how many? How many starring roles are there?
Not many? Yeah, or it was so long ago, I
don't remember, you know, but Spanish. I got to tell
you a couple in Spanish, because that's what they give us.
They give us Spanish speaking budgets, budgets for Spanish speaking material,
because there's numbers on the board of successful Spanish movies,

(44:22):
but there's numbers on the board for English movies with
Spanish people in it. You know, like I said, right now,
we just sold the Fat Joe series. You know, we
sold that one's going to change the game. But the
network we sold it to, which is a big network,
I'm not sure if they publicly folded yet or not.
You guys have that same network, but they folded, but

(44:45):
it's under the bigger umbrella. So now we're in limbo
waiting to see, you know, do they put it on
the other channels they have or do they give it back?
But everybody wants to show. But it's not out yet.
We haven't started yet. But it's going to change the game.
The first time. You're going to see a bunch of
Latinos that look like us, that speak like us, no accents,
maybe New York accent, with a big studio, big budget behind,

(45:10):
and a big you know, ken You Baris. You know,
Keny Baris is like the god you know, he's like Godfathers.
He's the leader of this whole thing. So it's like
he got he just dropped to two hits the what
is it? The you people? Was it?

Speaker 1 (45:23):
Yeah, he's yeah, he has two the other show yeah, and.

Speaker 3 (45:29):
Then white Man can't Jump. But I'm just saying he's like,
you know, he's the he's heading home runs right now,
and he's the one that that picked this project up
and sold it and made it happen. So so so
this potentially could change the game. And then Joe has
the marketing love from everybody. So the minute this drops
every celebrity of repost and this and that so people

(45:50):
to watch is a great story. And then now for
the first time ever, there will be something on the
board like wait a minute, this project with Latinos got numbers. Yeah,
to try another one, but right now we don't have that.
There's no show with Spanish people that speak English that
grew up in America on TV that's a hit. None.

Speaker 1 (46:13):
We're gonna get to teddy your question and we could
just edit it just a little. We have to jump
into class and session. So what's your question?

Speaker 3 (46:24):
How are you doing you listen?

Speaker 7 (46:25):
My question is with the writer's strike that's at now,
what advice would you give to not only just actors,
but people who are looking to become producers and scripts
advisor anything else as far as actors just getting into
the industry with the writer strike going on, what will
be your plent of attackle of your vision on how

(46:46):
to navigate with that happening?

Speaker 3 (46:48):
Now? I mean me personally. We just shot a movie
that we just wrapped last week, so we took advantage
of that and we got Tier one crew to work
for after rate because they weren't working so We took
advantage of that, and we're actually getting ready to shoot
something in a couple of weeks because of it. So
we're taking advantage of it. It's like, you know, well,

(47:10):
Marlon Wayne's told me many years ago. He's like, you know, uh,
you just gotta do it yourself. If you're waiting for them,
it's never gonna come, especially you who looks like you're
on TV. Nobody. So who's in the cast you nobody?
So you got to do it yourself. So you know,
efor strike or like who cares? You know what I'm saying,
are you depending on them? You know, take advantage of

(47:33):
That's why acting classes so dope, because you meet other peers,
other people. One guy's a rioter, one guys a director.
Guys you put the piece like all my students, they're
all shooting shit now you know, every single one of them.
They connected. This was a writers, was a director. Shout
out to Derek, you know, he's a director. One of
wise classes. They're putting stuff together. It's like you got
to take matters into your own hands. You can't wait

(47:55):
for anybody. If you're waiting for somebody, like people that
tell me, you know they hate me because I ruined
their acting career because I never hired them. I'm like, me,
how about the other two nine and ninety nine cast
and directors? Like won't you blame them but to me
for you know, like you can't wait for nobody got
to you gotta And then now, like Trady said earlier,

(48:16):
you can shoot something with your phone. It's like it's
like there's no excuses more for us. Back in our day,
you got to buy the film rolls of film, you
have to get the cameras. Impossible. You need fifteen thousand
dollars to do a five minute idea. Now you can
do for zero dollars and zero cents. So that's why
I'm so hardcore. Tracy's like I'm always speak to truth

(48:36):
or so our core whatever, because like there's no excuses
in me. Nope, you know what I'm saying, There's no excuses.
Get up off your butts and let's go. That's it.

Speaker 2 (48:44):
That's it.

Speaker 1 (48:45):
So thank you you guys, Thank you Elsa. If we
could just switch gears and go into class in session,
we are going to go right in a class in
session where Elsa's going to bring our actors back up.
We have one actress that is joining us and and

(49:07):
so else, if you could do the introduction to the scene,
and let's jump in the class and session for.

Speaker 4 (49:12):
You, then do the intro to class and session and
then I'll pull.

Speaker 1 (49:19):
Okay, let is go into I'm just I'll say, you know,
I'm Andy Kin edited. So we're just gonna go right
into class and session right now.

Speaker 2 (49:30):
I was just going to use that as the intro.

Speaker 5 (49:33):
Okay, So today on class in session we have miss
Epic Vargas and mister Sidius Kane and we will have
a narration by Reina Sedania.

Speaker 2 (49:50):
I like how Raina says it.

Speaker 1 (49:51):
Okay, So we're gonna take our cameras on on our
We're gonna put on mute and you guys on action.

Speaker 2 (49:59):
We can begin scene. Riina, that's on you. Oh I
didn't hear it. I didn't hear action. I'm at you, okay.

Speaker 8 (50:12):
In Syria, Grandla's country Club evening, the ballroom is vibrant
with purple neon strobe lights shining and beaming off the
huge glass chandelier over the dance floor, which is packed.
Everyone is turned up. It's that kind of wedding jagged edge.
Let's get married.

Speaker 2 (50:28):
Just dropped.

Speaker 8 (50:29):
Mary heads over to the dance floor to join the
party when her and Ben lock eyes again.

Speaker 3 (50:36):
Excuse me, I had to come over and say something.

Speaker 2 (50:40):
Hi, and Ben, I know where you are, sleeve.

Speaker 6 (50:45):
Congratulations, this is beautiful, You're beautiful.

Speaker 8 (50:52):
Mary's taking a back surprise. She also realizes they're still
holding hands since they greeted hello. She quickly drops her hand.

Speaker 2 (51:02):
Thank you.

Speaker 3 (51:06):
Who are you? Heal with.

Speaker 4 (51:09):
Angie.

Speaker 6 (51:09):
I'm Angie's sister, so I'm her date tonight, the neighbor.

Speaker 2 (51:17):
That'll be the one exactly.

Speaker 3 (51:20):
Wow.

Speaker 8 (51:21):
Attention is in their locked eyes towards each other is undeniable.
Mary notices his wife looking for him as the song
is appropriate.

Speaker 6 (51:32):
I'm actually gonna go get a drink. Yeah, I think
your wife is looking for you. Yeah yeah, wait look.

Speaker 3 (51:39):
Look Loo, excuse me, wait, excuse me. Look.

Speaker 7 (51:42):
I know this is this is very inappropriate, but in
all honesty, I've been locked on you since I saw
you in the church, and.

Speaker 3 (51:51):
I just really wanted to know and I need to
know that I see you again.

Speaker 8 (51:55):
Ironically, Mary feels it as wrong.

Speaker 2 (51:58):
As it is. She hesitates, what.

Speaker 3 (52:03):
Me too.

Speaker 8 (52:06):
Mary notices that his wife has found him and it's
on her way over.

Speaker 2 (52:11):
She snaps out of it.

Speaker 8 (52:15):
Congratulations again, yeah, Mary smiles and heads off. He watches
until he's interrupted by his new wife.

Speaker 4 (52:28):
From behind.

Speaker 8 (52:30):
She hugs on him as the DJ gets on the mike.
Can we get a bend? And his beautiful wife Shauna
to the dance door.

Speaker 2 (52:36):
Let's go see see thank you? All right?

Speaker 1 (52:44):
Okay, it's on you, Yulie. Whatever you want to throw
at them, you can.

Speaker 3 (52:51):
Oh wow, ah, I'm gonna say sorry first before I speak.
You know, sometimes my my direction might feel hardcore, so
so don't don't take hard feelings. So what I say.
So number one is what's the girl's name that's reading

(53:12):
rain Raina? So number one, like, I don't know why
you're reading, you know, but if you're reading because you
want to be a reader, or you want to be
considered to be an actor, or because you're part of
the team or something, you know, like this is how
it started. You were like this, yeah, and then you

(53:33):
were just like, oh, I gotta go even here, I
gotta go now, So let me just narish. So it
already put me like that that that interrupted my energy
now so now so now the actors are in trouble
now because I was already like I didn't I didn't

(53:54):
come into this with good energy because you were just
like you don't want to be here.

Speaker 4 (53:58):
You were just like to be Oh that's okay, I
don't know.

Speaker 3 (54:02):
I'm just saying like that's how it felt like. You
got punished. You got punished, and Tracy said come read
like damn it, and he was just like, So, I'm
just saying, so if you're an actor, right, if you're
an activist, people that read for me, they're actors, so
they read they could be in my eye lines, so
the producers can see them, so they can have some
kind of energy so we can consider them for other

(54:24):
roles or whatever. But your energy, you know, wasn't good,
is what I'm saying. So if you're if the camera
sees everything, right, so this is everything, so you should
always be here, like I can't wait.

Speaker 8 (54:37):
I can't wait till you know, like I so an
actual questions, So as a narrator, I can be just
as projective as the actors that are acting for their roles.

Speaker 3 (54:49):
Of course, yeah, of course, right right, why right?

Speaker 2 (54:53):
Why do it?

Speaker 3 (54:53):
Then? Okay, like nobody's a reader. All my readers are actors,
you know, what I'm saying, and they try to they
try to overkill it, like and then they come into
the house. It startled, you know, and they try to
make it entertaining so we could like you, We could
like you and be like are you an actor?

Speaker 1 (55:11):
You know what?

Speaker 3 (55:12):
She can't be good for the Vanessa role, just like
that's why you read to be in the room with us,
to be hanging out with us, to start to get
the relationship is everything, you know. So once you're in
the building, in the building with with Tracy Moore is like, wow,
that's big. Now you're in the building with me, so
it's like you should be like ready to have both
of us fall in love with you, you know what

(55:33):
I'm saying. And this part, this thing right here was
like okay, And then she's spoke Actually were like huhm.

Speaker 8 (55:42):
I was telling I didn't you know, I didn't hear.

Speaker 2 (55:45):
I didn't your action.

Speaker 3 (55:46):
Mar I don't even you to explain. I'm just telling
you how it felt to me, how it felt to me.
So the point of that is like, once you're here,
it's action. Yeah, right now this is called back with
the studio. The director of the narrators is big and we
always have to show up looking great once you're on

(56:07):
the camera, you know, all the time, little fakers. This
is it. I can't wait. Wait okay, sure, let's go.

Speaker 1 (56:15):
Right, okay, And I just want to say this the
most important thing for a reader. I have stressed this,
Yuli since Urban World. You have to you you set
the tone for the scene. You set the tone. And
I've said this a thousand times. A narrator. That's why.

(56:37):
You know, we have to find narrators, you know what
I'm saying, because not everybody can be And this is
a good teachable moment for you, Raina, because it is
about energy and a narrator, like Julie said, a narrator
is just not a narrator.

Speaker 2 (56:52):
We're looking at you as an actor.

Speaker 1 (56:54):
So it's the energy that you present yourself with is
going to set the tone for the actors.

Speaker 2 (57:00):
That's all I had to say.

Speaker 3 (57:02):
And like I said, you know, and sometimes for me
to express myself, it might come out hard, short, it
might seem me. Yeah, this is for you to never
do that ever again, so next time.

Speaker 2 (57:16):
No, that's what I'm here for.

Speaker 3 (57:17):
Yes, okay, okay, now you two up there right, I
think you guys were equally the same. As far as
your performance, you guys both seemed like trained actors, like
you've studied for a long time, and you guys are
you guys are actors. That's what That's what I got
out of it. But I felt like you guys followed

(57:39):
every lesson taught to you guys. You know, I felt
like there was a lot of thinking in the head,
like let me pause here, let me do this expression,
like it was overthought, Like I don't think you guys
were there at all. I think you guys were overthinking,
you know. I feel like every expression, everything you did,
you guys thought about it, like when she says that

(58:01):
I'm gonna do this, and when he says that I'm gonna,
you know, be confused like this and and and That's
how I felt with the performance. But I felt you
guys are good actors, so I would give you directions. Okay, guys,
let's stop the bullshit. Let's do it again. Smack him
in the face like like kiss him, like whatever the
energy was, I'm like, let's let's do that, like, let's

(58:23):
let's do it again. And I would like to do
it again if we have time. I don't we have
time to do it again?

Speaker 2 (58:27):
Do it? We don't when they get one time to
make a first impression.

Speaker 3 (58:34):
Okay, but I'm saying, but you guys came off like
strong actors to me for sure, right, but I felt like,
let me ask you a question. What was your name?

Speaker 1 (58:43):
Uh?

Speaker 2 (58:44):
Epic?

Speaker 3 (58:45):
So let me ask you this epic question to you?
Were you there one thousand percent? Were you in the
or were you thinking? Let's be honest, I was there.

Speaker 6 (58:56):
I feel like, what made me what kind of throw
me off? Was I forgot to close my window and
I started to hear noise outside and I kept wanting
to close the window.

Speaker 3 (59:04):
So I was, yes, you were doing was closing windows
and the people outside. Okay, how about you? What were
you thinking?

Speaker 7 (59:12):
I was, like you said, you know, honestly, I was
really trying to grab the moments, and I was more
focused in the moments because the words. Yeah, no, I
was really trying to be this is not what I'm
used to. So it's like me getting used to this
and yeah.

Speaker 3 (59:28):
That's exactly one hundred percent. So thank you guys for
being honest. But like I said, I saw the skills.
I saw the you know, you guys are trained actors correct, Yes, sir, yeah,
I saw that a mile away. But I just saw
the overthinking that that interfered with with the real energy
and the real expressions and the real movements. All that

(59:49):
was like I felt with thought, you know. So so
that was so that that's my that's my critique.

Speaker 2 (59:57):
But that's just why I love him, Ladys and gentlemen
all day.

Speaker 3 (01:00:05):
But that performance works for TV all day, like you know,
because I think half the shows on TV is that
you know, Hey, I'm finding you.

Speaker 2 (01:00:15):
Yeah, yeah, I don't watch the.

Speaker 3 (01:00:17):
Loop, see you later, bye, because.

Speaker 2 (01:00:20):
That's network, that's the formula network. You know.

Speaker 1 (01:00:24):
So well, ladies and gentlemen, I want you guys to
stand up for real. I want you to put your
hands together for real for the amazing, phenomenal dynamic. Mister
you listen Terrero casting directors, there, director, producer, story together.

Speaker 2 (01:00:44):
And I'll share.

Speaker 1 (01:00:45):
But I'm telling you, I'm so so happy and so
grateful you came on because I just need people to
hear and I need actors to hear what you have
to say. And I'm so glad that this is going
to come on next Tuesday and everybody is going and
the drop We're be playing at just twenty four hour
rotation so that people can come on the show.

Speaker 2 (01:01:04):
Next Tuesday and see you.

Speaker 1 (01:01:06):
But I just want to thank you again for being
there and taking my call.

Speaker 3 (01:01:11):
Now you're crazy. Thanks, so I'm honored to be here.
So thank you for letting me your space and your
and your spirited actors world and appreciate you.

Speaker 2 (01:01:20):
You're always in my world.

Speaker 3 (01:01:21):
Yulie.

Speaker 2 (01:01:22):
I talk about you so much. He should be burdened.

Speaker 1 (01:01:24):
I was talking about you the other day to Ian Gelfan.
Hell yeah, because he directed fifty show on BT and
we were talking. I was like, he comes to his class,
like you know, like Yulie, Julie oue is the man.
So but I just again, you guys have been very,
very blessed. I pray that you took all this information

(01:01:45):
in and that you listen to his last comment.

Speaker 3 (01:01:49):
Yes, yes, so be great and be humble. That's my advice.
Be great and you humble, and you can't.

Speaker 2 (01:02:01):
Lose, absolutely can. Those are great words you guys to
meditate and to embrace. When we come.

Speaker 1 (01:02:10):
Back to the spirit after podcast with me, Tracy Moore,
I am going to be giving you love. That's what
I'm gonna do. I'm gonna give you some love, and
now it's time to give love. It takes discipline to
live your life. And I'm talking about you. I'm not
talking about everybody else. I'm not talking about your job.

(01:02:32):
I'm not talking about your children. I'm talking about you.
It takes discipline to eat right and to eat healthy.
It takes discipline to work out and move your body.
It takes discipline to have these evening routines of the
you know, washing your face and putting Sarah Bau and
Toner and all of that. It takes discipline to live

(01:02:56):
your life every day. Make an effort to be disciplined,
to practice something every single day and be consistent with it.
If I thought that inside the Black Box was not
going to happen, I would have stopped believing eighteen years ago.

(01:03:21):
But I had the discipline and the focus and the
passion and the commitment to see it through. Practice, practice,
every single day, disciplining yourself. Maybe cutting out instead of
having three cups of Starbucks, maybe you have one instead
of going to bed at twelve, Maybe you try going

(01:03:43):
to bed at nine every single day.

Speaker 2 (01:03:47):
Make an effort to practice discipline.

Speaker 1 (01:03:50):
Don't forget to look out for us on our new
show Inside the black Box. My co host will be
Joe the Legend Morton. It's going to be this Spirited
Actor podcast on steroids. We'll be streaming on the Crackle network.
I'll keep you posted. Thank you for joining us on
the Spirited Actor Podcast with me Tracy Moore. I look

(01:04:12):
forward to our next Spirited podcast.

Speaker 2 (01:04:15):
Thank you.