The Spirited Actor - What To Do On A Set

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Episode Transcript

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

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

(00:44):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now I know, I know actors want to
get the job. I get that, but being remembered by
a casting director that is powerful. And now it's time
for meditation of the day. It's better to be looked

(01:07):
over than overlooked. May West. Everybody, everybody deserves their time
to shine. Everybody has a spotlight. You gotta step into it,
and you have to own it, and you have to
understand that you are deserving. So many times actors say that,

(01:29):
you know, they tell me their dreams, they tell me
their aspirations, but there's a part inside of them that
doesn't feel that they're worthy, that doesn't feel that they
own it. You have to know that you are a value,
you are enough, and that it is your time to shine.
Today I will step in my spotlight and not dim

(01:53):
my life for anyone. Before we get started, I'd like
to remind everyone to look out for my new show,
Inside the Black Box. I'll be co hosting with the
great Joe Morton, will be on Crackle Network real soon.
I'll keep you posted. Welcome to the Spirited Actor Podcast

(02:14):
with me Tracy Moore, and today I am your guest.
I am so excited to be sharing today how to
work on a set. It's so important that you know,
actors take classes for training and that sharpens your skills
and improves your skills and builds upon your skills. But

(02:37):
to actually work on a set, we rarely talk about that,
and that's what I want to talk about today. So
get your pen and paper, whatever you use to record
and document this information. Please do that because, like I said, today,
we are going to tap into something that we don't
usually tap into, and that is the working of a set.

(03:01):
Before we do that, though in my book, there are
a list of questions that I ask you to answer
before you even have your audition, right, and this is
the audition. We're going to use this as an example,
so when you audition. Before you audition, these are a
couple of questions that I want you to answer. One

(03:23):
do I have a pleasant and positive attitude to Do
I truly believe in my talents as an actor? Three?
Have I taken the time to prepare for this audition? For?
Do I have any questions about the character or the
sides that I am reading for? Five? Does my picture

(03:44):
really reflect me as I am today? Six? Is the
information on my resume current and accurate? Seven? Am I
currently involved in a project that I need to tell
the casting director about? Eight? Do I feel relaxed and
focused before I enter the audition? Nine? Am I prepared

(04:06):
to give a dynamic performance? And ted do I trust
that there is a role out there for me? Now
some of you may say, well, I don't really take
the time and have this laundry list to go through,
but it's really important that you do have a checklist.
I think it's more important that you check in with
yourself to make sure that you're grounded, you're leveled, your

(04:29):
present in this self tape, and we're gonna use this.
Let's say that you did the self tape, and let's
say you've got a callback, and then guess what you
booked the job? What actors loved to hear that you
booked the job. So let's say that you booked a
TV show and you are guest starring in a TV show,

(04:51):
and this could be your first job, this could be
your first booking to you know, guest star in this business.
And sometimes it's very challenging for parents to understand because
this is not a nine to five. This is not
something tangible where I graduate from college and then I
get a contract to an episodic. It doesn't work like that.

(05:16):
This is a journey of patience, perseverance, resilience and just
understanding things take time and when it's time, it's going
to happen. The other day, I supported a friend of
mine who I'm going to have on this show because
this film A Brother's Whisper is unbelievable. Ascent to Reddick.

(05:42):
I'll talk about that when he comes on the show.
But the point is is that when he introduced his film,
he said, this has been a four year process, and
I said to myself, wow, four years and who inside
the black Boxes? Eighteen years? But regardless of what the
time was, it happened. He finished this film and we
were at the premiere inside the black Box. You can

(06:04):
watch that on Crackical TV. Subscribe for free in all
ten episodes. So things do happen. It just takes time,
and you have to be willing to have the patience
to be on that journey and have the vision, hold
that vision, hold that vision of you doing the show. Um.
I used to go through magazines and think of different

(06:26):
type of wardrobe and cut out for my stylist to
give her an idea of what I wanted to look like.
This is way before we got a deal, just to
you know, have these ideas and be ready for that
because I knew that that was going to be coming.
So when we shot the show and she's on the
set and she's bringing all these amazing clothes, it's because
we had conversation prior to this moment and I visualized it. Okay.

(06:50):
Visualization is is so important. You have to see yourself
in these roles. You have to see yourself working with
these directors and these actors you want to work with.
And every day you can day dream and have that
moment in meditation. That's a great place where you can
enforce and live through these visuals and taking a moment

(07:12):
and just breathing. But you have to maintain the visual. Okay.
So now you have been cast, you get the call
from either um. Usually the casting director will call you
and tell you that you book the job, and then
the producer will follow after that with your deal memo.
What is a deal memo? A deal memo is a
piece of paper and we're in the digital world, so

(07:34):
it's digital now where you will see before they give
you a contract, these are points that they're going to
include in a more formal contract that you will get. Okay,
because we're talking about guest starring. We're not talking extra work.
We're talking about actual character and lines, and that's where
you will get a contract. So in the deal memo,

(07:55):
you'll have points. Right. So one of the points that
you have in a deal memo. And this is something
that's a casting director that I always champion is with
your salary, inclusive of your salary, I will ask the
producer for plus ten What that means is that I
will ask the producer if they will give me, inclusive
of your salary, an additional ten percent that goes directly

(08:19):
to your agent. That way, your agent doesn't have to
go into your money's to get their ten percent. The
producers will pay them an additional plus ten percent or
if that goes to your manager, plus ten percent. So
you will see your salary and you will see plus
ten percent. You will also see your dates in which
you are working. Um when you get a call sheet,

(08:42):
you will see on an official call sheet, you will
see these. You will see W. You will see H
or you will see w f W means work. Those
are the days that you're working. H means hold, which
means product and still has you. They still own you

(09:03):
to a certain extent. So it's not like on your
whole days you can go to the beach and chill out.
You still have to be accessible because they may need
you and call you and say you have to be
on the set in the hour you have to be
available to do that. There's no UM, there's no option
in there, there's no choice. Whole means you have to
be close by and accessible in case you get that call.

(09:27):
WF means work finished and that's the last day of
your shooting. You are not considered even though you are
a character in this show, UM because of time. And
you know back in the day when we have a
lot of paperwork. You when you are cast, you are
a number. Right, So let's say your name is Alicia

(09:52):
pat Patterson, right, so it would say Alicia Patterson. Depending
upon your role, you will get a number, so you
will be referred to as number seven. So when you
get what's called a day out of days, which is
the schedule, instead of writing your whole name, they will
just write the number. And if you need to reference
the number, you go to the call sheet because everybody

(10:15):
is listed by a number, so you'll know. So if
it says like you know, who's working is seven, eight
and eleven, you can go to the call sheet and
see who eight eleven are because you know you're set.
Okay Again, it's called a day out of days and
that is the production schedule for you. It tells you,

(10:35):
breaks down the scenes, it breaks down the characters who
are working, and then it also gives you a couple
of days in advance to um what the next scenes
are and the characters that are working. So let's talk
first of all about your work ethic. That is extremely
important and it's something that I feel like I need

(10:55):
to talk more about in terms of with agents and managers.
We you get an agent, when you get a manager,
what's also important, inclusive of your talent, is your work ethic.
We want to make sure that you're going to show
up on this job on time. Fifteen minutes prior to
call time is on time. Being seven am is your

(11:16):
call time, and getting there at seven am you're late.
So you want to try to give yourself a little
breathing space for anything any The best producers, in my opinion,
are prepared for anything that can occur on that set.
So you get there at let's say you get there
at six right, and you the first thing you do

(11:39):
is you go into hair and makeup. That is usually
the first thing that happens. You go to hair and makeup,
and in hair and makeup, depending upon your character. UM,
you know, women are usually Um, and I don't wanna
you know, sound stereotypical, but you know, we do spend

(12:00):
a little more time in that dressing room than a
man other than you know, if they have to maybe
build some more hair or takeaway here or add wrinkles,
you know, things like that. Um, it takes time. So
it's really important that you show up on sent on time.
And it's important that you know producers know that they
can rely on you to be on time, and the

(12:21):
director and you know, things get back to your agent.
You know, if there's a problem with you, trust me
that they will call the casting department to complain, and
then it's our job to call the agent and deliver
those messages to them about their talent. So you don't
want to start off with any type of energy like that.

(12:42):
You want to come to work. That's what you're doing.
It just happens to be fun work, but you're going
to work and treat it like a job. Also, the
other thing that's included in the deal memo is local
higher right, so I just want to go back. I apologize,
um local hire. So if you see something that is

(13:04):
a TV show, let's say it's shooting in Atlanta, you
live in New York. A local hire means that they
are not basically putting you up in a hotel that
you are there. You're being hired is if you do
live in Atlanta and you do have a place of residents, um,
and you also are not going to get transportation to
and from the set. In those cases, you know, everything

(13:27):
is negotiable, and that's why you have an agent. So
if you don't want to come to set on your own,
then you put in the deal memo. This is the
place where you know, you put in things or you
take away things. Um, it's negotiations, okay. So if they
offer you scale, your agent might ask for double scale.
It doesn't mean that you're gonna get everything, but you

(13:49):
should ask for the things in which you need to
give the dynamic performance that you were hired for. Now,
I've seen some outlandish writers in my day. A writer
is something. It's really a list of things that celebrities
can attach to the deal memo. For instance, there are
some actors that need their dressing room at certain temperature,

(14:12):
or they like candles, or they like rose pedals, you know,
on the floor. I've seen some outrageous things. I've seen
some things that are pretty standard and normal. It doesn't matter.
You ask for whatever you want. Again, be prepared that
you may not get it, or you may negotiate something else. Right,
they may not bring a car with a driver to

(14:34):
your hotel every day, but maybe they'll give you a
budget for Uber. Again, it's all about negotiations, and that's
between your agent and production or your manager and production.
You know if there's anything um special instructions or anything
like that that will be included in the deal memo.
But a deal memo is pretty standard. It just outlines

(14:56):
what your deal is going to be, and then once
you and your agent agreed to it, then they will
put it in a more formalized contract and that will
be sent to you for you to sign. But again
I have to stress negotiations. If you want ten thousand,
you can't ask for ten thousand, You have to ask
for fifty to be happy landing somewhere around ten or

(15:18):
maybe more. But it is negotiations and everything is negotiable.
Once you get the deal memo, you sign a contract
sag Act Casting Directors. Before we book you, we have
to put you through Station twelve for a sag Aftra
and Station twelve is basically we call in or we

(15:38):
send in UM your SO security number, your name, m
vital information that they need and then SAG will run
your SOL security. If there is a problem with your
status with SAG AFTRA, your name will come up and
it will say Station twelve. They will not tell the
casting director what the problem is. It could be, you know,

(15:59):
you didn't pay your news. It could be UM any
type of situation that you have not handled, and UM
you have to handle that before we hire you. So
let's say I'll give you an example. Let's say that
you have not paid your dues and you're not up
to date in your dues. So I would call you
and say, listen, Alicia, you need to call STAG after

(16:21):
it because the Station twelve came up on you and
you need to deal with that before I hire you.
So what I would do is I would definitely alert
the producers just to let them know just in case,
because if let's say Alicia doesn't take care of the problem,
we have to have a backup for Alicia, and I
want to give the producer a heads up and not kept,

(16:42):
you know, catch them off guard. So UM, you call SAG,
you deal with the situation. You pay your dues, then
I have to resubmit your name and you're so security number,
and I need to get nothing on your name, so
it comes up blind. If your name will come up,
station twelve will not come up. Nothing comes up. Then

(17:05):
that means we're good, and we're good, I can hire you.
We're not good, I cannot hire you. With the station twelve,
the production company can get penalized, and that does not
look good for me as a casting director. These are
things that we need to see prior to hire you.
So now you're hired, you sign your contract, you're good

(17:26):
standings with SAG and they've sent you a call sheet
and you need to be on set at seven am.
If you're not a morning person, you need to get
in practice. You need to start working with yourself, because
most productions have either a six am or a seven am,
depending upon your makeup and your wardrobe. Like something like

(17:49):
a Game of Thrones, I can only imagine they might
have four am call times so that they can get
prepared for all of that make up the wardrobe. Same
with like something like Bridgeton, you know, which is a
period of piece. You know, you have to a lot
of time to get ready before you start to shoot.
Time is monthy, ladies and gentlemen, honest, set time is money.

(18:14):
The lowest live action UM budget could be anywhere from
let's say a hundred and fifty thousand two. Twenty seven
million dollars per episode? Is what Game of Thrones budget was.
I want you to marinate on that. Twenty seven million
dollars per episode was the budget for Game of Thrones.

(18:39):
It was shot in Iceland, I believe, um, so that's
not in a location. Then there's crew, special effects, but
blah blah. So it makes sense that they can have
a realistic budget like that. So if you're late, my
crew is still getting paid. They might be saving merecraft service,
which annoys me because they're not working, but they're still

(19:00):
of getting paid. So that's why it's important to show
up on time, because if you have a history of
showing up late and that word gets out, that could
be detrimental to your career. It really can't, because again,
time is money, and we're burning money if you're not
on set and we're not shooting based on our schedule.
Once you get now, COVID has changed a lot of things.

(19:23):
I am no longer an essential worker on set, and
so I have to zoom all of my clients that
I work with um on sets. But you, especially in TV,
you don't have the luxury of you know, five to
seven takes anymore. You really have maybe two, maybe three,

(19:43):
which says to me that your preparation, all of that
has to be done at home prior to coming on
that set. We don't have those hours of like back
in the day, hanging out and you know each other's
um winnies or you know, dress scene rooms and you
know me being on set going over my client's lines

(20:05):
and talking about the scenes and this and that. We
don't have that anymore, and so as an actor, you
have to be more prepared than ever. There are no excuses.
And if you have two takes, you want to come
on set explosive, on fire, dynamic. There's no warm ups,
there's no let me just stretch. All of that stuff

(20:25):
has to be done at home and you have to
come on set sizzling hot, on fire. That is where
we are right now. So preparation is vital before you
step on that set. When you get on set as
a guest star on television, there's usually like some you
know paperwork and your winning um that you have to sign,

(20:48):
they take your sad card. That's the business part that
you deal with. And then so we're used to eight
and a half by leven pages right for the script.
But when you show up on set, that script is
half the size. It's you know, it's like this piece
of paper. I don't think you guys can see it,
but it's like this. This is the size of your script,

(21:10):
and all of the pages are there. The scenes that
you're going to do are the scenes that are usually
in your winning Anything that's xed out on the sharpie,
that's because you're not going to do that scene. Yes,
it's postcard size. That is the size of your script
when you get on set. You know, for me as
an acting coach, when I was on set, it's so

(21:32):
easy to just roll it up, putting your back pocket,
stuff it in my you know, my co pocket or
something like that. You don't need all that bulk on
the set. It's easy to flip the script out, show
my clients boom. You know, the job is taking care
of one of the things that I like to do.
And I suggest to my clients and any working actor

(21:52):
you want to get to know the flow of the set, right.
There's a strict protocol for every set that doesn't change age,
and there's verbiage that doesn't change. The only thing that
changes are the people the director and your director, the
production company, um, you know, new actors. Those are the
things that change. But the jobs are all basically the

(22:15):
same in terms of you know what an assistant director's
job is, an a D is to break down the script.
Usually they also have responsibility with the stars, the celebrities.
The second a D, the second assistant director usually takes
care of the stars and also takes care of the extras.

(22:39):
Um depending upon a budget, you can have a second
second and the second second will a second second a
D will take care of the extras, depending upon again
budget and you know how many people are in the cast.
So usually you go to your your room, you know,
you know your winnibagy you're winning, or you go to
your your dressing room and you're going over your lines.

(23:04):
You know, if you have that time. As soon as
you get on the set, there's someone a production a keyp,
a production assistant that knocks on the door and says,
you know, we're taking you to hair and makeup, and
then wardrobe, so you get ready. Once you're ready, Principal
actors or celebrities do not stand for light. What that

(23:24):
means is like, um, they're called first team. So the
a D. The first a D usually asked first team
to come on the set and those are all the stars.
And what you do is first team will rehearse. You
will rehearse for all the keys, right the key, so
it will be the DP. You're a director of photography,

(23:47):
the camera people. When I was an essential worker, I
would be on the set everyone that's important to that scene,
inclusive of course of the director. All the they are
rehearsal to see how everything moves, to see you know
maybe um, you know the person gets pushed and when
they get pushed the hair flies over. Well, the hairstyles

(24:11):
has to, you know, decide what type of hairstyle is
gonna work so that when she's pushed the hair gets
mushed or whatever. Everybody has a job, and during rehearsal
is where we see our job and we see our work.
My work is going back with all the notes that
the director has with my client or may not have,
and it's just us going over lines. The DP, the

(24:32):
director of photography needs to know how they're gonna light
the scene and what is gonna look. You know, um,
if it's a daytime tonight or night to daytime, because
we have lights that can adjust to all of that,
so that's their job. The director is blocking the movement
where people are gonna land. All of these things are
happening at once when first team comes to the set,

(24:57):
second team, which are the stand ins and stand ins.
If you're interested in doing stand in work, you have
to be the same height and the same complexion color
of the main the celebrity or the the working actor
that you are standing in for. So second team is

(25:18):
there there, but they're not really there. The second team
comes in after first team has really sort of created
the flow and the look, the movement and all of
that in rehearsal. Then the first a d Will say, um,
we're going to release first team, second team on set,

(25:38):
second team on the stand ins. As second team, those
actors are the ones that stand for lighting, So lighting
can be anywhere from thirty minutes the set up to
when I was on Chaft with Buster, we had a
call time of seven a m. And our first shot
didn't happen until four PM. So it depends. It depends

(26:02):
on your DP, how fast they are lighting, It depends
on your budget, because you know, people get comfortable. You
have a sixty million dollar budget. You're doing your work,
but there's a little cushion there. You're doing it. You're working,
but you may not be putting in your all as
opposed to a fifty million, a fifty thousand dollars fifty

(26:25):
thousand dollar budget, and you're doing an independent film. Two
different types of energy and guerilla work, right, guerrilla filmmaking,
That's where I come from. We make it happen out
of anything. So after we're going to do a part
two to this because we still have more to go
and I have five more minutes. So I just want
to give you some details. Right, make sure that when

(26:49):
you are honest set, that you are cordial and you
speak to everyone. Producers, executive producers, and studio heads don't
have faces necessarily you may recognize is their name, but
you want to just be cordial and friendly. You know,
nothing over the top. Don't be too much, just enough

(27:10):
so you have conversation with people. You should also know.
Um as a casting director, I used to when we
did live auditions my room and ELSA. We're very friendly
and loving and kind. So you can feel that energy
and you feel like you can approach us. But there
are rooms where you can feel the heat and you

(27:31):
know not to approach that table. So you have to
use your common sense a lot of times in these
cases to know who's approachable and who's not approachable. If you,
let's say, a celebrity, A lot of my most of
my clients are just so generous and loving and kind,
and so what you don't want to do is get comfortable,

(27:51):
too comfortable and maybe overstay you're welcome with them, or
be excessively talking to them. Know when to exit, no,
when to give people space, just you know, allow that
energy to flow in you all the time. You don't
want to approach what's called video village where the director, producers,

(28:12):
studio heads, celebrities are all in unless you're invited. You
don't wanna just ballgard that that's not a good look. Um.
There's a lot of conversations sometimes that you might not
be privy to, but that's the area where usually the director, producer,
and the heads are and like I said, celebrities, you

(28:32):
just really need to be aware make yourself aware of energy,
make yourself aware of people's presence and space. We're living
in still with COVID. Give them six ft you know
what I mean. I don't assume. And again I can't
stress boundaries. When people get so comfortable, they get so

(28:52):
comfortable where they think they can, you know, maybe you know,
laugh with you and touch you, and then you know,
they start to get a grow up and you're like,
oh my god, and I'm talking about touching, like you know,
they hit you on the shoulder while they're laughing. They
get comfortable and that person is not as comfortable with
them as they think they are. You have to have
to use your common sense. So we're gonna end here.

(29:14):
I'm going to end on showing up on the set
when you were called. So we've already gone through the rehearsal.
First team, second team is lighting. When we come back
for part two, we're going to talk about some terminology,
some verbiage protocol. We're just going to get into that, okay,
But the most important thing I can say to you

(29:36):
guys is to really be prepared. You know, this is
a job and you in most cases definitely as a
working actors SAG after you are getting paid a fee
that is pretty substantial and definitely definitely more than the
average person who has maybe a nine to five. So,

(29:59):
you know, and the said something that you always wanted.
Put your foot into it, put everything into this job
so that it leads you to your next job. Because again,
people talk in this industry whether you're talented you're not,
whether you're a professional business person or not. And you
want your reputation to always be stellar your business person.

(30:24):
You show up and you show out. Okay, Hey, I'm excited.
That's so good. Okay, So we're gonna be back with
the Spirited Acted Podcast with me Tracy Moore for class
and session. We have a monologue for you. Welcome back
to the Spirited Actor Podcast with me Tracy Moore, and
we are in class in session. I'm so excited because

(30:46):
we have one of our Spirited Actor o G. Destiny McMichael.
Hi Destiny, Hi Tracy, thank you for having me. I'm
so excited to be here today. Oh my god, I'm
so excited for you to be here. I'm excited for
our guests to see your monologue. One of my favorite
and Destiny is going to do a monologue for us,

(31:07):
and I just happened to coach Cardi b on this film,
so I'm really excited to see your interpretation. Destiny. Well,
I hope I do injustice for you. You will, you will,
So you can just let them know where your monologue
is from, and whenever you're ready, Destiny, you can go
all right, Hell, everybody, my monologue is from the movie Hustlers.

(31:32):
Are you an investor in this place, then quit putting
money into it. You let them guys get fucked up.
You gotta stay sober. Started with a single, and then
a double, and then a triple, back to a double
and then a single again. So you want them drunk
enough to get their credit cards, but sober enough to
sign the check. Now, there's three tiers of Wall Street

(31:55):
guys that come in here. The guys at the bottom,
they don't do anything dirty to make money, so most
of them don't have any. But if you find one
that does, you can string him along without ever getting
physical and milk him for every penny. You know, chuck
check based on my apartment on the Upper East Side,

(32:16):
I've never even snipt hiss dick. Now, the guys in
the middle, they dabbling greed, but they have their limits.
They will not cross a certain line. But then there's
the motherfucker's up top, the CEOs, the CFOs, investment bankers, corporators,
catch funders, ax murderers. They coming straight from the crime

(32:39):
scene and to the club, but not through the front door,
not because these guys can be written about on page six.
So they come in through the back and they take
the private elevator up to the only room in the
club that doesn't have cameras. They're not leaving until they've
spent ten, fifteen thousand dollars and one night. But they

(33:01):
can be degrading and aggressive, possessive, violent, and they'll never
get in trouble for it. Everybody up there is willing
to cover for them because deep down they all want
what they got us to be on top. But there
are no consequences, So you you're nothing more than a

(33:22):
deal to them. But that's all they are to you too.
This is business and it's probably the most honest transaction
they've made all day. Now, all you have to do
is figure out which of these three as wholes we're
dealing with and then play them at that level. You ready, mhm? See, Wow,

(33:52):
that was checking great job. There's a couple of things.
One is I like the fact that you it was
Destiny's interpretation and not Jennifer um Lopez's performance, So that
gave it such a freshness, you know, because we don't
want to especially monologues that have been done. We don't

(34:15):
want to see the actor. We want to see you,
So that was clear. Second, we're always as actors. You
guys are always doing something. So I love going through
the process of the makeup with you. And you know,
once you've got the brush at the last beat, I
felt your whole face was done and you look gorgeous,
like I loved you, and it didn't disrupt you in

(34:38):
any way in telling the story. The other thing is
it gave you levels like I could also feel your
hurt and pain by the guys who have degraded you
in the past. Um, but you've sort of pulled yourself
up by your bootstraps or yeah, you know, you found

(34:58):
a way that doesn't resonate with you, and and and
and maybe in the silence and you're alone, maybe that's
when it hits you. But right now you found a
way to deal with it, conceal it something. And I
really felt like you were talking to a group of
people and your eye level was great. It wasn't like

(35:21):
looking down like they were really extremely short. It was
you know, I felt like there were these girls that
were just gathered around you, soaking in all of this
knowledge that you have because you're an O G at
this club. So I feel like you really captured it.
And it's such a great monologue, Like this is one
of my favorite monologues. Um, I didn't even know until

(35:43):
I saw the movie that this monologue existed, but it
just in the whole execution of you know what's going
to happen next and what you guys do next? The
setup is perfect. Thank you, Thank you, Stacy. It's funny
because this monologue actually exists in the movie some voice
overseeing and it's a montage of Jennifer Lopez's character walking

(36:05):
Constance Lose character through the club and kind of like
saying these things center. But I love that moment, So
I was like, let me figure out how to move
some things around and fit it in a two minute monologue.
But I love the way because it is like everybody's
sort of getting ready for this scheme. But I love
how you were able to craft it and just make
it one. It felt like a monologue, you know, even

(36:28):
though you see the visuals if you've seen the film,
but you did a great job crafting that as well.
So I'm glad that it was put together. Yes, ladies
and gentlemen, once again, please put your hands together for
Destiny McMichael doing the scene. If any of you are interested,
you know you're gonna have to crafted yourself. You have
to watch the film and do the work. But it's

(36:49):
a great monologue to perform. Thank you again, Thank you Destiny,
and we'll be back on the Spirited Actor podcast with
me Tracy Moore. Why Gonna give you love? And now
it's time to give love. I lived in Brooklyn, New York,

(37:11):
and I was devastated yesterday by all the people in
the subway train who were injured, um who were traumatized,
who remain uncertain of their security within the subway system.
I pray for the healing of those who were injured.
And one of the things that I heard on the

(37:33):
news is that there are four hundred million guns in America.
Four hundred million guns. The first thing I thought was,
is this in the military. But the newscast or stress
that these four million guns are owned by Americans. Why
do we have so many guns? Why is this country

(37:57):
still filled with hatred and and racism and divert just
so much madness. Because that's what I felt like when
I woke up to this subway incident. And then I
thought to myself, well, you know what, Tracy. This country
wasn't founded on love. It wasn't founded on rainbows and butterflies.

(38:19):
That's why it's so important for us to understand and
know our history so that we don't repeat ourselves. And
I wanted to challenge America. I want to challenge America
and doing something different. It's going to take some time,
but we need to spread love. We need to be
in love. We need to love each other regardless of

(38:40):
what our differences are, because our uniqueness is what makes
us special and dynamic. We need to appreciate love ourselves
so that we don't pass judgment. We need to appreciate
love ourselves so that we understand unconditional love. We need
to do something different, and what's different is to spread

(39:05):
more seeds of love. Is to love our neighbor, is
to look out for our neighbor. One of the newscasters
said yesterday that it reminded him of nine eleven because
so many New Yorkers were helping other New Yorkers off
the train. They were giving New Yorkers water. We have
it in us. We need to do it. We need

(39:27):
to make a shift, we need to make a change,
and we need to do something different than our history.
Don't forget to look out for us. On our new show,
Inside the black Box. My co host will be Joe
the Legend Morton. It's going to be The Spirited Actor
Podcast on Steroids will be streaming on the Crackle network.

(39:49):
I'll keep you posted. Thank you for joining us on
the Spirited Actor Podcast with me Tracy Moore. I look
forward to our next Spirited podcast. Thank you