March 31, 2020 • 42 mins
A CALIFORNIA NATIVE, YOLANDA HUNT BEGAN HER CAREER IN CASTING WITH THE “LATE GREAT” DIRECTOR/PRODUCER JOHN SINGLETON ON THE MUSIC VIDEO CLASSIC “REMEMBER THE TIMES” BY THE LATE LEGENDARY POP ICON MICHAEL JACKSON. SOON AFTER, UNDER THE DIRECTION OF HER MENTOR CASTING GURU, ROBI REED. YOLANDA LANDED THE TITLE OF CASTING ASSISTANT ON THE CLASSIC MOVIE POETIC JUSTICE WITH RAPPER TUPAC SHAKUR AND YET ANOTHER JACKSON FAMILY GREAT, SINGER JANET JACKSON. YOLANDA HAS BEEN KNOWN FOR SOME OF THE BEST CASTING IN THE BUSINESS. HER NAME IS ON SPEED DIAL WITH MANY ENTERTAINMENT’S TOP BEHIND THE SCENES ELITE, SUCH AS KEENAN IVORY WAYANS, MALCOLM LEE, HUGHES BROTHERS, STAN LATHAN, DAVE MEYERS AND CASTING DIRECTORS: KIM HARDIN, LEAH DANIELS BUTLER AND RISA BRAMON GARCIA. HER CASTING ASSOCIATE TELEVISION AND MOVIE CREDITS INCLUDE; SISTER TO SISTER AND MOESHA, THE PJ’S, THE BEST MAN, CROOKLYN, KINGDOM COME, LIGHT IT UPAND GRIDLOCK’D. HER WORK HAS BEEN SEEN ON THE KEENAN IVORY WAYANS SHOW, COCOA COLA/SPRITE NATIONAL COMMERCIALS AND IN MUSIC VIDEOS FOR TOP ARTISTS; JAY-Z, WILL SMITH AND AEROSMITH. MOST RECENTLY, YOLANDA’S CASTING CAN BE SEEN IN THE PRODUCTION OF OSCAR AND EMMY AWARD WINNING REGINA KING’S DIRECTORIAL DEBUT “ONE NIGHT IN MIAMI”; ALSO CASTING ALONGSIDE HER MENTOR ROBI REED THE BET MINISERIES “UPTOWN RECORDS” ON THE LIFE OF ICONIC MUSIC EXECUTIVE ANDRE HARRELL.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hello, and welcome to the Spirited Actor Podcast with me
Tracy Moore. I was a casting director for film and
TV and commercials for over thirty years. I transition to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Thomas.
I audition every rapper from Biggie's Balls to Tupac, and
(00:24):
I realized that rappers and musical artists they needed help
transitioning to acting. My clients consist of musical artists from
Buster Rhymes to Eve, Missy Elliott, Angela Ye from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now. I know, I know actors want to
get the job. I get that, but being remembered by
casting director that is powerful meditation of the day. It's
(01:06):
easy to make a buck, it's a lot tougher to
make a difference. Tom broke off, If this is the
only life that we know, why don't we try to
live it to the fullest. Why don't we create beautiful
things like music, art, literature. As an actor, you must
not limit yourself to just acting. You should take advantage
(01:28):
of all the talents that you possess and make them
come alive. Imagine the difference you can make in someone's
life when you share your gifts. It is truly an
enlightening experience. Today, I will love my life and all
of its rewards. Welcome to the Spirited Actor Podcast with
(01:50):
me Tracy Moore. I am always excited, always thrilled, but
today I'm extra thrilled. I'm extra excited because we have
casting director, casting Diva extraordinaire, Yolanda Hunt is back in
the house. You guys, Yes, oh my god. We love
(02:13):
having you back. Um. I've gotten so many great responses
to part one. That's why we had to bring you
back for part two. I am so glad that I
want to jump right in it. I want to talk
about character development. I want to talk about how important
(02:34):
that is for you. When actors from the time they
say hello, my name is and check your hand to
morphing into that person in front of you, I feel
um as an advantage for an actor. UM character developed
development is very important as far as doing the research,
whether it be a bio or whether it be a
(02:54):
character that they're trying to develop. So ask the questions
if it's there in detail, as far as when you
look at the breakdown and it tells you a detail
as far as the character, and if it's not enough
for you to you know, to really bite onto, call
and ask the assistant. Maybe the assystem be able to
give you that information. You know, this is the backstory
because you know a lot of people are not able
to read the script. So you know you only can
(03:16):
get you know so much you can you know obtained,
but and and be real tangible with is just the size.
So you have to be able to get as much
knowledge as you can of the character. Then that goes
back into you building that character, whether it's something that
you haven't done. So then you do your research, start
watching some shows of the character that you might you know,
(03:36):
can associate with. It will give you a little bit
of a um some help you know, bringing it. You're
making it your own. You're not mimicking something else. You're
making it your own. So you look at other things
you look at other content, You look at other actors
and and see how maybe they have developed um, that
character or that type of character. So that helps you
(03:58):
and then that's how you become and make it your own. UM.
And that's the fantasy that comes into play, the imagination,
bring it to light. You know, there's something that you
you know you personally are not. So that's the best
thing about you know, creating a character and and breaking
it down and developing it is because you're making it
your own and you're making words come to life. This
is what we are looking forward to see. So how
(04:19):
important is it for you that actors come in with
a prop or dressed in uh, the attire of the character. UM.
For me personally, UM, it's something that you know, it
brings a little extra I'm not I'm not all into that.
I'm more you know, into the act of acting. You know.
(04:40):
I feel like sometimes props can be distracting because they're
so um, worried about having to grab that water bottle
or grab the telephone or something like. You know, I
think that they forget being in character because they're so like,
I can't you know, miss that cue. So sometimes I
can tell when a person does an audition. When they
do the first audition and they're worried about the props,
I'll let them do it again in have them do
(05:00):
no props so that they can focus on the actual character,
because I don't want them to be distracted. You're not
on set, so let's not make it, you know, so
much more difficult for yourself. Let's get past the process first.
So that's how I feel about it. Um, it's it's okay.
UM I do I suggest, you know, if you're going
to get a callback, I suggest them sometimes more than
likely for people to wear the same outfit because that's
(05:21):
what you gave me your that that's what sparked it, that,
that's what got the attention. That's the character you've already built.
So why not come back in that call back with
that same outfit because you're you now, you set that presence,
and you might be feel comfortable, more comfortable in that
outfit that made you feel like a boss or a
lawyer or a doctor, you know, So I will you know,
I suggest that for sure. So in my experience, when
(05:45):
actors as far as directors watching the tape, when you
come in in the same outfit for your callback, the
director has comfortable or some sort of familiar energy with
your absolutely identify because you know, sometimes you know, we're
(06:06):
introducing this talent to actors and they can be you know,
overwhelmed by the names of you know, good talent. You know,
so you have to be able to help them guide
them and be able to remember who an actor is
by what they've warned writing and stuff like that. So
it's just little things that we kind of like jewels,
will kind of put in there to help the director
be able to identify the actor and then help the
(06:27):
actor be able to get the job. And um, there's
a misconception with actors in my experience where oh, the
casting director gives you the job. Oh, absolutely misconception. I
am the filter to the director or your producers. Those
(06:49):
are the ones who hire you. Those are the ones
who give you that job. They're the ones that say, oh, yeah,
this is the fit that we're looking for, or this
is the you know, the type that we want, or
that's who we want to hire, whether it be a
straight offer. Those are the people that that makes those
final decisions. We give them the best of the best
for those roles, and it's you know, good luck to
(07:10):
everyone and that and accessiful and I'm hoping that you
know that the best one wins. And that's how I
look at it. And but everyone feels like, you know,
it's you didn't give me that job. It wasn't mine
to give I was just your filter. You got to
get in the room because of me. Now it's it's
your job to get that job. And you probably if
you like them, begged, pleaded, strong, definitely going rally. Absolutely,
(07:37):
when there's there's strong talent in the room and there's options,
you're gonna rally it. You're gonna definitely rally it for
the person that really deservingly gets the job. So you know,
when you have a maybe an indecisive director that you
know was like looking at two people, of course you're
gonna being who I am. I'm going to give you
(07:58):
the strongest one. So I'm going to rally around the
one that I know can do the job for you
on set, so not later on you're not worried about
doing it. Tend takes you're worried about doing it more
for absolutely, UM I want to talk about boundaries because
um I I worked on a project I did a
workshop recently and UM I extended my Gmail, send pictures
(08:23):
and resumes, you know, the normal stuff. Absolutely, But when
people get comfortable quickly, that's when you get you know,
these excessive emails or um emails on the weekend or
you know, maybe two o'clock in the morning. I mean,
I just feel like boundaries need to be established for actors,
(08:45):
and actors need to respect those boundaries. With casting directors,
there's a reason why they can't call you every day. Absolutely. Um,
I don't see why they don't know the etiquette of back.
I mean that's just, you know, in any general way
of dealing with someone, there is a boundary of respect,
(09:07):
whether it's it's an employer or a casting director. Um.
If I'm extending my email to you and you send
me a picture more than three times, there's no reason
for you to send me more than once, and I
send you a received thank you because I do reply back.
I have an email address where I give it a
area for everyone that's to send and I can look
(09:28):
at their photos or I can reply back or give
them a space to be able to reach out to me.
I will have to say I've been honest, I've been
I've been blessed enough to people who don't haven't excessively
gone after that. Um, I recently did have one actor
and I'm and I know that he's you know, he's
trying to make a way because some actors have, you know,
(09:50):
when they have made heavy disability or you know, an impairment,
they feel like they have to over over extend themselves
to be noticed. But we are in a world of
dealing with actors that are there's so much content for
every kind of range of actor that you don't have
to feel like you have to. You're you're in a
accessbule like you actually there is there is something there
(10:10):
for you, So you don't have to, you know, keep on,
keep keep on emailing, emailing, emailing, emailing, letting me know
your story. I read it. So that's just just just
know that we read these things. Yes, So you don't
have to like overdo it with us, because then we
remember you overdoing it and we don't want to be
put in that. Now, that's not a good category to
(10:31):
be not at all. Or what about time Cilanda, when um,
let's say you know you your teacher and so in
that's an intimate small gathering of actors, right and so
boundaries in that where actors may get comfortable and think that,
(10:51):
you know, they can ask you all the questions that
they've always watched as the cast team director. You know,
when teaching, I do give them the platform to do that.
So when you're taking my course for you know, the
seven weeks, that's a seven weeks to get it all out, good,
get it all out, and then you know beyond after
you take my course, if you come back in and
(11:11):
do the you know, the advance. When you have opportunities
that you think that you are right for and I
think that you're ready for, I'm all of a vessel.
I have done it before I've got I've had students
that wanted to audition for Lea Daniels Butler for coming
to America to this past summer, and I did it
because I felt that they were capable and very much
(11:33):
you know, ready to do it. That's great. So I
will give you that platform, and I'm I'm gonna open
you know, I say I might have open door policy,
especially with my former students, because if you guys don't know,
I'm here to let you know. So that's the point
of me. You know, you came to me to give
you some guidance. So I'm going to keep on trying
to give you some guidance if I can. Okay, so
(11:55):
let's plug this guidance. Where can actors reach out to?
Um to your classes? Um, it's the craft Acting at
gmail dot com. Okay, UM, I have my classes. Um
they're usually seven weeks and I hold them in Nork
at Express Nork. Actors out there listening, you need to
(12:16):
go to the Craft Acting at gmail dot com and
reach out so you can get information about Landa's current
and upcoming classes. You need to be in these classes. Um.
You know. I I think that it's a great when
casting directors. There's the best of both worlds. That's what
I feel like when you take a class with a
(12:37):
casting director because casting directors know that room, they also
know the preparation that you need for that because I
feel like I feel like that when I started to teach,
I was like, I think that these actors need a
little bit of an advantage to know what it is
that we're looking for when they come into the room.
(12:57):
So I'm giving you the fundamentals that you need to
get that all back because I'm I'm definitely laying the
platform for you to showcase your work. So I'm giving
you now all of the tools that you would need
to when going into a room, whether it be proper etiquette,
whether it preparing for an actor, I mean for a
role or a character or a web series, anything like that.
(13:18):
I'm there to help you develop that and and I
and help people find the right lean, you know, because
some people are a little bit stronger as far as
commercial and they will be theatrically, or some people a
little bit more you know, comedically stronger. So give them
the avenues are doing sketch comedy and getting on the
stage and stuff like that, so they're not misguided or
just like, oh I gotta get an auditioned an audition.
That's just not necessarily all the avenues. There's so many
(13:40):
platforms now, So I mean I try to give them
the best guidance, Like I say, you know, to come on,
let's list some of the people that you've given sub
guidance to that are currently working. Um wow, I mean
I have a few students that Felicia Bishop, she's definitely working.
She's a also a notarized writer. She's great. Um Raina Seldonio,
(14:06):
she's definitely. I love Raina and now she's you know,
on another web series. She's definitely finding her way. She
was my intern. Now she's finding her way. When I
was at BT, she was my intern, and now she
is finding her way, you know, and as well as
you know, there's quite a few Liona motto. I mean, yeah,
I definitely wanted to you know, I love her journey
(14:28):
and I'm had to be still part of her journey.
And I try to give Ris much guidance, and you know,
when she calls me and asked me for questions, I
definitely make you know, you have always been like a
champion for her. She's always talked about you. When I
was at BT, that was one of the things. She
was like, you gotta meet the Hut. So I was
on the hunt. It's great. It's so great. Yeah, I
(14:53):
have to say that, it's really really it's been great.
And I've had a couple of other students that he
went out to l A. Jason like he went to
l A. He's doing Young and the Restless. So there's
people and and Jasmine Ellis she's now she's got a
web series going right now. So I'm really really proud
of my students, Like you know, taking what they might
(15:14):
have got from me and building. So I just wishmactly
and they all can still call me okay, and that's
very rare. Okay, let's talk about one of these experiences
that was horrific and when we talk about etiquette, that
someone did in an audition that you just bookmark and said,
(15:38):
whenever I talked to actors, I'm gonna let them know, Um, wow,
what have I had? Well, I can tell you a
story I've had. You know, I've had one actor, um
come in and gave me a performance of a lifetime.
I mean not enacting. I mean they wanted to be
(15:59):
an answer and they wanted to dance dance, but I'm
not gonna go see okay, but I had to cut
cut it off, like okay, it's not kind of This
isn't the Players Club. This is a regular movie. Yeah. Yeah,
I had just I just had that you didn't read
the breakdown correctly. I think that you thought that if
(16:20):
you did extracurriculum, I was gonna look at you. But now, um,
I want to ask about some um audition. Uh have
a lot of questions about auditioning. Um, you know, the
right way, the wrong way, um, just being specific with actors. Um,
how ideally, let's set up your ideal audition. Yeah, um,
(16:43):
you know when the actor comes in usually you know,
I'm making very comfortable for one, so ideally my my
regular audition. As they come in, you know, they give
me their name, and I kind of asked him a
couple of questions just to give them a little bit
of time to loosen up because they're already you know,
so tense because they're so you know, I'm sitting there
(17:03):
and I have the camera right next to me, and
I have a reader. I'm sometimes i'll read myself and
I will give them a time to if you want
to run through it or do you want to straight on?
Great on camera? Wow? And if they want to give
that run, I let that helps me know if there's
nerves there, so that I can give them to get
those nerves off. Because I'm putting you on tape, I'm
(17:25):
giving you a chance to win. I'm not trying to
hear to make you nervous, because like again, I'm doing
a disservice if I'm making you nervous, because then I
can't cast, I can't do my job effectively. So I
always try to give that time, you know, especially with
the new actor if I don't know you, um, and
then I'll you know, let them go ahead and put
themselves on tape. And if I feel like they're not
(17:47):
really catching my notes, I'll just let it go. But
if I do allow, if you have caught my note
and made that adjustment, I want to work with you,
so I'll let you do it again. So then I
gives my director two different takes from what that person
can do with the role. Right. That's I mean, actors,
you have to know how generous Landa is being with
(18:09):
you in that room, because, um, there's also the other
side of casting directors who it is a job and
you know, um, they may not take that time with you.
But at at the end of the day, that time
is probably about three or four minutes, So it's still
the amount of time that you would get to come
in in the room. But I'm just making it a
little bit more comfortable for you to get put yourself
(18:30):
on tape. And that comfort is important because there is
that layer of nervousness. I mean, I found myself in
sessions that it's an awkward situation to sit behind the
table and watch someone perform like da right. Absolutely, So
it's like, you know, it's like on queue. Yeah, so
it's if you can't jump on queue. So how you
know it's like you're gonna be able to help someone
(18:52):
you know ease and not saying that I am a
pushover and very at that end of the day, you're
coming in there to do a job and perform, uh
you audition for me, But I'm also going to make
it just just the rite amount of comfortability in there
for you to to not cross boundaries exactly like I like,
I'm when you come in an audition for me, I'm
(19:13):
not gonna extend my hand. I always say, you know,
I deal with a lot of actors. I'm saying a
thousand actors a day that we're not personal. This is
just you know, I'm glad that you're coming in an
auditioning for me. But at the end of the day,
I'm not your friends. We're not friends. But I make
it very you know, comfortable for you to come in
there and do your do your audition and hopefully you
(19:33):
know you're in the running. Okay, So tell us a
couple of things in the audition. Okay, so what's that thing?
Because for me, you know, the hair would stand up.
Um Oh. I can remember auditions like when Russell Horns
became in and I was like, right, you try to
be cool. So what is that thing that just you
(19:56):
know you have somebody in the room. Um I do.
I do have a level of calm that I think
over the years I have I've mastered. Um you know,
they're at the end of the day, I feel like
they're just like you and me. The only thing is
they're on TV. That's how I look at it. So
even if you know I admire you on TV, I'm
(20:17):
still gonna have my professional face on and and I'm
going to give you your compliment after your audition because
I'm not going to give you too much before your
audition because some people I feel like I've I've seen
when I've given them the compliment before the audition, they
feel like they've got it, so they don't give me
a performance. And then you're doing You're doing yourself a
disservice because guess what, I might not be able to
(20:40):
take that tape and let my director see because you
really didn't think that you didn't really perform like you
should because you thought you were cool. With me. That
goes back to me. I'm not the one that gives
you the job. I'm the one that gives you the
opportunity to get the job. So I have had that.
But other than that, I try to uh make sure
that a no, uh this is you know your opportunity
(21:04):
and I will you know after like I said, after
the audition, I will definitely give the compliment and the
accolades to them as deserved. But I keep a coolhead. Yeah,
I can see you though you're probably really good at poker.
You might look at my notes. No, I can see
you because I would have to have a pretty good poker. Yeah,
absolutely do. I would have to maintain. I love actors
(21:25):
and I get excited, but I when you give too much,
like you said, then there's this air and it's like, okay,
slow down, that was you know, just take it in exactly.
Don't run with it. Ye you're running, come back, come
back absolutely. So, Um, I have a couple of minutes
(21:49):
because um the interview always flies by, right, And I
love you on this show, I really do. I appreciate
you having me come like you know, use this as
a platform, you know, and and giving these jewels like
I love it like, well, that's why I'm glad. I'm
gonna keep asking and keep it asking. Just say, because
(22:12):
you actors must, you must go to the Craft Acting
at gmail dot com and get information about her current
and upcoming classes. And this is someone that you want
to learn from. This is someone that genuinely cares about you,
and it's going to give you all the things that
you need to have a foundation in this acting world. Um,
(22:34):
give us some jewels before we have to go. UM.
I always like to say, I have my mantra. You know,
in this um game of acting you are. I give
my up most respect to the actors because on a
daily basis, you receive rejection and you have to hold
your head up every every day high going into an audition.
(22:56):
So I always say, look at it as your one
away and failure. You're just one away from that next
big thing, that next job at next commercial. Just can
look look and look at it like that. That's my mantra.
You're one away. Don't ever feel defeated when you walk
out the room. Those are my jewels. Oh that's beautiful.
Don't ever feel defeated and you're one away. Those things
(23:18):
keep you motivated. And keep you going. And you know,
I always tell actors there's a lot of noise out there,
and you've got to learn how to shut off the noise,
you know, because why would you not If you're investing,
you're taking classes with Yolanda, why would you not quote
unquote make it? Why would you not? I mean, that's
(23:40):
the only way you're not is if you're not listening
and you just want to be there just to just
take up space. That's the only way I can see it,
because I I have over the years of my teachings,
I have seen them them flourish and they're still working
and they're still doing stuff. So I'm I'm I'm proud.
I'm a very proud coach, and I'm sure they're proud
(24:00):
to have you as a coach and they are grateful
for you on their journey. Give it up, ladies and gentlemen,
for miss ylanda huh And there's and you're gonna say
it again, Lanta, because I'm gonna invite you again and wonderful,
wonderfully stories. I'm gonna drop all the jewels on you,
guys that I can, yes, and maybe we can get
(24:23):
maybe like a sneak peek into some of um, the
things that she does in her class. Just a little
teaser because you guys, um, you should check her out.
I mean, seriously, go and you know, go to your
email today and just find out the information and you're
gonna have just as much fun, but you're really gonna learn,
(24:44):
and you're really going to get grounded too. Well, Landa,
I hate to say goodbye, so I'm gonna say see
you later, and I am going to see you later
again because they'll be per three. We'll just keep going
on and on. I love it, and I love you
guys for listening, and I know that you took notes,
and I know that you're going to go into these archives.
(25:05):
And now we're going into class in session and we
have Yolanda here, so um, you guys are gonna get
more jewels and pearls and emeralds. We're giving out amperls today. Okay,
all right, we'll be back with class and session. Thank you.
Welcome back to the Spirited Actor Podcast with me Tracy
Moore and our casting director extraordinaire. Yolanda Hunt is still
(25:27):
with us. Yay, okay, we are going into class in
session and here we have two Spirited Actor alumni who
are going to read the scene. I am going to
read the slug line and also the action the first time,
and then Landa is going to bless us with her
expert constructive criticism that she is going to bestow on
(25:52):
our Spirit Actor alumni, and they're going to read it again,
and you guys can hear the adjustments that were made
or not. But no, we're dealing with the Spirit Actor alumni.
There will be a juster. Yes, no, they are, okay, alright,
you a lot to said, even if there needs to
be okay, alright, a lot of pressure on you know. Okay, Well,
(26:14):
we're here with Spired Actor alumni. We have Lean Amato. Yeah,
I'm gonna get sound effects, and then we have Jlissa Capri. Okay,
so we have a random scene here and we're going
to read it. Um and I guess you guys cast yourself.
So I'm just gonna focus on the slug line of
(26:37):
the action. Is that right? Y'all know who you'll playing? Okay, Okay,
I'm regular. Here we go interior restaurant night jazz music
plays in the background. Natasha late twenties, naturally beautiful sits
at the table, tapping her fingers on the table. A
large diamond rock rests on it. It Her phone buzzes
(27:01):
and vibrates across the table. Natasha snatches it up. I've
been waiting here for thirty three minutes. Are you on
your way? A what? Oh, Bryson, I thought you were Courtney.
She called me about needing to talk. Mm hmmm important.
I know the history with my sister. No, she doesn't
(27:23):
hate you. I mean you to, just I haven't really
taken the time to get to know each other. Suddenly,
Courtney dashes into the restaurant. Natural beauty runs in their family.
M hm, she just got here. Yes, I'll call you after, Yes,
right after you tell me a happy chance you get
(27:43):
mm hmm, I love you too. Natasha stares across the
table at a disheveled Courtney. I am so sorry. I
just got stuck on the A train. Then I jumped
off and I took a cab. The cab driver tells me,
as we're coming off the bridge that he can only
take me across the bridge. So I was like, why
didn't you just tell me that? When I got in,
(28:04):
he said he got another call. So I just jumped
into a cab and here I am. Oh, and he
didn't charge me either. Can you ever show up drama
free and with a charged phone? Never mind? Just get
a glass of water and take a breath and tell
me it was so urgent that you couldn't just skype me.
The waiter brings over a glass of wine with a
(28:25):
slice of lemon in it. Cordney picks up the glass
and inhales the aroma. Her shoulders dropped, and she seems
at ease. Thank you. You always have a way of
calming things down, making them seem that not as big
as they really are is a setup. I'm just gonna
be blunt. Um, how well do you really know? Breath in?
(28:45):
You are treading on thin waters, Couritney. I know him
well enough to marry him and spend the rest of
my life with him. After five months, after five minutes,
you know in your heart. Look, I can't explain it
any other way than I know. Um, do you know
what he is like when there's a tragedy or emergency?
(29:05):
Or what about if he's unemployed? But that's what that's
how we're going to grow together. I mean, we'll learn
about these things. Are you really in love? Are you
in love with the idea of it. I don't like
this conversation. Why do you have to get married right away?
You guys are young. Just be engaged for a year.
This is a decision for the rest of your life.
(29:27):
Natasha has a loss for words. If I knew something,
would you want to know? Natasha marinates on the question, Yeah,
I would want to know. I think Brayson is cheating
on you. Natasha's numb. I ran into braceing I bread
Beth and beyond last week, and I went up to
(29:48):
him and he was a little nervous. Maybe you just
caught him off gar No, no, no, no. I didn't
speak long because I felt how uncomfortable he was. So
I ducked behind an aisle and he that I had left,
And then a woman approached and gave him a big
dog and a sloppy kiss. How slopping familiar? Sloppy? Natasha
(30:16):
stairs at her rings. Something clicks in her Are you
sure I didn't see you? Know my because he asked
me to call him right after and not to trust
you because of our history in the bad? How convenient
get you to turn on your blood Listen, I have
no reason to lie when you get home. Ask him
(30:37):
how about that, Ask him if there is anything that
he wants to tell you. It's up to him to
be honest with you. This is the rest of your life.
I'm just saying that this isn't happening my head saying
that this explains everything. Sasha, there was, um, there was
a child three years old. He has a child. He
(31:03):
told me that was his niece. I mean, I've seen
tons of pictures around the house, and maybe you should
just get your thoughts together. Natasha smiles and touches her hand.
Something my soul was unsettled. I know something sent the now.
(31:23):
Natasha turns to leave, she stops and hugs Courtney, seeing Okay,
all right, all right, that's on you. Okay, I will
say that that was good ladies. Um uh Natasha, Yes,
and the top I just say, take take take your
time with that phone call, have a little fun with it.
(31:44):
And when she does tell you about it, let that
set in, don't don't you know, just let it set in,
have that real reaction, that real moment, because there there's
the moments that I felt that we're real. But think
that moment I felt like it was just a quick jump.
So have have that that time to really address to
(32:06):
it and you when you're delivering your news to her,
especially about the child, I would definitely kind of like
ease that into her as supposed to, Like there's there's
a three year old child, Like it's like there's a
three year old child too, Like give her that moment
because you've already given drop the bomb. You're about to
drop a super bomb, So allow that moment where it's
(32:27):
a little bit more real to where she can bounce
off of that. Okay, that's the only thing I would
make another. Okay, all right, ladies, we're gonna do it
again with those suggestments. Um, you guys ready, That's what
happens when you come onto the spirited actor. I'm excited. Okay,
(32:48):
whenever you guys are ready. And actually I've been waiting
here for thirty three minutes. Are you on your way
or what? Oh soon? I thought she would call me.
She called me about needing to talk. Mm hmmm important. Yeah,
(33:10):
I don't know the history with my sister. No, she
doesn't hate you. I mean you too, just I haven't
never really taken the time to get to know each other.
She just got here. Yes, I'll call you after yes,
right after m you tell me every chance you'd get.
(33:37):
I love you too, mm hmm. I am so sorry.
I just got stuck on the train and then I
dumped off and I took a cab. The cab driver
tells me as we're coming across the bridge, he could
only take me across the bridge, and I was like,
so why did you pick me up in the first place?
So I jumped into another cab and here I am.
And you didn't charge me either. Can you have a
(34:00):
show up drama free and with a charged phone? Look,
never mind, just get a glass of water and take
a breath. Then tell me what was so urgent that
you couldn't just skype me? Thank you, m M. You
always have a way of coming things down, making them
seem like they're not as big as they really are.
(34:21):
Is this a sut up? I'm just gonna be what.
How well do you really know bracing? You had tread
it on thin water his courtney. Look, I know him
well enough to marry him and spend the rest of
my life with him. But after five months, after five minutes, look,
you know in your heart, I can't explain any other
(34:44):
than I know. Okay, but do you know what he's
like after a tragedy or an emergency, or what if
that man gets unemployed. No, but that's how we're going
to grow together. I mean, we'll learn about these things. Okay,
But are you, like, really in love with him or
you in the in love with the idea of it. Look,
I don't like this conversation. Why do you have to
(35:06):
get married right away? Says you were young? Just be
engaged for a year. This is a decision for the
rest of your life. Okay. If I knew something, would
you want to know? Yes, I would want to know. Okay,
I think Bryson is cheating on you. I ran into
(35:30):
him last week at Bad Bath and Beyond, and I
went up to him, and he was a little nervous.
Maybe you just we just got a moof guard. No, no,
no, no no no. I didn't speak long because I felt
how uncomfortable he was. So I ducked behind an aisle
and I looked, and he saw that. I left, and
a woman approached and gave him a hug, and then
(35:53):
I kiss m a sloppy kiss. Oh how slappy? Like
familiar slappy? Are you sure he didn't see you? No? Why?
(36:18):
Because he asked me to call him right after, and
then not to trust you because you know I has
stored in the past. How convenient, right, get you to
turn on your blood. I have no reason to lie.
When you get home, ask him, ask him if there's
(36:38):
anything that he wants to tell you. It's up to
him to be honest. See you, this is the rest
of your life. Are just saying that this doesn't happening.
But my head, I had to stay and this explains everything. There. Um,
(37:03):
there was a child about three years old. Sorry, he
has a child. He told me that was his niece.
I mean, I've seen tons of pictures around the house.
I have to talk to get your thoughts together first,
(37:30):
and something in my soul sunsettled. I mean I knew something.
It was just in Donal and seem beautiful. Well, I
(37:53):
had great talent to work with. But I mean you
guys took the tip of note and ran with it. Absolutely. Yeah,
I felt I love when you said to just live
in the moment, like living that natural and so when
you did, it just makes the whole other level. Yeah,
it felt real like you, dren In. It was like
(38:14):
you felt like like I felt that her me too.
Thank you, and you made it so uncomfortable, Like I
love her note when she said about ease the child
in and it was so difficult. They're not going to
tell her about this kid and just you know, what's
engaging to watch is for us to see the conflict,
to see that you go through the count. Should I
(38:34):
tell her that's engaging to watch? Yeah. I feel like
sometimes when you're an audition space or in any space,
you feel like you have to rush, like you feel
like and I think that's the trouble always of making
sure that that time is your time and living that
moment is a good note instead of just feeling like, no,
I have to make sure that I'm not taking up
too much time in the space and too much time
in the room and like kind of leaves your time.
(38:56):
That is your time. That is the time it may
have been given. So if you were given that to
do that audition, that's the time you're given. You better
run with it and give the best performance you can
and don't feel like I'm I gotta be rushed. I
gotta be rushed. The more you you look rushed, the
more you you rush, the more you look rushed. You
don't want to be able to do that. You want
to be able to capture me, just like you just
(39:17):
did that second time. Oh that's wonderful. There was some
capturing in the room. Yeah, that's why I love doing this.
I want to capture the casting director's attention and you know,
to bring actors in and that you you don't get
this opportunity. So this truly is a blessing and I feel, yeah,
(39:39):
I received this. This is what's happening in the Spirited
Actor podcast. Ladies and gentlemen, So class in session is over.
But that's okay. We had some really really super great
insight and actors. I know you walked away with a
lot of great information and insight, like I said, from Yolanda,
(40:02):
So let's put our hands together for a miss Yolanda Hunt.
Ladies and gentlemen, Thank you, guys. So to get used
to her being a ray guys, right, that is what
we're going to call her Resident c D missy Alanda Hunt.
(40:22):
And when we come back, we are going to give love.
Thank you, and now it's time forgive love. Cut out
the noise and the distractions in your life. I was
watching an episode of Ellen one time, and she had
Madonna on as the guest, and Ellen asked Madonna, how
(40:42):
do you deal with constructive criticism, people talking about you
and all these things, And Madonna said, I simply cut
out the noise. I know that in my experience that
can include family and friends. I'm not encouraging you to
discard them, because everything that your family and friends say
(41:04):
is coming from a place of love. I am simply saying,
consider how you spend your energy and learn to silence
the noise. Yourself is worth preserving. Your mental health deserves
a break. Learn to silence the noise and distractions and
(41:25):
stay focused on what really matters and what you really
have control over, and that is your craft. Go to class,
work with fellow thespians, work on your monologue, constantly, create
a space of encouraging your talent and focusing on your
(41:46):
talent and silencing the noise. Thank you for joining us
on the Spirited Actor podcast with me Tracy Moore. I
look forward to our next Spirited podcast. Thank you,
Hello, and welcome to the Spirited Actor Podcast with me
Tracy Moore. I was a casting director for film and
TV and commercials for over thirty years. I transition to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Thomas.
I audition every rapper from Biggie's Balls to Tupac, and
(00:24):
I realized that rappers and musical artists they needed help
transitioning to acting. My clients consist of musical artists from
Buster Rhymes to Eve, Missy Elliott, Angela Ye from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now. I know, I know actors want to
get the job. I get that, but being remembered by
casting director that is powerful meditation of the day. It's
(01:06):
easy to make a buck, it's a lot tougher to
make a difference. Tom broke off, If this is the
only life that we know, why don't we try to
live it to the fullest. Why don't we create beautiful
things like music, art, literature. As an actor, you must
not limit yourself to just acting. You should take advantage
(01:28):
of all the talents that you possess and make them
come alive. Imagine the difference you can make in someone's
life when you share your gifts. It is truly an
enlightening experience. Today, I will love my life and all
of its rewards. Welcome to the Spirited Actor Podcast with
(01:50):
me Tracy Moore. I am always excited, always thrilled, but
today I'm extra thrilled. I'm extra excited because we have
casting director, casting Diva extraordinaire, Yolanda Hunt is back in
the house. You guys, Yes, oh my god. We love
(02:13):
having you back. Um. I've gotten so many great responses
to part one. That's why we had to bring you
back for part two. I am so glad that I
want to jump right in it. I want to talk
about character development. I want to talk about how important
(02:34):
that is for you. When actors from the time they
say hello, my name is and check your hand to
morphing into that person in front of you, I feel
um as an advantage for an actor. UM character developed
development is very important as far as doing the research,
whether it be a bio or whether it be a
(02:54):
character that they're trying to develop. So ask the questions
if it's there in detail, as far as when you
look at the breakdown and it tells you a detail
as far as the character, and if it's not enough
for you to you know, to really bite onto, call
and ask the assistant. Maybe the assystem be able to
give you that information. You know, this is the backstory
because you know a lot of people are not able
to read the script. So you know you only can
(03:16):
get you know so much you can you know obtained,
but and and be real tangible with is just the size.
So you have to be able to get as much
knowledge as you can of the character. Then that goes
back into you building that character, whether it's something that
you haven't done. So then you do your research, start
watching some shows of the character that you might you know,
(03:36):
can associate with. It will give you a little bit
of a um some help you know, bringing it. You're
making it your own. You're not mimicking something else. You're
making it your own. So you look at other things
you look at other content, You look at other actors
and and see how maybe they have developed um, that
character or that type of character. So that helps you
(03:58):
and then that's how you become and make it your own. UM.
And that's the fantasy that comes into play, the imagination,
bring it to light. You know, there's something that you
you know you personally are not. So that's the best
thing about you know, creating a character and and breaking
it down and developing it is because you're making it
your own and you're making words come to life. This
is what we are looking forward to see. So how
(04:19):
important is it for you that actors come in with
a prop or dressed in uh, the attire of the character. UM.
For me personally, UM, it's something that you know, it
brings a little extra I'm not I'm not all into that.
I'm more you know, into the act of acting. You know.
(04:40):
I feel like sometimes props can be distracting because they're
so um, worried about having to grab that water bottle
or grab the telephone or something like. You know, I
think that they forget being in character because they're so like,
I can't you know, miss that cue. So sometimes I
can tell when a person does an audition. When they
do the first audition and they're worried about the props,
I'll let them do it again in have them do
(05:00):
no props so that they can focus on the actual character,
because I don't want them to be distracted. You're not
on set, so let's not make it, you know, so
much more difficult for yourself. Let's get past the process first.
So that's how I feel about it. Um, it's it's okay.
UM I do I suggest, you know, if you're going
to get a callback, I suggest them sometimes more than
likely for people to wear the same outfit because that's
(05:21):
what you gave me your that that's what sparked it, that,
that's what got the attention. That's the character you've already built.
So why not come back in that call back with
that same outfit because you're you now, you set that presence,
and you might be feel comfortable, more comfortable in that
outfit that made you feel like a boss or a
lawyer or a doctor, you know, So I will you know,
I suggest that for sure. So in my experience, when
(05:45):
actors as far as directors watching the tape, when you
come in in the same outfit for your callback, the
director has comfortable or some sort of familiar energy with
your absolutely identify because you know, sometimes you know, we're
(06:06):
introducing this talent to actors and they can be you know,
overwhelmed by the names of you know, good talent. You know,
so you have to be able to help them guide
them and be able to remember who an actor is
by what they've warned writing and stuff like that. So
it's just little things that we kind of like jewels,
will kind of put in there to help the director
be able to identify the actor and then help the
(06:27):
actor be able to get the job. And um, there's
a misconception with actors in my experience where oh, the
casting director gives you the job. Oh, absolutely misconception. I
am the filter to the director or your producers. Those
(06:49):
are the ones who hire you. Those are the ones
who give you that job. They're the ones that say, oh, yeah,
this is the fit that we're looking for, or this
is the you know, the type that we want, or
that's who we want to hire, whether it be a
straight offer. Those are the people that that makes those
final decisions. We give them the best of the best
for those roles, and it's you know, good luck to
(07:10):
everyone and that and accessiful and I'm hoping that you
know that the best one wins. And that's how I
look at it. And but everyone feels like, you know,
it's you didn't give me that job. It wasn't mine
to give I was just your filter. You got to
get in the room because of me. Now it's it's
your job to get that job. And you probably if
you like them, begged, pleaded, strong, definitely going rally. Absolutely,
(07:37):
when there's there's strong talent in the room and there's options,
you're gonna rally it. You're gonna definitely rally it for
the person that really deservingly gets the job. So you know,
when you have a maybe an indecisive director that you
know was like looking at two people, of course you're
gonna being who I am. I'm going to give you
(07:58):
the strongest one. So I'm going to rally around the
one that I know can do the job for you
on set, so not later on you're not worried about
doing it. Tend takes you're worried about doing it more
for absolutely, UM I want to talk about boundaries because
um I I worked on a project I did a
workshop recently and UM I extended my Gmail, send pictures
(08:23):
and resumes, you know, the normal stuff. Absolutely, But when
people get comfortable quickly, that's when you get you know,
these excessive emails or um emails on the weekend or
you know, maybe two o'clock in the morning. I mean,
I just feel like boundaries need to be established for actors,
(08:45):
and actors need to respect those boundaries. With casting directors,
there's a reason why they can't call you every day. Absolutely. Um,
I don't see why they don't know the etiquette of back.
I mean that's just, you know, in any general way
of dealing with someone, there is a boundary of respect,
(09:07):
whether it's it's an employer or a casting director. Um.
If I'm extending my email to you and you send
me a picture more than three times, there's no reason
for you to send me more than once, and I
send you a received thank you because I do reply back.
I have an email address where I give it a
area for everyone that's to send and I can look
(09:28):
at their photos or I can reply back or give
them a space to be able to reach out to me.
I will have to say I've been honest, I've been
I've been blessed enough to people who don't haven't excessively
gone after that. Um, I recently did have one actor
and I'm and I know that he's you know, he's
trying to make a way because some actors have, you know,
(09:50):
when they have made heavy disability or you know, an impairment,
they feel like they have to over over extend themselves
to be noticed. But we are in a world of
dealing with actors that are there's so much content for
every kind of range of actor that you don't have
to feel like you have to. You're you're in a
accessbule like you actually there is there is something there
(10:10):
for you, So you don't have to, you know, keep on,
keep keep on emailing, emailing, emailing, emailing, letting me know
your story. I read it. So that's just just just
know that we read these things. Yes, So you don't
have to like overdo it with us, because then we
remember you overdoing it and we don't want to be
put in that. Now, that's not a good category to
(10:31):
be not at all. Or what about time Cilanda, when um,
let's say you know you your teacher and so in
that's an intimate small gathering of actors, right and so
boundaries in that where actors may get comfortable and think that,
(10:51):
you know, they can ask you all the questions that
they've always watched as the cast team director. You know,
when teaching, I do give them the platform to do that.
So when you're taking my course for you know, the
seven weeks, that's a seven weeks to get it all out, good,
get it all out, and then you know beyond after
you take my course, if you come back in and
(11:11):
do the you know, the advance. When you have opportunities
that you think that you are right for and I
think that you're ready for, I'm all of a vessel.
I have done it before I've got I've had students
that wanted to audition for Lea Daniels Butler for coming
to America to this past summer, and I did it
because I felt that they were capable and very much
(11:33):
you know, ready to do it. That's great. So I
will give you that platform, and I'm I'm gonna open
you know, I say I might have open door policy,
especially with my former students, because if you guys don't know,
I'm here to let you know. So that's the point
of me. You know, you came to me to give
you some guidance. So I'm going to keep on trying
to give you some guidance if I can. Okay, so
(11:55):
let's plug this guidance. Where can actors reach out to?
Um to your classes? Um, it's the craft Acting at
gmail dot com. Okay, UM, I have my classes. Um
they're usually seven weeks and I hold them in Nork
at Express Nork. Actors out there listening, you need to
(12:16):
go to the Craft Acting at gmail dot com and
reach out so you can get information about Landa's current
and upcoming classes. You need to be in these classes. Um.
You know. I I think that it's a great when
casting directors. There's the best of both worlds. That's what
I feel like when you take a class with a
(12:37):
casting director because casting directors know that room, they also
know the preparation that you need for that because I
feel like I feel like that when I started to teach,
I was like, I think that these actors need a
little bit of an advantage to know what it is
that we're looking for when they come into the room.
(12:57):
So I'm giving you the fundamentals that you need to
get that all back because I'm I'm definitely laying the
platform for you to showcase your work. So I'm giving
you now all of the tools that you would need
to when going into a room, whether it be proper etiquette,
whether it preparing for an actor, I mean for a
role or a character or a web series, anything like that.
(13:18):
I'm there to help you develop that and and I
and help people find the right lean, you know, because
some people are a little bit stronger as far as
commercial and they will be theatrically, or some people a
little bit more you know, comedically stronger. So give them
the avenues are doing sketch comedy and getting on the
stage and stuff like that, so they're not misguided or
just like, oh I gotta get an auditioned an audition.
That's just not necessarily all the avenues. There's so many
(13:40):
platforms now, So I mean I try to give them
the best guidance, Like I say, you know, to come on,
let's list some of the people that you've given sub
guidance to that are currently working. Um wow, I mean
I have a few students that Felicia Bishop, she's definitely working.
She's a also a notarized writer. She's great. Um Raina Seldonio,
(14:06):
she's definitely. I love Raina and now she's you know,
on another web series. She's definitely finding her way. She
was my intern. Now she's finding her way. When I
was at BT, she was my intern, and now she
is finding her way, you know, and as well as
you know, there's quite a few Liona motto. I mean, yeah,
I definitely wanted to you know, I love her journey
(14:28):
and I'm had to be still part of her journey.
And I try to give Ris much guidance, and you know,
when she calls me and asked me for questions, I
definitely make you know, you have always been like a
champion for her. She's always talked about you. When I
was at BT, that was one of the things. She
was like, you gotta meet the Hut. So I was
on the hunt. It's great. It's so great. Yeah, I
(14:53):
have to say that, it's really really it's been great.
And I've had a couple of other students that he
went out to l A. Jason like he went to
l A. He's doing Young and the Restless. So there's
people and and Jasmine Ellis she's now she's got a
web series going right now. So I'm really really proud
of my students, Like you know, taking what they might
(15:14):
have got from me and building. So I just wishmactly
and they all can still call me okay, and that's
very rare. Okay, let's talk about one of these experiences
that was horrific and when we talk about etiquette, that
someone did in an audition that you just bookmark and said,
(15:38):
whenever I talked to actors, I'm gonna let them know, Um, wow,
what have I had? Well, I can tell you a
story I've had. You know, I've had one actor, um
come in and gave me a performance of a lifetime.
I mean not enacting. I mean they wanted to be
(15:59):
an answer and they wanted to dance dance, but I'm
not gonna go see okay, but I had to cut
cut it off, like okay, it's not kind of This
isn't the Players Club. This is a regular movie. Yeah. Yeah,
I had just I just had that you didn't read
the breakdown correctly. I think that you thought that if
(16:20):
you did extracurriculum, I was gonna look at you. But now, um,
I want to ask about some um audition. Uh have
a lot of questions about auditioning. Um, you know, the
right way, the wrong way, um, just being specific with actors. Um,
how ideally, let's set up your ideal audition. Yeah, um,
(16:43):
you know when the actor comes in usually you know,
I'm making very comfortable for one, so ideally my my
regular audition. As they come in, you know, they give
me their name, and I kind of asked him a
couple of questions just to give them a little bit
of time to loosen up because they're already you know,
so tense because they're so you know, I'm sitting there
(17:03):
and I have the camera right next to me, and
I have a reader. I'm sometimes i'll read myself and
I will give them a time to if you want
to run through it or do you want to straight on?
Great on camera? Wow? And if they want to give
that run, I let that helps me know if there's
nerves there, so that I can give them to get
those nerves off. Because I'm putting you on tape, I'm
(17:25):
giving you a chance to win. I'm not trying to
hear to make you nervous, because like again, I'm doing
a disservice if I'm making you nervous, because then I
can't cast, I can't do my job effectively. So I
always try to give that time, you know, especially with
the new actor if I don't know you, um, and
then I'll you know, let them go ahead and put
themselves on tape. And if I feel like they're not
(17:47):
really catching my notes, I'll just let it go. But
if I do allow, if you have caught my note
and made that adjustment, I want to work with you,
so I'll let you do it again. So then I
gives my director two different takes from what that person
can do with the role. Right. That's I mean, actors,
you have to know how generous Landa is being with
(18:09):
you in that room, because, um, there's also the other
side of casting directors who it is a job and
you know, um, they may not take that time with you.
But at at the end of the day, that time
is probably about three or four minutes, So it's still
the amount of time that you would get to come
in in the room. But I'm just making it a
little bit more comfortable for you to get put yourself
(18:30):
on tape. And that comfort is important because there is
that layer of nervousness. I mean, I found myself in
sessions that it's an awkward situation to sit behind the
table and watch someone perform like da right. Absolutely, So
it's like, you know, it's like on queue. Yeah, so
it's if you can't jump on queue. So how you
know it's like you're gonna be able to help someone
(18:52):
you know ease and not saying that I am a
pushover and very at that end of the day, you're
coming in there to do a job and perform, uh
you audition for me, But I'm also going to make
it just just the rite amount of comfortability in there
for you to to not cross boundaries exactly like I like,
I'm when you come in an audition for me, I'm
(19:13):
not gonna extend my hand. I always say, you know,
I deal with a lot of actors. I'm saying a
thousand actors a day that we're not personal. This is
just you know, I'm glad that you're coming in an
auditioning for me. But at the end of the day,
I'm not your friends. We're not friends. But I make
it very you know, comfortable for you to come in
there and do your do your audition and hopefully you
(19:33):
know you're in the running. Okay, So tell us a
couple of things in the audition. Okay, so what's that thing?
Because for me, you know, the hair would stand up.
Um Oh. I can remember auditions like when Russell Horns
became in and I was like, right, you try to
be cool. So what is that thing that just you
(19:56):
know you have somebody in the room. Um I do.
I do have a level of calm that I think
over the years I have I've mastered. Um you know,
they're at the end of the day, I feel like
they're just like you and me. The only thing is
they're on TV. That's how I look at it. So
even if you know I admire you on TV, I'm
(20:17):
still gonna have my professional face on and and I'm
going to give you your compliment after your audition because
I'm not going to give you too much before your
audition because some people I feel like I've I've seen
when I've given them the compliment before the audition, they
feel like they've got it, so they don't give me
a performance. And then you're doing You're doing yourself a
disservice because guess what, I might not be able to
(20:40):
take that tape and let my director see because you
really didn't think that you didn't really perform like you
should because you thought you were cool. With me. That
goes back to me. I'm not the one that gives
you the job. I'm the one that gives you the
opportunity to get the job. So I have had that.
But other than that, I try to uh make sure
that a no, uh this is you know your opportunity
(21:04):
and I will you know after like I said, after
the audition, I will definitely give the compliment and the
accolades to them as deserved. But I keep a coolhead. Yeah,
I can see you though you're probably really good at poker.
You might look at my notes. No, I can see
you because I would have to have a pretty good poker. Yeah,
absolutely do. I would have to maintain. I love actors
(21:25):
and I get excited, but I when you give too much,
like you said, then there's this air and it's like, okay,
slow down, that was you know, just take it in exactly.
Don't run with it. Ye you're running, come back, come
back absolutely. So, Um, I have a couple of minutes
(21:49):
because um the interview always flies by, right, And I
love you on this show, I really do. I appreciate
you having me come like you know, use this as
a platform, you know, and and giving these jewels like
I love it like, well, that's why I'm glad. I'm
gonna keep asking and keep it asking. Just say, because
(22:12):
you actors must, you must go to the Craft Acting
at gmail dot com and get information about her current
and upcoming classes. And this is someone that you want
to learn from. This is someone that genuinely cares about you,
and it's going to give you all the things that
you need to have a foundation in this acting world. Um,
(22:34):
give us some jewels before we have to go. UM.
I always like to say, I have my mantra. You know,
in this um game of acting you are. I give
my up most respect to the actors because on a
daily basis, you receive rejection and you have to hold
your head up every every day high going into an audition.
(22:56):
So I always say, look at it as your one
away and failure. You're just one away from that next
big thing, that next job at next commercial. Just can
look look and look at it like that. That's my mantra.
You're one away. Don't ever feel defeated when you walk
out the room. Those are my jewels. Oh that's beautiful.
Don't ever feel defeated and you're one away. Those things
(23:18):
keep you motivated. And keep you going. And you know,
I always tell actors there's a lot of noise out there,
and you've got to learn how to shut off the noise,
you know, because why would you not If you're investing,
you're taking classes with Yolanda, why would you not quote
unquote make it? Why would you not? I mean, that's
(23:40):
the only way you're not is if you're not listening
and you just want to be there just to just
take up space. That's the only way I can see it,
because I I have over the years of my teachings,
I have seen them them flourish and they're still working
and they're still doing stuff. So I'm I'm I'm proud.
I'm a very proud coach, and I'm sure they're proud
(24:00):
to have you as a coach and they are grateful
for you on their journey. Give it up, ladies and gentlemen,
for miss ylanda huh And there's and you're gonna say
it again, Lanta, because I'm gonna invite you again and wonderful,
wonderfully stories. I'm gonna drop all the jewels on you,
guys that I can, yes, and maybe we can get
(24:23):
maybe like a sneak peek into some of um, the
things that she does in her class. Just a little
teaser because you guys, um, you should check her out.
I mean, seriously, go and you know, go to your
email today and just find out the information and you're
gonna have just as much fun, but you're really gonna learn,
(24:44):
and you're really going to get grounded too. Well, Landa,
I hate to say goodbye, so I'm gonna say see
you later, and I am going to see you later
again because they'll be per three. We'll just keep going
on and on. I love it, and I love you
guys for listening, and I know that you took notes,
and I know that you're going to go into these archives.
(25:05):
And now we're going into class in session and we
have Yolanda here, so um, you guys are gonna get
more jewels and pearls and emeralds. We're giving out amperls today. Okay,
all right, we'll be back with class and session. Thank you.
Welcome back to the Spirited Actor Podcast with me Tracy
Moore and our casting director extraordinaire. Yolanda Hunt is still
(25:27):
with us. Yay, okay, we are going into class in
session and here we have two Spirited Actor alumni who
are going to read the scene. I am going to
read the slug line and also the action the first time,
and then Landa is going to bless us with her
expert constructive criticism that she is going to bestow on
(25:52):
our Spirit Actor alumni, and they're going to read it again,
and you guys can hear the adjustments that were made
or not. But no, we're dealing with the Spirit Actor alumni.
There will be a juster. Yes, no, they are, okay, alright,
you a lot to said, even if there needs to
be okay, alright, a lot of pressure on you know. Okay, Well,
(26:14):
we're here with Spired Actor alumni. We have Lean Amato. Yeah,
I'm gonna get sound effects, and then we have Jlissa Capri. Okay,
so we have a random scene here and we're going
to read it. Um and I guess you guys cast yourself.
So I'm just gonna focus on the slug line of
(26:37):
the action. Is that right? Y'all know who you'll playing? Okay, Okay,
I'm regular. Here we go interior restaurant night jazz music
plays in the background. Natasha late twenties, naturally beautiful sits
at the table, tapping her fingers on the table. A
large diamond rock rests on it. It Her phone buzzes
(27:01):
and vibrates across the table. Natasha snatches it up. I've
been waiting here for thirty three minutes. Are you on
your way? A what? Oh, Bryson, I thought you were Courtney.
She called me about needing to talk. Mm hmmm important.
I know the history with my sister. No, she doesn't
(27:23):
hate you. I mean you to, just I haven't really
taken the time to get to know each other. Suddenly,
Courtney dashes into the restaurant. Natural beauty runs in their family.
M hm, she just got here. Yes, I'll call you after, Yes,
right after you tell me a happy chance you get
(27:43):
mm hmm, I love you too. Natasha stares across the
table at a disheveled Courtney. I am so sorry. I
just got stuck on the A train. Then I jumped
off and I took a cab. The cab driver tells me,
as we're coming off the bridge that he can only
take me across the bridge. So I was like, why
didn't you just tell me that? When I got in,
(28:04):
he said he got another call. So I just jumped
into a cab and here I am. Oh, and he
didn't charge me either. Can you ever show up drama
free and with a charged phone? Never mind? Just get
a glass of water and take a breath and tell
me it was so urgent that you couldn't just skype me.
The waiter brings over a glass of wine with a
(28:25):
slice of lemon in it. Cordney picks up the glass
and inhales the aroma. Her shoulders dropped, and she seems
at ease. Thank you. You always have a way of
calming things down, making them seem that not as big
as they really are is a setup. I'm just gonna
be blunt. Um, how well do you really know? Breath in?
(28:45):
You are treading on thin waters, Couritney. I know him
well enough to marry him and spend the rest of
my life with him. After five months, after five minutes,
you know in your heart. Look, I can't explain it
any other way than I know. Um, do you know
what he is like when there's a tragedy or emergency?
(29:05):
Or what about if he's unemployed? But that's what that's
how we're going to grow together. I mean, we'll learn
about these things. Are you really in love? Are you
in love with the idea of it. I don't like
this conversation. Why do you have to get married right away?
You guys are young. Just be engaged for a year.
This is a decision for the rest of your life.
(29:27):
Natasha has a loss for words. If I knew something,
would you want to know? Natasha marinates on the question, Yeah,
I would want to know. I think Brayson is cheating
on you. Natasha's numb. I ran into braceing I bread
Beth and beyond last week, and I went up to
(29:48):
him and he was a little nervous. Maybe you just
caught him off gar No, no, no, no. I didn't
speak long because I felt how uncomfortable he was. So
I ducked behind an aisle and he that I had left,
And then a woman approached and gave him a big
dog and a sloppy kiss. How slopping familiar? Sloppy? Natasha
(30:16):
stairs at her rings. Something clicks in her Are you
sure I didn't see you? Know my because he asked
me to call him right after and not to trust
you because of our history in the bad? How convenient
get you to turn on your blood Listen, I have
no reason to lie when you get home. Ask him
(30:37):
how about that, Ask him if there is anything that
he wants to tell you. It's up to him to
be honest with you. This is the rest of your life.
I'm just saying that this isn't happening my head saying
that this explains everything. Sasha, there was, um, there was
a child three years old. He has a child. He
(31:03):
told me that was his niece. I mean, I've seen
tons of pictures around the house, and maybe you should
just get your thoughts together. Natasha smiles and touches her hand.
Something my soul was unsettled. I know something sent the now.
(31:23):
Natasha turns to leave, she stops and hugs Courtney, seeing Okay,
all right, all right, that's on you. Okay, I will
say that that was good ladies. Um uh Natasha, Yes,
and the top I just say, take take take your
time with that phone call, have a little fun with it.
(31:44):
And when she does tell you about it, let that
set in, don't don't you know, just let it set in,
have that real reaction, that real moment, because there there's
the moments that I felt that we're real. But think
that moment I felt like it was just a quick jump.
So have have that that time to really address to
(32:06):
it and you when you're delivering your news to her,
especially about the child, I would definitely kind of like
ease that into her as supposed to, Like there's there's
a three year old child, Like it's like there's a
three year old child too, Like give her that moment
because you've already given drop the bomb. You're about to
drop a super bomb, So allow that moment where it's
(32:27):
a little bit more real to where she can bounce
off of that. Okay, that's the only thing I would
make another. Okay, all right, ladies, we're gonna do it
again with those suggestments. Um, you guys ready, That's what
happens when you come onto the spirited actor. I'm excited. Okay,
(32:48):
whenever you guys are ready. And actually I've been waiting
here for thirty three minutes. Are you on your way
or what? Oh soon? I thought she would call me.
She called me about needing to talk. Mm hmmm important. Yeah,
(33:10):
I don't know the history with my sister. No, she
doesn't hate you. I mean you too, just I haven't
never really taken the time to get to know each other.
She just got here. Yes, I'll call you after yes,
right after m you tell me every chance you'd get.
(33:37):
I love you too, mm hmm. I am so sorry.
I just got stuck on the train and then I
dumped off and I took a cab. The cab driver
tells me as we're coming across the bridge, he could
only take me across the bridge, and I was like,
so why did you pick me up in the first place?
So I jumped into another cab and here I am.
And you didn't charge me either. Can you have a
(34:00):
show up drama free and with a charged phone? Look,
never mind, just get a glass of water and take
a breath. Then tell me what was so urgent that
you couldn't just skype me? Thank you, m M. You
always have a way of coming things down, making them
seem like they're not as big as they really are.
(34:21):
Is this a sut up? I'm just gonna be what.
How well do you really know bracing? You had tread
it on thin water his courtney. Look, I know him
well enough to marry him and spend the rest of
my life with him. But after five months, after five minutes, look,
you know in your heart, I can't explain any other
(34:44):
than I know. Okay, but do you know what he's
like after a tragedy or an emergency, or what if
that man gets unemployed. No, but that's how we're going
to grow together. I mean, we'll learn about these things. Okay,
But are you, like, really in love with him or
you in the in love with the idea of it. Look,
I don't like this conversation. Why do you have to
(35:06):
get married right away? Says you were young? Just be
engaged for a year. This is a decision for the
rest of your life. Okay. If I knew something, would
you want to know? Yes, I would want to know. Okay,
I think Bryson is cheating on you. I ran into
(35:30):
him last week at Bad Bath and Beyond, and I
went up to him, and he was a little nervous.
Maybe you just we just got a moof guard. No, no,
no, no no no. I didn't speak long because I felt
how uncomfortable he was. So I ducked behind an aisle
and I looked, and he saw that. I left, and
a woman approached and gave him a hug, and then
(35:53):
I kiss m a sloppy kiss. Oh how slappy? Like
familiar slappy? Are you sure he didn't see you? No? Why?
(36:18):
Because he asked me to call him right after, and
then not to trust you because you know I has
stored in the past. How convenient, right, get you to
turn on your blood. I have no reason to lie.
When you get home, ask him, ask him if there's
(36:38):
anything that he wants to tell you. It's up to
him to be honest. See you, this is the rest
of your life. Are just saying that this doesn't happening.
But my head, I had to stay and this explains everything. There. Um,
(37:03):
there was a child about three years old. Sorry, he
has a child. He told me that was his niece.
I mean, I've seen tons of pictures around the house.
I have to talk to get your thoughts together first,
(37:30):
and something in my soul sunsettled. I mean I knew something.
It was just in Donal and seem beautiful. Well, I
(37:53):
had great talent to work with. But I mean you
guys took the tip of note and ran with it. Absolutely. Yeah,
I felt I love when you said to just live
in the moment, like living that natural and so when
you did, it just makes the whole other level. Yeah,
it felt real like you, dren In. It was like
(38:14):
you felt like like I felt that her me too.
Thank you, and you made it so uncomfortable, Like I
love her note when she said about ease the child
in and it was so difficult. They're not going to
tell her about this kid and just you know, what's
engaging to watch is for us to see the conflict,
to see that you go through the count. Should I
(38:34):
tell her that's engaging to watch? Yeah. I feel like
sometimes when you're an audition space or in any space,
you feel like you have to rush, like you feel
like and I think that's the trouble always of making
sure that that time is your time and living that
moment is a good note instead of just feeling like, no,
I have to make sure that I'm not taking up
too much time in the space and too much time
in the room and like kind of leaves your time.
(38:56):
That is your time. That is the time it may
have been given. So if you were given that to
do that audition, that's the time you're given. You better
run with it and give the best performance you can
and don't feel like I'm I gotta be rushed. I
gotta be rushed. The more you you look rushed, the
more you you rush, the more you look rushed. You
don't want to be able to do that. You want
to be able to capture me, just like you just
(39:17):
did that second time. Oh that's wonderful. There was some
capturing in the room. Yeah, that's why I love doing this.
I want to capture the casting director's attention and you know,
to bring actors in and that you you don't get
this opportunity. So this truly is a blessing and I feel, yeah,
(39:39):
I received this. This is what's happening in the Spirited
Actor podcast. Ladies and gentlemen, So class in session is over.
But that's okay. We had some really really super great
insight and actors. I know you walked away with a
lot of great information and insight, like I said, from Yolanda,
(40:02):
So let's put our hands together for a miss Yolanda Hunt.
Ladies and gentlemen, Thank you, guys. So to get used
to her being a ray guys, right, that is what
we're going to call her Resident c D missy Alanda Hunt.
(40:22):
And when we come back, we are going to give love.
Thank you, and now it's time forgive love. Cut out
the noise and the distractions in your life. I was
watching an episode of Ellen one time, and she had
Madonna on as the guest, and Ellen asked Madonna, how
(40:42):
do you deal with constructive criticism, people talking about you
and all these things, And Madonna said, I simply cut
out the noise. I know that in my experience that
can include family and friends. I'm not encouraging you to
discard them, because everything that your family and friends say
(41:04):
is coming from a place of love. I am simply saying,
consider how you spend your energy and learn to silence
the noise. Yourself is worth preserving. Your mental health deserves
a break. Learn to silence the noise and distractions and
(41:25):
stay focused on what really matters and what you really
have control over, and that is your craft. Go to class,
work with fellow thespians, work on your monologue, constantly, create
a space of encouraging your talent and focusing on your
(41:46):
talent and silencing the noise. Thank you for joining us
on the Spirited Actor podcast with me Tracy Moore. I
look forward to our next Spirited podcast. Thank you,
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