July 5, 2023 • 57 mins
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Speaker 1 (00:00):
Hello, and welcome to the Spirited Actor Podcast with me
Tracy Moore. I was a casting director for film and
TV and commercials for over thirty years. I transitioned to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producer Spike Lee and director Nick Domez.
I auditioned every rapper from biggiees 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 Yee from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now I know, I know actors want to
get the job. I get that, but being remembered by
casting director that is powerful. And now it's time for
meditation of the day. It does not matter how slowly
(01:08):
you go, as long as you do not stop. Confucius,
one of the things that the moment. I guess one
of the most common things that I'm asked with actors
or the feeling I get, is like this making it thing,
this making it.
Speaker 2 (01:24):
I gotta make it. I gotta make it. I gotta
get famous, I gotta get the role. I gotta be
a star. What is the.
Speaker 1 (01:30):
Urgency of being in that place? What is the urgency
of you wanting to make it? And what is making it?
I always tell my students the fact that you're taking
my class tells me you're mating, you're making it. You're
doing something to improve and hone your skills, and you're
(01:51):
moving in the direction of excellence. You're being prepared, just
like Zoe Bridgman said, like, you've got to be prepared
when the moment comes. But if you're not doing anything
in terms of the work, if you're not doing anything
in terms of studying and training, then you're not moving
your career long towards longevity.
Speaker 2 (02:08):
These are just moments that you're having, right.
Speaker 3 (02:11):
So.
Speaker 1 (02:12):
I need you, guys to slow down. I need you
to stop creating this urgency, this desperation, this something that
has to occur. Now, slow down, take a breath, relax.
Everything is going to be in divine timing, and you
(02:33):
are where you are because this is where you're supposed
to be.
Speaker 2 (02:36):
Rest in that. Today, I will slow.
Speaker 1 (02:43):
Down 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. We'll
be on Crackle Network real soon. I'll keep you posted.
Welcome to the Spirited Actor Podcast with me Tracy Moore.
(03:04):
The beauty of this business is the people that you meet,
and I am a firm believer of that, and not only.
Speaker 2 (03:12):
The people, but the energies.
Speaker 1 (03:14):
Because you just meet some people in life and you
feel like you're either familiar with.
Speaker 2 (03:18):
Them or like we're just forever.
Speaker 1 (03:22):
So our guest today, I am thrilled because I know
we're forever. I have no doubt in my mind we
are forever. It's in the universe. Done deal. One of
the most talented Praise God writers that I have read
in a while, and I want.
Speaker 2 (03:41):
To talk to her about that too.
Speaker 1 (03:43):
But ladies and gentlemen, I want you to meet who
I know right now, the producer.
Speaker 2 (03:49):
She is a writer, she.
Speaker 1 (03:51):
Is an actress, and she has the most incredible film
that you all will be coming to called Deciding Danny,
and she's going to talk to us about her film.
We're going to talk about everything, but I want to
start this off before Zoe comes on.
Speaker 2 (04:09):
I want to start it off by reading this. She says.
Speaker 1 (04:12):
My desire is to tell stories for such a time
as this, a time when we should all be human eons,
so that we can once again laugh together, cry together,
realize that we possess more similarities than differences, and come together.
(04:36):
That's Zoe Richmond. Ladies and gentlemen, please put your hands
together for Zoe Bridgeman.
Speaker 3 (04:46):
Nice to see you.
Speaker 2 (04:47):
It's so good to see you. Thank you. And my
favorite color purple, I love it.
Speaker 1 (04:56):
I am so happy for you to be on the
show to talk about your project, which will be going
into production. Ladies and gentlemen, so you're the first to
hear this interview before she gets on all these junkets
and then you know she's not available until twenty twenty six.
(05:18):
That's the talk that we like. Zoey, welcome to the show.
I want to talk of You're welcome. I want to
talk about this quote because after Lee, who is a
dear friend of mine, Lee Lahman a Milan. She introduced
me to Zoe, and Zoe sent me her script and package.
That quote stuck to me. It just stuck to me
(05:40):
because we are at a critical time right now and
the stories that we tell inspire, motivate and courage, and
Deciding Danny is a story that we've never heard before,
ladies and gentlemen. So I'm going to let Zoe talk
about her quote and bring us into.
Speaker 2 (06:02):
The story of Deciding Danny.
Speaker 3 (06:04):
Okay, Well, the quote came from my heart. When I
started writing this. It was twenty twenty, and we all
know the climate of what was going on, and you know,
I suffered a loss and a tragedy that year with
my cousin dying and not from COVID, from other circumstances,
(06:24):
and you know, I had a lot of emotions at
the time, and then watching you know, just America go
through what it was going through. And I've always been
an artist, but it just so happens that when I
studied at the University of British Columbia many months ago,
my first degree was in sociology and I specified in
(06:48):
racism and Ethnic relations and Ethnic conflicts. So my thesis
twenty years ago was titled What Happened to the Revolution
Amongst Americans?
Speaker 4 (07:01):
What Yes?
Speaker 3 (07:05):
So to be there in twenty twenty and watching it
happen live something I knew was going to happen twenty
years prior. It was exhilarating, frightening, painful, moving, all of
it because it was just this awakening that was happening,
and it sort of just s great. Globally, I watched
(07:26):
actors in the UK, and you know, I was watching
it globally, my family in Canada and stuff like that.
So the quo after a few months, came from the
fatigue that I saw people having, particularly black women, and
I thought, this is really happening because race, as we
all started saying, and which I knew for a long time,
(07:48):
as a social construct. And I always felt that society
was able to treat Black people the way it did
because we weren't humanized. And art, entertainment and media has
a lot to do with that. That's the situation of
the fact that we're not quite human. So bringing that
(08:10):
all together with my art, I needed to show something.
First of all, we needed to laugh again. So you know,
I've always felt, you know, a spoon full of sugar
makes the medicinal. So I was like, you know what
delight the way exactly. So I wanted to frame the
(08:32):
message within something that was easier to ingest. And that's
where I thought, you know, we need to be humanized
in entertainment and so that we can understand that she cries.
He cries, he has feelings, He has people that that
that love him and will are crying for the fact
(08:53):
that you kneel on his neck for nine minutes, and
that there's hearts that are broken, and that we are
we feel, we believe, we love, we laugh, we get embarrassed,
we get awkward, we feel shot, all the things that
seem to elude us in terms of our depiction. So
that's where it all came from.
Speaker 2 (09:12):
That's beautiful.
Speaker 1 (09:13):
I could listen to Zoe all day, Like, seriously, I
was going to say, I was going to speak of
your school, the University of British Columbia. We were talking
and for those of you who don't know that university,
it is equivalent to how Harvard Harvard University here in America.
But I was telling Zoe when I used to shoot
(09:34):
in Vancouver, Canada, my favorite place in the world because
it reminds me of San Francisco.
Speaker 2 (09:40):
But Canada is so green and clean, beautiful all that.
Speaker 1 (09:47):
Right, Yes, a lot of rain, but I was blessed
to be able to work there. So deciding, Danny tell
us about the inspiration to that story. And first of all,
you know, I have been working, Zoe. I feel like
I'm a pro at pisanthrophobia.
Speaker 3 (10:06):
Good for you, yes, pstanthrophobia.
Speaker 2 (10:09):
Oh yeah, I wanted to make you proud. Okay, all right,
now you could take it away, you could take it, okay.
Speaker 3 (10:15):
So what Tracy is referring to is pa Stanford phobia,
which is a very little known mental health condition where
someone has a fear of intimacy due to trauma that
they've suffered in their lifetime. And I'm like, well, how
do you make that funny?
Speaker 2 (10:33):
How do you make it exactly?
Speaker 3 (10:36):
Like, I'm a person that definitely likes to laugh at
themselves sometimes, but it's a real thing, you know, to
sometimes be afraid because you've been burned. I mean, how
many people can't relate to that, you know? And so
I thought I need to give a name to this,
and so I started looking up different conditions and when
I found that one I said, Okay, that's what she has.
(10:57):
So the character and the story it came before the condition.
Oh yes. And I was trying to, like, I needed
to put a name to some of this neurosis, some
of this because I called it a coming of age
story for those of us turning forty that because I've
(11:19):
had so many people around me that we're adults, were
living grown adult lives. But some people might look at
us as not grown up because maybe we don't check
all the boxes and we still have fun and we
still want to drink sometimes or smoke the occasional weed,
or hang out or dance. Yes, yes, And I noticed
that our generations are get younger and younger and younger,
(11:41):
so I thought, I want to speak to this. But
one of the things that I noticed happening is a
lot of my friends were not getting married female, a
lot of them. Some of them were not even having kids.
And it wasn't just about a choice of I'm not
doing this. It was always I don't know if I'm ready.
(12:05):
So there was always this fear behind it. So I'm
ready to stand that a little bit more. And so
that's why the main character, Danny, she's unmarried doesn't have kids,
but she also her friends, if you looked at them,
are unmarried, and it's a different choice. That's sort of
come into the forefront, but nobody really was asking why.
(12:27):
So that's why that's where it started. Sort of. The
real story is that I, you know, everybody in the
film is based loosely on a person or a bunch
of people I know, and I sort of mashed them
into one, and there was just this notion of again,
(12:49):
some people could call it late blooming like my company.
Some people call it failure to launch. There's different things
you can say, but they were all artists in different media,
and I really wanted to tell the story of black
people that was a little bit different, not completely impoverished,
(13:11):
not super mega rich like Private Jets. I wanted to
tell the story of real working adults facing trials of love,
you know, biological clocks running out, you know, the pressure
to conform to societal norms, you know, again always coming
(13:34):
back to humanizing us. So that's where the story came out,
and it came out of myself and people I knew.
Speaker 1 (13:40):
Right, I want to in terms of because I always
encourage and especially in my classes, I encourage actors to write.
And so one of the homework assignments is to write
a three page scene with two characters, and you know,
do your due diligence and make sure you know the
(14:02):
proper format of a script. And also I encourage people
to have fasaruses, like you know, it's great to say
your character walked to the door, but they could jet
to the door, they could bounce to the door. And
I remember I took a writing class at NYU Continuing
School for feature films, and these are the things and
(14:25):
the tools that I learned, right, And I really, ladies
and gentlemen, I have to applaud.
Speaker 2 (14:32):
You on the writing.
Speaker 1 (14:33):
I really do, because I've read millions of scripts, man,
and some scripts that are so painful, but I have
to get through it because either I'm up for the
job or whatever. What is your process as a writer,
because what we talk about now is how you know.
I love how you say I meshed a whole bunch
of people into one like in terms of creating deciding, Danny,
(14:58):
I know what the innswerm, But what is your process
when you actually, like you said, the you know, the
condition came after and that's great that you did the
research to find this really exists, which even gives more
value to the story. Right, So what is that process
for you so that actors understand, you know, just like
(15:20):
acting director, this is all a real job, is a
real job.
Speaker 3 (15:24):
Yes, absolutely, let's start the basic. I would say, definitely
get yourself some screenwriting software. You don't have to start
with something expensive like final Draft or whatever. I mean,
that's what I've always used, but now there's so many
things you have access to. I think even like Studio Binder,
I think might have some free software for those whole
I think Google's free screenwriting software. There's stuff you can learn.
(15:48):
I'm an avid reader. I like screenwriting books. I ooh,
I got to tell people this.
Speaker 2 (15:55):
Thank you.
Speaker 3 (15:56):
Yes, just because you have an idea does not mean
you have a story.
Speaker 1 (16:03):
Write that down, you guys. You have to say that again, Zoe, please, Yes.
Speaker 3 (16:07):
Just because you have an idea does not mean you
have a story. You could have a series of sequences,
does not mean in scenarios, does not mean you have
a story. A story is a journey. Your protagonist has
to take a journey, and I would really encourage people
(16:27):
to learn what a story is. That's not condescending In
any way, it's actually quite deep because every single movie
that you've ever seen is either a comedy or a tragedy,
every single one. And guess what ninety five percent of
(16:48):
them or comedies. Wow, that's to you, guys. And what
is the percentage of horror? Because you know, I mean
that's even lower. Right, Well, comedy you think I mean
a person I think I mean funny. Yeah, I'm talking
about in the Aerostolian.
Speaker 1 (17:08):
Of like oh yes, right, right, right, right, right, right right,
the two heads the too theatrical, yes right.
Speaker 3 (17:17):
So comedy simply means that your protagonists starts somewhere, they
express a desire, there is a they or their want.
They get their want, but yet there's a catch or conflict,
and then they have to rise up again and then
and achieve it. Like it's like it's a certain arc. Now.
(17:40):
The difference with the tragedy is that the character might
start higher, get their want, look like they're going to win.
I'm making it very short, and then they don't in
the end, they lose it all.
Speaker 2 (17:52):
Yeah.
Speaker 3 (17:52):
So that's really what I mean between tragedy and comedy. Honor,
if that's a comedy without anything being funny, it's just
that did your protagon gain their want and triumph in
the end or did they perish? That's the tragedy. So
you know, learning that will help you understand a character's journey.
They have to go on a journey in order to
(18:14):
have an interesting story. There has to be conflicts, there
has to be obstacles to overcome. So it's not telling
because then that's a documentary or whatever it is. Right,
you really want a journey, and once you learn that journey,
you're going to know the different beats in your script
around this page. This should happen to the character. But
(18:35):
then they do this, or they have a decision to make,
and then they get this. You see what I'm saying.
Understand that basic structure. It will help you so much
to now fill in those scenes and scenarios that are
in your head. And the next thing I would say
with your characters, just like with acting, know their voice, oh,
(18:58):
their voice, speak, how they think, how they feel, what
they want to say to the world, and how they
want to say it. Know their voice, and if you
can move a voice in your head when you're writing,
it makes sense that this character would say this. They
wouldn't say that, They would say like this, they wouldn't
say it like that. That's why I think when people
(19:21):
readeciding Daddy, they're like, oh, I see this character as this,
and it tends to be not out of ten times
y'all are all seeing the character the same way. Wow.
Speaker 2 (19:32):
Yeah, because that's a great confirmation for you. Yeah.
Speaker 1 (19:36):
So do you in terms of tools are you do
you use index cards in terms of building? And you know,
because everybody has a different process.
Speaker 3 (19:48):
Right on my desk right now, the colors color.
Speaker 2 (19:52):
I have color too.
Speaker 1 (19:55):
I think the thing that and if you can speak
about in terms of as a writer, unless you have
a partner or you're in a writer's room, it's a
very lonely job, you know. And I want to say
passion because you have to be passionate to write and
(20:16):
love it. So for me when I write, I get
excited because I'm like, oh, I wonder what they're doing now?
Speaker 2 (20:22):
What are they doing?
Speaker 3 (20:23):
Right?
Speaker 2 (20:24):
So do you what what what.
Speaker 1 (20:26):
Type of you know approach do you have in terms
of creating and building these characters?
Speaker 3 (20:33):
I do like the Q cards because you could rearrange them. Yeah,
so they don't have to stay in the same order.
So if you guys come up with an idea for
a great scene, drot it down.
Speaker 2 (20:53):
But so when you.
Speaker 3 (20:54):
Decide what your plot is and the journey is the character,
you know where to put that along the line. So
that's a big part of my process. I also have
a separate notebook that if you guys think of great
lines you don't know where you're going to use them,
write them down because you you will forget and be like,
(21:16):
oh my god, what was that thing I said in
the shower? You know, yes, yes, because I write down.
Never trust your memory, like right down and you could
flip back and go, oh, yeah, that's great and see
what scene it goes in. But definitely a lot of
I have a lot of notes. The time I get
to actually plugging it in two to my script software,
(21:42):
I already know my story. And definitely, once you see
your beginning and your ending mm hmm, starts to come
alive and you start to fill in the blanks in between,
you know where you know where they want to go.
Speaker 2 (21:57):
Right.
Speaker 1 (21:59):
What I love about Deciding Danny is that I had
this conversation yesterday with one of my students last night
and they said, you know, I read the script.
Speaker 2 (22:11):
I was reading the script, and I got so confused
with the characters. I had to go back.
Speaker 1 (22:16):
I had to keep going back, and I had made
notes excuse me, and I said, no offense. But that's
not a good script. A good script is when you
can identify with Danny, and then you can identify with
You have four men. All of them have different voices,
all of them have different postures, all of them have
different vibes, so like I could easily like and I'm
(22:38):
at the point where Nick wouldn't say that. Sane wouldn't
say that.
Speaker 2 (22:44):
Yeah, yeah, he wouldn't go there, he wouldn't do that.
Speaker 1 (22:47):
So like, that's I really want to strongly and I'm firmly,
you know, saying this to you writers out here because
I don't know where we are are, but there are
some really really challenging scripts out here. I'm gonna say
that Zoe and they have financing. Yeah, no, I have one.
(23:11):
I got one and it has financing.
Speaker 2 (23:13):
And I was like, I want to give it to
Zoe just so that you know, I Zoe, because what
you got like this is platinum.
Speaker 1 (23:20):
I'm just saying sometimes you need to see that so
that you can be like, ohoh, thank you Jesus, I'm
going to.
Speaker 3 (23:25):
Write because despite this conversation, the way it's coming up
as traches make you feel very comfortable, the imposter syndrome
has been insane, insane.
Speaker 1 (23:38):
And this is my thing because and I don't want
to call you old school. It has nothing or myself
old school. It has nothing to do with old school.
It's the experience that you bring to the table. You
went to school, you studied, you learned, You do your
due diligence, You research if you have to, you know.
So then when someone gives you script and there's typos
(24:02):
or their action are monologues, and I'm sitting here like,
oh my god, look at all this white page that
you're wasting, or like I said earlier, thesaris like for me,
I grew up with the idea and the training that
scripts are the blueprint we're supposed to see. Don't tell
(24:23):
us everything. Don't tell me that Danny is nervous. I'd
rather see Danny chewing and on on a on a
fingernail and saying, oh my gosh, she must be nervous.
Speaker 3 (24:36):
Right, absolutely terrasy. And if you want to use the
word nervous, then she would say she's nervously chewing on
a fingernail.
Speaker 2 (24:44):
Thank you very much, Thank you.
Speaker 1 (24:48):
This is so important because I feel like, I really
feel like with actors that they are a lot of
actors are making transitions more and more to directing and
to writing, and more and more I'm hearing about actors
who are shadowing directors, sitting in writers' rooms. But you
(25:13):
do have to, you know, I just think that if
you're going to do it, invest in it. Know the protocol,
the verbiage, verbiage everything for actors writers. Because the other
thing too, though, is a lot of our scenes are
original scenes. So the scene you'll hear today is an
original scene from a spirited actor, and they write, you know,
(25:36):
what are some of the don'ts and the habits that
they can get into.
Speaker 3 (25:42):
Yes, you're not remember you're not writing novels. So I
had to get other that habit to that the description
don't need to be like she said, monologues. Yeah, no,
understand this might help understand that when your script is done,
you're going to have to give it to somebody, probably
a production manager of some sort, and it is going
(26:04):
to be their guide to create your budget. So remember
they need to know is it daytime, is it location wise?
Speaker 2 (26:15):
They need in it.
Speaker 3 (26:17):
They need to know who's in it. Do you see
what I'm saying. Yeah, yeah, yeah, they need to know yeah,
the essentials.
Speaker 2 (26:26):
Yeah yeah, and so now.
Speaker 1 (26:31):
And I also I also strongly, strongly encourage that the
listeners IMDb dot com every guest, but tell us some
of the credits that you have, because you know, just
some of your background that they know they're going to
be reaching out to you.
Speaker 3 (26:48):
So I actually once for a little while, the Atlanta
producer for I one Digital, they did a lot of
online stuff. I did a show called Headline Heat for them.
I've done and I should be careful because some celebrities
were not happy with that show. But don't blame me.
Blame Okay, get in my chair and address the headlines
(27:09):
of what you know they've been through. Oh yeah, some
people realised the opportunity. I've had Michael Ely in my chair.
I've had Megan Oh yeah.
Speaker 5 (27:18):
Yeah.
Speaker 3 (27:18):
There's some people who are like, oh, I just want
to clear that up. This wasn't about then. Some people
have thrown tantrums and left the studio.
Speaker 6 (27:24):
So you know, I was nice, Yeah, but I've done
that one I had a show I really loved called
The Rewind and he actually was an entertainment critique show
by two cool black men in their thirties at the time,
who you know.
Speaker 3 (27:41):
I made them go and watch great films or bad
ones and television and review music and we did it
in segments, so it was it was an entertainment show.
And it's so funny because one of the earliest screenings
I had gotten them into was The Green Book. So
the CIEs eyes, yeah, who normally would have watch movies
like this, go to see The Green Book.
Speaker 2 (28:03):
Wow, and then on our show say we.
Speaker 3 (28:06):
Predict that this will be an Oscar winner. M hm,
and here we are, you know. So they very seriously
and it was really nice to have that. Another What
did I do for them? I did headline They try
to develop some other shows and stuff online sort of content.
Before that, I've had short films that went to festival.
I've done what was the one that I said I
(28:28):
did in Los Angeles?
Speaker 2 (28:31):
Not a Pan Africa.
Speaker 3 (28:35):
It's on my Pan African Film Festival.
Speaker 2 (28:38):
Yes, yes, Pan African film. Yeah.
Speaker 3 (28:40):
Short done in the many years ago in the Pan
African Film Festival that ran around the world. It was
really nice to be invited to England. It was called
you know, I played in New York and Toronto and
different places like that. But the thing is more things
I've done, you know, credit wise. I've done some acting.
I was on American Dreams, I was on Dead Zone,
(29:02):
I did Different you know, it was an act of
different shows. It was just the set experience that I
really loved behind the scenes with Cruise, like I'm that
person that will pick up lights and set them up
with you me too, yeah.
Speaker 1 (29:16):
Apple boxes, whatever whatever.
Speaker 2 (29:19):
We have to do.
Speaker 3 (29:20):
Yes, yeah, yeah, yeah, yeah, So I have. I have.
I mean, I can't even list it. A lot of
behind the scenes set experience. In Different I was a
personal assistant to celebrity that I'll probably come out later
on and.
Speaker 2 (29:35):
Okay, all good, it's all.
Speaker 3 (29:38):
Love, it's all love. But yeah, like it's it's I've
had a lot of experience being trained in Vancouver, which
is when it comes to me. Everybody knows that's Hollywood North.
But I want to say something to people about that though.
You know, I people will see me as you know,
overnight success or something like that. And I said, yes,
twenty five years in the making, what do you.
Speaker 1 (30:01):
Because there is no, there is no overnight success, you know,
and discovery like when you sit down with someone like
yourself and you hear your journey and your credits and
you know your experience, then it's like I feel like
whatever timing it is, then now it just opens up
(30:24):
the lane because after this you will never be at
this place again.
Speaker 2 (30:28):
Ever again, ever again.
Speaker 3 (30:31):
Yes, absolutely, And you guys just do the work because
when your name is called, you want to be ready.
You don't want to be getting ready. You want to
be excellent. You want to be able to hold your
head up high in a room full of people who
don't know who you are, because you know who you are.
You get what I mean. And my thing is, just
(30:52):
because you have not been given the opportunity, does it
mean you haven't a wire the skills?
Speaker 2 (31:03):
Well said? Well said, because.
Speaker 1 (31:08):
Someone asked me the other day if SAG actors were
better than non union actors, and I said, I'm not.
That question is not relevant to me because just because
you're in the union doesn't mean you're a great actor.
It means you are in the union. And I have
discovered amazing in my career non union actors. So I
(31:30):
don't put actors in a box like that talent. But
I do know that about maybe twenty years ago, I
said to myself, in terms of talent, it's all types
of talent, right, writer, director, producer. So in reading Deciding Danny,
(31:53):
it just oh my god, I just can't even tell you.
Speaker 2 (31:56):
If you were here, I hug, you'd be like because
it's so ref rushing.
Speaker 1 (32:02):
Two still have people in this business who respect the
art and respect the craft and just don't want to
wing it. And there are opportunities excuse me, and streaming
networks now that you can sell films and you can
do a film. I know someone who's doing shooting a
film right now in seven days, a full length feature
(32:22):
film like It's but it's on, you know, I mean,
blessed it's on that shoot and you know, run and
shoot where still the location, my cousin's house, all of that,
And it's great opportunities. But if you're going to do
that and invest whatever money you have, just I just plead,
do your due diligence and work on your craft because
(32:43):
your script is I want to say, one hundred and
twenty yeah, one hundred and twenty pages, technically one hundred
and twenty minutes one of the best reads.
Speaker 2 (32:56):
And that's something that.
Speaker 1 (32:57):
Els has said too, how she just breased right throughly
and and then when you have a script where it
keeps you wanting more, that's even another you know, cherry
on top. So I applaud you on finishing the script
and standing ovation for it's getting done and for all
(33:17):
the other projects.
Speaker 2 (33:18):
Can you talk about the other projects that you're working on?
Speaker 3 (33:21):
Yeah, this will be the first time I've ever mentioned.
Speaker 2 (33:23):
It, but oh good exclusive.
Speaker 3 (33:27):
Yeah. I have been blessed to work closely with the
last living living member of the Delphine, Wilbert Hart.
Speaker 2 (33:37):
Amazing.
Speaker 3 (33:38):
I am working script for the Delphonics file. I was blessed.
I don't know how it just happened. Someone believed in
me and brought it to me. And I think there
was someone else in the running whose name I won't mention,
who's far more famous than me. But here is. They
(33:58):
saw my passion, they knew I was working study day,
and they you know, Tracey, We've had this conversation in
the way that I'm willing to give up certain things
in order to get it all done for the group. Right, Okay,
I'm gonna say this right out loud. The people don't
understand that you don't necessarily need someone's permission to write
a biopic, to write a story about them if their
(34:21):
public you know. But that's not always the nicest thing
about the fact that you are trying to make money
and capitalize off of someone else's life lived, their life experiences,
what they've been through, and if you know them and
you don't involve them, not only are you missing some accuracy,
(34:42):
it's just not a it's not a soulful thing to do.
It's like, right, instance, A lot of people don't know that.
For I Tanya Academy Award nominated all the bass I've
seen it great performances. They think she was involved. Tanya
Harding got paid from what I heard, fifteen dollars wow,
(35:03):
and was invited into a couple of parties. Yeah, I
thought that was and I said with late Bloomer, I
will not be doing that. Yeah, I will not be
exploiting other people's lifes lived in order for me to
make a book. And that's I think what really appealed
(35:25):
to them, because I want him a part of the process.
I want him to have a story by credit. I
want him to be a producer of some sort executive
whatever it is. I want him and his family to
benefit from that as well. And it just feels better.
And I'm getting stuff that I would not get from research.
(35:45):
I'm getting stuff that I would not find on Google
because him and his beautiful wife, Sheila are directly involved
with his story.
Speaker 1 (35:56):
And God bless you for preserving our history man, because
you know, every day it's talk of you know, taking
books out and changing and you know, we need to
know the shoulders that we stand on. And Delphonics. Come on,
I was a little kid, but and the soul back there,
(36:19):
back then was different. You know, we had the backdrop
of civil rights, but the soul is what kept us going,
like gospel music, you know. So I'm excited about the Delphonics. Well,
I'm so sad because the interview part is done.
Speaker 2 (36:36):
Yes, it moves, man, it's so much fun.
Speaker 1 (36:40):
But you're going to come back once you go into
production with Deciding Danny, because we're going to talk about
how she's going to be preparing for Danny. Yes, Zoe
is playing Danny.
Speaker 3 (36:54):
Getting ready.
Speaker 1 (36:55):
Yeah, well she's let me just tell you she is
ready because, like she's said, you got to stay ready.
Thank you Okay, I'm just gonna tweak and you know,
do what I do. But I'm so excited and you
guys are really blessed to sit back because Zoe, well, well,
before we go into classes and session, I do have
(37:16):
I want to bring on Elsa Lathan and I want
to bring on our our two actors that else is
going to introduce.
Speaker 2 (37:24):
So going to ask you questions, Zoe.
Speaker 5 (37:28):
Yep, thank you. So many jims, so many jims.
Speaker 3 (37:33):
Thank you.
Speaker 7 (37:33):
I'm definitely taking a lot of notes over in this
in so today our two questions will come from Sam
Bryce and Sriita Florentine.
Speaker 5 (37:47):
As can come on. Sam, you can go up first.
Speaker 4 (37:52):
All right, how are you Zoe?
Speaker 3 (37:54):
How are you doing? Sam?
Speaker 4 (37:56):
Excellent? Thank god? Okay, no quick question. I know somebody
who's mixed and they're really into black culture because the
things that they went through in that childhood. For you,
what is the root of your passionate tell black stories?
Speaker 3 (38:12):
Oh yeah, So remember we mentioned Vancouver. Vancouver's population about
one percent black at least when I was there, and yes,
I to. I was always a dancer. I was you know,
I had dance classes since I was eight years old.
And when I went to university on my spare time.
(38:34):
I got into musical theater and the representation was terrible,
Like they there were parts I should have gotten that
I didn't get because I was black, and they at
the time they were outside the box. Well that's not black.
Character wasn't written black. And so I got sort of
discovered by a new agency at the time while I
was on stage and they invited me to their office
(38:57):
to come and they wanted to sign me. So I
started doing some work. I've done over ten commercials. At
the time, I was doing some good work, but I
wasn't getting really great roles. And they were like, well,
Zoe's really good, we like her. We need some feedback,
and they it's important I get feedback when you're not
getting some roles. Okay, so the feedback here it is, guys.
(39:17):
The feedback that came was, well, Zoe is God, but
the look for black women right now is ethnically unspecific.
And that's what they told me on the phone. And
I said, excuse me, well, basically, you're too black to
play black.
Speaker 8 (39:37):
Oh my god, I have never heard that. My Lord, yes,
my heart to God. They told me I was at
the time too black to play black. Wow, So massy
a motivation.
Speaker 3 (39:54):
Got it right there. I said, oh yeah, let me
show you something and I started to write. I said,
I want to do something about it. I'm not just
going to complain about it. And that's what motivated me
to then go on to uh Simon Fraser University and
study film and I went. I got into the film department.
I was the only black woman in the film department
(40:16):
at the time, and they said one of the students
looked at me with my brand new Mac computer at
the time. He looked me up and down and said,
so did you get in here from affirmative action? And
Canada does not have affirmative action. That's something she heard
on TV. So I was like, no, Darling, I didn't.
Speaker 2 (40:38):
Wow.
Speaker 3 (40:39):
Yes, yeah, so I it's said filter.
Speaker 1 (40:43):
It's set filter that is missing culturally in a in
a race that just feels.
Speaker 2 (40:50):
Just say it. It's okay, yeah, yeah, wow.
Speaker 3 (40:54):
You see you see where it.
Speaker 2 (40:55):
Came something new every day.
Speaker 3 (40:56):
That's it. That's it.
Speaker 1 (40:58):
Excellent And that was a great question, Sam, Thank you, thank.
Speaker 5 (41:01):
You, Yes And next up, our next question is from
Serena Florentin.
Speaker 9 (41:08):
Hi Serena, and thank you so much for sharing all
those amazing stories about your past.
Speaker 3 (41:16):
Since you have reached this point in your career.
Speaker 10 (41:19):
Would you say this is success for you or would
you say that you have bigger.
Speaker 9 (41:25):
Plans in the next five years. Could you share where
you see yourself in the next five years?
Speaker 3 (41:30):
Oh gosh, thank you for that. Success for me? Oh,
that's every day now, So every day that I get
up and keep on going when I didn't want to,
every day that I can put one foot and get
to the mirror and say I am and then follow
(41:54):
it with something I am a screenwriter, I am an actress,
and Matta fest that into being. Each step is successful.
Am I famous? Am I huge? Am? I said no,
I don't even know what that is. Famous Actually never
been a desire for me, but the accomplishment of having
(42:15):
even Tracy Moore read it and said you did good.
Speaker 11 (42:19):
I like this.
Speaker 3 (42:21):
That is like, that's success for me. I did something,
you know, So, as she's taught me, celebrate those wins.
Five years from now, I see Late Women productions expanding,
you know, hopefully I'm doing my horror film that I
already started or it's completed, I should say by that maybe, well,
(42:41):
see and just being a viable face, you know, a
twenty four started somewhere, just a viable name in the industry.
That not just that I'm working because I might want
to chill out, but maybe I think that the penultimate
moment of success for me might be put on the
(43:01):
person that's greater than me. My name, my connections brought
out the next whoever that would be wonderful. That would
be success to me. That I was able to do
that for some I was able to sign an loy
that made the next Viola or Denza or able to
(43:24):
do or somebody that success not even for myself, but
that I was able to help one of you guys
live your dream, that would be success for me.
Speaker 1 (43:36):
I told you Ill would go fall in love with
her today. I told you I had already prepped them.
And now even more right you guys that great question.
Thank you so much, Thank you, Elsa. What we're going
to do now is we're going to just take a
little break here, and when we come back, we're going
to come back with class in sessions. Zoe's going to
(43:57):
sit back and be entertained. And if you thought she
gave you some jewels before, she failed to drop some
more on so sit back and we'll be back on
the Spirited Actor Podcast with me Tracy Moore.
Speaker 2 (44:12):
Welcome back to.
Speaker 1 (44:13):
The Spirited Actor Podcast with me Tracy Moore. You are
so blessed because Zoe Bridgeman deciding Danny is still in
the building.
Speaker 3 (44:22):
Yay.
Speaker 2 (44:23):
So Zoe is joining.
Speaker 1 (44:26):
Us in class and session where we have spirit Actor
alumni that do a scene and they are so blessed
to have feedback and jewels from Zoe.
Speaker 2 (44:36):
And also Zoe does have a film she's working on.
She might be looking at you. Today's on z and
I'm just saying no know.
Speaker 1 (44:44):
So spirited actor of alumni, we have our I want
Elsa to come on and introduce our actors.
Speaker 5 (44:53):
Yes, so today we have three returning Spirited actors who
have been on the podcas before. We have one new
spirited actor, Miss Sita Florentin, who is also the writer
of our scene today. And then joining her for the
scene will be Amber Miller Moore back with us. Welcome,
(45:14):
he Ay, Amber Baby and Kenya Linger Heiler, Hi Lingers
Usb and mister Sambrose.
Speaker 2 (45:25):
Excellent.
Speaker 1 (45:26):
So Spirited Actors, are you guys ready ready? Okay, It's
called BFS and it's written by Sarita Flarington Florington Serena Florington,
three separate locations, Miami, Florida, Harlem, New York, Baltimore, Maryland,
midday morning. Chloe in her quaint studio apartment in Harlem,
(45:48):
sitting at her desk working from home. Carmela in her
Baltimore home with her newborn baby, washing dishes while the
baby entertains herself. And Selena is in Miami secretly having
breakfast with Darius, Chloe's engaged brother, who has seen Selena
(46:09):
on the side. These ladies are best friends who have
known each other since middle school. Chloe and Selena met
in elementary school. These women are currently in their early thirties.
Chloe calls up Camina Camilla. The phone is ringing.
Speaker 10 (46:26):
Hey, well, hey, you know it's Monday, my favorite day
of the week. What's going on, ladies, you said to
Selena to speaker.
Speaker 3 (46:38):
No, those thing's been dodge of my calls all week.
Speaker 2 (46:42):
She probably got a new man.
Speaker 9 (46:45):
Let me add her to this call.
Speaker 3 (46:46):
Give me a second.
Speaker 2 (46:54):
Hey, what.
Speaker 7 (47:00):
We're all here, Let's get this party side up.
Speaker 11 (47:07):
Selena, where you been mm out here just trying to
make it sitting here eating these delicious pancakes with chocolate
and raspberries. How y'all feeling You know it's me.
Speaker 10 (47:17):
It's Monday, my favorite day of the week.
Speaker 2 (47:29):
All get in my head.
Speaker 3 (47:31):
Breakfast boom m.
Speaker 11 (47:33):
Mind your business, girl, I am grown.
Speaker 3 (47:37):
We know you've got a new zoo.
Speaker 10 (47:39):
Anyways, Oh, I want to talk to you guys about
quitting my job and going to fashion school.
Speaker 9 (47:49):
I want to do something exciting. You know, I have
a wild imagination.
Speaker 10 (47:54):
I really want to create some masterpieces out here. I
really want to do something amazing. But leaving this good
paying job right for my brother's wedding. I don't know
if that's gonna fly, but I think it's time.
Speaker 2 (48:14):
Well, if it makes you happy.
Speaker 11 (48:18):
You know, you and your brother are super close, and
he's going to convince you to stay put until you
have something real. Girl. He's gonna hate that idea.
Speaker 1 (48:26):
I know.
Speaker 3 (48:28):
I just text him quitting my job. It's gonna kill me.
I gotta go.
Speaker 2 (48:40):
It's him texting me now to falling.
Speaker 11 (48:43):
I gotta go.
Speaker 4 (48:45):
You guys, you cannot quit your job now right now.
Do you know how expensive it is to live in
New York and plus my wedding is right around the corner.
It will be super selfish you to just do this
to the family right now. Can you wait?
Speaker 3 (49:02):
Hello?
Speaker 5 (49:03):
Brother?
Speaker 9 (49:03):
How are you happy Monday? I'll think about it. What
are you doing?
Speaker 4 (49:11):
I'm annoyed with this text, but I'm cool, just you know,
sitting here eating these amazing pancakes with some chocolate and raspberries.
So good?
Speaker 2 (49:26):
What are you eating?
Speaker 4 (49:28):
Chocolate and raspberry pancakes? Best combination ever? So good?
Speaker 2 (49:33):
Hm?
Speaker 3 (49:33):
Hm are you picking Selena's famous pancakes? I'll tell you
am on a Monday? Where are you?
Speaker 9 (49:42):
Hold on?
Speaker 8 (49:47):
Who?
Speaker 4 (49:49):
Selena?
Speaker 3 (49:51):
Don't ha bloo me? Are y'all fucking what? What?
Speaker 10 (49:57):
Why would you even ask that my two favorite people
having the same thing for breakfast and.
Speaker 9 (50:04):
You have been impossible to reach lately, Selena?
Speaker 11 (50:07):
Something is up?
Speaker 4 (50:09):
Okay, I can explain.
Speaker 9 (50:11):
Okay, shut up you two motherfuckers.
Speaker 2 (50:17):
Girl, and see all right? Give the regular Okay.
Speaker 1 (50:30):
So I'm gonna throw it at you Zo and we
had a little rocky start, but I'm gonna throw it
to you.
Speaker 3 (50:34):
It happens, all right. So am I talking about the
scene or just the acting.
Speaker 2 (50:41):
Of it or whatever whatever you want to do. It's
up to you.
Speaker 3 (50:45):
Yeah, I'm a I'm a big fan of not too
on the nose. I would have really loved I'm sorry,
what character were you playing Sam Darius Darius? I would
have really liked because Darius is supposed to be quite
(51:05):
upset at you quitting your job. I would have almost
liked that it was a mistake that he's like, you
interrupted me while he eating these damn raspbee pancakes and
just keep on going and you discover I'm sorry, what
did you just say? You see what I'm saying, and
(51:26):
then having that moment of realization of do I reveal,
like you're my brother? What the hell are you talking about? Like,
build it more because it's interesting. There's a lot of
potential to how you found out. I would build that more.
I want Yeah, that's what I would have wanted. More
(51:48):
is just really just give me that tension of the discovery.
I think the audience other than that, I really thought
it was natural. I'm sorry. The two characters on over here,
A young lady in the orange brown I'm sorry, honey,
what was your character's.
Speaker 11 (52:04):
Name, Selena?
Speaker 3 (52:06):
Selena?
Speaker 4 (52:07):
Yeah?
Speaker 3 (52:07):
I liked your performance is very natural, and I'm really
interested in seeing how your character in the white I'm
so sorry I should write that names that's your character in
the White Far Carmelia. Yeah, I'm really interesting to see
(52:30):
what level of friendship is there too, because clearly this
bothers you that your brother's cheating on this woman as well.
But other than that, like I said, it's very natural
and yeah, I just build the tension because it's very tense.
Speaker 1 (52:48):
Yeah, I thought it was so playful and I love
like I mean, there's a way that in doing the
scene to utilize it, like I would have turned the
as your call telling people, Serena, I would have turned
the video off so that it looks like they're actually
coming on, you know what I mean, like when you
(53:08):
had called Darius and so you know, that's just something
technical to play with since we are in that zoom age.
But other than that, thank you so much, spirited actors.
Thank you Elsa for class and session. And I just
want to say once again, like Zoe Bridgeman is one
of those unique individuals that spirits in this industry that
(53:31):
you just want to be in her atmosphere and you know,
you just but it's a good.
Speaker 2 (53:39):
Feeling, it's a great feeling.
Speaker 1 (53:41):
I'm so blessed to know what it's like to work
with people and have fun, actually have fun and create
some really great stuff.
Speaker 2 (53:47):
Right.
Speaker 1 (53:48):
So I'm just really blessed that Lee called me and
I met to Zoe and the journey continues. And thank
you so much for coming on the podcast today and
just blessing all of these students.
Speaker 2 (54:01):
They're so blessed.
Speaker 3 (54:02):
Thank you. And I just want to say to the students,
shake it off. I care less about that mistake in
the beginning than you think. Y'all are all interesting, which
is what we need. You're all beautiful. Just shake off
little things like that and keep it going because you're
talented and I want to see more. I'm looking forward
(54:24):
you to see more. That's not going to cloud my
judgment on none of that.
Speaker 1 (54:27):
I appreciate love that because you know how actors are.
They will hold on and you know that's some great advice,
you guys, So let it go and just know you
did your best.
Speaker 2 (54:38):
That's the most important thing you.
Speaker 1 (54:39):
So I want everybody to put their hands together and again,
thank you, Zoe, producer, writer, actress, and upcoming film deciding Danny.
All of you will be there because she's going to
come back and we're going to have another interview.
Speaker 2 (54:53):
When that happens, all right.
Speaker 1 (54:56):
Thank you, Zoe, thank you, thank you, and when we
come back, thank you on the Spirited Actor podcast with
me Tracy Moore. Then I'm going to give you some love,
all right, and now it's time to give love. I
have a friend who's a comedian. His name is Donnelle
Rollins and you guys may know him, and way in
(55:18):
the beginning of Darnell's career, I used to go to
this place in the village in New York called the
Comedy Club, right, and that's where I used to scout
for comedians when I was working at MTV. And one
day Darnelle was talking about he was doing the skit
and he was like, you know, people move so fast,
and he's always like, slow down, slow down, because people
(55:40):
are driving and only to get to the red light.
Speaker 2 (55:43):
So people will, you know, pass you really fast.
Speaker 1 (55:46):
Look in your car like you're crazy, and then they're
just going to the red light.
Speaker 2 (55:50):
That's it.
Speaker 1 (55:52):
We got to really slow down. And I want to
stress this, especially with creative beings, because we need a
place of rejuvenation. You need a place where we can
just be in silence and still because there are different
things that motivate us individually into being creative, but just
in life, because life moves fast. I live in New
(56:13):
York City. People walk too fast here. I always walk
slow on purpose. However, we need to just slow it down.
We just need to slow it down. Practice taking a breath.
I love when I get up in the morning, I
go outside and I take like three deep, long breaths.
I love breathing the air. I love feeling my lungs
being filled.
Speaker 2 (56:34):
I love that.
Speaker 1 (56:36):
And also put your feet in some grass, hug a tree,
get into nature, touch the dirt garden, because these things
also reach You've maate, restart, regenerate, reinspire, creative energy, Take
a breath, take your time.
Speaker 2 (56:56):
And be well.
Speaker 1 (56:58):
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. We'll be streaming on the Crackle network.
I'll keep you posted. Thank you for joining us on
the Spirited Actor Podcast with me Tracy Moore. I look
(57:19):
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 transitioned to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producer Spike Lee and director Nick Domez.
I auditioned every rapper from biggiees 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 Yee from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
I have the best of both worlds. As a casting director,
I know exactly what they're looking for, and as an
acting coach, I can coach you to be remembered in
that room. Now I know, I know actors want to
get the job. I get that, but being remembered by
casting director that is powerful. And now it's time for
meditation of the day. It does not matter how slowly
(01:08):
you go, as long as you do not stop. Confucius,
one of the things that the moment. I guess one
of the most common things that I'm asked with actors
or the feeling I get, is like this making it thing,
this making it.
Speaker 2 (01:24):
I gotta make it. I gotta make it. I gotta
get famous, I gotta get the role. I gotta be
a star. What is the.
Speaker 1 (01:30):
Urgency of being in that place? What is the urgency
of you wanting to make it? And what is making it?
I always tell my students the fact that you're taking
my class tells me you're mating, you're making it. You're
doing something to improve and hone your skills, and you're
(01:51):
moving in the direction of excellence. You're being prepared, just
like Zoe Bridgman said, like, you've got to be prepared
when the moment comes. But if you're not doing anything
in terms of the work, if you're not doing anything
in terms of studying and training, then you're not moving
your career long towards longevity.
Speaker 2 (02:08):
These are just moments that you're having, right.
Speaker 3 (02:11):
So.
Speaker 1 (02:12):
I need you, guys to slow down. I need you
to stop creating this urgency, this desperation, this something that
has to occur. Now, slow down, take a breath, relax.
Everything is going to be in divine timing, and you
(02:33):
are where you are because this is where you're supposed
to be.
Speaker 2 (02:36):
Rest in that. Today, I will slow.
Speaker 1 (02:43):
Down 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. We'll
be on Crackle Network real soon. I'll keep you posted.
Welcome to the Spirited Actor Podcast with me Tracy Moore.
(03:04):
The beauty of this business is the people that you meet,
and I am a firm believer of that, and not only.
Speaker 2 (03:12):
The people, but the energies.
Speaker 1 (03:14):
Because you just meet some people in life and you
feel like you're either familiar with.
Speaker 2 (03:18):
Them or like we're just forever.
Speaker 1 (03:22):
So our guest today, I am thrilled because I know
we're forever. I have no doubt in my mind we
are forever. It's in the universe. Done deal. One of
the most talented Praise God writers that I have read
in a while, and I want.
Speaker 2 (03:41):
To talk to her about that too.
Speaker 1 (03:43):
But ladies and gentlemen, I want you to meet who
I know right now, the producer.
Speaker 2 (03:49):
She is a writer, she.
Speaker 1 (03:51):
Is an actress, and she has the most incredible film
that you all will be coming to called Deciding Danny,
and she's going to talk to us about her film.
We're going to talk about everything, but I want to
start this off before Zoe comes on.
Speaker 2 (04:09):
I want to start it off by reading this. She says.
Speaker 1 (04:12):
My desire is to tell stories for such a time
as this, a time when we should all be human eons,
so that we can once again laugh together, cry together,
realize that we possess more similarities than differences, and come together.
(04:36):
That's Zoe Richmond. Ladies and gentlemen, please put your hands
together for Zoe Bridgeman.
Speaker 3 (04:46):
Nice to see you.
Speaker 2 (04:47):
It's so good to see you. Thank you. And my
favorite color purple, I love it.
Speaker 1 (04:56):
I am so happy for you to be on the
show to talk about your project, which will be going
into production. Ladies and gentlemen, so you're the first to
hear this interview before she gets on all these junkets
and then you know she's not available until twenty twenty six.
(05:18):
That's the talk that we like. Zoey, welcome to the show.
I want to talk of You're welcome. I want to
talk about this quote because after Lee, who is a
dear friend of mine, Lee Lahman a Milan. She introduced
me to Zoe, and Zoe sent me her script and package.
That quote stuck to me. It just stuck to me
(05:40):
because we are at a critical time right now and
the stories that we tell inspire, motivate and courage, and
Deciding Danny is a story that we've never heard before,
ladies and gentlemen. So I'm going to let Zoe talk
about her quote and bring us into.
Speaker 2 (06:02):
The story of Deciding Danny.
Speaker 3 (06:04):
Okay, Well, the quote came from my heart. When I
started writing this. It was twenty twenty, and we all
know the climate of what was going on, and you know,
I suffered a loss and a tragedy that year with
my cousin dying and not from COVID, from other circumstances,
(06:24):
and you know, I had a lot of emotions at
the time, and then watching you know, just America go
through what it was going through. And I've always been
an artist, but it just so happens that when I
studied at the University of British Columbia many months ago,
my first degree was in sociology and I specified in
(06:48):
racism and Ethnic relations and Ethnic conflicts. So my thesis
twenty years ago was titled What Happened to the Revolution
Amongst Americans?
Speaker 4 (07:01):
What Yes?
Speaker 3 (07:05):
So to be there in twenty twenty and watching it
happen live something I knew was going to happen twenty
years prior. It was exhilarating, frightening, painful, moving, all of
it because it was just this awakening that was happening,
and it sort of just s great. Globally, I watched
(07:26):
actors in the UK, and you know, I was watching
it globally, my family in Canada and stuff like that.
So the quo after a few months, came from the
fatigue that I saw people having, particularly black women, and
I thought, this is really happening because race, as we
all started saying, and which I knew for a long time,
(07:48):
as a social construct. And I always felt that society
was able to treat Black people the way it did
because we weren't humanized. And art, entertainment and media has
a lot to do with that. That's the situation of
the fact that we're not quite human. So bringing that
(08:10):
all together with my art, I needed to show something.
First of all, we needed to laugh again. So you know,
I've always felt, you know, a spoon full of sugar
makes the medicinal. So I was like, you know what
delight the way exactly. So I wanted to frame the
(08:32):
message within something that was easier to ingest. And that's
where I thought, you know, we need to be humanized
in entertainment and so that we can understand that she cries.
He cries, he has feelings, He has people that that
that love him and will are crying for the fact
(08:53):
that you kneel on his neck for nine minutes, and
that there's hearts that are broken, and that we are
we feel, we believe, we love, we laugh, we get embarrassed,
we get awkward, we feel shot, all the things that
seem to elude us in terms of our depiction. So
that's where it all came from.
Speaker 2 (09:12):
That's beautiful.
Speaker 1 (09:13):
I could listen to Zoe all day, Like, seriously, I
was going to say, I was going to speak of
your school, the University of British Columbia. We were talking
and for those of you who don't know that university,
it is equivalent to how Harvard Harvard University here in America.
But I was telling Zoe when I used to shoot
(09:34):
in Vancouver, Canada, my favorite place in the world because
it reminds me of San Francisco.
Speaker 2 (09:40):
But Canada is so green and clean, beautiful all that.
Speaker 1 (09:47):
Right, Yes, a lot of rain, but I was blessed
to be able to work there. So deciding, Danny tell
us about the inspiration to that story. And first of all,
you know, I have been working, Zoe. I feel like
I'm a pro at pisanthrophobia.
Speaker 3 (10:06):
Good for you, yes, pstanthrophobia.
Speaker 2 (10:09):
Oh yeah, I wanted to make you proud. Okay, all right,
now you could take it away, you could take it, okay.
Speaker 3 (10:15):
So what Tracy is referring to is pa Stanford phobia,
which is a very little known mental health condition where
someone has a fear of intimacy due to trauma that
they've suffered in their lifetime. And I'm like, well, how
do you make that funny?
Speaker 2 (10:33):
How do you make it exactly?
Speaker 3 (10:36):
Like, I'm a person that definitely likes to laugh at
themselves sometimes, but it's a real thing, you know, to
sometimes be afraid because you've been burned. I mean, how
many people can't relate to that, you know? And so
I thought I need to give a name to this,
and so I started looking up different conditions and when
I found that one I said, Okay, that's what she has.
(10:57):
So the character and the story it came before the condition.
Oh yes. And I was trying to, like, I needed
to put a name to some of this neurosis, some
of this because I called it a coming of age
story for those of us turning forty that because I've
(11:19):
had so many people around me that we're adults, were
living grown adult lives. But some people might look at
us as not grown up because maybe we don't check
all the boxes and we still have fun and we
still want to drink sometimes or smoke the occasional weed,
or hang out or dance. Yes, yes, And I noticed
that our generations are get younger and younger and younger,
(11:41):
so I thought, I want to speak to this. But
one of the things that I noticed happening is a
lot of my friends were not getting married female, a
lot of them. Some of them were not even having kids.
And it wasn't just about a choice of I'm not
doing this. It was always I don't know if I'm ready.
(12:05):
So there was always this fear behind it. So I'm
ready to stand that a little bit more. And so
that's why the main character, Danny, she's unmarried doesn't have kids,
but she also her friends, if you looked at them,
are unmarried, and it's a different choice. That's sort of
come into the forefront, but nobody really was asking why.
(12:27):
So that's why that's where it started. Sort of. The
real story is that I, you know, everybody in the
film is based loosely on a person or a bunch
of people I know, and I sort of mashed them
into one, and there was just this notion of again,
(12:49):
some people could call it late blooming like my company.
Some people call it failure to launch. There's different things
you can say, but they were all artists in different media,
and I really wanted to tell the story of black
people that was a little bit different, not completely impoverished,
(13:11):
not super mega rich like Private Jets. I wanted to
tell the story of real working adults facing trials of love,
you know, biological clocks running out, you know, the pressure
to conform to societal norms, you know, again always coming
(13:34):
back to humanizing us. So that's where the story came out,
and it came out of myself and people I knew.
Speaker 1 (13:40):
Right, I want to in terms of because I always
encourage and especially in my classes, I encourage actors to write.
And so one of the homework assignments is to write
a three page scene with two characters, and you know,
do your due diligence and make sure you know the
(14:02):
proper format of a script. And also I encourage people
to have fasaruses, like you know, it's great to say
your character walked to the door, but they could jet
to the door, they could bounce to the door. And
I remember I took a writing class at NYU Continuing
School for feature films, and these are the things and
(14:25):
the tools that I learned, right, And I really, ladies
and gentlemen, I have to applaud.
Speaker 2 (14:32):
You on the writing.
Speaker 1 (14:33):
I really do, because I've read millions of scripts, man,
and some scripts that are so painful, but I have
to get through it because either I'm up for the
job or whatever. What is your process as a writer,
because what we talk about now is how you know.
I love how you say I meshed a whole bunch
of people into one like in terms of creating deciding, Danny,
(14:58):
I know what the innswerm, But what is your process
when you actually, like you said, the you know, the
condition came after and that's great that you did the
research to find this really exists, which even gives more
value to the story. Right, So what is that process
for you so that actors understand, you know, just like
(15:20):
acting director, this is all a real job, is a
real job.
Speaker 3 (15:24):
Yes, absolutely, let's start the basic. I would say, definitely
get yourself some screenwriting software. You don't have to start
with something expensive like final Draft or whatever. I mean,
that's what I've always used, but now there's so many
things you have access to. I think even like Studio Binder,
I think might have some free software for those whole
I think Google's free screenwriting software. There's stuff you can learn.
(15:48):
I'm an avid reader. I like screenwriting books. I ooh,
I got to tell people this.
Speaker 2 (15:55):
Thank you.
Speaker 3 (15:56):
Yes, just because you have an idea does not mean
you have a story.
Speaker 1 (16:03):
Write that down, you guys. You have to say that again, Zoe, please, Yes.
Speaker 3 (16:07):
Just because you have an idea does not mean you
have a story. You could have a series of sequences,
does not mean in scenarios, does not mean you have
a story. A story is a journey. Your protagonist has
to take a journey, and I would really encourage people
(16:27):
to learn what a story is. That's not condescending In
any way, it's actually quite deep because every single movie
that you've ever seen is either a comedy or a tragedy,
every single one. And guess what ninety five percent of
(16:48):
them or comedies. Wow, that's to you, guys. And what
is the percentage of horror? Because you know, I mean
that's even lower. Right, Well, comedy you think I mean
a person I think I mean funny. Yeah, I'm talking
about in the Aerostolian.
Speaker 1 (17:08):
Of like oh yes, right, right, right, right, right, right right,
the two heads the too theatrical, yes right.
Speaker 3 (17:17):
So comedy simply means that your protagonists starts somewhere, they
express a desire, there is a they or their want.
They get their want, but yet there's a catch or conflict,
and then they have to rise up again and then
and achieve it. Like it's like it's a certain arc. Now.
(17:40):
The difference with the tragedy is that the character might
start higher, get their want, look like they're going to win.
I'm making it very short, and then they don't in
the end, they lose it all.
Speaker 2 (17:52):
Yeah.
Speaker 3 (17:52):
So that's really what I mean between tragedy and comedy. Honor,
if that's a comedy without anything being funny, it's just
that did your protagon gain their want and triumph in
the end or did they perish? That's the tragedy. So
you know, learning that will help you understand a character's journey.
They have to go on a journey in order to
(18:14):
have an interesting story. There has to be conflicts, there
has to be obstacles to overcome. So it's not telling
because then that's a documentary or whatever it is. Right,
you really want a journey, and once you learn that journey,
you're going to know the different beats in your script
around this page. This should happen to the character. But
(18:35):
then they do this, or they have a decision to make,
and then they get this. You see what I'm saying.
Understand that basic structure. It will help you so much
to now fill in those scenes and scenarios that are
in your head. And the next thing I would say
with your characters, just like with acting, know their voice, oh,
(18:58):
their voice, speak, how they think, how they feel, what
they want to say to the world, and how they
want to say it. Know their voice, and if you
can move a voice in your head when you're writing,
it makes sense that this character would say this. They
wouldn't say that, They would say like this, they wouldn't
say it like that. That's why I think when people
(19:21):
readeciding Daddy, they're like, oh, I see this character as this,
and it tends to be not out of ten times
y'all are all seeing the character the same way. Wow.
Speaker 2 (19:32):
Yeah, because that's a great confirmation for you. Yeah.
Speaker 1 (19:36):
So do you in terms of tools are you do
you use index cards in terms of building? And you know,
because everybody has a different process.
Speaker 3 (19:48):
Right on my desk right now, the colors color.
Speaker 2 (19:52):
I have color too.
Speaker 1 (19:55):
I think the thing that and if you can speak
about in terms of as a writer, unless you have
a partner or you're in a writer's room, it's a
very lonely job, you know. And I want to say
passion because you have to be passionate to write and
(20:16):
love it. So for me when I write, I get
excited because I'm like, oh, I wonder what they're doing now?
Speaker 2 (20:22):
What are they doing?
Speaker 3 (20:23):
Right?
Speaker 2 (20:24):
So do you what what what.
Speaker 1 (20:26):
Type of you know approach do you have in terms
of creating and building these characters?
Speaker 3 (20:33):
I do like the Q cards because you could rearrange them. Yeah,
so they don't have to stay in the same order.
So if you guys come up with an idea for
a great scene, drot it down.
Speaker 2 (20:53):
But so when you.
Speaker 3 (20:54):
Decide what your plot is and the journey is the character,
you know where to put that along the line. So
that's a big part of my process. I also have
a separate notebook that if you guys think of great
lines you don't know where you're going to use them,
write them down because you you will forget and be like,
(21:16):
oh my god, what was that thing I said in
the shower? You know, yes, yes, because I write down.
Never trust your memory, like right down and you could
flip back and go, oh, yeah, that's great and see
what scene it goes in. But definitely a lot of
I have a lot of notes. The time I get
to actually plugging it in two to my script software,
(21:42):
I already know my story. And definitely, once you see
your beginning and your ending mm hmm, starts to come
alive and you start to fill in the blanks in between,
you know where you know where they want to go.
Speaker 2 (21:57):
Right.
Speaker 1 (21:59):
What I love about Deciding Danny is that I had
this conversation yesterday with one of my students last night
and they said, you know, I read the script.
Speaker 2 (22:11):
I was reading the script, and I got so confused
with the characters. I had to go back.
Speaker 1 (22:16):
I had to keep going back, and I had made
notes excuse me, and I said, no offense. But that's
not a good script. A good script is when you
can identify with Danny, and then you can identify with
You have four men. All of them have different voices,
all of them have different postures, all of them have
different vibes, so like I could easily like and I'm
(22:38):
at the point where Nick wouldn't say that. Sane wouldn't
say that.
Speaker 2 (22:44):
Yeah, yeah, he wouldn't go there, he wouldn't do that.
Speaker 1 (22:47):
So like, that's I really want to strongly and I'm firmly,
you know, saying this to you writers out here because
I don't know where we are are, but there are
some really really challenging scripts out here. I'm gonna say
that Zoe and they have financing. Yeah, no, I have one.
(23:11):
I got one and it has financing.
Speaker 2 (23:13):
And I was like, I want to give it to
Zoe just so that you know, I Zoe, because what
you got like this is platinum.
Speaker 1 (23:20):
I'm just saying sometimes you need to see that so
that you can be like, ohoh, thank you Jesus, I'm
going to.
Speaker 3 (23:25):
Write because despite this conversation, the way it's coming up
as traches make you feel very comfortable, the imposter syndrome
has been insane, insane.
Speaker 1 (23:38):
And this is my thing because and I don't want
to call you old school. It has nothing or myself
old school. It has nothing to do with old school.
It's the experience that you bring to the table. You
went to school, you studied, you learned, You do your
due diligence, You research if you have to, you know.
So then when someone gives you script and there's typos
(24:02):
or their action are monologues, and I'm sitting here like,
oh my god, look at all this white page that
you're wasting, or like I said earlier, thesaris like for me,
I grew up with the idea and the training that
scripts are the blueprint we're supposed to see. Don't tell
(24:23):
us everything. Don't tell me that Danny is nervous. I'd
rather see Danny chewing and on on a on a
fingernail and saying, oh my gosh, she must be nervous.
Speaker 3 (24:36):
Right, absolutely terrasy. And if you want to use the
word nervous, then she would say she's nervously chewing on
a fingernail.
Speaker 2 (24:44):
Thank you very much, Thank you.
Speaker 1 (24:48):
This is so important because I feel like, I really
feel like with actors that they are a lot of
actors are making transitions more and more to directing and
to writing, and more and more I'm hearing about actors
who are shadowing directors, sitting in writers' rooms. But you
(25:13):
do have to, you know, I just think that if
you're going to do it, invest in it. Know the protocol,
the verbiage, verbiage everything for actors writers. Because the other
thing too, though, is a lot of our scenes are
original scenes. So the scene you'll hear today is an
original scene from a spirited actor, and they write, you know,
(25:36):
what are some of the don'ts and the habits that
they can get into.
Speaker 3 (25:42):
Yes, you're not remember you're not writing novels. So I
had to get other that habit to that the description
don't need to be like she said, monologues. Yeah, no,
understand this might help understand that when your script is done,
you're going to have to give it to somebody, probably
a production manager of some sort, and it is going
(26:04):
to be their guide to create your budget. So remember
they need to know is it daytime, is it location wise?
Speaker 2 (26:15):
They need in it.
Speaker 3 (26:17):
They need to know who's in it. Do you see
what I'm saying. Yeah, yeah, yeah, they need to know yeah,
the essentials.
Speaker 2 (26:26):
Yeah yeah, and so now.
Speaker 1 (26:31):
And I also I also strongly, strongly encourage that the
listeners IMDb dot com every guest, but tell us some
of the credits that you have, because you know, just
some of your background that they know they're going to
be reaching out to you.
Speaker 3 (26:48):
So I actually once for a little while, the Atlanta
producer for I one Digital, they did a lot of
online stuff. I did a show called Headline Heat for them.
I've done and I should be careful because some celebrities
were not happy with that show. But don't blame me.
Blame Okay, get in my chair and address the headlines
(27:09):
of what you know they've been through. Oh yeah, some
people realised the opportunity. I've had Michael Ely in my chair.
I've had Megan Oh yeah.
Speaker 5 (27:18):
Yeah.
Speaker 3 (27:18):
There's some people who are like, oh, I just want
to clear that up. This wasn't about then. Some people
have thrown tantrums and left the studio.
Speaker 6 (27:24):
So you know, I was nice, Yeah, but I've done
that one I had a show I really loved called
The Rewind and he actually was an entertainment critique show
by two cool black men in their thirties at the time,
who you know.
Speaker 3 (27:41):
I made them go and watch great films or bad
ones and television and review music and we did it
in segments, so it was it was an entertainment show.
And it's so funny because one of the earliest screenings
I had gotten them into was The Green Book. So
the CIEs eyes, yeah, who normally would have watch movies
like this, go to see The Green Book.
Speaker 2 (28:03):
Wow, and then on our show say we.
Speaker 3 (28:06):
Predict that this will be an Oscar winner. M hm,
and here we are, you know. So they very seriously
and it was really nice to have that. Another What
did I do for them? I did headline They try
to develop some other shows and stuff online sort of content.
Before that, I've had short films that went to festival.
I've done what was the one that I said I
(28:28):
did in Los Angeles?
Speaker 2 (28:31):
Not a Pan Africa.
Speaker 3 (28:35):
It's on my Pan African Film Festival.
Speaker 2 (28:38):
Yes, yes, Pan African film. Yeah.
Speaker 3 (28:40):
Short done in the many years ago in the Pan
African Film Festival that ran around the world. It was
really nice to be invited to England. It was called
you know, I played in New York and Toronto and
different places like that. But the thing is more things
I've done, you know, credit wise. I've done some acting.
I was on American Dreams, I was on Dead Zone,
(29:02):
I did Different you know, it was an act of
different shows. It was just the set experience that I
really loved behind the scenes with Cruise, like I'm that
person that will pick up lights and set them up
with you me too, yeah.
Speaker 1 (29:16):
Apple boxes, whatever whatever.
Speaker 2 (29:19):
We have to do.
Speaker 3 (29:20):
Yes, yeah, yeah, yeah, yeah, So I have. I have.
I mean, I can't even list it. A lot of
behind the scenes set experience. In Different I was a
personal assistant to celebrity that I'll probably come out later
on and.
Speaker 2 (29:35):
Okay, all good, it's all.
Speaker 3 (29:38):
Love, it's all love. But yeah, like it's it's I've
had a lot of experience being trained in Vancouver, which
is when it comes to me. Everybody knows that's Hollywood North.
But I want to say something to people about that though.
You know, I people will see me as you know,
overnight success or something like that. And I said, yes,
twenty five years in the making, what do you.
Speaker 1 (30:01):
Because there is no, there is no overnight success, you know,
and discovery like when you sit down with someone like
yourself and you hear your journey and your credits and
you know your experience, then it's like I feel like
whatever timing it is, then now it just opens up
(30:24):
the lane because after this you will never be at
this place again.
Speaker 2 (30:28):
Ever again, ever again.
Speaker 3 (30:31):
Yes, absolutely, And you guys just do the work because
when your name is called, you want to be ready.
You don't want to be getting ready. You want to
be excellent. You want to be able to hold your
head up high in a room full of people who
don't know who you are, because you know who you are.
You get what I mean. And my thing is, just
(30:52):
because you have not been given the opportunity, does it
mean you haven't a wire the skills?
Speaker 2 (31:03):
Well said? Well said, because.
Speaker 1 (31:08):
Someone asked me the other day if SAG actors were
better than non union actors, and I said, I'm not.
That question is not relevant to me because just because
you're in the union doesn't mean you're a great actor.
It means you are in the union. And I have
discovered amazing in my career non union actors. So I
(31:30):
don't put actors in a box like that talent. But
I do know that about maybe twenty years ago, I
said to myself, in terms of talent, it's all types
of talent, right, writer, director, producer. So in reading Deciding Danny,
(31:53):
it just oh my god, I just can't even tell you.
Speaker 2 (31:56):
If you were here, I hug, you'd be like because
it's so ref rushing.
Speaker 1 (32:02):
Two still have people in this business who respect the
art and respect the craft and just don't want to
wing it. And there are opportunities excuse me, and streaming
networks now that you can sell films and you can
do a film. I know someone who's doing shooting a
film right now in seven days, a full length feature
(32:22):
film like It's but it's on, you know, I mean,
blessed it's on that shoot and you know, run and
shoot where still the location, my cousin's house, all of that,
And it's great opportunities. But if you're going to do
that and invest whatever money you have, just I just plead,
do your due diligence and work on your craft because
(32:43):
your script is I want to say, one hundred and
twenty yeah, one hundred and twenty pages, technically one hundred
and twenty minutes one of the best reads.
Speaker 2 (32:56):
And that's something that.
Speaker 1 (32:57):
Els has said too, how she just breased right throughly
and and then when you have a script where it
keeps you wanting more, that's even another you know, cherry
on top. So I applaud you on finishing the script
and standing ovation for it's getting done and for all
(33:17):
the other projects.
Speaker 2 (33:18):
Can you talk about the other projects that you're working on?
Speaker 3 (33:21):
Yeah, this will be the first time I've ever mentioned.
Speaker 2 (33:23):
It, but oh good exclusive.
Speaker 3 (33:27):
Yeah. I have been blessed to work closely with the
last living living member of the Delphine, Wilbert Hart.
Speaker 2 (33:37):
Amazing.
Speaker 3 (33:38):
I am working script for the Delphonics file. I was blessed.
I don't know how it just happened. Someone believed in
me and brought it to me. And I think there
was someone else in the running whose name I won't mention,
who's far more famous than me. But here is. They
(33:58):
saw my passion, they knew I was working study day,
and they you know, Tracey, We've had this conversation in
the way that I'm willing to give up certain things
in order to get it all done for the group. Right, Okay,
I'm gonna say this right out loud. The people don't
understand that you don't necessarily need someone's permission to write
a biopic, to write a story about them if their
(34:21):
public you know. But that's not always the nicest thing
about the fact that you are trying to make money
and capitalize off of someone else's life lived, their life experiences,
what they've been through, and if you know them and
you don't involve them, not only are you missing some accuracy,
(34:42):
it's just not a it's not a soulful thing to do.
It's like, right, instance, A lot of people don't know that.
For I Tanya Academy Award nominated all the bass I've
seen it great performances. They think she was involved. Tanya
Harding got paid from what I heard, fifteen dollars wow,
(35:03):
and was invited into a couple of parties. Yeah, I
thought that was and I said with late Bloomer, I
will not be doing that. Yeah, I will not be
exploiting other people's lifes lived in order for me to
make a book. And that's I think what really appealed
(35:25):
to them, because I want him a part of the process.
I want him to have a story by credit. I
want him to be a producer of some sort executive
whatever it is. I want him and his family to
benefit from that as well. And it just feels better.
And I'm getting stuff that I would not get from research.
(35:45):
I'm getting stuff that I would not find on Google
because him and his beautiful wife, Sheila are directly involved
with his story.
Speaker 1 (35:56):
And God bless you for preserving our history man, because
you know, every day it's talk of you know, taking
books out and changing and you know, we need to
know the shoulders that we stand on. And Delphonics. Come on,
I was a little kid, but and the soul back there,
(36:19):
back then was different. You know, we had the backdrop
of civil rights, but the soul is what kept us going,
like gospel music, you know. So I'm excited about the Delphonics. Well,
I'm so sad because the interview part is done.
Speaker 2 (36:36):
Yes, it moves, man, it's so much fun.
Speaker 1 (36:40):
But you're going to come back once you go into
production with Deciding Danny, because we're going to talk about
how she's going to be preparing for Danny. Yes, Zoe
is playing Danny.
Speaker 3 (36:54):
Getting ready.
Speaker 1 (36:55):
Yeah, well she's let me just tell you she is
ready because, like she's said, you got to stay ready.
Thank you Okay, I'm just gonna tweak and you know,
do what I do. But I'm so excited and you
guys are really blessed to sit back because Zoe, well, well,
before we go into classes and session, I do have
(37:16):
I want to bring on Elsa Lathan and I want
to bring on our our two actors that else is
going to introduce.
Speaker 2 (37:24):
So going to ask you questions, Zoe.
Speaker 5 (37:28):
Yep, thank you. So many jims, so many jims.
Speaker 3 (37:33):
Thank you.
Speaker 7 (37:33):
I'm definitely taking a lot of notes over in this
in so today our two questions will come from Sam
Bryce and Sriita Florentine.
Speaker 5 (37:47):
As can come on. Sam, you can go up first.
Speaker 4 (37:52):
All right, how are you Zoe?
Speaker 3 (37:54):
How are you doing? Sam?
Speaker 4 (37:56):
Excellent? Thank god? Okay, no quick question. I know somebody
who's mixed and they're really into black culture because the
things that they went through in that childhood. For you,
what is the root of your passionate tell black stories?
Speaker 3 (38:12):
Oh yeah, So remember we mentioned Vancouver. Vancouver's population about
one percent black at least when I was there, and yes,
I to. I was always a dancer. I was you know,
I had dance classes since I was eight years old.
And when I went to university on my spare time.
(38:34):
I got into musical theater and the representation was terrible,
Like they there were parts I should have gotten that
I didn't get because I was black, and they at
the time they were outside the box. Well that's not black.
Character wasn't written black. And so I got sort of
discovered by a new agency at the time while I
was on stage and they invited me to their office
(38:57):
to come and they wanted to sign me. So I
started doing some work. I've done over ten commercials. At
the time, I was doing some good work, but I
wasn't getting really great roles. And they were like, well,
Zoe's really good, we like her. We need some feedback,
and they it's important I get feedback when you're not
getting some roles. Okay, so the feedback here it is, guys.
(39:17):
The feedback that came was, well, Zoe is God, but
the look for black women right now is ethnically unspecific.
And that's what they told me on the phone. And
I said, excuse me, well, basically, you're too black to
play black.
Speaker 8 (39:37):
Oh my god, I have never heard that. My Lord, yes,
my heart to God. They told me I was at
the time too black to play black. Wow, So massy
a motivation.
Speaker 3 (39:54):
Got it right there. I said, oh yeah, let me
show you something and I started to write. I said,
I want to do something about it. I'm not just
going to complain about it. And that's what motivated me
to then go on to uh Simon Fraser University and
study film and I went. I got into the film department.
I was the only black woman in the film department
(40:16):
at the time, and they said one of the students
looked at me with my brand new Mac computer at
the time. He looked me up and down and said,
so did you get in here from affirmative action? And
Canada does not have affirmative action. That's something she heard
on TV. So I was like, no, Darling, I didn't.
Speaker 2 (40:38):
Wow.
Speaker 3 (40:39):
Yes, yeah, so I it's said filter.
Speaker 1 (40:43):
It's set filter that is missing culturally in a in
a race that just feels.
Speaker 2 (40:50):
Just say it. It's okay, yeah, yeah, wow.
Speaker 3 (40:54):
You see you see where it.
Speaker 2 (40:55):
Came something new every day.
Speaker 3 (40:56):
That's it. That's it.
Speaker 1 (40:58):
Excellent And that was a great question, Sam, Thank you, thank.
Speaker 5 (41:01):
You, Yes And next up, our next question is from
Serena Florentin.
Speaker 9 (41:08):
Hi Serena, and thank you so much for sharing all
those amazing stories about your past.
Speaker 3 (41:16):
Since you have reached this point in your career.
Speaker 10 (41:19):
Would you say this is success for you or would
you say that you have bigger.
Speaker 9 (41:25):
Plans in the next five years. Could you share where
you see yourself in the next five years?
Speaker 3 (41:30):
Oh gosh, thank you for that. Success for me? Oh,
that's every day now, So every day that I get
up and keep on going when I didn't want to,
every day that I can put one foot and get
to the mirror and say I am and then follow
(41:54):
it with something I am a screenwriter, I am an actress,
and Matta fest that into being. Each step is successful.
Am I famous? Am I huge? Am? I said no,
I don't even know what that is. Famous Actually never
been a desire for me, but the accomplishment of having
(42:15):
even Tracy Moore read it and said you did good.
Speaker 11 (42:19):
I like this.
Speaker 3 (42:21):
That is like, that's success for me. I did something,
you know, So, as she's taught me, celebrate those wins.
Five years from now, I see Late Women productions expanding,
you know, hopefully I'm doing my horror film that I
already started or it's completed, I should say by that maybe, well,
(42:41):
see and just being a viable face, you know, a
twenty four started somewhere, just a viable name in the industry.
That not just that I'm working because I might want
to chill out, but maybe I think that the penultimate
moment of success for me might be put on the
(43:01):
person that's greater than me. My name, my connections brought
out the next whoever that would be wonderful. That would
be success to me. That I was able to do
that for some I was able to sign an loy
that made the next Viola or Denza or able to
(43:24):
do or somebody that success not even for myself, but
that I was able to help one of you guys
live your dream, that would be success for me.
Speaker 1 (43:36):
I told you Ill would go fall in love with
her today. I told you I had already prepped them.
And now even more right you guys that great question.
Thank you so much, Thank you, Elsa. What we're going
to do now is we're going to just take a
little break here, and when we come back, we're going
to come back with class in sessions. Zoe's going to
(43:57):
sit back and be entertained. And if you thought she
gave you some jewels before, she failed to drop some
more on so sit back and we'll be back on
the Spirited Actor Podcast with me Tracy Moore.
Speaker 2 (44:12):
Welcome back to.
Speaker 1 (44:13):
The Spirited Actor Podcast with me Tracy Moore. You are
so blessed because Zoe Bridgeman deciding Danny is still in
the building.
Speaker 3 (44:22):
Yay.
Speaker 2 (44:23):
So Zoe is joining.
Speaker 1 (44:26):
Us in class and session where we have spirit Actor
alumni that do a scene and they are so blessed
to have feedback and jewels from Zoe.
Speaker 2 (44:36):
And also Zoe does have a film she's working on.
She might be looking at you. Today's on z and
I'm just saying no know.
Speaker 1 (44:44):
So spirited actor of alumni, we have our I want
Elsa to come on and introduce our actors.
Speaker 5 (44:53):
Yes, so today we have three returning Spirited actors who
have been on the podcas before. We have one new
spirited actor, Miss Sita Florentin, who is also the writer
of our scene today. And then joining her for the
scene will be Amber Miller Moore back with us. Welcome,
(45:14):
he Ay, Amber Baby and Kenya Linger Heiler, Hi Lingers
Usb and mister Sambrose.
Speaker 2 (45:25):
Excellent.
Speaker 1 (45:26):
So Spirited Actors, are you guys ready ready? Okay, It's
called BFS and it's written by Sarita Flarington Florington Serena Florington,
three separate locations, Miami, Florida, Harlem, New York, Baltimore, Maryland,
midday morning. Chloe in her quaint studio apartment in Harlem,
(45:48):
sitting at her desk working from home. Carmela in her
Baltimore home with her newborn baby, washing dishes while the
baby entertains herself. And Selena is in Miami secretly having
breakfast with Darius, Chloe's engaged brother, who has seen Selena
(46:09):
on the side. These ladies are best friends who have
known each other since middle school. Chloe and Selena met
in elementary school. These women are currently in their early thirties.
Chloe calls up Camina Camilla. The phone is ringing.
Speaker 10 (46:26):
Hey, well, hey, you know it's Monday, my favorite day
of the week. What's going on, ladies, you said to
Selena to speaker.
Speaker 3 (46:38):
No, those thing's been dodge of my calls all week.
Speaker 2 (46:42):
She probably got a new man.
Speaker 9 (46:45):
Let me add her to this call.
Speaker 3 (46:46):
Give me a second.
Speaker 2 (46:54):
Hey, what.
Speaker 7 (47:00):
We're all here, Let's get this party side up.
Speaker 11 (47:07):
Selena, where you been mm out here just trying to
make it sitting here eating these delicious pancakes with chocolate
and raspberries. How y'all feeling You know it's me.
Speaker 10 (47:17):
It's Monday, my favorite day of the week.
Speaker 2 (47:29):
All get in my head.
Speaker 3 (47:31):
Breakfast boom m.
Speaker 11 (47:33):
Mind your business, girl, I am grown.
Speaker 3 (47:37):
We know you've got a new zoo.
Speaker 10 (47:39):
Anyways, Oh, I want to talk to you guys about
quitting my job and going to fashion school.
Speaker 9 (47:49):
I want to do something exciting. You know, I have
a wild imagination.
Speaker 10 (47:54):
I really want to create some masterpieces out here. I
really want to do something amazing. But leaving this good
paying job right for my brother's wedding. I don't know
if that's gonna fly, but I think it's time.
Speaker 2 (48:14):
Well, if it makes you happy.
Speaker 11 (48:18):
You know, you and your brother are super close, and
he's going to convince you to stay put until you
have something real. Girl. He's gonna hate that idea.
Speaker 1 (48:26):
I know.
Speaker 3 (48:28):
I just text him quitting my job. It's gonna kill me.
I gotta go.
Speaker 2 (48:40):
It's him texting me now to falling.
Speaker 11 (48:43):
I gotta go.
Speaker 4 (48:45):
You guys, you cannot quit your job now right now.
Do you know how expensive it is to live in
New York and plus my wedding is right around the corner.
It will be super selfish you to just do this
to the family right now. Can you wait?
Speaker 3 (49:02):
Hello?
Speaker 5 (49:03):
Brother?
Speaker 9 (49:03):
How are you happy Monday? I'll think about it. What
are you doing?
Speaker 4 (49:11):
I'm annoyed with this text, but I'm cool, just you know,
sitting here eating these amazing pancakes with some chocolate and raspberries.
So good?
Speaker 2 (49:26):
What are you eating?
Speaker 4 (49:28):
Chocolate and raspberry pancakes? Best combination ever? So good?
Speaker 2 (49:33):
Hm?
Speaker 3 (49:33):
Hm are you picking Selena's famous pancakes? I'll tell you
am on a Monday? Where are you?
Speaker 9 (49:42):
Hold on?
Speaker 8 (49:47):
Who?
Speaker 4 (49:49):
Selena?
Speaker 3 (49:51):
Don't ha bloo me? Are y'all fucking what? What?
Speaker 10 (49:57):
Why would you even ask that my two favorite people
having the same thing for breakfast and.
Speaker 9 (50:04):
You have been impossible to reach lately, Selena?
Speaker 11 (50:07):
Something is up?
Speaker 4 (50:09):
Okay, I can explain.
Speaker 9 (50:11):
Okay, shut up you two motherfuckers.
Speaker 2 (50:17):
Girl, and see all right? Give the regular Okay.
Speaker 1 (50:30):
So I'm gonna throw it at you Zo and we
had a little rocky start, but I'm gonna throw it
to you.
Speaker 3 (50:34):
It happens, all right. So am I talking about the
scene or just the acting.
Speaker 2 (50:41):
Of it or whatever whatever you want to do. It's
up to you.
Speaker 3 (50:45):
Yeah, I'm a I'm a big fan of not too
on the nose. I would have really loved I'm sorry,
what character were you playing Sam Darius Darius? I would
have really liked because Darius is supposed to be quite
(51:05):
upset at you quitting your job. I would have almost
liked that it was a mistake that he's like, you
interrupted me while he eating these damn raspbee pancakes and
just keep on going and you discover I'm sorry, what
did you just say? You see what I'm saying, and
(51:26):
then having that moment of realization of do I reveal,
like you're my brother? What the hell are you talking about? Like,
build it more because it's interesting. There's a lot of
potential to how you found out. I would build that more.
I want Yeah, that's what I would have wanted. More
(51:48):
is just really just give me that tension of the discovery.
I think the audience other than that, I really thought
it was natural. I'm sorry. The two characters on over here,
A young lady in the orange brown I'm sorry, honey,
what was your character's.
Speaker 11 (52:04):
Name, Selena?
Speaker 3 (52:06):
Selena?
Speaker 4 (52:07):
Yeah?
Speaker 3 (52:07):
I liked your performance is very natural, and I'm really
interested in seeing how your character in the white I'm
so sorry I should write that names that's your character in
the White Far Carmelia. Yeah, I'm really interesting to see
(52:30):
what level of friendship is there too, because clearly this
bothers you that your brother's cheating on this woman as well.
But other than that, like I said, it's very natural
and yeah, I just build the tension because it's very tense.
Speaker 1 (52:48):
Yeah, I thought it was so playful and I love
like I mean, there's a way that in doing the
scene to utilize it, like I would have turned the
as your call telling people, Serena, I would have turned
the video off so that it looks like they're actually
coming on, you know what I mean, like when you
(53:08):
had called Darius and so you know, that's just something
technical to play with since we are in that zoom age.
But other than that, thank you so much, spirited actors.
Thank you Elsa for class and session. And I just
want to say once again, like Zoe Bridgeman is one
of those unique individuals that spirits in this industry that
(53:31):
you just want to be in her atmosphere and you know,
you just but it's a good.
Speaker 2 (53:39):
Feeling, it's a great feeling.
Speaker 1 (53:41):
I'm so blessed to know what it's like to work
with people and have fun, actually have fun and create
some really great stuff.
Speaker 2 (53:47):
Right.
Speaker 1 (53:48):
So I'm just really blessed that Lee called me and
I met to Zoe and the journey continues. And thank
you so much for coming on the podcast today and
just blessing all of these students.
Speaker 2 (54:01):
They're so blessed.
Speaker 3 (54:02):
Thank you. And I just want to say to the students,
shake it off. I care less about that mistake in
the beginning than you think. Y'all are all interesting, which
is what we need. You're all beautiful. Just shake off
little things like that and keep it going because you're
talented and I want to see more. I'm looking forward
(54:24):
you to see more. That's not going to cloud my
judgment on none of that.
Speaker 1 (54:27):
I appreciate love that because you know how actors are.
They will hold on and you know that's some great advice,
you guys, So let it go and just know you
did your best.
Speaker 2 (54:38):
That's the most important thing you.
Speaker 1 (54:39):
So I want everybody to put their hands together and again,
thank you, Zoe, producer, writer, actress, and upcoming film deciding Danny.
All of you will be there because she's going to
come back and we're going to have another interview.
Speaker 2 (54:53):
When that happens, all right.
Speaker 1 (54:56):
Thank you, Zoe, thank you, thank you, and when we
come back, thank you on the Spirited Actor podcast with
me Tracy Moore. Then I'm going to give you some love,
all right, and now it's time to give love. I
have a friend who's a comedian. His name is Donnelle
Rollins and you guys may know him, and way in
(55:18):
the beginning of Darnell's career, I used to go to
this place in the village in New York called the
Comedy Club, right, and that's where I used to scout
for comedians when I was working at MTV. And one
day Darnelle was talking about he was doing the skit
and he was like, you know, people move so fast,
and he's always like, slow down, slow down, because people
(55:40):
are driving and only to get to the red light.
Speaker 2 (55:43):
So people will, you know, pass you really fast.
Speaker 1 (55:46):
Look in your car like you're crazy, and then they're
just going to the red light.
Speaker 2 (55:50):
That's it.
Speaker 1 (55:52):
We got to really slow down. And I want to
stress this, especially with creative beings, because we need a
place of rejuvenation. You need a place where we can
just be in silence and still because there are different
things that motivate us individually into being creative, but just
in life, because life moves fast. I live in New
(56:13):
York City. People walk too fast here. I always walk
slow on purpose. However, we need to just slow it down.
We just need to slow it down. Practice taking a breath.
I love when I get up in the morning, I
go outside and I take like three deep, long breaths.
I love breathing the air. I love feeling my lungs
being filled.
Speaker 2 (56:34):
I love that.
Speaker 1 (56:36):
And also put your feet in some grass, hug a tree,
get into nature, touch the dirt garden, because these things
also reach You've maate, restart, regenerate, reinspire, creative energy, Take
a breath, take your time.
Speaker 2 (56:56):
And be well.
Speaker 1 (56:58):
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. We'll be streaming on the Crackle network.
I'll keep you posted. Thank you for joining us on
the Spirited Actor Podcast with me Tracy Moore. I look
(57:19):
forward to our next Spirited Podcast. Thank you
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