June 16, 2025 • 41 mins
Justinereneefla instagram
Spilled paint. WATCH SERIES HERE
Inclinenation Instagram
Bio
Justine Renee is an actor and improviser driven by a deep passion for storytelling and creative
expression. A graduate of Suffolk University with a degree in Theatre, she has performed in numerous stage productions, including Crimes of the Heart and Hair.
Her training includes Improv Performance and Stand-Up at Sak Comedy Lab, as well as improv studies at The Groundlings in Los Angeles. She is also a cast member of the MallRatz Improv Troupe. Justine’s on-screen career continues to grow, with recent credits including Spilled Paint (now streaming on Tubi) and a Lifetime movie set to premiere in late 2025. She is a proud recipient of a Golden Telly Award for Social Change, honoring her work in the arts and beyond.
An advocate for embracing authentic creative voices, Justine believes that the power of art lies in ourability to connect with our true selves and express that uniqueness in everything we do.
Bio
The “extraordinarily mundane” Jamie B. Cline (as no one calls him) likes to liven up life through art, so he decided to get an MFA from USC for (performing) and then stick around Los Angeles because why not. Portraying the role of Patrick Walsh has been an amazing journey amongst some amazingly talented creative artists and hopefully this is just the beginning of everyone’s journey with Spilled Paint. Other recent credits include performing in an online short play by Douglas Stark with Playzoomers, as the Jackalope in Easter Bloody Easter, and as Charles Goodnight in the documentary short Freedom on the Range. Whether he’s acting, writing, improvising, doing creature work or stunts, Jamie holds to the belief that art should be an experiential journey for everyone and the best part of the collaboration is sharing it with an audience.
Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
Spilled paint. WATCH SERIES HERE
Inclinenation Instagram
Bio
Justine Renee is an actor and improviser driven by a deep passion for storytelling and creative
expression. A graduate of Suffolk University with a degree in Theatre, she has performed in numerous stage productions, including Crimes of the Heart and Hair.
Her training includes Improv Performance and Stand-Up at Sak Comedy Lab, as well as improv studies at The Groundlings in Los Angeles. She is also a cast member of the MallRatz Improv Troupe. Justine’s on-screen career continues to grow, with recent credits including Spilled Paint (now streaming on Tubi) and a Lifetime movie set to premiere in late 2025. She is a proud recipient of a Golden Telly Award for Social Change, honoring her work in the arts and beyond.
An advocate for embracing authentic creative voices, Justine believes that the power of art lies in ourability to connect with our true selves and express that uniqueness in everything we do.
Bio
The “extraordinarily mundane” Jamie B. Cline (as no one calls him) likes to liven up life through art, so he decided to get an MFA from USC for (performing) and then stick around Los Angeles because why not. Portraying the role of Patrick Walsh has been an amazing journey amongst some amazingly talented creative artists and hopefully this is just the beginning of everyone’s journey with Spilled Paint. Other recent credits include performing in an online short play by Douglas Stark with Playzoomers, as the Jackalope in Easter Bloody Easter, and as Charles Goodnight in the documentary short Freedom on the Range. Whether he’s acting, writing, improvising, doing creature work or stunts, Jamie holds to the belief that art should be an experiential journey for everyone and the best part of the collaboration is sharing it with an audience.
Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
If you love entertainment, current events, and Hollywood, don't miss
Creator to Creators. Hosted by the filmmaker Mio Shabine, known
for the shutter Hit documentary or Noir and the acclaimed
film Anatomy of an Anti Hero Redemption. This show features
interviews with filmmakers and creatives from around the globe. Join
(00:25):
the fun with guest celebrities and gain valuable insights. Subscribe
now and follow Creator to Creators.
Speaker 2 (00:34):
Hi, guys, welcome to another episode of Creators to Creators. Today,
today we have a very special guest.
Speaker 3 (00:41):
Oh hey, I'm Justin Mornee. I'm an actress and creator.
Speaker 2 (00:47):
Awesome, Awesome.
Speaker 4 (00:49):
I am Jamie B.
Speaker 2 (00:50):
Klein.
Speaker 4 (00:50):
I am an actor and a creator as well.
Speaker 2 (00:53):
Love that, love that, well, you know, I love I
love going to the beginning. I always say the beginning
chart our trajectory in life, our little habits that we
pick up along the way follow us into our adulthood.
So either one can start first, tell me a little
bit about your childhood. Was what was that like and
when did you kind of find your way into you know,
the creative space.
Speaker 3 (01:14):
My childhood was interesting, you know, like I had like
typical we all have a little bit of you know,
trauma and stuff like that, you know, divorce parents. So
I always kind of found an escape in movies, and
I loved stories, and I realized, like way early on
that I wanted to do that. And I would literally
(01:37):
make skits like I would write the worst skits when
I was a kid and make my family watch them.
I don't know if they liked it or not, but
they watched them. So since I was a kid, I've
been creating and I've written my own stuff and acted
in like that's my passion is writing and acting in
my own stuff.
Speaker 2 (01:54):
Love that. Yeah.
Speaker 4 (01:57):
So I grew up fairly lucky, and then my parents
divorced when I was nine, and then everything went to
pod after that. But up until then, and that's not
even true, it was fine. But my mom tells me
that when I was young, like three, four or five
years old, my parents would take me to church with
(02:21):
her sister, my mother, my mother's sister. And apparently I
don't remember doing this, but I would learn the sermons wow,
and then we'd come home and then I would pontificate
according to my mother, word for word. But I'm sure
it was a very truncated version of it, so I would,
I would redo, I would re up the sermons for everybody.
(02:43):
And apparently I don't I don't remember doing this, but
I guess that was when I first started to get
the idea that I wanted to like be in front
of people. And then as time went on, I got
into high school. Uh by then, my parents had divorced,
you know, and and you know, a lot of other
(03:05):
life events happened, and I think I had always taken
acting as a as an escape for that. For a while,
it was just fun to do. And then it was
in high school when I started taking seriously and I
realized that acting was more. It wasn't about escaping, it
was about discovering and uh, continuing to create and recreate
(03:26):
who we are and uh. And so that's probably when
it started for me. I would say, like, really, sunk
In was in high school going into college.
Speaker 2 (03:36):
I love that. That's beautiful. And you guys shot the
series in Florida, right.
Speaker 3 (03:42):
Yes, we did in Orlando, Orlando.
Speaker 2 (03:45):
I'm originally from from Florida. So I was like, I
was like, oh man, good ol days part I'm originally
from Gainesville, Florida.
Speaker 4 (03:54):
Oh yeah, yeah, yeah, my uh Gator Nation. Yeah, my
my mother and stepfather for a long time lived just
about an hour west of there on the coast.
Speaker 2 (04:03):
Nice.
Speaker 4 (04:04):
Very cool.
Speaker 2 (04:05):
You know, I was curious when I watched this series.
You know, first of all, I mean, I'm you guys
are both fantastic actors. How did you guys come about
getting this part this role? And what made you both
say yes to this particular series?
Speaker 3 (04:23):
So this for me, it started out as like a
short film called Like Spilled Paint. It was a short
film and the person who it's kind of based on,
Enoch Drison, he's one of the executive producers, had basically
wanted to write about an artist's life because he's an
amazing artist himself, and I ended up getting cast in
(04:46):
it nice and then they turned it. They decided to
turn it into a pilot that was right before twenty twenty,
Like All the Chaos Comes Out. Yeah, we shot the
pilot on a very small budget, and I wasn't sure
if they were gonna want to choose me from the
short film as Helena, but because the character was still
(05:11):
in the pilot, but they did want to still bring
me on. So I'm really grateful for that because we
did end up having a different director, Brandon Gibson, for
the pilot as well as the series, and he's phenomenal
to work with, and I just feel so grateful for
the opportunity. Like it was, it was super fun. The
pilot was fun, and then getting it picked up for
(05:32):
a series was even like more fun because then I
really really was able to delve even deeper into the character,
which you know, I love. I love that. It was nice.
Speaker 2 (05:45):
I love that. And how long? And I'm curious how
long was this overall? Like I mean, you guys, you know,
working together and finding you know, like you know, you
guys are in a relationship in the movie. How long
how long did it take to you know, make this
this series? A couple months?
Speaker 4 (06:05):
A year?
Speaker 3 (06:06):
Ooh uh? It was years in the process making from
the short film, which was I believe in like twenty eighteen,
all the way up until like Getting It Out, which
had just dropped a week ago. It's been a few
years process. Yeah. The pilot was twenty twenty and then
the rest of the series, episode three through six was
(06:28):
actually shot in was like twenty twenty two or something.
Twenty two.
Speaker 2 (06:33):
Oh my god, wow?
Speaker 4 (06:35):
Years two year two year old.
Speaker 3 (06:38):
Later and now it's twenty twenty five.
Speaker 2 (06:39):
Wow, Wow, that's incredible. I mean, you know, and you know,
I love I love your gut, you guys's relationship, and
I love how it was. It's kind of those really
funny bits in this in this series as well, even
though it's a serious series. But I loved like the
little humor with the detective and their dynamic as well.
(07:01):
But in you guys' relationship, how did you guys get
ready to prepare for your role? You know, as far
as like diving into what's your process like and then
also finding your you know, that kind of synergy together
for your scenes.
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Speaker 4 (08:09):
Yeah, I'll start on this one. So, like Justine mentioned
she had come from the short, I didn't know what existed.
I was out in LA and I saw a posting
for an Orlando for something filming in Orlando. I'm like, oh,
that's where home is. All right, let me sign on.
Turns out Brandon Gibson and Beth Wheatley, both of whom
(08:31):
I've worked with in the past, or part of it.
So I was like, of course I need to submit
for this. I submitted for it. Now, as Justine mentioned,
there is a loose base. The character of my character
actually is loosely based on a bit of Enoch's experiences. Enoch,
I don't know if you know he's a black man.
(08:52):
And so my first thing once I realized that was
the case, I actually talked to Beth and Brandon and
Enoch and I was like, I don't feel comfortable accepting
this because they I did the audition, I got the
got cast, and then when I found that out, I
was like, I don't necessarily feel comfortable doing this. I
don't want to take away a role from someone who
can better tell this part. It was after sitting down
(09:15):
with the three of them and they told me that
this part is more about the story than it is
about any one particular person. We've seen many different people
in this role. We like you the best, we think
you fit this role. If you feel comfortable, then okay.
So I said okay, after sitting down and talking about
(09:37):
that with them for a little bit, and then we
moved forward with it. As we moved forward with it,
it was it was very quick. I had not Justine,
I don't think we'd met prior to that. I knew Beth,
but I didn't know you. No. I think I met
you the first day of filming. Oh wow, Yeah, I.
Speaker 3 (10:03):
Mean that happens a lot though, especially like INDIEILM, like
you don't have that much time to like get that
that chemistry going. You just kind of have to dive
in and trust.
Speaker 4 (10:13):
Yeah. Wow, it was.
Speaker 3 (10:15):
You were so respectful, Like I really felt comfortable with
you so like I definitely appreciated that, like the entire
time you were great to work with and think you
like I never felt uncomfortable.
Speaker 4 (10:27):
I appreciate you were amazing to work with and and
walking into it like that was one of the first
things is like somebody had already explored this role, so
I didn't want to uh in the short so I
didn't want to like retread old stomping grounds. I wanted
to explore somewhere new. So it was really cool that
And I if I remember correctly, the first scene we
(10:50):
filmed was the date, wasn't it? Yes, our first scene.
Speaker 3 (10:56):
Yeah.
Speaker 2 (10:57):
Then when you went in too to that really fancies.
Speaker 4 (11:01):
I think it was the fancy restaurant, wasn't it? Or
was it because the diner was the last day of
filming for the pilot.
Speaker 3 (11:08):
I think because we didn't get right away the diner, Yes.
Speaker 4 (11:13):
We were supposed to, I think, and then it had
to switch. So we filmed the first day and I
think that was our date, and so it had to
go straight into there. I'm also I do stunts and
fight and fights and stuff like that, and I fight
coordinated in the past stunt coordinated. So another part of that,
I'm sure you're aware, is intimate intimacy coordinating, which has
(11:37):
now fortunately become its own thing, which is great, But
up until recently that was it kind of ended up
being hand in hand. So as a stunt coordinator, I
was always very much like mindful about hey, if if
you've got to be intimate or if you have to
portray intimate scenes like get to know your partner, and
these are ways you can do it really fast and
(11:58):
and and be respectful and so like I went into
the process immediately with Justine. Just I'm like, I I
know that we have to hit the ground running and
we have to look like we're a believable couple. That's
and I'm and for some odd reason, you want to
stay with the guy who makes all the weirdest bad decisions.
But you know, so that was actually when I went
(12:20):
into that first date I did that that was all
running through my mind. And uh, and I'm glad that
it worked out because working with Justine was just phenomenal,
Like she'd always draw stuff out of me, especially when
we were working in the pilot, because we had a
lot to do in the pilot, as you noticed as uh,
after after the twist and episode three, our roles diverge.
(12:43):
But those first two episodes, which most of that is
the original pilot, that was it was. It was really
great And as an actor, I mean, I don't know
how you feel, Justine, but like for me. It was
a great experience, and I guess to like, how do
we make this relationship seem viable, believable that there's love
(13:07):
and care there? Yeah, and we just met.
Speaker 2 (13:10):
Yeah, it's amazing. Yeah, guys, you guys pulled it off.
Speaker 3 (13:15):
Yeah, well, thank you. I appreciate that.
Speaker 4 (13:17):
Thank you.
Speaker 2 (13:18):
Yeah. Absolutely. How does the series portray the cost of
freedom for both Helena and Patrick's character?
Speaker 4 (13:29):
We'll let you tackle that first. Yeah.
Speaker 3 (13:31):
Oh wow, that's it. That's a deep one.
Speaker 2 (13:35):
Yeah.
Speaker 3 (13:36):
Yeah. I just I feel like Helena she wasn't really free,
Like she was not free at all. Like I feel
like as the series kind of goes on, and I
hate I don't want to give spoilers, but there's obviously
some some depth she has where she originally is not free.
(13:57):
She's not a free person.
Speaker 4 (14:00):
Man.
Speaker 3 (14:00):
I don't know how to say this without giving away.
Speaker 2 (14:02):
The I know, I know, I don't. I was so
I was like, I just gotta know the progression of
your relationship, like how it you know, how it's how
we saw when we first are introduced to you guys,
the couple, and then what happens in between and all that.
It's like whoa, Okay.
Speaker 3 (14:19):
Yeah, there's the things you find out about Helena's past,
which basically reveals that she was never really that free.
Let's just put it this way, Like she was always
on the run and she was dealing with a lot
of her own stuff, and I feel like Patrick was
her sense of freedom for a while, and I think
(14:43):
she really valued that relationship because it was something so
normal for her and she wasn't used to normalcy, like
her whole life was kind of I mean, yeah, yeah,
I don't want to say too much that was her
freedom until you know, you know, other things reveal themselves
(15:09):
in the end. But yeah, there's really freedom is freedom
comes with sacrifice, I think ultimately, and that's kind of
what this show I think reveals in it to an
extent absolutely.
Speaker 4 (15:23):
YEA, yeah, I mean I think you said it perfectly.
I don't know that Patrick with his own I think
it's more his freedom of artistic expression that he's just
constantly struggling with. And as the story progresses through the
six episodes, it becomes very apparent as to why he's
(15:45):
having that artistic block. But I mean, there's so much stress,
but he puts himself into it, you know, or or
I do. I should say, I do you know, I
do I put myself into it. It's bad choice after
bad choice. But and again, if we want to if
we want to watch a series full of good choices,
that's more maybe children's television or something like that, you know,
(16:08):
like if if, IF, If you want to make engaging stories,
it's people who make bad choices or not the best choices,
and then how they come back for them or how
those choices catch up to them. And this story has
all of that. Uh and and and knowing what we
know now, both as both having been part of the
(16:29):
creation process of this, but also just the characters the
arc of it. I know, Patrick, I know I actually
felt when we were shooting the pilot that I was
trapping her, not in any malicious way, not that I
was intending to, but you know, as as a as
(16:51):
a person, I don't think anybody ever really wants to
be holding someone down, you know. I think I think that,
you know, in a relationship, everybody's trying to uplift. But
in this particular uh, in the pilot that we shot,
Patrick definitely is is more worried about himself and and
(17:12):
isn't really worrying about the consequences of his actions, even
though when he thinks, even though when I think I
am worrying about Helena, you know, the person right in
front of me, it's it's not about her. It's all
about me and and trying to feed my needs. And
I'm trapped by that, which I think ultimately is a
(17:32):
trap for her. Only you've already had a week to
watch it. Everybody too late.
Speaker 3 (17:37):
Right, boilers come out about a week and anyway, right, right,
exactly exactly.
Speaker 2 (17:44):
You know this this this this show explores, you know,
I you know, I couldn't help but think about just
you know, the pursuit of wealth, right, the influence of
just having a lot and all the things, and and
how it can kind of, uh, I don't know, somehow
can of corrupt you in a way.
Speaker 3 (18:07):
You know.
Speaker 2 (18:07):
I think Spillpaint does such a great job of like
kind of showing that, especially in the art world, and
its impact of artistic integrity, right, tell me, I mean,
I don't know. Both characters have something very very much
in common, which is revealed later. I was like, oh,
I had no idea, because how we're introduced, like at
(18:29):
the beginning, you know, Patrick character is an artist and
and you know that's what he is. Uh, do you
think that you both you're both characters are had that
in common, like those ideas of like being famous and
wanting to be out there. Like did you feel like
that your character deep down because he said yes to
(18:51):
the the offer in with the guy. So is that
something that you're both characters really wanted to do? Like,
is that was that the in the forefront of the mind?
Speaker 3 (19:00):
I think, I mean, I think for for Patrick, for
Patrick's character possibly like yeah, because like every artist wants
their work to be validated to some extent, but like
what is what are you willing to risk or give up?
It's essentially like he sold his soul to the devil. Yeah,
(19:20):
and for some reason, like Helena wanted to support him
in that right and and and I think because because
of that craving that an artist has for validation. I
think there's also like later on, as we explore in
the series, there's other characters that perhaps didn't want that
(19:44):
because they had fame. Because well in the in the show,
you see that a famed artist ends up resurfacing. I
mean that's in the description of the show. And so
that artist, like I believe created for this of creating
as a cathartic experience and kind of got exploited. And
(20:08):
that definitely shows in the end because there's a fight
to their freedom in the series, because Ramirez Ponce is
basically the villain who who is the devil that these
artists are making deals with because they want that validity
and they want that that fame where where because this
(20:33):
other artist that resurfaces has already had that and knows
the price of what fame does as it doesn't mean anything.
You're just the puppet to these these these people and
these these art dealers and these people that buy art.
They're only doing it for a show. It has nothing
(20:54):
to do with the art itself or the creator itself.
It has to do with status. So it's so politicize
and corrupt to begin with, and so it really explores
a lot of those deeper concepts I think of, like
the struggle between wanting to create, wanting that fame for
the creation, and the fight to kind of get that
(21:16):
freedom back.
Speaker 2 (21:18):
I love that well Well said, do you feel like
that as as as artists as actors? Do you feel
like acting now? I mean we've come from you know,
we had you know, the Me Too movement. We had
everyone you know, the you know SAG after the March,
Everyone's marching about you know, equal paying, all these other
all these other things that were coming up. Do you
(21:38):
feel like as actors that we're moving in a in
a better direction, like for the future, like is it
Are things getting better for actors?
Speaker 4 (21:50):
Short answer, probably not. I think I think for the
last ten years or so. Maybe the answer would yes
minus COVID, which is coincidentally what halted. That's why there's
such a time gap between the pilot and moving forward
(22:13):
with the project COVID. We filmed in February of twenty twenty,
and then COVID happened a month and a half later.
That was fun. But to answer your question, I feel
not right now. Maybe in the last ten years, like
I was saying, actors, we had streaming, which really changed
the game. Cable TV was still a monster, and I
(22:36):
mean like a good monster, a juggernaut, lot of things happening,
a lot of place for high paying work and talent
and all that stuff. And then you had streaming coming
in being the disruptor that tech companies are. But it
also started as it tried to figure itself out, particularly
the big streamers, But then you also had almost every
(22:57):
every big studio create their own streamer, so actors had
a lot to choose from creatives of all types who
wanted to be involved in the film industry and TV industry.
I think had a big field day right now. I
think the struggle and it's not being looked at as
seriously as I would like, is AI. And I don't
(23:18):
even know that it's AI in the sense of like
taking actors' jobs something like that. I think there's enough
room for AI created content and you know, human created
content or a mix thereof. But what I think it
comes down to, and it kind of ties into my
feeling about the character Vermier's ponts, is the people that
(23:41):
control the purse strings always try to make the most
money with the least amount of effort. And that's what
it feels like is happening right now, and a lot
of people who control those purse strings, if they're not
really involved in the creative side of things, in my experience,
then they view actors as whiney, crybaby or just way
(24:04):
too emotional, too hard to deal with, too unpredictable, and
which is unfair and not at all true, But that's
the feeling I get, and I don't know how to
fix that right now. I know sag After is trying hard,
and there have been wonderful movements that have both been
(24:24):
directly about the industry and also about the amazing parts
of our world that really need to be showcased and
need to be addressed and brought forward and clearly. Right now,
there is some some flak that's happening, and you know,
we won't get into that too much, but it is unfair.
It is it's not necessary, I think to move forward,
(24:47):
we have to as actors to confront the juggernaut of
AI and to confront those with the purse strings with understanding,
helping them to understand that we too deserve to have
(25:08):
our creative existence be here.
Speaker 2 (25:12):
Yeah. Absolutely, Yeah, I don't think.
Speaker 3 (25:15):
AI can cannot really replace. Like AI is only as
good as like the last human that creates, right, really,
yeah you don't think that. But again, like like you said,
the string the string pullers, like that was good, I've
never heard that. Yeah, they're in control in it, and
less they're not. And unless they start to like have
(25:35):
a heart, then what are we going to do?
Speaker 4 (25:38):
Like that's that sucks, and some do, some do, some
absolutely get it, and those are what I'm talking about.
You know, you've got you've got some creators. Steven Spielberg's
of the World, James Cameron's of the World, Ryan Coogler's
The World. You know, these folks, they're they're creators, but
they're they also hold the purse strings, but they're they're creators. First,
(25:59):
you got a lot of career, You got a lot
of people who are creators. Second, or maybe even third.
And I don't want to speak ill of anybody. I'm
not going to I know everybody wants to bring about
these amazing things, but if you're bringing it about for
the sake of money, then you're bringing it about for
(26:19):
the wrong reason. The money will come. I was taught
from a young age that if you just drive towards
what it is that you want to get to, If
you drive towards that horizon and don't lose focus. You
may take a detour here and there, but don't lose
focus of the horizon. You're going to get there. But
some people want to get their way too fast, and
unfortunately that's at the expense of so many others.
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Speaker 2 (27:14):
Yeah so sad, so sad, but yeah, I you know,
and I think that's that's what I saw in the
in the movie, those that theme of like power, and
that's what we're doing with today. You know, it's everywhere unfortunate,
but I think it starts with conversation and I love that,
you know, that we can talk about and hopefully hopefully
(27:34):
somebody listens and says no, yeah, and you know, let's
change that. Like what you guys did, You made You
made this series, you know, and you didn't wait by
the phone for somebody to make it. You went out
there and you did it. And that's what we should do, right,
We create our own table. We don't have to wait
to be seated at the table.
Speaker 3 (27:51):
Yeah, yeah, yeah, screen lighting your own stuff, Like that's
the like I've heard that a lot. Is like now
it's very much like there is some freedom in the
industry now with so much like self made content is
like people are green lighting themselves a lot of the time,
which is really cool.
Speaker 2 (28:09):
It is cool.
Speaker 4 (28:10):
Yeah, cool.
Speaker 2 (28:12):
This was done under your production right.
Speaker 3 (28:16):
Oh yeah, under like Beth Wheatley was the main producer,
my my girlfriend.
Speaker 2 (28:22):
Yeah, that's exciting. I mean that's great. How does it
feel it's out there, blood, sweat and tears.
Speaker 3 (28:30):
Yeah, I mean it's good. I'm blood, it's out there.
We've gotten some like good feed good positive feedback. But yeah,
it's kind of surreal because it's like it's been a
long process, so it's like, oh wait, it's actually like
really out there now for people to watch.
Speaker 4 (28:46):
I mean, I don't know what it's been like for you,
because I know you live with her, so you know,
you're you're constantly in connection on this side of the fence. Uh.
It's Beth has just seemed like an unstoppabable juggernaut, you know,
because this is this is five years over five years
in the making at this point, and it's mostly through
(29:07):
you know, her production. And then in twenty twenty two
we were produced approached by I think Donafer Films, correct,
that's yeah, And so between the two of them, it,
you know, it's almost like this, this is what I'm
talking about when it comes to you know, the people
(29:27):
that are creative but have the purse strinks as opposed
to the people that have the purse strinks but don't
really care about the creative process. And it's just been
like every second every time that I know, I personally
was like, as an actor, you've been a part of
so many things that either don't end up doing it,
don't go anywhere, never get made, or they get made
(29:48):
and then they're on the shelf or whatever. You know,
you just kind of get used to it. And every
time I was like, Okay, spill paint has run its
course and take it for what it is. All of
a sudden, I get an email or I get a
text or something, and Beth is like, hey, this has happened. Hey,
this is happening. Hey, It's like, oh my god. And
then a week ago, you know, we or a week
and a half ago, we get the message saying it's out.
Speaker 2 (30:13):
I love that. I love that. I love asking this
question every guest on this show. This is for both
of you, and there is no wrong answer, I promise.
The three levels of influence, money, power, and respect, And
if you could choose only one of those things, which
one would you choose? And why no wrong answer, I promise.
Speaker 3 (30:32):
I feel like at this point in my life, like
none of those truly like appeal to me, but I
think of all of them like the money appeals to me.
And this is for the reason being that I love
to create. I love freedom to create, and I would
(30:54):
just like it's expensive watching spilled panket on like the
producers my girlfriend, so I've seen firsthand how hard it
is how expensive it is to make to make even
just like an independent production, like to make like a
level on like Marvel or something like Huge that costs
millions of dollars. So I think money would give me
(31:16):
the freedom that I create as an artist, to create,
Like like I said, I'm a writer and an actor,
like those are my biggest passions, and I have a
lot of films that I want to create, and I yeah,
it's the freedom of create creative, authentic expression, and that's,
like I guess, the artist mentality.
Speaker 2 (31:37):
So yeah, I love it.
Speaker 4 (31:40):
Yeah, you know, my my first instinct is to go
with money because my whole life it's always been about
making enough to take care of my family. But I
think I'm a little older now, and I mean the
money is always necessary. I think respect is as an artist.
(32:00):
If I'm speaking purely as an actor and as a creator,
I think respect is what I would want at this
stage in my journey because I personally feel that if
I could gain that respect in the right circles, that
the money would follow, not necessarily to me, but I
would be able to find other creatives like Beth and
(32:24):
Justine and Brandon who hold those purse strings and be
able to create with them. So I think right now
I'd have to go with respect.
Speaker 2 (32:38):
Great answer, great answer, absolutely. What do you guys want
people to like viewers to when they watch this series?
What do you want them to walk away with? Is
there a message that you want them to like kind
of leave with?
Speaker 4 (32:52):
Or I keep telling my friends, I just hope they
like it and don't judge Patrick's choices too harshly, because
everybody knows me and and it's and this being the
first time that I mean, I've had a couple of
things up on TV, but it's all, you know, like
little things here or there, so to be showcased in
such a way people who really know me, you can't
(33:15):
escape it. There are parts of you that come out.
Even if you're totally invested in a character, there's still
parts of you, ye that that slip out. And so
I've got people texting me, calling me being like, Jamie,
why did you make that decision? No, you know better
than that. We've known each other since we were five.
Why Aside from just the entertainment side of it. I
we we talked earlier in the podcast Uh Not Sorry
(33:38):
podcast in the video about the the uh just moving
forward and and and not stopping. And I think that's
what I would want people to get out of it,
is that UH is that don't stop. You know, whatever
comes in your way, don't stop. There's there's your I
(33:58):
guarantee you you're gonna find a way. It's not necessarily
going to be the best way. It's gonna hurt. You're
gonna get hit in the face a few a dozen
times by by Buddha. But but but just don't you know,
keep keep moving forward.
Speaker 2 (34:17):
I love that. It's a great, great, great what about
you you need?
Speaker 3 (34:22):
Uh yeah, that's like a deep there. I mean, I
guess really it's it ends up every every film is
really subjective to the to what the viewer aches and
how they view the world. But I guess if I
was going to see and want a deeper message for
the viewer, I guess it would be artistic integrity and
(34:45):
that you know, selling your soul to the devil isn't
always the best choice. And even though it's disguised, especially
it's kind of like an allegory for like the industry
and our society in general is like we we're after
riches and we're after these these egotistical things. But really,
(35:05):
when it comes down to it, you can fight for
your own your own self, and you can take your
power back. And just because the villain is just because
the villain seems strong now, doesn't mean you can't fight
the villain and doesn't mean you can't stand up for
(35:25):
yourself and take your own power back.
Speaker 4 (35:28):
Yeah.
Speaker 2 (35:29):
Absolutely, well said, Well said.
Speaker 7 (35:33):
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(35:54):
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Speaker 2 (36:03):
What advice would you give to you know, that young guy,
young girl out there and that is wants to get
into this business of entertainment? What would you tell them?
Speaker 4 (36:16):
Wow?
Speaker 3 (36:18):
I think something that really shifted in my own Like
when I was in my twenties, I was so concerned
about like what what does people think of me? What
do they want? Blah blah blah. And I really like
honed in, you know, through a lot of therapy on
my inner child, and like what drew me to acting
in the first place.
Speaker 4 (36:36):
And what I.
Speaker 3 (36:37):
Realized is that stay true to yourself no matter what,
because you're gonna have so many friggin opinions. You're gonna
have a director here that doesn't like you because you
remind him of his ex wife of two three years
or whatever or who whatever it is, everyone's going to
have an opinion. And then so so not only staying
true to like your own artistic expression and integrity, but
(36:58):
also embrace failure. And I think that shifted for me
was when I really learned, like, I don't need to
be perfect, like I can suck, like I can suck sometimes,
and it like gives you this freedom to like you
don't have to be the best, And ironically you improve
(37:19):
when you let go of all of those like you
have to perform and be this amazing actor and you
know sometimes you're not going to be and sometimes you're
going to be great. And it's really allowing yourself to
experiment and try new things and go for trust yourself.
And I think that's the biggest thing is learning to
(37:39):
trust yourself.
Speaker 2 (37:40):
Love that that's a big one.
Speaker 4 (37:46):
I would say, stay true to yourself, but know that
that's always going to change. You know that life is
never constant, So don't judge the change that's happening within you.
You can judge everything else outside if you need to,
but don't judge the change happening within you. Definitely go
(38:08):
to therapy. That is super important. I know you mentioned
that just scene. But seriously, I think it's important for anyone,
but for actors, I think it's vitally important because it
helps get you focused. Because it's it's a very not multifaceted,
but the industry tries to pull at you from so
(38:28):
many angles, which brings me the last tenant that I
would say, uh would be to the industry and and
those in it. You know, agents, managers, directors, other actors, teachers, everybody.
They're going to try to pull you in a direction.
They're going to try to pigeonhold you. They're trying. They're
going to try to tell you this is what you
(38:49):
need to be, and listen to it for the sake
of you know, if if you need to make a
commercial or if you need to you need to book
that role, listen to what they're saying right then, But
know that you're not limited to any of that what
any one person tells you you are. You're not limited
to what they see you. The only thing you're limited
(39:11):
by is your own imagination. In this industry, no matter
what if you're booking not booking, if you're in class,
if you're if you're you know, acting at community theater
or you're acting in a Marvel movie or anywhere in between.
It's just know that the only person who, at the
(39:33):
end of the day, when it comes to your creativity,
can tell you who you are is yourself.
Speaker 2 (39:40):
Absolutely, absolutely, very well said guys. Thank you, great advice,
great advice. Where can people find you, guys on social
media to follow everything you got going on?
Speaker 3 (39:51):
I'm at Justine Renee Fla on Instagram and at Justine Renee.
You can search for me on Facebook or YouTube stuff
like that.
Speaker 2 (40:01):
Nice.
Speaker 4 (40:02):
Yeah, I'm I'm old. I just have Instagram and Facebook.
You can find me by my name Jamie B. Klein
on Facebook. I think it pops up that way on
Instagram as well. But but I go by the handle
Incline like going up a hill nation Incline Nation.
Speaker 3 (40:17):
I love it.
Speaker 2 (40:17):
I love it. I love ending this show with a quote?
Speaker 4 (40:20):
Do you have?
Speaker 2 (40:21):
Does does anyone like have a favorite quote like that
that that keeps them going on those rough days that
you're just like you want to give up, and then
you think about it, You're like, no, I'm gonna keep going.
Is there a quote that comes to mind?
Speaker 3 (40:34):
There's a David David Lynch thing that David Let's go
Art doesn't have to make sense and I love that.
Speaker 2 (40:46):
Yeah that. Thank you guys for coming on. It was
a great chat and I wish you all the best
with this series and I'm so glad it's out.
Speaker 4 (40:53):
Congratulations, Thank you, thanks for watching it and everything.
Speaker 3 (40:58):
Ya watching it.
Speaker 2 (40:59):
I thank you all for listening and always remember to live, love, laugh.
We'll see you guys next time. Bye bye
If you love entertainment, current events, and Hollywood, don't miss
Creator to Creators. Hosted by the filmmaker Mio Shabine, known
for the shutter Hit documentary or Noir and the acclaimed
film Anatomy of an Anti Hero Redemption. This show features
interviews with filmmakers and creatives from around the globe. Join
(00:25):
the fun with guest celebrities and gain valuable insights. Subscribe
now and follow Creator to Creators.
Speaker 2 (00:34):
Hi, guys, welcome to another episode of Creators to Creators. Today,
today we have a very special guest.
Speaker 3 (00:41):
Oh hey, I'm Justin Mornee. I'm an actress and creator.
Speaker 2 (00:47):
Awesome, Awesome.
Speaker 4 (00:49):
I am Jamie B.
Speaker 2 (00:50):
Klein.
Speaker 4 (00:50):
I am an actor and a creator as well.
Speaker 2 (00:53):
Love that, love that, well, you know, I love I
love going to the beginning. I always say the beginning
chart our trajectory in life, our little habits that we
pick up along the way follow us into our adulthood.
So either one can start first, tell me a little
bit about your childhood. Was what was that like and
when did you kind of find your way into you know,
the creative space.
Speaker 3 (01:14):
My childhood was interesting, you know, like I had like
typical we all have a little bit of you know,
trauma and stuff like that, you know, divorce parents. So
I always kind of found an escape in movies, and
I loved stories, and I realized, like way early on
that I wanted to do that. And I would literally
(01:37):
make skits like I would write the worst skits when
I was a kid and make my family watch them.
I don't know if they liked it or not, but
they watched them. So since I was a kid, I've
been creating and I've written my own stuff and acted
in like that's my passion is writing and acting in
my own stuff.
Speaker 2 (01:54):
Love that. Yeah.
Speaker 4 (01:57):
So I grew up fairly lucky, and then my parents
divorced when I was nine, and then everything went to
pod after that. But up until then, and that's not
even true, it was fine. But my mom tells me
that when I was young, like three, four or five
years old, my parents would take me to church with
(02:21):
her sister, my mother, my mother's sister. And apparently I
don't remember doing this, but I would learn the sermons wow,
and then we'd come home and then I would pontificate
according to my mother, word for word. But I'm sure
it was a very truncated version of it, so I would,
I would redo, I would re up the sermons for everybody.
(02:43):
And apparently I don't I don't remember doing this, but
I guess that was when I first started to get
the idea that I wanted to like be in front
of people. And then as time went on, I got
into high school. Uh by then, my parents had divorced,
you know, and and you know, a lot of other
(03:05):
life events happened, and I think I had always taken
acting as a as an escape for that. For a while,
it was just fun to do. And then it was
in high school when I started taking seriously and I
realized that acting was more. It wasn't about escaping, it
was about discovering and uh, continuing to create and recreate
(03:26):
who we are and uh. And so that's probably when
it started for me. I would say, like, really, sunk
In was in high school going into college.
Speaker 2 (03:36):
I love that. That's beautiful. And you guys shot the
series in Florida, right.
Speaker 3 (03:42):
Yes, we did in Orlando, Orlando.
Speaker 2 (03:45):
I'm originally from from Florida. So I was like, I
was like, oh man, good ol days part I'm originally
from Gainesville, Florida.
Speaker 4 (03:54):
Oh yeah, yeah, yeah, my uh Gator Nation. Yeah, my
my mother and stepfather for a long time lived just
about an hour west of there on the coast.
Speaker 2 (04:03):
Nice.
Speaker 4 (04:04):
Very cool.
Speaker 2 (04:05):
You know, I was curious when I watched this series.
You know, first of all, I mean, I'm you guys
are both fantastic actors. How did you guys come about
getting this part this role? And what made you both
say yes to this particular series?
Speaker 3 (04:23):
So this for me, it started out as like a
short film called Like Spilled Paint. It was a short
film and the person who it's kind of based on,
Enoch Drison, he's one of the executive producers, had basically
wanted to write about an artist's life because he's an
amazing artist himself, and I ended up getting cast in
(04:46):
it nice and then they turned it. They decided to
turn it into a pilot that was right before twenty twenty,
Like All the Chaos Comes Out. Yeah, we shot the
pilot on a very small budget, and I wasn't sure
if they were gonna want to choose me from the
short film as Helena, but because the character was still
(05:11):
in the pilot, but they did want to still bring
me on. So I'm really grateful for that because we
did end up having a different director, Brandon Gibson, for
the pilot as well as the series, and he's phenomenal
to work with, and I just feel so grateful for
the opportunity. Like it was, it was super fun. The
pilot was fun, and then getting it picked up for
(05:32):
a series was even like more fun because then I
really really was able to delve even deeper into the character,
which you know, I love. I love that. It was nice.
Speaker 2 (05:45):
I love that. And how long? And I'm curious how
long was this overall? Like I mean, you guys, you know,
working together and finding you know, like you know, you
guys are in a relationship in the movie. How long
how long did it take to you know, make this
this series? A couple months?
Speaker 4 (06:05):
A year?
Speaker 3 (06:06):
Ooh uh? It was years in the process making from
the short film, which was I believe in like twenty eighteen,
all the way up until like Getting It Out, which
had just dropped a week ago. It's been a few
years process. Yeah. The pilot was twenty twenty and then
the rest of the series, episode three through six was
(06:28):
actually shot in was like twenty twenty two or something.
Twenty two.
Speaker 2 (06:33):
Oh my god, wow?
Speaker 4 (06:35):
Years two year two year old.
Speaker 3 (06:38):
Later and now it's twenty twenty five.
Speaker 2 (06:39):
Wow, Wow, that's incredible. I mean, you know, and you know,
I love I love your gut, you guys's relationship, and
I love how it was. It's kind of those really
funny bits in this in this series as well, even
though it's a serious series. But I loved like the
little humor with the detective and their dynamic as well.
(07:01):
But in you guys' relationship, how did you guys get
ready to prepare for your role? You know, as far
as like diving into what's your process like and then
also finding your you know, that kind of synergy together
for your scenes.
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Speaker 4 (08:09):
Yeah, I'll start on this one. So, like Justine mentioned
she had come from the short, I didn't know what existed.
I was out in LA and I saw a posting
for an Orlando for something filming in Orlando. I'm like, oh,
that's where home is. All right, let me sign on.
Turns out Brandon Gibson and Beth Wheatley, both of whom
(08:31):
I've worked with in the past, or part of it.
So I was like, of course I need to submit
for this. I submitted for it. Now, as Justine mentioned,
there is a loose base. The character of my character
actually is loosely based on a bit of Enoch's experiences. Enoch,
I don't know if you know he's a black man.
(08:52):
And so my first thing once I realized that was
the case, I actually talked to Beth and Brandon and
Enoch and I was like, I don't feel comfortable accepting
this because they I did the audition, I got the
got cast, and then when I found that out, I
was like, I don't necessarily feel comfortable doing this. I
don't want to take away a role from someone who
can better tell this part. It was after sitting down
(09:15):
with the three of them and they told me that
this part is more about the story than it is
about any one particular person. We've seen many different people
in this role. We like you the best, we think
you fit this role. If you feel comfortable, then okay.
So I said okay, after sitting down and talking about
(09:37):
that with them for a little bit, and then we
moved forward with it. As we moved forward with it,
it was it was very quick. I had not Justine,
I don't think we'd met prior to that. I knew Beth,
but I didn't know you. No. I think I met
you the first day of filming. Oh wow, Yeah, I.
Speaker 3 (10:03):
Mean that happens a lot though, especially like INDIEILM, like
you don't have that much time to like get that
that chemistry going. You just kind of have to dive
in and trust.
Speaker 4 (10:13):
Yeah. Wow, it was.
Speaker 3 (10:15):
You were so respectful, Like I really felt comfortable with
you so like I definitely appreciated that, like the entire
time you were great to work with and think you
like I never felt uncomfortable.
Speaker 4 (10:27):
I appreciate you were amazing to work with and and
walking into it like that was one of the first
things is like somebody had already explored this role, so
I didn't want to uh in the short so I
didn't want to like retread old stomping grounds. I wanted
to explore somewhere new. So it was really cool that
And I if I remember correctly, the first scene we
(10:50):
filmed was the date, wasn't it? Yes, our first scene.
Speaker 3 (10:56):
Yeah.
Speaker 2 (10:57):
Then when you went in too to that really fancies.
Speaker 4 (11:01):
I think it was the fancy restaurant, wasn't it? Or
was it because the diner was the last day of
filming for the pilot.
Speaker 3 (11:08):
I think because we didn't get right away the diner, Yes.
Speaker 4 (11:13):
We were supposed to, I think, and then it had
to switch. So we filmed the first day and I
think that was our date, and so it had to
go straight into there. I'm also I do stunts and
fight and fights and stuff like that, and I fight
coordinated in the past stunt coordinated. So another part of that,
I'm sure you're aware, is intimate intimacy coordinating, which has
(11:37):
now fortunately become its own thing, which is great, But
up until recently that was it kind of ended up
being hand in hand. So as a stunt coordinator, I
was always very much like mindful about hey, if if
you've got to be intimate or if you have to
portray intimate scenes like get to know your partner, and
these are ways you can do it really fast and
(11:58):
and and be respectful and so like I went into
the process immediately with Justine. Just I'm like, I I
know that we have to hit the ground running and
we have to look like we're a believable couple. That's
and I'm and for some odd reason, you want to
stay with the guy who makes all the weirdest bad decisions.
But you know, so that was actually when I went
(12:20):
into that first date I did that that was all
running through my mind. And uh, and I'm glad that
it worked out because working with Justine was just phenomenal,
Like she'd always draw stuff out of me, especially when
we were working in the pilot, because we had a
lot to do in the pilot, as you noticed as uh,
after after the twist and episode three, our roles diverge.
(12:43):
But those first two episodes, which most of that is
the original pilot, that was it was. It was really
great And as an actor, I mean, I don't know
how you feel, Justine, but like for me. It was
a great experience, and I guess to like, how do
we make this relationship seem viable, believable that there's love
(13:07):
and care there? Yeah, and we just met.
Speaker 2 (13:10):
Yeah, it's amazing. Yeah, guys, you guys pulled it off.
Speaker 3 (13:15):
Yeah, well, thank you. I appreciate that.
Speaker 4 (13:17):
Thank you.
Speaker 2 (13:18):
Yeah. Absolutely. How does the series portray the cost of
freedom for both Helena and Patrick's character?
Speaker 4 (13:29):
We'll let you tackle that first. Yeah.
Speaker 3 (13:31):
Oh wow, that's it. That's a deep one.
Speaker 2 (13:35):
Yeah.
Speaker 3 (13:36):
Yeah. I just I feel like Helena she wasn't really free,
Like she was not free at all. Like I feel
like as the series kind of goes on, and I
hate I don't want to give spoilers, but there's obviously
some some depth she has where she originally is not free.
(13:57):
She's not a free person.
Speaker 4 (14:00):
Man.
Speaker 3 (14:00):
I don't know how to say this without giving away.
Speaker 2 (14:02):
The I know, I know, I don't. I was so
I was like, I just gotta know the progression of
your relationship, like how it you know, how it's how
we saw when we first are introduced to you guys,
the couple, and then what happens in between and all that.
It's like whoa, Okay.
Speaker 3 (14:19):
Yeah, there's the things you find out about Helena's past,
which basically reveals that she was never really that free.
Let's just put it this way, Like she was always
on the run and she was dealing with a lot
of her own stuff, and I feel like Patrick was
her sense of freedom for a while, and I think
(14:43):
she really valued that relationship because it was something so
normal for her and she wasn't used to normalcy, like
her whole life was kind of I mean, yeah, yeah,
I don't want to say too much that was her
freedom until you know, you know, other things reveal themselves
(15:09):
in the end. But yeah, there's really freedom is freedom
comes with sacrifice, I think ultimately, and that's kind of
what this show I think reveals in it to an
extent absolutely.
Speaker 4 (15:23):
YEA, yeah, I mean I think you said it perfectly.
I don't know that Patrick with his own I think
it's more his freedom of artistic expression that he's just
constantly struggling with. And as the story progresses through the
six episodes, it becomes very apparent as to why he's
(15:45):
having that artistic block. But I mean, there's so much stress,
but he puts himself into it, you know, or or
I do. I should say, I do you know, I
do I put myself into it. It's bad choice after
bad choice. But and again, if we want to if
we want to watch a series full of good choices,
that's more maybe children's television or something like that, you know,
(16:08):
like if if, IF, If you want to make engaging stories,
it's people who make bad choices or not the best choices,
and then how they come back for them or how
those choices catch up to them. And this story has
all of that. Uh and and and knowing what we
know now, both as both having been part of the
(16:29):
creation process of this, but also just the characters the
arc of it. I know, Patrick, I know I actually
felt when we were shooting the pilot that I was
trapping her, not in any malicious way, not that I
was intending to, but you know, as as a as
(16:51):
a person, I don't think anybody ever really wants to
be holding someone down, you know. I think I think that,
you know, in a relationship, everybody's trying to uplift. But
in this particular uh, in the pilot that we shot,
Patrick definitely is is more worried about himself and and
(17:12):
isn't really worrying about the consequences of his actions, even
though when he thinks, even though when I think I
am worrying about Helena, you know, the person right in
front of me, it's it's not about her. It's all
about me and and trying to feed my needs. And
I'm trapped by that, which I think ultimately is a
(17:32):
trap for her. Only you've already had a week to
watch it. Everybody too late.
Speaker 3 (17:37):
Right, boilers come out about a week and anyway, right, right,
exactly exactly.
Speaker 2 (17:44):
You know this this this this show explores, you know,
I you know, I couldn't help but think about just
you know, the pursuit of wealth, right, the influence of
just having a lot and all the things, and and
how it can kind of, uh, I don't know, somehow
can of corrupt you in a way.
Speaker 3 (18:07):
You know.
Speaker 2 (18:07):
I think Spillpaint does such a great job of like
kind of showing that, especially in the art world, and
its impact of artistic integrity, right, tell me, I mean,
I don't know. Both characters have something very very much
in common, which is revealed later. I was like, oh,
I had no idea, because how we're introduced, like at
(18:29):
the beginning, you know, Patrick character is an artist and
and you know that's what he is. Uh, do you
think that you both you're both characters are had that
in common, like those ideas of like being famous and
wanting to be out there. Like did you feel like
that your character deep down because he said yes to
(18:51):
the the offer in with the guy. So is that
something that you're both characters really wanted to do? Like,
is that was that the in the forefront of the mind?
Speaker 3 (19:00):
I think, I mean, I think for for Patrick, for
Patrick's character possibly like yeah, because like every artist wants
their work to be validated to some extent, but like
what is what are you willing to risk or give up?
It's essentially like he sold his soul to the devil. Yeah,
(19:20):
and for some reason, like Helena wanted to support him
in that right and and and I think because because
of that craving that an artist has for validation. I
think there's also like later on, as we explore in
the series, there's other characters that perhaps didn't want that
(19:44):
because they had fame. Because well in the in the show,
you see that a famed artist ends up resurfacing. I
mean that's in the description of the show. And so
that artist, like I believe created for this of creating
as a cathartic experience and kind of got exploited. And
(20:08):
that definitely shows in the end because there's a fight
to their freedom in the series, because Ramirez Ponce is
basically the villain who who is the devil that these
artists are making deals with because they want that validity
and they want that that fame where where because this
(20:33):
other artist that resurfaces has already had that and knows
the price of what fame does as it doesn't mean anything.
You're just the puppet to these these these people and
these these art dealers and these people that buy art.
They're only doing it for a show. It has nothing
(20:54):
to do with the art itself or the creator itself.
It has to do with status. So it's so politicize
and corrupt to begin with, and so it really explores
a lot of those deeper concepts I think of, like
the struggle between wanting to create, wanting that fame for
the creation, and the fight to kind of get that
(21:16):
freedom back.
Speaker 2 (21:18):
I love that well Well said, do you feel like
that as as as artists as actors? Do you feel
like acting now? I mean we've come from you know,
we had you know, the Me Too movement. We had
everyone you know, the you know SAG after the March,
Everyone's marching about you know, equal paying, all these other
all these other things that were coming up. Do you
(21:38):
feel like as actors that we're moving in a in
a better direction, like for the future, like is it
Are things getting better for actors?
Speaker 4 (21:50):
Short answer, probably not. I think I think for the
last ten years or so. Maybe the answer would yes
minus COVID, which is coincidentally what halted. That's why there's
such a time gap between the pilot and moving forward
(22:13):
with the project COVID. We filmed in February of twenty twenty,
and then COVID happened a month and a half later.
That was fun. But to answer your question, I feel
not right now. Maybe in the last ten years, like
I was saying, actors, we had streaming, which really changed
the game. Cable TV was still a monster, and I
(22:36):
mean like a good monster, a juggernaut, lot of things happening,
a lot of place for high paying work and talent
and all that stuff. And then you had streaming coming
in being the disruptor that tech companies are. But it
also started as it tried to figure itself out, particularly
the big streamers, But then you also had almost every
(22:57):
every big studio create their own streamer, so actors had
a lot to choose from creatives of all types who
wanted to be involved in the film industry and TV industry.
I think had a big field day right now. I
think the struggle and it's not being looked at as
seriously as I would like, is AI. And I don't
(23:18):
even know that it's AI in the sense of like
taking actors' jobs something like that. I think there's enough
room for AI created content and you know, human created
content or a mix thereof. But what I think it
comes down to, and it kind of ties into my
feeling about the character Vermier's ponts, is the people that
(23:41):
control the purse strings always try to make the most
money with the least amount of effort. And that's what
it feels like is happening right now, and a lot
of people who control those purse strings, if they're not
really involved in the creative side of things, in my experience,
then they view actors as whiney, crybaby or just way
(24:04):
too emotional, too hard to deal with, too unpredictable, and
which is unfair and not at all true, But that's
the feeling I get, and I don't know how to
fix that right now. I know sag After is trying hard,
and there have been wonderful movements that have both been
(24:24):
directly about the industry and also about the amazing parts
of our world that really need to be showcased and
need to be addressed and brought forward and clearly. Right now,
there is some some flak that's happening, and you know,
we won't get into that too much, but it is unfair.
It is it's not necessary, I think to move forward,
(24:47):
we have to as actors to confront the juggernaut of
AI and to confront those with the purse strings with understanding,
helping them to understand that we too deserve to have
(25:08):
our creative existence be here.
Speaker 2 (25:12):
Yeah. Absolutely, Yeah, I don't think.
Speaker 3 (25:15):
AI can cannot really replace. Like AI is only as
good as like the last human that creates, right, really,
yeah you don't think that. But again, like like you said,
the string the string pullers, like that was good, I've
never heard that. Yeah, they're in control in it, and
less they're not. And unless they start to like have
(25:35):
a heart, then what are we going to do?
Speaker 4 (25:38):
Like that's that sucks, and some do, some do, some
absolutely get it, and those are what I'm talking about.
You know, you've got you've got some creators. Steven Spielberg's
of the World, James Cameron's of the World, Ryan Coogler's
The World. You know, these folks, they're they're creators, but
they're they also hold the purse strings, but they're they're creators. First,
(25:59):
you got a lot of career, You got a lot
of people who are creators. Second, or maybe even third.
And I don't want to speak ill of anybody. I'm
not going to I know everybody wants to bring about
these amazing things, but if you're bringing it about for
the sake of money, then you're bringing it about for
(26:19):
the wrong reason. The money will come. I was taught
from a young age that if you just drive towards
what it is that you want to get to, If
you drive towards that horizon and don't lose focus. You
may take a detour here and there, but don't lose
focus of the horizon. You're going to get there. But
some people want to get their way too fast, and
unfortunately that's at the expense of so many others.
Speaker 6 (26:39):
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Speaker 2 (27:14):
Yeah so sad, so sad, but yeah, I you know,
and I think that's that's what I saw in the
in the movie, those that theme of like power, and
that's what we're doing with today. You know, it's everywhere unfortunate,
but I think it starts with conversation and I love that,
you know, that we can talk about and hopefully hopefully
(27:34):
somebody listens and says no, yeah, and you know, let's
change that. Like what you guys did, You made You
made this series, you know, and you didn't wait by
the phone for somebody to make it. You went out
there and you did it. And that's what we should do, right,
We create our own table. We don't have to wait
to be seated at the table.
Speaker 3 (27:51):
Yeah, yeah, yeah, screen lighting your own stuff, Like that's
the like I've heard that a lot. Is like now
it's very much like there is some freedom in the
industry now with so much like self made content is
like people are green lighting themselves a lot of the time,
which is really cool.
Speaker 2 (28:09):
It is cool.
Speaker 4 (28:10):
Yeah, cool.
Speaker 2 (28:12):
This was done under your production right.
Speaker 3 (28:16):
Oh yeah, under like Beth Wheatley was the main producer,
my my girlfriend.
Speaker 2 (28:22):
Yeah, that's exciting. I mean that's great. How does it
feel it's out there, blood, sweat and tears.
Speaker 3 (28:30):
Yeah, I mean it's good. I'm blood, it's out there.
We've gotten some like good feed good positive feedback. But yeah,
it's kind of surreal because it's like it's been a
long process, so it's like, oh wait, it's actually like
really out there now for people to watch.
Speaker 4 (28:46):
I mean, I don't know what it's been like for you,
because I know you live with her, so you know,
you're you're constantly in connection on this side of the fence. Uh.
It's Beth has just seemed like an unstoppabable juggernaut, you know,
because this is this is five years over five years
in the making at this point, and it's mostly through
(29:07):
you know, her production. And then in twenty twenty two
we were produced approached by I think Donafer Films, correct,
that's yeah, And so between the two of them, it,
you know, it's almost like this, this is what I'm
talking about when it comes to you know, the people
(29:27):
that are creative but have the purse strinks as opposed
to the people that have the purse strinks but don't
really care about the creative process. And it's just been
like every second every time that I know, I personally
was like, as an actor, you've been a part of
so many things that either don't end up doing it,
don't go anywhere, never get made, or they get made
(29:48):
and then they're on the shelf or whatever. You know,
you just kind of get used to it. And every
time I was like, Okay, spill paint has run its
course and take it for what it is. All of
a sudden, I get an email or I get a
text or something, and Beth is like, hey, this has happened. Hey,
this is happening. Hey, It's like, oh my god. And
then a week ago, you know, we or a week
and a half ago, we get the message saying it's out.
Speaker 2 (30:13):
I love that. I love that. I love asking this
question every guest on this show. This is for both
of you, and there is no wrong answer, I promise.
The three levels of influence, money, power, and respect, And
if you could choose only one of those things, which
one would you choose? And why no wrong answer, I promise.
Speaker 3 (30:32):
I feel like at this point in my life, like
none of those truly like appeal to me, but I
think of all of them like the money appeals to me.
And this is for the reason being that I love
to create. I love freedom to create, and I would
(30:54):
just like it's expensive watching spilled panket on like the
producers my girlfriend, so I've seen firsthand how hard it
is how expensive it is to make to make even
just like an independent production, like to make like a
level on like Marvel or something like Huge that costs
millions of dollars. So I think money would give me
(31:16):
the freedom that I create as an artist, to create,
Like like I said, I'm a writer and an actor,
like those are my biggest passions, and I have a
lot of films that I want to create, and I yeah,
it's the freedom of create creative, authentic expression, and that's,
like I guess, the artist mentality.
Speaker 2 (31:37):
So yeah, I love it.
Speaker 4 (31:40):
Yeah, you know, my my first instinct is to go
with money because my whole life it's always been about
making enough to take care of my family. But I
think I'm a little older now, and I mean the
money is always necessary. I think respect is as an artist.
(32:00):
If I'm speaking purely as an actor and as a creator,
I think respect is what I would want at this
stage in my journey because I personally feel that if
I could gain that respect in the right circles, that
the money would follow, not necessarily to me, but I
would be able to find other creatives like Beth and
(32:24):
Justine and Brandon who hold those purse strings and be
able to create with them. So I think right now
I'd have to go with respect.
Speaker 2 (32:38):
Great answer, great answer, absolutely. What do you guys want
people to like viewers to when they watch this series?
What do you want them to walk away with? Is
there a message that you want them to like kind
of leave with?
Speaker 4 (32:52):
Or I keep telling my friends, I just hope they
like it and don't judge Patrick's choices too harshly, because
everybody knows me and and it's and this being the
first time that I mean, I've had a couple of
things up on TV, but it's all, you know, like
little things here or there, so to be showcased in
such a way people who really know me, you can't
(33:15):
escape it. There are parts of you that come out.
Even if you're totally invested in a character, there's still
parts of you, ye that that slip out. And so
I've got people texting me, calling me being like, Jamie,
why did you make that decision? No, you know better
than that. We've known each other since we were five.
Why Aside from just the entertainment side of it. I
we we talked earlier in the podcast Uh Not Sorry
(33:38):
podcast in the video about the the uh just moving
forward and and and not stopping. And I think that's
what I would want people to get out of it,
is that UH is that don't stop. You know, whatever
comes in your way, don't stop. There's there's your I
(33:58):
guarantee you you're gonna find a way. It's not necessarily
going to be the best way. It's gonna hurt. You're
gonna get hit in the face a few a dozen
times by by Buddha. But but but just don't you know,
keep keep moving forward.
Speaker 2 (34:17):
I love that. It's a great, great, great what about
you you need?
Speaker 3 (34:22):
Uh yeah, that's like a deep there. I mean, I
guess really it's it ends up every every film is
really subjective to the to what the viewer aches and
how they view the world. But I guess if I
was going to see and want a deeper message for
the viewer, I guess it would be artistic integrity and
(34:45):
that you know, selling your soul to the devil isn't
always the best choice. And even though it's disguised, especially
it's kind of like an allegory for like the industry
and our society in general is like we we're after
riches and we're after these these egotistical things. But really,
(35:05):
when it comes down to it, you can fight for
your own your own self, and you can take your
power back. And just because the villain is just because
the villain seems strong now, doesn't mean you can't fight
the villain and doesn't mean you can't stand up for
(35:25):
yourself and take your own power back.
Speaker 4 (35:28):
Yeah.
Speaker 2 (35:29):
Absolutely, well said, Well said.
Speaker 7 (35:33):
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Speaker 2 (36:03):
What advice would you give to you know, that young guy,
young girl out there and that is wants to get
into this business of entertainment? What would you tell them?
Speaker 4 (36:16):
Wow?
Speaker 3 (36:18):
I think something that really shifted in my own Like
when I was in my twenties, I was so concerned
about like what what does people think of me? What
do they want? Blah blah blah. And I really like
honed in, you know, through a lot of therapy on
my inner child, and like what drew me to acting
in the first place.
Speaker 4 (36:36):
And what I.
Speaker 3 (36:37):
Realized is that stay true to yourself no matter what,
because you're gonna have so many friggin opinions. You're gonna
have a director here that doesn't like you because you
remind him of his ex wife of two three years
or whatever or who whatever it is, everyone's going to
have an opinion. And then so so not only staying
true to like your own artistic expression and integrity, but
(36:58):
also embrace failure. And I think that shifted for me
was when I really learned, like, I don't need to
be perfect, like I can suck, like I can suck sometimes,
and it like gives you this freedom to like you
don't have to be the best, And ironically you improve
(37:19):
when you let go of all of those like you
have to perform and be this amazing actor and you
know sometimes you're not going to be and sometimes you're
going to be great. And it's really allowing yourself to
experiment and try new things and go for trust yourself.
And I think that's the biggest thing is learning to
(37:39):
trust yourself.
Speaker 2 (37:40):
Love that that's a big one.
Speaker 4 (37:46):
I would say, stay true to yourself, but know that
that's always going to change. You know that life is
never constant, So don't judge the change that's happening within you.
You can judge everything else outside if you need to,
but don't judge the change happening within you. Definitely go
(38:08):
to therapy. That is super important. I know you mentioned
that just scene. But seriously, I think it's important for anyone,
but for actors, I think it's vitally important because it
helps get you focused. Because it's it's a very not multifaceted,
but the industry tries to pull at you from so
(38:28):
many angles, which brings me the last tenant that I
would say, uh would be to the industry and and
those in it. You know, agents, managers, directors, other actors, teachers, everybody.
They're going to try to pull you in a direction.
They're going to try to pigeonhold you. They're trying. They're
going to try to tell you this is what you
(38:49):
need to be, and listen to it for the sake
of you know, if if you need to make a
commercial or if you need to you need to book
that role, listen to what they're saying right then, But
know that you're not limited to any of that what
any one person tells you you are. You're not limited
to what they see you. The only thing you're limited
(39:11):
by is your own imagination. In this industry, no matter
what if you're booking not booking, if you're in class,
if you're if you're you know, acting at community theater
or you're acting in a Marvel movie or anywhere in between.
It's just know that the only person who, at the
(39:33):
end of the day, when it comes to your creativity,
can tell you who you are is yourself.
Speaker 2 (39:40):
Absolutely, absolutely, very well said guys. Thank you, great advice,
great advice. Where can people find you, guys on social
media to follow everything you got going on?
Speaker 3 (39:51):
I'm at Justine Renee Fla on Instagram and at Justine Renee.
You can search for me on Facebook or YouTube stuff
like that.
Speaker 2 (40:01):
Nice.
Speaker 4 (40:02):
Yeah, I'm I'm old. I just have Instagram and Facebook.
You can find me by my name Jamie B. Klein
on Facebook. I think it pops up that way on
Instagram as well. But but I go by the handle
Incline like going up a hill nation Incline Nation.
Speaker 3 (40:17):
I love it.
Speaker 2 (40:17):
I love it. I love ending this show with a quote?
Speaker 4 (40:20):
Do you have?
Speaker 2 (40:21):
Does does anyone like have a favorite quote like that
that that keeps them going on those rough days that
you're just like you want to give up, and then
you think about it, You're like, no, I'm gonna keep going.
Is there a quote that comes to mind?
Speaker 3 (40:34):
There's a David David Lynch thing that David Let's go
Art doesn't have to make sense and I love that.
Speaker 2 (40:46):
Yeah that. Thank you guys for coming on. It was
a great chat and I wish you all the best
with this series and I'm so glad it's out.
Speaker 4 (40:53):
Congratulations, Thank you, thanks for watching it and everything.
Speaker 3 (40:58):
Ya watching it.
Speaker 2 (40:59):
I thank you all for listening and always remember to live, love, laugh.
We'll see you guys next time. Bye bye
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