The Spirited Actor - Michael "Boogie" Pinckney (08/04/2020)

Hello, and welcome to the Spirited Actor Podcast with me Tracy Moore. I was a casting director for film and TV and commercials for over thirty years. I transitioned to a celebrity acting coach after I cast a film New Jersey Drive with executive producers Spike Lee and director Nick Domez. I auditioned every rapper from Biggie Smalls to Tupac, and I realized that rappers and musical artists they needed help

My phone right now. Do you guys see me?

Good?

You guys see me? Okay?

Good?

All right, yay, I see you, Boogie, So Boogie, welcome to the show, Welcome to this thank you, thank you so much for being on the show. I wanted you on the show for so many reasons. Because ladies and gentlemen, we go way back.

They'll tell them how far back.

I will tell a commercial.

It was a Spike commercial, I think the first time.

That's how I was gonna just say that project. I wasn't gonna say the year.

Nothing okay, because we look good, you know, black one crack.

I'm just saying we have and as you could tell with our banter, we've known each other for quite some time. And I do want to say this about you, Boogie. One thing that I've always admired. I met Boogie doing a Spike Lee commercial and Boogie was working.

At forty acrecent a mule.

He was already implanted there when I came, I was freelancing.

He was really working at right.

And you have always like you know, there's so much pressure and energy on a set, and especially when you have a crew over fifty and Boogie man like you maintain control, you maintain professionalism, and.

Even when you know like it would get a little tense, sometimes you have to use your voice, even when you right.

But even when you did that, Boogie, it was digestible because you know, growing up in this business, because Boogie was when I met him, he was a second ad second assistant director for actors out there who don't know the terminology, and he rose.

So we're going to talk about his career.

But there's just a certain way you can handle people, and I just always respected the way you handled people, and especially I dealt with extras, casting all of.

Those extras right, and we know the history of that and how the AD department sometimes unfortunately deal with actors and background actors right, you know, as if they're not humans. So that that was always something for me, you know, everybody, you know, was important to the sect from my body from the top about them. You know, that was just my you know, my my my way of looking at things. So that's how I poached it well.

And I think that that was important, you said, teach treating them like humans. Because when I was on New York and the cover extras were addressed as skins, that was the first time I.

Left us for the right.

The paper that they named the own is called Skins, which is I never knew where it came from.

Wow, that was I was like, you know, because I was like, oh, where do you want my actors? And they're like, the skins can go over there, Like oh my god.

You know.

So one of the things that I also want actors to understand is the power that ads have because as a second ad, you know, you have a lot of jobs, but I know one specifically, my relationship with you was making sure that the actors were in place for the day of the shoot.

All of that.

But sometimes a director may need someone that has not been.

Cast right right, he's good for that, and.

They go to the the first assistant director will communicate that to you, and it's your job if you could just explain to actors, you know, because you know how actors are, Oh it's just extra work. Oh it's not important, but you can tell them the importance of it.

I mean, you know, because sometimes some doing background extra workt has led the principal work. You know, if you have a right look, if you you know, sometimes things are spontaneous.

Sometimes people have.

A very distinct look that they want to kind of position or place, you know. So it is a living, breathing animal when you're shooting, so you know, you got to be present at every moment because things can change, and you you know, I think actors need to really look at the set and really understand what's going on, the moving pieces of it, because they are integral part of it. They're not just a problem, you know, so you can you can take advantage of that, you know, and like a collaborative thing.

With the director and with the ad.

So if your present, sometimes your presence could be felt, somebody else could feel that presence and gravitate to you, and then all of a sudden you got upgrade to your principle.

That's great, That's an important I used to stress actors on New York Undercover. Don't bring your you know, Joan Collins novels, you know, like you know, because you know, we didn't have back then, we didn't have iPhones, So you know, actors were doing puzzles on set, and I'm like, you, guys, every set is the same, the protocol is and the process is the same.

The crew just shifts.

So understand what that template is, Understand the relationship between the ads, and you know, how you can get upgraded on a set. What were some of the in situations where you, as an eighth an ad did upgrade actors. What was this specifically that you were looking for besides actors being present that drew you to them and said, you know what, let's grab this person to bump into Denzel Washington.

I mean, you know some you know when when the background actor is understands that they're an actor. You know, some background actors they really focus on the background as opposed to the actors. Some background actors are actors, you know, the actors. They move Black actors the attention. They pay attention like actors. They'll hit a mark like they'll do

Before you have to tell them, you know. And that's what you want to work with.

You want to work with people that could speak shorthand with you because there's not a lot of time, you know, So just be present and be collaborative, be you know, see see it.

If you see a need, you know, and ask questions, Hey should I go? You know what I'm saying.

Just be communicative and understand that you know, we all we we don't know it all as ads, you know, we listen to the director with us to the DP.

There's all this noise going on. We need as much help us we can get.

And if the background actor has a great idea can do something to make our job easier, you're going to remember them, and we're gonna d if there's somebody that could be upgraded.

They're the first person that we're going to go wow, you know.

So, but can you share with our audience, like, tell us how your journey began and and how.

You your work at forty acres and everywhere. Lets tell us what you've been up to.

Many moons ago, you know, as you know on the Spike job.

You know, I start out as a intern and rose up the ranks through production assistant, you know for many years, you know, and then transitioned into being an assistant director and joining the director's guild with with you know, director and the AD is all part of the same deal. And while I was a DING, I was always writing and directing on the side anyway, So then I was able to kind of transition out of a ding to the directing because what I thought when I first started was being an AD.

Next up was being a director. But that's not how it works.

Typically, assistant directors don't become directors because assistant directing position is such a logistical managerial position. A lot of producers and network execs don't see ads as a creative position.

It's not a creative position.

It's easier for a script supervisor or director of photography to move into the directing position before an a D because the AD is it's in their mind. It's strictly logistical, you know, So they don't they don't understand that they also can have a creative vision. So that's what I thought in the beginning. I said, I'll be an assistant director and then I'll be a director. And they was like, no,

Even know that you have it. You're like, oh, yeah, I've seen that.

I know how you know, saybe because you've been doing it for so many years, you've seen it done that.

It just it's just instinct after a while, right you know.

And so while you were writing, you read your first film. Let yeah, talk about.

That, well, my first feature, you know, yes, yeah, I was writing short films leading up to that, and then I wrote my first feature film. You know, nobody said somebody kills Me and I was working on Inside Man.

I finished the script. I working on Inside Man at the.

Second ad and Uh, Detective Neil Carter restling Wrestling Peace he just passed last year. He was a technical advisor. He was a homicide detective. That was, he was tasked with teaching Denzel how to be a detective, basically how to do so. And I gave to Detective Neil the script and I was like, hey, just read this. I want to make sure my detective verbiage is great. He read it, He's like, I love it. I love the script.

You know, you're doing your first feature. You have no idea what's.

Happening the whole time the audience.

Let me just say, because there's some humility here, Michael K.

Williams was in this as.

The star, so you know Nick Shawn Curse, Yeah, McCullen, you know, Daniel was is a great cast. You know, we didn't have a ton of money, but it was a great cast, and it was it was my first feature. I'm still working on the second one. The first one is always the hardest, you know, and coming from the world that I came from, unions and big movies and having to kind of skim down, you know, was what's tough,

M after that experience, right, and and and working on such amazing films. He just he mentioned Inside Man you worked on.

Malcolm, I'm best man. That's the first best Man. Yeah, addition to second second. That's when I first joined the guild, you know, around that time.

And I didn't work with you on that, but I coached Monica Calhoun on Best Man.

But you know, I mean, like I always.

Encourage, I don't even encourage, I stress my listeners to go to IMDb dot com and to do their due diligence on you know who you are in terms of I have so many questions, but I want to zoom in. I do, because, like you, there's just so much you guys, please go to IMDb dot com and look at his credits.

Because we I want to talk.

About, like, you know, the Denzel Washington and working with such a great.

Actor, and what is it that.

Because I I've never worked with Denzel before, and I've had the pleasure of working with the Viola Davis. So what is in the beginning of perfect what is what?

What do you walk away with on a set?

What do you learn about watching such a phenomenal actor?

I mean, it's it's crazy.

You know, I worked on He Got Game with, then Zel's First Time and then Inside Man.

But what I walk away is that you know his preparation, that.

He's always ready, he can he turned it on so quickly, you know, laughing and talking in one minute. And when you're ready, he's it's like so quick, it's so so much Shorthand's sout on. He just so present and intentional that like he's like surgeon. He's like a surgeon. And it's like it's kind of like when you you're watching a ball player just play and they just they move with such face, you.

Know, and it's and it's easy.

You know, people are yelling his name, Hey, come run, making hugs, turn around, boom now the scene. It's like it's it's he can just turn it on and it's and he's just such a given spirit, you know, it doesn't he'll make them in. He'll make them in to greet somebody, just he'll make them. And he's so humble

He doesn't have to be He's Donzel, right, but he is, you know.

So it's just it from what I got, it just it made me step up my game to know that, Okay, I can be who I am. I could be Bookie, I could be giving. I don't have to be someone else. I could be however I am and excel and do it how I do it and be successful. I don't have to imitate someone, you know, because and if I'm a given person, if I'm a soft spoken person, whatever that is, I can be me and be successful.

You know.

That's what I got from it because it was just it was unlike any other actor, because the room changed when he walked in it, right, you know.

Well, I can honestly say that, I mean, you've been consistent you you are. When I met you, I felt like and still feel like, you've always been yourself. But that's what I have respected about your work. Even like I said, like, I mean, I've worked with yellers. I came in this industry with your what and so to work with someone who's still you know, who engages with you one as a human being, but you know you have that power and force and assertiveness, but you don't.

It, you know, just to say the a D. I worked with an ad call named Joe Reading.

I was a PA.

I was an additional PA on this film called Sleeper for Brad Pitt.

Was My job.

Was to be on the roof and let them know when helicopters are coming and no helicopter coming, we can shoot in helicopter because we're near a heliport.

And he was the most.

Soft spoken and he he ads for all scort safety films, you know, Causina.

He was the most humble and soft spoken from safety. And I was amazed.

I was just like, very gracious, thank you very much, guys. And I was amazed because I came from a world of screamers.

I was like, this work and there's two hundred people on the crew.

And that was when I was like, Okay, you know, there's so many different ways to do it.

You just have to be you in the midst of it.

I you know, because I thought, in coming into this business initially that that's what the process was. They're just yellers. And it wasn't until I was on Kiss of Death and I worked with the a D and her name was Marlene.

I don't remember her lassing.

But same way, same way. And I was like, oh wait, you don't have to yell all us out.

You don't give me.

Let me tell you another story I worked on. I forgot the name of the TV show. The TV show that came to New York from LA and so I first died the five days in New York.

And so we're shooting.

We shot in the studio and the key grip came up to me one day and he's his father was the key grip on the Honeymoons.

That's how long his lineage. You went.

And he told me he loved me.

He said, you know the A D.

I love how you ad because people don't understand that the AD's voice shouldn't be the loudest in the room because once the.

AD goes loud, everybody else goes loud, you know.

And he says he liked how I managed the room, and I just you know, So it was just interesting.

I was like, your dad was the key grip on Honeymoon? Wow, what the hell?

Crazy?

You know?

So that was funny.

Yeah, So in terms of your relationship with actors as a director, you know, we're moving more and more out of the live auditions and you know we're on the self tape.

What advice can you give actors.

To stand out you know on those because I mean, you know, I'm always.

Honest with actors.

And if I'm getting you know, six hundred to seven hundred submissions per character, and I got ten characters.

Right right, So I mean for me, it's almost the same as when they come in the room. Just be present. Just you know, nothing matters but that moment, you know, to me, I find actor to be so distracted, just it's just so distracted. It's like you had you work your whole life, you paid money for headshots to take classes off of this three minutes and you can't shut the world off for three minutes. Wo I find myself, you know, watching self takes and not and they're.

Not even there. They're auditioning, but they're not even there, you know.

So to me, just be present, just be intentional about how present tract and just really connect with the person that's going to be on the other side of that self taping because somebody's gonna be watching it, you know, And and and really give and become something and get and give up yourself, just give up yourself and stop being in control. They just want to control everything, and they don't realize, you know, sometimes you trying to control everything.

You all, right, And you know, I'm so surprised. Well, okay, let me just say this.

I'm surprised that you're saying this because are we taught talking about a certain generation you know, yeah, we're talking yeah, okay, can you speak on that.

Yeah, because you know, there's some actors that you know of over the older generation that a season that are theater actors that are just they get it. It's like it's like Denzela's second nature. They just they know how to turn it on. But this generation, a newer generation,

You're not, you know.

So I think this generation thinks that they're ready when they're not ready. You know, they have to you have to practice and you have to turn it on before it's turned on.

So those are type of those are that's information that these actors would getting classes. Do you stress classes, private session?

I mean whatever you can afford classes, private session? You know.

I remember Denzel all have always having the having the coach have you know what I'm saying, sharpening, sharpening, sharpening, Michael Jordan in the gym shooting free throws that go win in four rings, Like like what right, he never stopped training, right, he never stopped training, you know, so and let and tell you and let's until you get

I just feel like there is in my experience within I would say the last six to ten years, there's this arrogance in actors. And first of all, they don't do their due diligence right, And so I'm not asking for a parade or any type of accolades.

But I do want you to be familiar with.

My credits and what I have accomplished and I and as a casting director, I would be so you know, I had to wean myself, but I would be insulted by the fact that the actors didn't even take the time to research the director, you know. So, do you find that there is this arrogance, this attitude of immediate gratification that I don't have to work as hard?

Yeah, because they You know, the thing is when we came.

Up, we had to really in order to get the knowledge, we had to learn it, right, couldn't google how to.

Be a peer. I had to I had to be in a feeling.

I had to learn this stuff real time right now, you know, the information is so available.

They think that they know there's no substitute for experience.

There's exactly you know, So you know you don't know everything, you know, so they had real life experience and then the book in Google experience.

You know, so they and they don't equate. They're not equal, you know.

So just because you know, you know some of the verbiage and you you know what I'm saying, you just really have to They need to respect the people that came before them and respect the work, you know, and and that's the I, M. D. B. And and people's journey. You have to respect that work because you know, and they and they eventually get it, you know, but we

It's a beautiful journey, So enjoy it.

That stop focusing on where you trying to get, because once you get there, you're gonna be trying to get.

Somewhere else exactly.

Oh, such great jewels, you guys. I pray that you've documented this in some way, write it down recorded, Boogie, we know what work ethic is about.

You know, I know I have, and I'm sure your experience.

Excuse me, I've been on a set for twenty four hours literally a video.

That's a video set, right.

I'm a little older than Boogie, so on a music video set with Lionel Martin.

Do you classic concept?

There you go?

Okay, plastic classes. So I'm saying that to say that when I speak to this generation about work ethic, even how you say, oh, I don't want to sound like my parents, But there's a part of me that feels like I.

Sound like my parents.

But it's like, I know what it's like to stand next to a propane heater and negative fifteen degree weather and Chicago shooting exterior barbershop on the Thirteenth Hour with.

Tim storm mm.

But if you say to these kids, you know, well, listen, we're gonna have to simulate winter in summer, so you can wait, I have to wear a Parker how many wait?

How do you this entire three twenty three?

But I mean, and that that's just that's just you know, I feel like that's just what it is. You know, they can't really you know, we we came up in another time, which I remember standing on the corner I worked in the film. I forgot the name of the Devil's Advocate. I was an additional advocate. I was in additional PA starting out and Wow, the ad were the Screamer and Cold Time at six am. The pas had to be on set at five am on the corners that they were locking up in the truck didn't even

So that's actually a great segue because actors are going to have to make some major adjustments. I have a friend who I spoke to the other day and said that she was interviewed as an intimacy coordinator. That's a new job that they're going to have, you know, So what what are some of the changes that maybe you can speak about now that actors can start to mentally prepare for.

Yeah, I mean, you know, some of the protocol they're talking about it.

You know, everybody that's not on camera wearing masks, you know, just the ppe that available on set, and a couple of like you said, a couple of new crew positions, you know, that are paying attention to self distancing.

You know, all the prepackaged food.

You know, you already talked about the auditioning remotely, you know, and the rehearsals remotely. You know, just imagine zoom rehearsals, you know, right, and then you know, just having you know, on site departments where the hair, makeup and wardrobe never

Like never remember the day with d no video village is you know.

It's going to be social distance and it's nobody other than those three people, the DP.

The director, But remember the days twenty amount.

Looking Well, that's where I mean as an acting coach, that's where I am.

I'm in that well you're gonna be and they might have room.

They talked about having remote like say bigger films like if they're the trailer with you know where where you can watch video village, so very visit's gonna be kind of transmitted places you need to see it. It's gonna be where you can have see right, you know. So they and all of this stuff is gonna cost more money budgetary, yeah, yeah, might.

Be shorter hours.

Yeah.

So now these actors better know that they better hit it there ain't no time to be flowbing lines, don't coming unprepared.

We don't want a lot of time.

So now they're gonna cut the number of hours that that we're gonna shoot eventually, because you know, the longer people say around each other, the higher the risk of.

Right of comamination.

So they don't want And the thing is with what they also said for that is that after the fourteenth, after a certain number of hours, your resistance is is weaker. So yeah, I said for sixteen hours, their resistance is week So so.

It's all all of these things are going to affect.

Yeah, you have to be leaner, we have to be tighter, we have to be more intentional and laughing. Hey, just you go there and you do your business right and you be about it and that's it, you know, well serious, no, no.

You're right about the hours because you know a barbershop, I did sixteen hours sixteen days and you can see down.

Yeah, it diminishing returns and then what happened to your immune system is is jacked up. So they so they're gonna be shorter day, shorter page county. So it's not going to be shooting seven page if you can't do it in ten hours, all this coverage.

Maybe it's two cameras shooting all the time.

It's just, you know, nobody wants to spend as much time as we used to spend on set anymore. Nobody wants because there's a lot of people, so they want to get in.

Yeah, I don't even I'm not used to. I'm used to being on a cruise one hundred and that. I mean, you know, fifteen.

People, that's a small crew. But I don't know a crew that's less than two hundred.

So you know, we boggie.

I'm gonna invite you back on because I told you twenty eight minutes was gonna fly by, and I'm getting warning signs I did want to make I did want to give clarity to video village for actors who don't know, that is the space in which the director where you see the director chairs for the director, the DP, the script supervisor, all of the producers, writers. It's sort of this,

But they always they're very gracious on set, and they give me a director's chair. So that's our video village.

I just want you, and I got a minute left, if you could just give actors what is the best advice, because you've given them some amazing nuggets.

What is your best advice that you want to give them.

I mean, I would say, just continue to work and stay sharp. We're going to come out of this. You know. Are you gonna come out of this better and sharper or not? You know? So continue now.

You got time to get that monologue tight, You got time to work on stuff because once things open back up or things want to get back to whatever normal, we find that time is lost.

So use this time.

Why is it you know, read some scripts whatever, if you want to write, Just just just utilize this time. You know, take yourself and critique yourself, and you know, just just do that work you know that you always wanted to do in this time and shopping your tools.

Wow, it was an excellent twenty eight minutes. I'm holding on to all of that. I want you guys to put your hands together for a director extraordinary mister Michael Boogie Pigney, thank you for.

Having me, Thank you having me so much for coming.

I really really am grateful to have you here. So we'll be back on.

The Spirited Actor Podcast with you know my favorite segment class in session.

Welcome back to.

The Spirited Actor Podcast with me Tracy Moore.

And we are still blessed.

To have Michael Boogie Pinckney with us Director extraordinaire. Yeah, we're applauding him. He gave us some great nuggets.

Man.

I feel like I need to just saturate my mind with all that he gave us today. So embrace it, actors. I have Miss Julisa Capri spirit Actor Alumni on with us. Hey, so, hey, I know my listeners know that you know this is my favorite segment to high light specter alumni, give them a platform, an opportunity for our guests to see their talent and give constructive criticism. Soter Lisa, you can tell us the title of the monologue and then whenever you're ready, we still have book.

It's called Nuts and so I'll just get I'll get right into it.

Okay.

When I was a little girl, I used to say I love you to the moon and down again, around the world and back again. And she used to say to me, I love you to the sun and down again, around the stars and back.

Again, And I used to think, Wow, I love Mama and Mama loves me. What could go wrong? What went wrong?

Mama?

I love you and you love me, and what went wrong?

You see?

I know she loves me and I love her, so what so what? She's over there and I'm over here. She hates me because of the things that I've done.

To her, and I, hey, y'all, those are the things that she's done to me.

See, he's staying in.

A bad Ask and do you love your and.

Then they say yes.

You think you've asked something real, and they think they've said something real.

You think because you tossed the love. I'mund like a frisbee that we're all supposed to get old running.

Oh, something happens to some people. Sometimes they love you so much. There's something noticing you're there because their teo's loving you.

They love you so much.

Your love is like a gun and they just keep fine and straight into your head. I mean, they love you so much to go straight into the hospital. M Fama, I know that you love me. There up, the love is too much. It's too much, you're not know.

H see, Okay, all right, So it was a little choppy for me, I don't know how it.

Was for Boogie, just a little choppy okay for me also, but you know.

My connection is that unstable on the thing across the screen.

So yeah, that's fun. You know, I got it, I got I got it. Though he's a professional, that was an interesting monologue. It was an interesting monologue. Who are you talking to? Were you talking to someone that? Were you?

So she's on a stand talking to her mother's across and then she's trying to convince them that she's not crazy, even though she's been brought to a crazy house and her mother is the impetus for a lot of stuff that's going on in her life. And so her mother is there, she's confronting her, but she's also trying to let them know, let me out of this space.

I'm not really crazy.

Okay, Okay, interesting because I was trying to gauge you and I knew it was a lot going on, you know, So I'm you know, trying to follow the story, which in which I feel like, you know, sometimes I feel like actors. It's just like kind of like those singing shows.

You know what I'm saying.

That's just that's just why I found myself trying to really follow and make sense of this story, and that took too much of my attention, you know.

What I'm saying. I don't know if you ever experienced that, Tracy.

Yes, I mean we don't see a lot of monologues, but I think that this monologue is from the film Nuts. Barbara Streisam was the one that was in the stand, and I think for me it was more of the jerkiness because I do know them monologue, so I can't really I don't care. But you know, one of the things that it is going to be challenging, in my opinion, is the technology because we're all going to be audit when we get back in, so I don't know how

Callbacks are going to be zoom.

When some Sinclair was on and she said that she did a Zoom callback with a director, So you know, we are going to experience some of these glitches. You know, prayerfully, you know you'll get another chance to do it again. But that's something that I think is really going to have to be a discussion because zoom is not flawless unless there's another platform that is created specifically for this.

That's a good idea for something, some technology to come from casting directors for it, because you know, Zoom is all we got, That's what everybody has.

And everybody's on it. Everybody's been on it since we've been down and even before that.

But I think that their needs because I really feel like the challenge is going to be.

The challenge is really going to be, you know, the.

Fluency that you have of course in the live one, didn't you know, and being able to and then you freeze, you know, when you were talking about rehearsal, I watched a rehearsal a couple of weeks ago and it was great, but then it was freezing, and you know that causes thing. So we're gonna have to work out those glitches. But you know, overall, like I love this platform to be able to do this.

You know, and you know her from the neighborhood. You may not know her talent, but I knew.

I came to the showcase I saw you did. I was already talking about it. Are you sitting or standing?

I am because I was just short sitting monologue.

Okay, the sitting monologue, Okay.

It's she's sitting in the witness stand.

Uh see.

I guess you know the thing for me a lot of times the monologues that have a lot of components from films to help it along.

If you don't have it, you know, the witness you know what I'm saying.

So it's like, because now we it's hard for me as the viewer to visualize what the world is. So if you pick a monologue that you know, you're doing things based you know, creatively and as for the monologue based on the context.

But I don't know the context, I'm not gonna really get it.

So I you know, so whether it's good or bad, it's kind of like I'm kind of lost in the context.

Of where you know.

So so for me, I find you know, monologues that work best are ones that don't that kind of our standalone you know, if you really you know, you're familiar with the film nuts and you know what I'm saying. If you aren't familiar thing, you're not going to be as moved.

You know. It's kind of like a song people sing a song on Oh.

I really loved that song, whether they did a good job or not, I love that song, and that's the focus versus somebody that picked a bad song and your voice is amazing and you're like, all right, you know the song and great the voice, you know what I'm saying.

So it's hard to kind of separate and kind of decide which is it.

And if you're doing a self tape, you ain't. There ain't no time to figure out which is it. It's next, you know what I'm saying. So it's kind of like, really see, you know, step outside of what what monologue you're doing, to see if it makes how how would.

The viewers see it?

Not how you feel about it, because you probably like I love this mylog, but sometimes actors tend to make it more about them than anybody else when it Unfortunately, it ain't about you when you're doing the audition. It's about what you're given to the person watching. So so that's that would just be my note in terms of figuring out is there better monologue for me to see only your talent and not try to suffer with the context of what's going on, you know, So that's all I can focus on, you know.

Okay, Wow, that's a great point. I've never thought about it in that way. That's a great point. Thank you so much.

So, and I always ask because yeah, I mean, I definitely want to have you come back on in class and session and see a scene and see the work and yeah, because that's all original work as well.

But everybody puts your hands together and send virtual hugs to our guest, mister Michael Boogie Pinkney. Yeah, and we recorded this.

That was fierce.

Okay, So we will be back with the Spirited Actor Podcast with me Tracy Moore and I will be giving you love. And now it's time to give love. If you want more trust in your life, you have to be more trustworthy. If you want love in your life, you have to be of love. Whatever it is that you want in your life. You have to be of that. If you want people to trust your word and be of your word, you have to be of your word.