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 biggiees Balls to Tupac, and I realized that rappers and musical artists they needed help
transitioning to acting. My clients consist of musical artists from Buster Rhymes to Eve, Missy Elliott, Angela Yee from The Breakfast Club, and Vanessa Simmons, to name a few. I also coach sports stars and host as well. I feel I have the best of both worlds. As a casting director, I know exactly what they're looking for, and as an acting coach, I can coach you to be remembered in that room. Now I know, I know actors want to get the job. I get that, but being remembered by
casting director that is powerful. And now it's time for meditation of the day. The only thing we have to fear is fear itself. Franklin Roosevelt. Fear is an illusion period. It doesn't exist when you confront fear head on right when you say I'm.
Going to talk to my landlord, I'm going.
To talk to the bill collectors that are calling me. I'm going to confront a parent at school. When you do those things, fear goes away. Courage stands forward. That's the poison for fear is courage. Have the courage to address all the fears. And sometimes we need help addressing them. And I say that in terms of maybe therapy, you know, to talking to a good friend that you trust and you have safe place, but courage makes all the fear
go away. Today I will confront fear with courage. Before we get started, I like to remind everyone to go to Crackle Network to use seasons one and two of my show Inside the black Box that I co host with the great Emmy Award winning Joe Morton.
Look out for news on season three soon.
Welcome to the Spirited Actor Podcast with me Tracy Moore, and I am energized. I am on high high alert for actors. Today on this show, I am going to be teaching you. I'm giving you a prelude of a workshop that I have developed and I will be teaching. So I'm going to give you the information before the end of the show. But this is called working on set. This is the name of our show. Today is working on set, I have to say, and it's working on set with Tracy Moore.
I just want you to know that.
For those of you who are just joining us so didn't know, today is working on set with Tracy Moore. I have to say that as actors, a lot of times people say to me, you know, oh, it's just saying lines. It's just memorizing lines. And there's so much more to acting than just memorizing lines. And when you create or follow up templates that I've created for actors, there are no shortcuts in this industry. You will be shortchanged.
But what they are are new insights. And I always say that when you guys take classes with acting teachers, drama teachers, acting coaches, just make sure that they are current, make sure that they are working now in the industry, or maybe excuse me, they decided to transition full time to teaching and they.
Just recently started five years ago.
Wherever they land, make sure that they understand the business today because prior to COVID, we never thought about Zoom submissions. We were always live. Auditions were live, callbacks are live. Producer sessions were live. Now for the majority, everything is soomed, So you want to make sure that you're moving with the times. You understand the times, irrelevant during the times.
So I say that to say that I feel extremely blessed to have clients who are currently working in this industry and relationships where they honestly call on me to.
Work with them.
And it just really rocks my soul because I have relationships in this business.
And so.
I had the pleasure last month of being.
On the set. Oh now we're in July.
So in May I was in Atlanta twice. I was doing in the film with Newturi, not Lifetime's Abduction at HBCUs and this is coming on July twentieth on Lifetime, So check that out. Wonderful, wonderful body of work and heart wrenching story, but wonderful, I mean, just really dynamic performances from all of the actors, and I specifically worked
with Sunuturi. The shoot was fifteen days, And what I want actors to understand is that they're now that and this is something for me coming from the Independent world that I always knew.
I always knew we had we.
Didn't have a budget, so we had to work it out by any means necessary. I always knew that we had to shoot and run because we didn't we couldn't afford the insurance that we needed to get a permit and.
Be able to shoot freely.
I come from, you know, independent world, like we made it happen. So we were used to no budgets, low budgets, shooting.
A film in.
Twelve days, fifteen days, seventeen days, twenty one days. And so now everyone else, it appears, has figured that.
Out as well.
And so in everybody else figuring that out, what happens now is that studios say, huh, well we can shoot a featured film in fifteen days. Wow, that means we could get more films in here to shoot right now. My experience being on the set, wonderful set, wonderful director and production. What I felt was lacking was the preparation as actors.
That you guys have.
I remember being on sets four to six weeks or four to eight weeks, ten weeks, and you did have. In featured films, there was a certain leisure to maybe sit on your trailer's steps with your sides and go over your lines to yourself or maybe with someone else that is in the scene with you. Your meeting for the first time. You do not have that luxury anymore. If you're shooting fifteen days, you're shooting pages a day, and that means that the takes that you may have
been accustomed to prior to COVID no longer exists. You come on the set volcanic Cot prepared to give it your best shot because you may not get another take, and when you are an integral part of the story, it's very challenging to cut around your performance.
Your performance will be what your performance is. So it starts with the prep time. That's what it starts with.
So for those of you who have agents want your contracts is negotiated, sign the check is on its way or the transfer however the money is exchanged legally, what you want to do is start preparing for your role.
The work starts for you there. The work.
Work doesn't start when you get the call sheet and then it says what time you supposed to be on set and you think, okay, I'll run my lines during makeup, I'll run my lines through hair, and then you know, I'll try to find the other character or characters in the scene to run lines. So that doesn't work anymore,
that's not really happening. So the work that you need to do, the prep time that you guys need to do as actors when you land a role and you secured that role, is the character work and what does that look like? Well, I just want to dispel some myths right now. One is that acting is not pretending, imitating or.
Just you know, throwing out some lines.
Acting is really embodying the truth of the character and their journey. It's about truth. It's about your truth. You believe who you are. You are not who you are. You are the character and that character has a different
journey than you, a different walk than you. And the beauty to me of acting is that you, as an actor can create all of this And how cool is that from the information that you get, you get to color and say, oh, I think that this is what they would wear, and this is how their hair would look, and this is what their apartment looks like.
It's just really.
Creating based on the truth that you have, the information that you have in the script.
That's how you start to craft this character. Right, So the first thing that.
You want to do is, let's say you have a role in a film, and let's say it's when you get a call sheet.
You are no longer referred to as your name.
You become a number, right, and so depending upon you know, number one of course is the star of the film. But let's say you're number five. Okay, you're number five on the call sheet. That's a pretty.
High number, right.
So assuming you have like at least let's say twenty scenes, this is where the work comes in. So after you have gathered all the information, and this is why I highly recommend that actors read every single day, and allowed it is recently i've been doing. I did a workshot in Springford, Connecticut. Springfield, Connecticut, had such a great time with the actors there.
But I could tell who reads and I could tell who doesn't read.
And it was an interesting connection because there was one.
Actress that.
I connected with and I knew that she had an experience of reading when she was a kid and the class made fun of her or they did something that shattered her confidence, and she was nervous reading in front of people in her body language. And then afterwards we had conversation and she actually confirmed that. No, I'm not a psychic, and I know I've been referred to as the oracle, but.
No, I'm just playing with you.
No, I I've just seen it before. I've seen when actors. I know because I have had them experience myself in high school, so I know what that feels like. So when you were reading, it's effortless. It's not a chore. It's this is the part of your job. So you want to read the script when you get the first script that they send you after all of the contracts and everything is done, and you want to read it once again, just to be a spectator. No highlighters, No,
how do I say this line? None of that read to comprehend. I cannot stress enough what comprehension means and what comprehension looks like. Because when you understand something, you understand how to say it, and you can say in one hundred different ways. As long as you maintain the consistency and the integrity, then you're good.
You're good, right, And I always use this exercise. It's very simple, easy, right.
So if I say to you, it's your birthday, and it's an your birthday, I just need you to answer back, no, it's not. And in listening, because acting is listening, you will hear I'm not saying it the same way, which causes you reaction to react differently.
You should to each way that I ask.
Right, So I'm going to show you that I'm going to do that quick exercise in class and sessions so you can hear how that works, because it really is a listening exercise. Okay, but acting is listening. So when you are reading these scripts, are reading these sides, you are reading to understand, and then you come back and have this conversation and self like, okay, okay, so my mother loves me, but I have issues with her because my sister said blah blah blah blah blah.
We were born. And you're putting all of these pieces together, and the more you read it, the more you understand, the more you hear something different. This is fact.
This is absolute fact that I'm telling you because as a casting director, I've at least read a million scripts in my lifetime, and in reading a million scripts in my lifetime, I'm exaggerated, but I've read a lot of scripts. But in reading a million scripts in my lifetime. I can tell you this that there's always something new that you learn and that you hear each time you read it. I have this when I read with my clients, when I work with my clients, I always discover something new.
And so that's how you guys should approach these scripts. Once you've read it and you've understood it, you comprehend what's going on. Now you can take your highlighter out and you can start to go see by theme again, really understanding.
Do not move to another scene if you don't.
Understand the scene prior to that, because everything is connected. There's no oh, I'll just go back to that. This is not school, this is not English class. This is a script, and the script tells a story, and everything on that page in that script is an integral part of telling the story.
You cannot alter that.
So if your introduction is on page three, how do I know it's your introduction Because your name, your character's name is in capital letters. So on page three capital letters, your diamond, your character shows up right. And I would saying the other day to an actor that your name means something, your name, and you should you should create that define that crafts that know that. And I say that because as a writer, I wrote a scene called Eggshells and one of the characters name is Phoebe.
And so.
I was teaching actually a week ago today, and I was saying to the class that, you know, they had never.
Heard that name Phoebe. Now you know, I'm from a different generation and a little older than young. So Phoebe is kind of like a sixty seventy name, love piece and soul. There was a lot of things happening back then and for me in San Francisco. So but to me, Phoebe was very liberating.
Phoebe was she smoked briefas she was in loose clothes and barefoot and just chilling like the hippies that I used to see and hang out with and you know, fillmore District or hate Ashbury. She was just love piece and soul. And so when I told them that, they could resonate with that. So, you know, the first thing you start with is the namely character. What does that mean to you? What does does it have a meaning? If not, you should create that. Okay, just a small detail.
So after you start highlighting and you know, see, you know, going scene by scene, you want to have a clear understanding of all your relationships. And this is something to write down if you want to. You know, what's your relationship with all of the characters that you're involved in and just you know, a one line like your mom.
Issues with something I did in high school that she won't let go.
Just list all of these things that or or just you know, one sentence, summarize what that relationship is so that you can have that and just kind of refresh. What's challenging for me is when people write scripts and they use character names the alphabet right, so they'll say Amy, Andrea, Adrian, Like, that's a lot you need to go through a to Z when you are naming your characters, Like, there's enough alphabet that we could switch it up in a film.
You know, you could use junior, you'd use the third, but that gets a little complicated.
So it's important that you take the time and really list what that relationship is to you.
To your character. Talking to your character. The second thing that you need to do.
After you have read this script, understood this script and the characters, you have to ask yourself, do you have this experience of the character, When you have the experience of the character. Then it's easy and easy er let's say that, right, because let's say the character is a
mom or a mom. Well, us moms, we know what that job is and what that job is, and so you would sprinkle your information education experience into this character and who this character is in terms of you know their breakdown, right, So maybe they're a mean mom and you're you've never yelled or screamed at your child. Well there's a little challenging now because now you have to
understand where this meanness comes from. So you have to do research, go through layers of your character so that you can lock onto that understanding and feel comfortable being a mean mom, which you're not, but you're playing someone else, so you mesh that all in.
Right. If you do not have the experience of your character, this is when.
References, and I'm a big reference, this is when references come into place.
Right.
So let's say your character is a race car driver and you are not. You would one.
Have to understand what it's being like in a male dominated industry and a particular demographics and community.
And you know what's the training.
All of these integral details of what it means to be a race car driver train. You know the matrix they all train, and I know that it was at least six months at least six months to a couple of years that they did training. So when you don't have that experience, it's your job to gain that knowledge and be so convincing about it that we the audience believe you really do know how to I have a race car and you really are a racecar driver. That's your job, right what I'm in shock? I am in
complete utter shock. I are you serious?
Wow? That was warp speed, you guys. That was absolutely warp speed.
And I'm saying that because our engineer Andy gets, you know, the famous Andy. He has just warned me that I had five minutes. I thought I had fifteen to twenty minutes.
Oh my god. Okay, well, I'm.
Going to tell you one more thing and then I'm going to encourage you all to check out my IG this afternoon and forever. I am going to do a workshop. It's a two hour workshop for actors. And this workshop is going to be ninety nine dollars two hour online workshop, ninety nine dollars. It's going to be on July fourth. I'm going to post all the information. I'm going to also read the information at the end of the show
so that you can have the information. But this is what I will be teaching working on set and how important it is for you guys to understand how to work on these sets now because it's different. COVID made it different, budgets are making it different. Being able to shoot in less time makes it different. And you guys need to be prepared and armed. And I have to say with this last thing I want to say is
that you have to find that safe place within you. You have to find that safe place where you're okay, where you are going to have to instinctually self direct yourself at times on that set because a director, you may ask the director do you have any adjustments?
Do you need anything?
And the director can clearly say to you, no, I'm good, I'm good, that was good.
We're moving on.
And in some cases you should use your voice and say to the director, I don't feel comfortable. I think there's another take in me. Try with grace to get another take. But if you don't get that take, this is your only take. So be prepared, do the work. That's your job. There's nothing else. Once you sign that contract and cash that check. That's more important for your presence to be present on that set.
So do the work.
You guess.
I got some other stuff to tell you, but we will come back.
So I'm gonna bring on Elsa Lathan, and Elsa is going to bring on the actors.
You're gonna ask questions.
Yes, yes, so many great points, Tracy, thank you, and the point you didn't get me. They're just gonna have to join us for the.
They will absolutely have to do that because that's the only way I'm zipping my mouth now. I'm not saying well after the questions, I'm gonna zip my mouth.
Okay.
So today we have two of our spirited actors who we haven't seen on here in a while, heard on here in a while. We have Miss Stephanie Charles. Welcome back, Stephanie can come on camera.
Who I met MHM.
And Alfonso Walker Junior Welcome back on Fonzo.
Crazy Girls.
Stephanie Europe. First, what's your question?
So, Tracy, I remember from class, Yes, one of your babies you always mentioned about coming on set when you're in the and yeah, you said it again today. I always remember you saying that in preparation. Now if by any chance, you happen to not necessarily not be prepared. But let's say it's a let's stay, for instance, a love scene and you're just meeting this person on set, okay, and you haven't again, it's your first time meeting the
person you want to come in hot. You've done your preparation in your head, but you haven't met this person. You don't know what the chemistry is like. What suggestions would you give on going into.
Something like that?
That is an excellent question. Excellent because today not only are you listening to the director in the scene, but you're being coached prior by an intimacy coach that is from SAG after they represent right. So, prior to COVID, we thought that love scenes were choreographed. Now it's more than ever because not everybody likes to get in people's faces kissing and stuff like that, so some of that
has to be created. So what I will say is this is that you have at least let's say two hours before you shoot.
Right, Well, let's say you get on the scene with your love partner.
You guys have the same call time, and let's say you finish care and makeup and they're lighting, right, you did rehearsal, they're lighting. That's the time for you and your lover to go by craft service, to go in each other's trailer and just get to know each other first before you throw lines at each other.
Just what's your favorite movie? Like you know, what was the last film you did? Like whatever?
To create the intimacy between the two of you, because if you don't have a comfort between each other, it's going to look like that on screen.
And I did a show where the man.
Was extremely uncomfortable and still, and so it made her have to work even harder to make that seem believable.
But it starts with you.
When you're comfortable in your own skin, you know, completely transparent your odor, your.
Breath, you know your hair everything.
There's a confidence in that you smell good, you own right, and so that's respect to your partner.
Because I've been in a.
Situation where someone was a smoker and didn't put do out to its or nothing and had to kiss the person was horrible. So be comfortable with yourself and then really grab them by the coattail at table read like say, you know, can we exchange phone numbers? Have a conversation, get some coffee, something to create that synergy. And both of you are going to be nervous. Both of you
are going to be uncomfortable, that's a fact. So but it'll be fun er because he's going through the same thing you're going through and you' all kind of laugh through.
Does that make sense? Absolutely? Thank you? Yes, okay, good, thank you.
Thank you now, fanto, what is your question, sir?
Yes, Tracy, thank you for real. Honestly, yeah, he said today, like you know, you always say this in class too. Come prepared, and you have this idea when you're building your character or like I like you said, he walks this way, he or she or they them whatever, they walk this way, they wear this, they smell like this. But then you get to the set and you want to be respectful, and then maybe you get little nervous because you're working with bigger people or names so to say.
But then you know the director has a different idea than what you came up with for what you know, and you got to be this person throughout the whole thing. So you said, be gracious enough to like go and confront them, But how do you talk to someone without overstepping your boundary and also not you know, coming out of your place and also moving into somebody else area of expertise. Does that question make sense? I'm asking it.
Makes absolute sense. It makes absolute sense. I'm gonna tell you why. First of all, when you.
Said knowing your place, I just want to say to.
You that when you were on the set and you have the opportunity to be around video village or you know, you were interacting with the director and the leads in the film, you.
That is your place as well.
And I have to say that I was working with someone and the first take was really bad, right, And so when I asked permission first from the person that I was working with, can I just say a couple of words?
And they said yes.
Please, And I went over, pulled the coattail and said, listen, do you like what's going on? And they spewed the credits of this person and how they couldn't believe they were in the scene and this is the favorite person. And then they paused and literally like I didn't hit them.
But I just kind of went step out of it. What's going on? Like, you're set too, you're here too, you.
Are of value and when I say to approach, it's like there is a time between the reading, the table read, when you meet the director and everybody else, until you are doing principal photography that you have a moment in there to connect with the director. And most directors, in my opinions, set up shots. They don't really have conversation anymore with you guys, and I think it really sets
you apart when you do have conversation. But that's when the director says, Alfonso or your character, I need you in skinny jeans, and you say, my character would never wear sky janes because I'm a runner and you know, and I like to be loose. Whatever your explanation is, you're justifying it, and the.
Director has no other choice but to say.
Hum, okay, Alfonso has done his work, because you're coming with the work in order to justify what you're saying. Now, if it's really far apart, then the director has the final decision and the adjustments have to be made. But I always feel like as an actor, you have a voice and you have that window because once you get on set, the director is not just you know, doing
this scene. They're thinking of the next scene. They're thinking of the most difficult scene and locations, so get them in that window table read right before principal photography and just this is some thoughts I have about the character. I just want to make sure I'm in sync because I'm really developing this and I don't want to go too far before we start shooting.
And you have an agent so you have that ability to do that. Thank you for that. Yeah, yeah, thank you.
Yes a questions, thank you, yeah, definitely, Thank you guys, and thank you for your energy.
But they're not going anywhere, and I'm so excited. I don't know what see they doing. It don't matter.
We thank you, Elsa, and you guys get ready because when we come back on the Spirited Actor Podcast with me Tracy Moore, you go to.
See some activity, class and sessions.
Watch Welcome back to the Spirited Actor Podcast with me Tracy Moore, and you are in for a treat. So we're gonna be three minutes, but it's gonna be do three minutes of your life, Okay, Elsa, I think can you introduce our actors for class ensitions?
I sure can. It's my pleasure. Today we have back with us mister Alfonso Walker Junior Welcome back, Alfonso, and we have back missus Stephanie Charles, Welcome back Stephanie and Today's scene is written by another spirited actor, Miss Janelle Hall Reagan. Entitled Cheater Interior Apartment Night. Reginald Catherine entered their one bedroom apartment from an office party. Catherine drops her purse, kicks off her shoes, and head straight towards
the kitchen. Reginald drops his keys and plops on the couch, tired from the long ride home.
I don't understand what you want from me. Should up shook the hands of your bosses, laughed at they corny jokes, and then thank me with sarcasm.
I think it's funny how you miss one important part of the night.
Catherine pours herself a glass of Merlow while scalding Reginald.
But what did I missnoun? What's wrong?
Since everything is always wrong?
You were laughing, all right, laughing your ass off with Vanessa laughed so hard her number magically ended up in your pockets.
You think I'm stupid boy, So I look like a joke to you.
If you're gonna cheat, at least kids it behind my back.
Reginald pulls the number out of his pocket.
The fact that you think I is the punchline right there. The number she gave me was the number to her travel agent, because I want to book you a trip to Dubai for your promotion. But you can say you're untrustworthy ass right here and take a trip to the library and find some common sense. I want to be yo, good night.
Catherine's George drops. My load drips from her tilted glass as she stands ashamed of her actions.
I love you too. Scene and at wait a minute, scene.
Okay, okay, let me do something real quick. You guys, can we do how many pages?
Is this one?
One?
All right?
I need to do this scene one more time, and I need to do this seeing Alfonso and Stephanie your characters.
I don't I.
Want you to be mad, but I want you to choose some other way to be mad. And I don't want arguing, I don't want yelling, I don't want frustration, but I want you, in that moment, to maintain that
emotion of being mad at each other. And for some Stephanie, you have your character has trust trust issues, which makes me feel like he either did something like this or that's your experience and relationships, because why would you think that he was cheating on you or getting ready to cheat on you when he was actually doing something really great.
And then, Alfonso, your character seems more done with this constant nagging and badgery and in spying and this, and this is one moment to buy the land of luxury and love like and she ruined it. You're done, be done, be done, like what I'm trying. Let her be Okay, let's try to really quickly.
Okay, And actually.
I don't understand what I did. I showed up, shook the hands of your bosses, I laughed at they corny ass jokes, and you still thank me was arcasm.
I think it's funny how you miss one important part of the night.
What what I do wrong?
Now?
Since everything is always wrong?
You were laughing, all right, laughing your ass off with Vanessa. You left so hard your number ended up in her pocket.
Do you think I'm stupid? What do I look like a joke to you? You know what, if you're gonna cheat, at least you can do it behind my back.
And the fact that you think god cheat, that's the point line right there. That that number she gave me was the number to her travel agent because I want the book as a trip to Dubai to celebrate your promotion. But you know what, you can stay your untrustworthy ass right here and take a trip to the library because you could find some commissions.
I'm going to bed your.
Good night, h.
I love you too, Okay, better? What's her? Do you love him? When you say that, do you really love.
I do love him, but I was scared to tell him.
Okay, so then you really have to show us that you really love him. This is a really great scene, and I'm glad that it's one page, and I have some notes that I really am compelled to tell you guys on the side. But like the reason why, I say, everybody who submits a scene, if this was an audition, is going to yell, scream.
What is going to separate you? And I have been watching some really.
Really great, great films and TV shows outside of my norm I'm a big reality chick, but I've been watching a lot of Apple TV, a lot of Hulu, and I'm going to tell you that there's some really solid, great work. And you want to stand out. You don't want to be the ordinary, You want to be the extraordinary that both of you are as actors and you want to you know, maybe there's something mentally wrong with her that she has this trust thing and it doesn't read you.
Know here, it reads more.
I don't know, I saw you put your phone number in your pocket, Like I'm just thinking I exaggerate, but thinking outside the box in terms of who these people are. So as you're crafting her, you have to understand where she started and where he started, or know where you are today. And that's a lot of work. And that's just for one page scene, so imagine one hundred and twenty five pages.
Actors.
You guys did great though, thanks for being a sport reading it over again. Blast you guys, Thank you Elsa once again to Dynamic Duo.
Loved the lie and both of y'all really did.
Thank you all right out, guys, all.
Right, So when we come back on the Spirited Actor Podcast with me Tracy More, we're going to do Kudos Corner, and now it's time for Kudo's Corner. Kudo's Corner is where we celebrate spirited actors, We support them, but most importantly.
We introduce them to you.
This week's Kudos Corners puts the spotlight on spirited actor Michael Pichardo. You can see Michael in the short film The Brother in Law, airing on YouTube, and the features Stash and hay Lover, both on demand on Amazon Prime. He's also been featured in a number of theater productions, including More Random, Where Landlords Go to Die s Period U Period in Period in the USA, and untitled Calamity Jane Project. Kudos to Michael Pichardo and now it's time
to give lunch. Whenever I feel the hebgbs, I know that that is evidence of fear somewhere in my vicinity. When I feel hebgb's, that's how I define it, and what I normally do is figure out where it's coming from. And I need a quiet place to just settle my soul. And then once I figure it out, I go head on and attack that fear. Whatever I need to do, talk to somebody, negotiate whatever it is.
I don't like fear. I'm not comfortable with fear.
We're not friends, and I don't want fear anywhere in my life.
There is nothing too fear.
When you confront fear, there is a confidence, there is a strength, there is an inner power that you gain because you don't succumb to something that doesn't exists. It's all the self talk that we do.
Well what if I well? What if?
Well?
What if? What if you get that job?
What if you're on that set with your favorite actor or director or producer?
What about that? With a smile on you.
Confront fier, start small, and then attack the biggest one that's on your shouldern. Hi. Everyone, The Spirited Actor Podcast with Tracy.
Moore now has a YouTube channel.
You'll get to see exclusive video footage from our podcast taping, as well as your favorite segments from the show. Make sure to like our videos, subscribe to our channel, and share with all your friends. Don't forget to also follow us on Instagram, at the Spirited Actor, and at both Tracy Moore and at The Spirited Actor Podcast with Tracy Moore on Facebook and X. Thank you for joining us on The Spirited Actor Podcast with me Tracy Moore. I look forward to our next Spirited podcast.
Thank you,