Billy Slaughter: Craft and Community

Step into the world of Billy Slaughter, a New Orleans actor with a tale that's as riveting as the roles he plays. Our candid conversation peels back the curtain on his remarkable journey post-SAG strike, the visceral experience of filming "The Ravine" within the walls of a real penitentiary, and the ways faith and true crime weave through the fabric of this compelling story. Billy's reflections on the raw, authentic interactions with inmates and the cast's ability to tackle complex narratives showcase not only his dedication to his craft but also the depth of talent within the ensemble.

Transitioning from a PlayStation aficionado to a seasoned actor, Billy shares the highs and lows of an industry where unpredictability is the only constant. Listeners will be inspired by the tales of his climb from background roles to the forefront, the resilience needed to face being cut from projects, and the excitement of potentially reprising a role. The discussion also highlights Billy's experience on the set of Twisted Metal and the thrill of seeing a local hero like Anthony Mackie step into the role of Captain America, underscoring the close-knit nature of the acting community in New Orleans.

Beyond the spotlight, Billy opens up about his passion for teaching acting, offering a heartfelt look at how it allows him to maintain a connection to the industry. He discusses the transition actors are making from self-tape auditions back to the in-person scenario in a post-COVID era, emphasizing the value of real-time feedback from casting directors. As we wrap up, our musings take a playful turn, imagining our guest in iconic roles from Star Wars to Game of Thrones while celebrating the camaraderie of our local acting scene. Don't miss this enchanting episode filled with insights, laughs, and a dose of inspiration for anyone chasing their dreams in the world of acting.

Transcript

Speaker 1: 0:00

Hey guys, it's Billy Slaughter, actor, coach, producer and I have finally arrived to Nola Films.

Speaker 3: 0:17

Hello, welcome to Nola Films with TJ Play-Doh. I'm TJ and, as always, I'm Play-Doh. All right, we're here with great New Orleans actor, billy Slaughter. Thank you for joining us, billy.

Speaker 1: 0:29

Thank you guys for having me Happy to be here.

Speaker 2: 0:32

Yeah, it's a pleasure to meet you, Billy.

Speaker 1: 0:34

Likewise. I mean I've listened to the show, appreciate what you guys are doing. I mean you all know. But Play-Doh has been trying to get me on for a while. He came to me early on when y'all were putting it together and it was right in the middle of our sag strike and so I was so torn because I wanted to jump in play with you guys and help the cause and promote all things Hollywood South. But of course we were handcuffed on what we could or couldn't talk about during the strike. So I was just like you know, I didn't like that feeling of us being monitored and self-regulated. So I'm happy to be here. I'm like we'll hold off and now we can just have a no holds barred conversation.

Speaker 2: 1:05

We're free.

Speaker 1: 1:07

Yes, shackles are off.

Speaker 2: 1:09

It's definitely been a challenge for us to kind of talk around the strike. We've managed to find ways to have conversations, get people's back story and that sort of thing, because that's really interesting. Everybody's got a different way that they got into the business and we love hearing that stuff. But now the gloves are off, we can talk about anything and everything that it is moving in film.

Speaker 3: 1:30

Yeah, I like exploring where we met. I don't know if you remember Billy, because it wasn't your class. You're intensive. I took that, but the ravine, that movie. Oh wow, you know the scene with you and the guys and we were in the prison. I was one of the guards.

Speaker 1: 1:44

So we can legitimately say we met in prison.

Speaker 2: 1:46

We can, we can.

Speaker 3: 1:47

And we can, right, I hadn't even thought of that You're looking to be like.

Speaker 1: 1:53

oh you guys, you boys are close.

Speaker 3: 1:55

We were in the same room in the movie. I'm outside in the prison yard and they start on me and I got cut out, which is fine. In your scene I was supposed to be like when they reversed the angle towards the door because that's why I was standing and they didn't have time, so I was cut out of that. I ended up having to be the guy to hold the door open, and what I mean is if you closed it, there was a whistle, and if you kept it way open, there was noise down the hall. So I had to have it just right for your whole time, and there was a very emotional scene. I'm still watching you going. Man, that dude is good.

Speaker 1: 2:22

I have to thank you for having the door just right. Yeah, that wasn't an easy scene, some heavy lifting that day and yeah, for the listeners, of course, we shot at a real penitentiary. So borrowed time is one thing. We were on borrowed patience and you got to walk through the. That was, I think, only my second time shooting at a real prisoner at penitentiary and yeah, you get some nasty looks. You get sometimes some unwanted very welcome looks. But conversations are extra interesting, that those days when you're sort of having the downtime, chit, chat. But at the end of the day I always really appreciate authenticity in anything we're doing and so it really helps to be able to see that and kind of feel that aura, be in there and even chat with some of the inmates when you can get the perspective on the inside.

Speaker 3: 3:15

Just to go to the restroom to use the facilities you needed to be escorted. And it was like oh, just never thought of. It caught me by surprise. And the security guards and I was thinner back then, I was at my good weight, so I was looking pretty damn good in that uniform and some female prisoners were being escorted to like a classroom for some, you know, learn stuff for their rehabilitation. And they sighed at all of us like, oh, look at that meat on the bone.

Speaker 1: 3:37

Yeah, see, in Hollywood we might be like Hollywood sixes, but to female inmates man, we are Hot stuff. Yeah, fresh meat. We used to have a joke.

Speaker 2: 3:51

In the military when you're at sea or overseas. They had the deployment rankings and everybody's a 10 on deployment.

Speaker 1: 4:00

So I can understand what you're saying Perspective is everything.

Speaker 2: 4:04

That's right, that's right. What was that project?

Speaker 1: 4:08

It was one called, yeah, the ravine, Certainly worth checking out.

Speaker 1: 4:11

It was, you know, I mean, for all the lack of original material out there. It was certainly an original piece because it was based on the writers you know, partly based on true incidents or his own experience producers. So you ended up having kind of a quasi true story, faith-based true crime, and usually those things seem, you know, like opposing forces. But it was like, you know, allegedly some stuff went down, some really ugly stuff in just a small town where everyone knew each other and it sort of rocked the town to their core and you know people you think are your friends and neighbors and small town morals and all that got uprooted, and so faith became even more important to sort of bring people together and sort of ask the big questions. But even though it's definitely a unique, great ensemble performances throughout it, because sort of like Plato was alluding to, the stakes were so high in so many scenes that a lot of the actors really had to kick things into another gear to make it work, and I think many did a great job.

Speaker 2: 5:10

Yeah, nice, I'll definitely check that out.

Speaker 3: 5:12

I'll have something in common, yeah. I think the first series was a series that you were in Twisted Metal, twisted Metal.

Speaker 1: 5:18

Yeah, another fun one to be a part of. It was sort of my deep, dark secret when I was shooting, so I'll give you guys an exclusive. All right, so I know we can relate on a lot. It's like gaming and stuff, and so you know, we grew up in the 80s. I was definitely a gamer and I grew up on Nintendo. But then when we started making the split I went I was a PlayStation guy. So that's the good. I was a team player, I was a PlayStation guy, but I never ended up playing any of the twisted metals. All my friends were getting into it, but I was so deep in the final fantasy, no, yeah.

Speaker 2: 5:48

I didn't have time.

Speaker 1: 5:49

I had to play them all and beat them all, you know, of course, once FF7 changed the game. So the bottom line is I was familiar with it, I didn't get to. I would have loved, as cool as it was to be getting to be a part of a video game come to life. So the kid gamer and me loved that. But now I want to go back and play through it. But getting to the series, it was so much fun to shoot because it's so out there, you know, sort of post-apocalyptic demolition derby I was playing a character. Yeah, talk about another day. At the office I'm a futuristic fast food manager who collects ears from people that rub him the wrong ways.

Speaker 1: 6:25

So that was a fun day to begin with. The series watching it was even more entertaining than I imagined, so it was a real fun ride. And then, of course, being a New Orleans native, it's great to see our homeboy, anthony Mackie Like it was it was already cool enough to think that just another kid from New Orleans is the new Captain America.

Speaker 1: 6:45

you know, bringing the pop culture, but then you know, for him to finally get a cool series to helm and then shoot it here. Yeah, just a lot of great experiences. So, tj, where were you in the world?

Speaker 2: 6:55

That wasn't my very first project. I had done some background work before that. But I apologize, everything, no, no, I don't really talk. So I was in the first season of the Purge but background like way background, you have to really squint and look really close to even pick me out and I can only see my hair and my beard. I don't really count it. But Twisted Metal. I was in the very first scene with Anthony Mackie and then an actor named Jordan Salome and Earl White and Kevin I'm drawing a blank on Kevin's last name. I was the only background guy in the scene and that was what really kicked it off for me.

Speaker 2: 7:31

I didn't really know that doing principal work was an option. I didn't know how to get into it. I didn't come up in the industry doing that and one of the guys just kind of encouraged me between scenes. There's that unwritten rule that as a background player you don't engage the other actors because they've got a job to do. So I kept to myself. But between scenes he was talking to me and he just encouraged me and he told me how to get started. So I started taking acting classes with Jim and after that I started studying with James DeMont, got professional headshots, started doing self-tapes and that was kind of what kicked it off for me. So it was just that very first initial scene where Mackie pulls up to the gate and does that exchange. Yeah, I remember it.

Speaker 1: 8:15

Well, what's cool is I'm not saying anything official that one because it's a franchise. I don't even know if anything's been officially in it. I would anticipate other seasons. So definitely I encourage anyone watch the first season. It's out on Peacock. It's a lot of fun, not one for the real youngsters.

Speaker 3: 8:33

PG-13 at least.

Speaker 1: 8:34

Yeah, exactly, Exactly A mature 13. But yeah, it's cool that it pushes the envelope. So I'd like to think I've talked to a lot of people that really enjoyed it. I'd like to think it's going to come back for more and, yeah, you definitely have a great look for that show, so I think that could be a really good one. Like so many things in this industry, it's a careful what you wish for. I know we work so hard just to get on set and then, whether you're background principle I mean even a major role, like we all well, we have so many things in common, but we've all shared the unfortunate experience of getting cutouts like that's par for course, but then the good news is, if you haven't been established, especially in a series, you can always come back, so there might be some road warrior biker gang Like that's why it was bittersweet for me, because I had so much fun playing that role and being a part of the show. But then, ah god.

Speaker 3: 9:22

No spoilers, no spoilers, no spoilers. Let's just say you probably can't come back.

Speaker 1: 9:28

Yes, exactly, you might have. We'll say you might have a better chance at coming back. But yeah, even you know, I know this is a you guys talk the business and starting out in sort of the arc, and I mean I started when I was coming up, I did not know anyone in the industry, you know I didn't have any ends. It was sort of Hollywood was definitely like a fantasy land out there again, born and raised, new Orleans, you know. So I just love, I love watching movies and TV, but it was always entertainment and you know, not something I never saw as yeah, yeah, as aspirational. Now, needless to say, you know, it became real Like that's a beautiful thing. I did my first play my freshman year of high school. That's when acting officially became real, when it was like all that playing and role playing and stuff. We did just as kids or you know, especially kids in the 80s and we had to go outside and find ways to entertain ourselves.

Speaker 1: 10:19

You ride your bikes to. It's so strange. You ride your bikes to your friends' houses and it's just like, hey, what sort of stuff are we going to come up with or get into? What haven't we done or talked about? So that great use of imagination, even just making up stories amongst yourselves and playing.

Speaker 1: 10:37

And then, like I said, high school is when it became real. I did theater and then I was like, okay, I understand this acting thing and I want to do more of it, went to college for it. College is where I got more involved. Like, film was always my main aspiration and then I sort of made that the transition on camera in college. But then it was right when I came out of my drama program that you know, wondering like what was the next step, or kind of preparing to make the major market move, I was like, did I want to go back to New York where I had done my sophomore year college, that I want to try out LA for the first time, so I was leaning towards that. But then that's when we know the tax credits passed in Louisiana and all of a sudden that shiny thing out there came here to our home and so, yeah, it's like fantasy and reality, the line started to blur and accessibility became key. You know that, definitely to me, was where timing lucked out and we all know the huge role of luck in this industry. But then, as we've heard, I think you know the best definition is luck is when preparation and opportunity meet. These opportunities coming to my backyard would not have made much of a difference if I wasn't prepared and did the groundwork.

Speaker 1: 11:39

But the point I was getting at when it came to my on-camera career, like I had never had any formal. I'd had a lot of acting training and you know classical and Shakespearean and theater, but I had never had any formal like on-camera techniques. So that was just old fashion on the job learning for me, starting with background work. So, you know, just getting on set and demystifying that process. I know some people like play down, extra work and to me the concept of skipping over that seems insane, you know.

Speaker 1: 12:08

I mean, I know some people have done it because the alternative is like, okay, you can get lucky and do it the other way, the sort of you know there are some shortcuts, but then do you really want your first experience on set when you know you've never been there? You're on a hundred million dollar production, all these moving parts. You know somebody just barked the director, like you know. They're throwing out new lines and new direction and then you hit your mark and you're meeting some Oscar winner for the first time and you're toe-to-toe and it's like all right, in action, man, you want to, you know again, be prepared, and no, early on.

Speaker 1: 12:42

Another amazing opportunity I had was to do stand-in work really early because I had mentioned the first big film that came in with the Louisiana Tax Credits was Runaway Jury, the last John Grisham film that shot here, and Dustin Hoffman was one of the leads in that and there were no roles for a youngster right out of college. But they brought me on to stand in for Dustin and we clicked. He ended up inviting me. Of course, I learned so much in that experience working with him.

Speaker 3: 13:07

Just being near him Working. Yeah, I mean just being a fly on a wall.

Speaker 1: 13:11

And no, that was he and Hackman getting to work together for the very first time. They started acting at the Pasadena Playhouse, you know, as youngsters in California before they both moved to New York and they were roommates there, just actors trying to make it. So, dustin, you know he and I hit it off. He invited me to move out to LA to be his regular stand-in and it's not as simple as saying like, and the rest is history. It's like, okay, you know that's where it all began.

Speaker 3: 13:34

And it's a big boost.

Speaker 1: 13:36

But, looking back, I really had to put a lot of my own acting career on hold for my years working with Dustin. I make the same decision over and over. So because I consider my time working with him, that was my grad school, again, just getting paid to learn literally in the footsteps of one of the all time greats, and always been more big picture oriented marathon, not a sprint marathon. So, yeah, I was just like all right, in the long run this will serve me and I've been super fortunate that you know. Since then I've been, you know, mostly working regularly and I'll say one thing that's great about working in Kingdom, orleans or Louisiana versus major market stuff is in the major markets, I mean, it's such a machine and so niche oriented.

Speaker 1: 14:19

A lot of people it's not even the courtesy of what are you or who are you or what do you think you are, which it's like I'm going to tell you who and what you are, or what you can and can't do, and so, being a character actor that came up in a regional market, it's amazing to be able to be like whoa, whoa, whoa. You know we get to any given day. That's what keeps it exciting. You might be a hero one day. The villain the next, comedy one day, comedic series one day and dramatic period film the next. So that variety is really what keeps me excited.

Speaker 3: 14:46

Awesome and I never thought about that the difference between the major market telling you and you being able to explore For me, my limited experience is being in background, of course, you're told there's no input, you can't do anything, but then doing some indie films or even just no budget films, with my friends working on the phone hey, why don't we do this? Oh, that's a great idea. So, being part of the creative process fantastic. So that's a very interesting fact about the regional versus the big markets.

Speaker 1: 15:08

Yeah, I mean, if you can, there are certainly perks to being able to be a bigger fish in a smaller pond, like you said. I mean it's not even about an ego thing or a power play, like you just said, creatively to be part of the bigger picture, especially working with great independent filmmakers. And you know you might come on a project, you might be the first on board a project and sort of help bring it together and, you know, ride that wave rather than just being the very last on board and you're coming on a moving train and you know you're just trying to feeling like you're playing, catching up, and half the time you're. You know people are like does anyone even notice that? You know they're just trying to get through their final episode or you know their final week or something.

Speaker 2: 15:48

Yeah, yeah. How did you get into teaching? Everybody's got you know different coaches I've talked to. They had a different path to that road. It definitely takes a passion to want to help people. How did that start for you?

Speaker 1: 16:02

I started teaching right out of college, so I came out of UNO, you know, university of New Orleans, acting program. I'd done, as I said, my sophomore year of college. I was did exchange to New York summer. In college I spent training in England at a Bata Drama Academy, and so I'd had a good variety of sort of experiences leading up to finishing college. Well, now, though, it's like all right real world. You did your work, your groundwork, you got a degree in acting. I want to say congratulations, but I think my apologies are more like you know, sorry to hear that and good luck, kid.

Speaker 1: 16:36

Yeah, so I had to do something with it and you know, we know it's going to be a most people again long journey. I'm like all right, for a long time it's going to be a side hustle and you need your survival jobs before it's. You know if you can reach the day when you're fortunate enough to just say I'm a full time working actor. So you know, I was trying to do something that made sense, like I made a vow to myself long ago, you know, just to sort of keep me accountable. And on path I said I would never be an actor, slash waiter, slash bartender and it's no shot against that or those who do it, because that's many of my, you know, close friends and family members and it makes so much sense. But I was always had to do things differently or sort of find my own way. So I said if I at least want to try to keep myself as engaged in the world, in the industry, as much as possible, rather than feeling like I was always floundering or being pulled between different worlds, you know, foot in the real world and then I have to like course correct and to just try to do anything. So I was fortunate I had some great teachers and mentors along the way. It was a very utilitarian decision where I was like, okay, this can keep me in the industry, practically keep me employed, always keep me in the game. Sure, you know, like they say, if you want to learn to do something, well, teach it. But then you know the non-self-serving aspect as well, the fulfillment that came from just seeing so many others of all ages. So I taught right out of college.

Speaker 1: 18:05

At the time there was only, I think, one acting school in town. It was John Robert Powers. At the time it was a national franchise, but we had one here. They had brought me on as where I started teaching and then it sort of morphed and then they opened their own acting school called Launch, and I was man. I was there for a long, long time and, like I said, just had the fortune of seeing so many careers blossom and definitely reinforcing something I had always known.

Speaker 1: 18:30

But you all know, hearing something or experiencing it firsthand, living it, are very different. So the idea that in this business, in this wacky industry, there's never a one-size-fits-all or like a right-way, wrong-way Teaching so long it exposed me to sort of every journey. I'd see the people that had the absolute beginner's luck that just hey, this is something I want to try out. Or the famous story we always hear where it's like they were just the ride along with a friend and they booked their first audition and it's something huge and things break. But then again, it's always careful what you wish for. But maybe it was hard for them to sustain that early success. Or then just the grinders, the ones that they had everything going against them other than their tenacity, their drive, and they did have success. But they earned it every step of the way.

Speaker 1: 19:17

And I taught all age groups kids, teens, preteens, adults so each one had its own dynamic Young kids seeing what it did. You're watching a human being develop in front of you and getting to be a part of that journey, not just acting. So that was really fulfilling. And just seeing that raw natural talent Again bittersweet because you're just like God. I had to.

Speaker 1: 19:37

I worked for 20 years to get to, with this eight-year-old things that just come so naturally.

Speaker 1: 19:43

So it gives you appreciation for not just the human spirit, the collaborative nature of the business and being able to work with all kinds and backgrounds and even just like some of the things you don't expect Having senior citizens pop up in your class one day and they're just like I lived my life. Or I live that life and I'm just at a point where I don't want to feel like there was something I always wanted to try and didn't and regret that, or they're just trying to recapture the great circle of life just to get back to the beginning and the playfulness of youth. So teaching's been a great thing. The acting school where I was I did private coaching along the way for a long time and worked with local Shakespeare Fest and theater groups. But the acting school launch, as I said, where I was for a long time. They closed down during COVID and since then just been doing a lot of my own workshops, had the pleasure of having Play Day joined and, yes, I'm stubborn.

Speaker 3: 20:36

Because you were like okay, one game, we're going to give some other people a chance. I'm like fine, I'm going to stop.

Speaker 1: 20:43

I'm there, Triple crown, no. And again that sort of tenacity, it's acknowledged, it's appreciated, and so you know, we're always learning, we're always trying to explore something new. So someone like Play Day, it's like, okay, tell me your background or what you're into. And I know he does like big personality and a lot of improv and all that's great. So usually I'm like all right, initial introduction, let's play into your wheelhouse, play into your type, your niche. But then as soon as you're coming back, we're going to help hone who and what you are more naturally. But then when you're coming back for seconds, we're definitely going to shake it out and I'm like, all right, let's start playing against type. And if you are a nice guy like Play-Doh, we're going to make you a really old dirty bastard or something yeah.

Speaker 3: 21:24

And you bring casting, local casting directors. So we get to meet them, we get lessons from them and the tips, and the first one, justin from Glorioso.

Speaker 1: 21:33

Yeah, yeah, that was Justin Coulter from Glorioso Casting and that was something I was really proud of for the different acting schools I'd been a part of along the way, for all the things we did great and the many success stories. I always felt like there should have been more of an open dialogue presence with our casting community because really, no matter where you are, your first and best chances at just getting any booking no less establishing the foundation of a career are usually going to come from the local casting directors in your market and so you as an actor that's one of those challenges Checklist items. You got to make sure you know who they are First name, last name casting directors, casting associates, office assistants and you got to make sure I mean more importantly they know who you are and know where to find you. So, especially coming out of COVID, that was something I mean not just where I saw room for improvement, like I saw a really great need that I was honored to be able to help fulfill, that, where now, since all auditions had become had shifted to self-taping. You know that art of just having humans. It's like we're in the business of humanity, just having humans connecting in the same space in a room, eye to eye, toe to toe. So much of that was lost.

Speaker 1: 22:47

So starting this year, I was like, all right, I'm just going to put together my own workshop series and just bring in casting guests for each one and help get actors and casting individuals back in the same room. I'm very much, like I said, utilitarian. You know, if there's a D all of the above option it's not just kind of self-serving for the actors, like, oh, you get to impress a casting director. I mean, the casting guests loved it, even more so than they anticipated. It was great to see it from both sides. They missed being in the room as well, like, and even if they had to discover that coming to one of the workshops, it was like, yeah, you know, like feeling actors and getting to work with the Play-Doh no pun intended, you know help kind of mold that performance. So, yeah, it went great, it's going great. There's more to come. I definitely want to sincerely thank all the casting folks that came out, gave us their time, their knowledge, et cetera.

Speaker 2: 23:38

That's a great way to do those workshops. I've had the fortune of going to a handful with a couple of different casting directors and to get that real time input and notes and adjustments. That's something that I haven't experienced because I came in post-COVID so everything was self-tape when I started, so I didn't have the opportunity to do the in-person auditions like a lot of you veterans have experienced, and normally you don't get feedback. Maybe when you're more experienced and you know casting a little better, maybe you do, it's very seldom you get feedback.

Speaker 2: 24:11

Yeah, so to get that, it was really cool. I did a scene in front of Hunter McHugh and I did a scene that I had actually auditioned.

Speaker 1: 24:19

Yeah, Carl is one of our guests. Shout out to him.

Speaker 2: 24:21

Yeah, great guy and to get that real time feedback on that scene that I did and to hear that I was in the running. It just helps me grow as a performer to hear those things, to know, yeah, I can be bolder, I can be bigger, I can be louder, I can have more personality. With it it was a good thing. I've seen a lot of your workshops advertised and every time I'm like, oh, I've got a conflict, I've not had the opportunity to jump in one.

Speaker 1: 24:45

We'll get you in. I would love to have you, but yeah, like you're saying, so much is taken from the experience. I'm also glad we held out to do the cast when we did post-strike, because I feel like you're getting the much more optimistic side and it can be more uplifting. I don't have to be at war. People can get back to work rather than scraping about the aspects of the industry that make this do.

Speaker 3: 25:05

We can't say that, but we can talk about this, and yeah, yeah, but that being one thing, is that, even best of times, worst of times.

Speaker 1: 25:13

That is one of the most continually frustrating things Given the nature of our business, as we put so much out there and it's very rare you get any feedback. You know, I'm tempted to say unless you are the one. But even when you're the one, it's very rare that somebody pulls you aside and they're like okay, here's why we went with you or here's what we love that you did versus the others. So that's one thing too. When I'm teaching, I always like to take the approach of either like great input that I got or things that were lacking. So I always make sure I'm giving positive and negative feedback, because I think both are very valuable. When we're doing something well, I don't even want to say right, or you know like, when we're doing something very well, you want to know that and somebody should let you know like, hey, this is the stuff of booking right here. That's what you are already doing. Great, you got great instincts. Follow up on this more, versus the flip side here's what you might want to do, here's what you want to do more of, here's what you want to do less of. Because it's that constant molding. It is very much as I'd say in the workshops, like a Goldilocks approach, any given outing, you know you're just trying to throw that needle, not too much, not too little. But then to your point.

Speaker 1: 26:17

Once you bring in the casting directors, I think actors lose sight of that. Because I don't want to say we're self-absorbed in a negative sense, because I definitely don't want to feed that myth that was a myth. I spent the past months fighting that actors are just a bunch of self-entitled egomaniacs. Exactly no, it's like we're people too and we're not a monolithic group. I mean, my goodness, there's no such thing as actors are Like. If somebody's starting a sentence like that, it's a false premise.

Speaker 1: 26:44

Again, we come in every shape and size, from every background, every corner of the earth. So the point is, it's not about being self-absorbed, but we do have our limited perspective. Like in life, we have to get out of our bubble and get an objective look or different perspective. And so once you realize too that again it's less about the do or don't, the right or wrong that just as actors are people, casting directors are people, directors are people, producers, showrunners they're all human beings with their own personal stuff. They're bringing to the table the subjective nature of the business, their own personal likes and dislikes. So that's something, too, that I would push in class and I always want to remind actors about is that you might beat yourself up thinking, oh, I didn't do it. This way you can make the exact same choices. One casting director that choice is exactly what's going to book you in the part. The other one, that's what's going to get you not called back.

Speaker 3: 27:34

And.

Speaker 1: 27:34

I made much better grades in college than I did in high school. And one subtle shift. In high school, dare I say, as a bright-eyed teenager, I was actually interested in learning things and growth and personal development. So I was trying to learn the material, whereas in college I enjoyed it but I was ready to get through it and get out in the real world. So I learned to learn the teacher and so, similar with casting directors as soon as you know, okay, this one, this is what they like or this one just preferences. Then you can help facilitate that, help them, help you, so to speak. Yeah.

Speaker 3: 28:06

Actors, the image is self-absorbed and narcissistic. But we have to be self-focused in all our training to see how we feel about it, to see what that brings out in us. But then when we start to do the scene, we have to turn that focus on our scene, partner, and you have to listen and react. And while you were talking, a light lit up and in my mind I'm picturing, you know, the Pixar lamp. So it's facing me and me, me, me, and then facing out and like them, them, them. It's like, oh, and you know that you hear it from day one. Yeah, but as you grow in your skills and develop as an actor, as a person, the same words hit differently at different times. So thank you for that free lesson Billy.

Speaker 1: 28:41

Yeah, well, you know it's all a balance. You know it's all Aristotelian philosophy. You know it's like virtue is the middle ground, the median between excess and deficiency. Sorry, go read up on Aristotle right after you watch Twisted Metal and when Were Some Other? And the Burial and the Passenger, et cetera.

Speaker 2: 28:58

Read some playtos, read some playtos. Oh, there you go, read some playtos too. Listen to play, though, and read some playtos.

Speaker 1: 29:05

So it's all things Exactly you have to have. You know there's the inner, there's the outer, there's the give, the take and very much like finding that balance. It's subjective and objective and that was maybe a big Pixar lamp moment I had, because along the way, as everybody's weighing in, you have which generally accepted with acting right Is. It needs to be believable, Right, People want to believe it. It's the suspension of disbelief. Anything that pulls us in is what's working. Anything pulling us out is what isn't working. When I say us, I mean collectively. You know you as the actor, the scene partners the audience.

Speaker 1: 29:38

So I used to think that a lot of us operate from a standpoint of fear. It's like, okay, you know you don't want to do something that's forced or false or not tapped in. But then I realized, as a character actor again, getting back to sort of objective and subjective reality, at the end of the day, unless I'm doing and you know I say this in class like, unless you're performing in your screen adaptation of your autobiography, it ain't all about you, it's not your story. So, whereas you have to draw from your own truths and your own life experience and kind of process everything through your instrument, a lot of that is inherently accounted for. We're telling, at the end of the day, this unique character story and so, even though something might not be the truth in terms of, okay, this is what I would be doing or how I would say something I started being guided by that individual character's truth. That is the goal, the objective I'm aiming for, Because, again, that is the story we're telling, that's the story people are coming for, and a lot of the times, what the character might do in the situation, I mean, you're lucky when time to time it might be extremely relatable, but I think more often than not it's the characters acting and reacting very differently than, like, what I would do in the situation.

Speaker 1: 30:49

Right, yeah, Right. But again, it's still about a truth, just kind of that subjective truth. Lord knows. We're at a place in history and society where we all see firsthand the power and the unfortunate, the dark power of subjective truths. If somebody just believes something hard enough, whether it's real or not, or exists or not, real world, it's a dangerous game. But in acting, that is a good thing to remind yourself that sort of individuals have their own subjective truths.

Speaker 3: 31:19

We have people in this world in this millennium who believe the earth is flat. But that kind of belief is great for an actor If you're playing somebody who believes the earth is flat.

Speaker 1: 31:29

And man and I've known some folks that fall into that category, that were otherwise like really with it folks. So it just goes to show you you never know and everything and everyone is dynamic. Not everyone is right, but everyone is dynamic. We all know what they say about a pig.

Speaker 3: 31:47

And if you're playing that character who fully believes the earth is flat. You have to find a way to believe that too. Once you're upset you can put that down, but at that moment you can't be like this idiot, this idiot, nope. Yeah, I really believe it. We're coming on To the end. What would you like in 2024? What kind of role, what kind of acting job is a dream for you, a wish list?

Speaker 2: 32:06

Yeah, yeah, good question, it is good Well we get to ask it now.

Speaker 3: 32:10

You can say names.

Speaker 2: 32:12

And we get to answer them too, I know I mentioned.

Speaker 1: 32:16

Oh sure, ok, yeah, we'll touch upon that. So, looking forward good thing, I mean the new year is so just in terms of acting stuff. I mean I you might have, you might have nailed it. I always love doing something I've never done before. That's definitely what gets me out of bed in the morning. I've been fortunate for a lot of great chances I've had, but I've been a smaller part of some big franchise pie, but again, something we can all relate on, just like that kid growing up in the 80s with the big imagination.

Speaker 1: 32:43

If I could get on one of those, whether it's a little piece of the Star Wars world or the MCU, dip my pinky toe in it. You know the kid that grew up collecting comics and yeah, and drawing comics, game of Thrones, just the fantasy. I know, again, there's a division or some divisions in our industry. You know some people feel like all the you know the genre stuff and the tent poles have broken the industry or move things backward. And I'll say it again, I like to think there's room for all in life. I don't typically like in an all or nothing choice. So, yeah, that's what I. You know, it's great if, hopefully, I can continue to do those beautiful, very creatively inspired projects where it's just about the great work. But then I'm definitely not above just something where I can be a part of something fun and have fun. I would gladly rock a lightsaber.

Speaker 3: 33:34

I knew you're going to say that Any day of the week, I mean but yeah, honestly, I'd be like a lot of folks in the industry.

Speaker 1: 33:40

I mean, we've all heard the rumors whether it was like Brad Pitt or you know you name some some famous A-lister that is just like some random Stormtrooper James Bond, pierce Brosnan, no no, no, no. Daniel Craig.

Speaker 3: 33:50

Yeah, he was a Stormtrooper in Force Awakens or in one of those, but yeah, and you can never see his face, or he? Maybe he just did the voice. Damn right, I'd like to do that.

Speaker 1: 33:58

I will be Stormtrooper number seven all day long.

Speaker 3: 34:01

Yeah, that would be nice Move along To you know.

Speaker 2: 34:04

Bring more of those things I mean that's something I might actually have a chance to do, because they wouldn't see the beard. I kind of get limited on some of the superhero and things like that, I think.

Speaker 1: 34:13

Well, you got a great fantasy look all day long, which again you would have a better chance at getting in the next Game of Thrones spin off than myself. I make the joke there because I love not even historical fantasy stuff like that. I grew up reading a lot of it or studying history and again with the Shakespearean background. I just love classics. But most people don't want to hear American actors complain. But by golly not. I don't care who you are. Not many American actors get a shot to do some of that great stuff. You know to throw on chain mail and just get in a good old fashioned bastard sword duel or something. And so my joke is I mean you look at who the American actors are on Game of Thrones and I'm literally right in the middle of Jason Mimoa and Peter Dinklage.

Speaker 3: 34:55

I am the happy medium Nice Between Jason Mimoa and Peter Dinklage, and those were all the extreme.

Speaker 1: 34:59

The specific types are much better. Yes, somebody's got to put a battle axe in your hand for sure, and I will say I got to do maybe my first medieval fantasy in a project that might be one of my next things coming out called Raymour.

Speaker 3: 35:12

Yeah.

Speaker 1: 35:12

Where? Yeah, same thing. I was looking forward to the sword. I did a lot of swordplay growing up but I got a golden axe put in my hand and I'm like, hey, hey, that's keep it new and fresh. So when Raymar?

Speaker 2: 35:23

actually I auditioned for Raymar.

Speaker 1: 35:25

I don't think that was a dandelion piece in the sense that hopefully it can be expanded on. Was was more the intent, so hopefully we'll see again. Check out Raymar, we can see much more of it.

Speaker 2: 35:36

Book the part I auditioned for your biggest fan, hick Jeremy.

Speaker 3: 35:39

You might have heard of him.

Speaker 1: 35:40

Yeah, no, I matter of fact, I'll give Hick a shout out as well. I listened to his episode, his two episodes. You know great stuff there and I definitely want to second what he was saying, which is great, sort of bring things full circle, just the sense of community that we have down here in Hollywood South. Indeed, you know, I think when you talk about, when you combine sort of the best of worlds, you take maybe the major market creativity but then bring some southern charm and hospitality to it, some Nola Flair. It's great how much people, unlike in other markets here, really try to look out for each other and help each other. Yeah, break bread and crawfish together, that's right oh, crawfish bread jazz fest oh.

Speaker 1: 36:19

I'm hungry. Cheers Saints and mourn Saints together.

Speaker 3: 36:22

Speaking of Saints, I used to be Captain Crescent City. I don't know if I've ever shown you that I was one of the Saints super fans, so I was a black and gold Captain America. That's how I met Anthony Mackie and I met in the Comic-Cons. I love taking the photo ops with people and I come up with crazy stuff. I have two at Jason Momoa. Those are stories for another day, but it's like, oh, I know those guys.

Speaker 1: 36:40

Very cool. Yeah, I had the pleasure of working on a series with Momoa and it was so. I was physically with him right around the time he was cast as Aquaman and again, just one of those great, I want to say fly on the wall moments. But so here's a guy who was, of course, the lead in our series, but then to watch someone who's the top of the food chain in our little microcosm, we found ourselves in all of a sudden becoming, I mean this, human barbarian there's no false advertising here.

Speaker 1: 37:06

Like I was literally in a dark pub with him, like you know, and he's got the pictures of Aile. But just instantly reverting to a kid who's getting to play the comic book superhero he grew up on, and he's only five foot one.

Speaker 3: 37:17

That's amazing.

Speaker 1: 37:19

No again, no false advertising there. Like he is in the best sense, he is a call walking around the best of barbarian nature. You know if he's having a good time furniture might be flipped or you might get tossed, but it's all in good fun. Yeah, Jason's a great guy and great to see success come to folks that do really deserve it, that are just genuinely good people, and the industry is full of them. And so again, just that collaborative nature man, there's a lot of. I don't know if y'all edit, but there's a lot of bleep we got to deal with in this industry. So it's great to kind of remember the good stuff and the good people.

Speaker 3: 37:54

You can say but if you don't want to, for you that's fine too.

Speaker 1: 37:57

All right, well, I'll let the reader fill in, ok no, Again the spirit actor Fill in the eye of no one. I have no problem choosing my own. You know the shit you deal with, the crap you deal with. I mean whatever, but play at home, play along.

Speaker 2: 38:12

Cool, yeah, that's right.

Speaker 1: 38:14

It'll be like inside the actor studio. Right, we're kind of doing that. What's your favorite curse word? So insert your own.

Speaker 3: 38:19

If you were a tree, what kind of underwear would you wear?

Speaker 1: 38:21

Wait, no, my cards are mixed up.

Speaker 3: 38:25

Wow.

Speaker 1: 38:26

I'm not going to touch a tree in wood joke.

Speaker 3: 38:32

Take us out, TJ. I think we're done.

Speaker 2: 38:35

That's right.

Speaker 1: 38:37

You're going to get me canceled by Disney. Come on, I'm trying to get in Mandalorian season eight.

Speaker 2: 38:42

Yeah, we'll fix it in post. We won't. We won't let you get it. We won't let you get jammed up by Disney. We don't want that opportunity.

Speaker 1: 38:49

No, that's all we said. We're post strike, no holds barred. That's right, you're having fun.

Speaker 2: 38:54

That's right, Billy Slaughter. It's been so great to meet you and get your insights on the industry. Thank you so much for joining us on the film scene.

Speaker 1: 39:02

Thank you, guys, it's been a lot of fun.