​​You continue to coach actors

even if they are between projects?

Yes.  On Zoom or on set because nobody teaches actors the protocol or the terminology or the understanding of what the crew jobs are in relationship to actors.  I empower actors and position them to achieve their goals. In addition, I also encourage them to write, to produce, and to not rely on Hollywood to give them a break. We're in a beautiful age right now where you don't need certain cameras and lighting. You can shoot a film on your iPhone.  Issa Rae is a perfect example. She started with "The Awkward Black Girl," then moved on to HBO's "Insecure."  We have to empower ourselves.  I created, executive produced, and co-hosted "Inside The Black Box."  My value is important, there were constant battles with Crackle because my value and experience brings something to the table.  As a black woman, it's still very challenging for us in this industry.

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As a casting director what are you looking

for in an actor for a role? 

So there's a couple of things. One is that if I'm auditioning 50 people, 45 are going to come in and do the same thing. It's going to be those five people that took the time and create something special.  We're not looking for readers. We're looking for characters and characters have characteristics.  We're looking for a character that is interesting and engaging to watch. They're doing something. Even if they had a toothpick behind their ear, less is more, if they flick that toothpick and put it in their mouth while they're talking, then take it out, they're doing something. What I look for are the actors who really do the work and create the characters. Two. From a business point of view, I'm looking for a professional, someone who shows up on time, cordial and ready to work. But it doesn't end there, I've had to unfortunately fire people in table reads. 

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At the table read?  Why?

Actors can give great auditions and wonderful callbacks performances. But when they go to rehearsals or table reads, they're not impressive. It's not what the director is looking for and then that's scary because all they've got is what we saw in the auditions and callbacks. If you have to play opposite Denzel, now I don't know if I trust you. Actors will get fired because number one, they don't read. You have to be comfortable with other people's words in your mouth.  I beg actors to read every single day out loud. Fifteen minutes is minimum. You never take a break. ​

 

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During auditions were there actors who lacked experience,

but you felt strongly that they were the right person for the job? 

​Yes.  Jamie Hector and Michael K. Williams.​

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How did you help them

find their way?

​We were shooting a Spike Lee commercial. Jamie was 19 with no experience.  He did an okay reading but he was intimidated by the other experienced actors.  I noticed him leaving, I ran after him and asked "Where are you going?"  He responded,  "Oh, I don't think I have a shot at this." But I urged him to stay because I had a good feeling about him. Ultimately, Jamie got casted for the gig. The same thing happened with Michael K. Williams. Michael had this scar, people weren't embracing it. I told Michael to embrace his scar as a part of his characters. Then, I was doing a show, and he got cast in that. ​

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What helps an actor get

the part? Is it timing, luck, or talent?

It's their interpretation of the character, don't do the obvious, think outside the box. It's about creating something we had never thought about or seen. When you are persistent and consistent, your light is going to shine. Maintaining the integrity of the work and saying, "The only thing I have control over is being a great actor, so I'm going to nurture that, and I'm going to respect that." Then eventually, something is going to happen.  As casting directors, we have to be able to pull out that special personality. In the past, directors have asked me, "Tracey, who has the best personality?" It comes down to that. So your work ethic is imperative. That's why a lot of actors are not having the careers that they want because they're looking for immediate gratification. The worst thing you want to do is get on a set, not be prepared, not know what to do, and not know how to navigate. Plus this industry is small. Word gets around if you have poor work ethics.

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Slowly but surely the industry is

seeing an increasing rate of women directors?

​I think it's dynamic. I'm a director as well, and this is where I feel is my sort of final frontier, or my next chapter. I have the best of both worlds. As a casting director, I read a script, I interpret it, I understand it. As an acting coach, I'm going to coach you to be remembered. Because that's where the power is. I know you want to get cast, but to be remembered is the key. So for me, I think it's of vital importance that we have more females and black females and actors in the director's chair.  I had directed two pieces at Nickelodeon. Because it's a male-dominated industry, the men on the set automatically took the position of power. So they will call "action!" Then I had to be that firm, angry, quote-unquote, "black woman" to say, "No, I call "action!" and "cut!" on my set and respect that." You have to set the tone immediately especially as a Black woman. From interviewing Salli Richardson-Whitfield and Debbie Allen on "Inside The Black Box," their experience as directors mirrored my experience.  Most men directors set up shots. So they're not going to have a discussion. But with my experience as a celebrity acting coach I'm going to understand actors as people and as characters, I know how to direct them. Or, if I'm not in the director's chair but on set with my clients, I know how to get my clients to get to where another director needs them to be because I have a relationship with them. I think that we need to encourage more women directors behind the scenes and more women in control of telling stories and being heard.