June 16, 2020 • 34 mins
Sanjay Singh is an artist from New York. He likes to imagine and build stuff.
After studying Film and Television at New York University, Tisch School of the Arts, he founded nukhu (noo-koo), and produced commercial media content for healthcare providers, financial service providers, quick-service-restaurants, craft restaurants, alcohol manufacturers, technology groups, cannabis start-ups, non-profit organizations, and small businesses. nukhu has evolved into a community of curated stories and storytellers. In 2013, he co-directed the documentary "The American People." The film chronicles everyday Americans and their concerns about the most important issues facing their country.
In 2016, he launched nukhu.com, a film festival curated by creators. nukhu has produced original content such as “Otis” and recently “Highpothetically,” a film starring, written, directed, and edited by Sanjay about his experiences in New York cannabis activism.
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See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
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 transition to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Thomaz.
I audition every rapper from Biggie Spalls to Tupac, and
(00:24):
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 Ye from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
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. Meditation of the day. Chance
(01:07):
never helps those who do not help themselves. When you
find yourself going through challenging times, you should know it
is only for your own good. I know that sounds crazy,
but it's true. The challenges that you face in your
life are there to strengthen you as a person. It
helps to really understand that you are not alone and
(01:30):
that with courage and determination, you will survive. There are
no mountains too high for you to walk when you
have faith today, I will accept what life has to
offer and come through still standing. Welcome to the Spirited
Actor Podcast with me Tracy Moore. Today we have a
(01:53):
very very special guest. UM. I just want to say
I've had um mutual friend Darryl Sledge, who was going
to be on the Spirited Active podcast, introduced me to
this young man and I was simply in strigued. So
I want to introduce you all to filmmaker in Why
(02:15):
You Lad Sanjay Sing? Yes, how are you doing? I
thank you for being on the show. And you know
I love Darryl. I know you love Darryl Sledge and
he's gonna be on soon. UM. I'm so grateful for
(02:36):
the introduction. But tell us about your film festival. Uh So,
this is the fifth year we're working on Nuku Fest
UM and it's a film festival with online screenings and
exclusive screenings created by creators, so we curate films from
all over the world, and accepted films get a chance
(02:57):
to are just playing our online film us for their favorites.
And at the end of the year the fall, we
will for one day have a screening, live screening with
the top ten nominated films and we decide which is
the best film out of all of those. Now are
these short films or are they featured films documentaries? So
(03:19):
these running duration from thirty seconds to two hours. Um,
we have movies that have been rated round Tomatoes and
movies that have just been you know, student animation shorts.
And the genres range from documentaries, dramas, comedies. Ours all
over the given. And when is your film festival? So
(03:41):
it's currently underway online buildings taking place now. And we
have our second our second cohort, the top ten nominees
announced on October third this year, which is when we'll
screen the top ten nominations and decide the best picture. Excellent.
So you have to give us, and you're gonna give
it to us again, but give us the information now
(04:02):
where we can um go and and and see you
know all of this, so you can go watch movies
today at new dot com and U k h U
dot com. Now are we allowed to vote? Yeah? Okay,
so it's open. The voting is open to the viewers. Yeah.
So tell me how does this idea originate from you?
(04:24):
And give us your background. So, UM, I went to
all You Film school. Um. Before then, I was just
team making home videos with my friends. And at school,
I cultivated an interest in directing and producing. UM, and
I ended up going off and producing commercial work, music videos,
(04:47):
some short films, and a feature that went off to
film festivals. And I realized while exploring the festival circuit
just how disconnected the entire industry was in terms of
the goal the filmmaker's journey to try and and reach
fans and then so I have as much control over
that film as possible. I didn't really see a platform
(05:08):
at the time that provided all the solutions I wanted
as a filmmaker. So I came up with it. I
wanted to make more. I wanted more control over my films,
and uh, since I make them for myself, if anyone
wants to see them, I wanted them to two recoup
the cause as as I thought was fair. So, UM,
(05:29):
what was as a filmmaker, what do you think is
the most because we have a lot of actors who um.
For instance, Lean is a writer and she writes a
lot of the scenes that we do on the podcast
in our segment, class and session. However, I know there
are other actors who are listening, you know, tell them
(05:51):
what the most challenging thing is and how you know,
because I love the fact that you found devoid and
you filled it. So there are ways to be able
to you know, still do work in film, create film,
and um overcome those obstacles. Absolutely, I think I think
that filmmaking independent filmmaking can be a sustainable in industry.
(06:14):
I think that, um, once we start getting so many
parties involved, extra producers, distribution agents, sales, those agents, UM,
those things are the sort we kind of lose track
of the scale of the movies we want to produce,
and everybody needs to get you know, their pockets filled.
So so essentially, UM, you end up buying the filmmakers
(06:35):
out of their own movies, when in reality, I think
a lot of that money uh that viewers paid towards
watching those kinds of independent films can go towards the
filmmakers themselves to continue to make independent films, and I
think one of the greatest problems is noise. I think
that there's just so much noise, so many people trying
to get into the industry. That really what you want
(06:58):
is you want a family, You want a community creators
to help decipher which one's which was ready to be
seen right now. So there are two points that you made.
Um in terms of the industry, there is a lot
of noise in there. And with I think I come
from the real independent film, right, So I come from
(07:20):
the She's Got to Have a Days And my first
film was just Another Girl on the I R T.
My apartment was our holding area. Um, you know, equipment
was in my house like by any means necessary. That's
how we were as filmmakers back then. You have now
(07:40):
the vehicle of the Internet, which is a powerful because
now we're talking globally, right. So when you say which
I loved the noise. People want to get in it
for the fame, people want to get in it for
the money. But there's this real, true art that I
feel and that was my connection when I met you,
(08:03):
that you really care about the art and the artistry
of filmmaking. Absolutely, I mean I wanted my movie to
be seen next to other films and the library of
catalog of other films, as opposed to next to cat
videos or memes or instructionals. I wanted my film to
be deemed as as a film and UM, I saw
(08:24):
that on a lot of these platforms they work in
a way to to give you as tending content or
relevant content, but really none of them go deep. None
of them go as deep as platforms like It's like
Netflix or HBO or Amazon. These are established platforms that
have utilized data to in a different extent than platforms
(08:45):
like YouTube or Vimeo or um even Dystrified just moved
platforms where you can just upload. And I think that
harnessing the collective power of independent niche films and independent communities,
you can eventually you can essentially direct niche communities of
similar audiences to similar films. So what we've done is
(09:09):
we've implemented a catalog of over five hundred tags UM
that breaks down every single movie on our platform, similar
to the way Netflix does and Amazon does, etcetera, to
deliver independent films too independent viewers. So has your catalog
extended out to actors as well? Because I would imagine
(09:32):
that there's a new breed of actors that gravitate to
your site, right, UM, inclusive of the working actors, likely
in and Ju Lisa. Absolutely. Um. You know, our our
filmmakers are one man shows or there. You know, their
their extensive crews. So the budgets range well just rage. Yeah,
(09:54):
some of these movies that look like they were shot
on an iPhone and some of them look like they
were shot for several hundred thous millers. Wow, definitely one. Well,
that's why I'm excited for you to see them because
these are two actors is very talented and you know,
it's great to connect the community in that way. I'm
gonna do something a little different because I do have
(10:16):
them on UM. But Lean and de Lisa, if you
guys have a question, just let me know and I'll
let you ask SANGI. Because this is also just generation wise.
I feel like this is the next generation and you
know what is now with um the coronavirus and the
(10:38):
social isolation. Let's say, you know, we have a theater
AMC that can see maybe five hundred thousand people. Now
you know the capacity is only going to be like
maybe of that, so people may not be going to
theater anymore. Now we're gonna be online. How are you
(11:00):
and to continue to UH have because your film festival
stands out to me, how are you going to continue
to you know, curate that in that because it looks
like this is where we're gonna go. This is the
direction now. So we we have to as in addition
to a film films will we also stand as a
marketer for the films that we curate and that are
(11:21):
participate in our catalog. So we cut trailers out of
all the films we market them on social platforms to
via email notifications, UM and we helped we help the
most promising films try and gardner as many views as
possible within our community. And I think that's really I
think that's really the goal is to try and UH
(11:43):
is to try and prop up the films on our
platform as much as we can. UM and and I
think the voting, the mechanisms built with on the platform
as well, they serve to bring popular films to the top.
So now is there a monetary reward? UM worth it?
You know, people get and people that the films on
(12:03):
your platform. Do the filmmakers get paid? UM? How does
that work. So we understand that a lot of filmmakers
have um a very specific journey about how they want
to monetize their films. Sometimes they just want to release
it outright, uh, to get as many views as possible
and then and then implemented a fee to watch, or
they want to start charging from the start um and
(12:25):
uh we we allow for both grows those strategies. So,
for instance, we have a Best Picture prize which incentivizes
all filmmakers to try and get as many views and
as many votes as possible, and then throughout the journey
as well, we allow filmakers to set a price for
their film at any time and they can change it,
(12:46):
they can take it off, it doesn't matter. And that
price can rage anywhere from tren cents too however much
they want. And then there's obviously some sort of percentage
that your company gets to continue, you know, working in
this capacity. Absolutely, so whatever price that filmmaker set, it's
a straight and do you have sponsors that are on
(13:10):
board that help in anyway. We're currently working with a
nonprofit called Overflowing Hands, and we we help We work
with them for our live screenings, So a percentage of
our percent percentage of our our ticket sales goes towards
non profit. Wow, this is such a great idea of
(13:31):
san Ja. I mean, I love the fact that you
spoke about ownership in the beginning, and you're also allowing
these filmmakers to own their projects. You know, that's very
empowering and and you know, honestly, you may you don't
(13:53):
need the studio recognition in the situation like this because
you're talking on a global aspect act and I want
to be global. I don't want to be local, like
I'm glad the United States. That's cute, but where you're
reaching those are different numbers that were used to in filmmaking.
Billions of views, you know, a potential billion billion viewership
(14:16):
is so much more accessible. And when you're talking about,
you know, really democratizing access and instead of charging ten
dollars fifty dollars for a stream of a movie, you're
talking about ten cents. That ten cents can scale and
you can make a lot more um when you open
up access to more viewers. Because sometimes actually really the
(14:36):
difference for why people don't they don't spend money on
on renting movies or buying movies. They just don't have
the capital to spend ten dollars for an online stream.
It also, UM really broadens you know, um, culturally the
stories that were able to experience, because sometimes Hollywood can
(14:59):
get very limited in their creativity, right and predictable. I've
learned so much about the world by curating these movies. UM,
just how diverse the world is and how diverse cultures are.
And uh, I'm I'm proud astonished at how some of
(15:20):
these filmmakers are able to produce such quality content with
such limited resources. They really they know exactly where to
appropriate certain resources to make humorous in their show and
their their stories. Well, I'll tell you this being an
in a grill of filmmaking and coming from that error,
when you have the passion for what you love, you
(15:43):
will find the way to get it done. And and
I'm gonna tell you that when you speak about community. UM.
Years ago, this was like nineties, I was on uh,
I was doing a film, I mean television show New
York Undercover, and UM, I really really super wanted to direct.
This is when I was like, this is my calling, right,
(16:06):
and um I was I was able to direct like
my first music video of friends. He had this artist
blah blah blah wrote the treatment got it right. We
had no money. Two friends of mine who were established
directors who I cast for. One of them was shooting
the day. We were shooting around the corner and he said, Tracy,
you can walk on the truck. Get anything you want,
(16:29):
any lights, gels, whatever. And someone who a producer who
hired me, was walking down the street my first job,
and he saw me and he was like, what are
you doing. I was like, well, you know, I'm directing,
get my real together wherever. He was like, Tracy, what
do you need? He acted as a p a blocking
(16:49):
streets and and to me, that's something that I miss
in filmmaking because when you go into a broader sense
working in studios, it's not as communal, independent, guerilla filmmaking,
And that's where you see the potential of who you
really are when you have you know, filmmaking is such
(17:10):
a collaborative industry. When you have your crew feeling like
it's just a punch in, punch out kind of job,
you're really missing out on captivating that creative energy. Absolutely,
I absolutely agree with you. So is I'm gonna bring
Do you guys have any questions to Lissa or okay
to lista has the question to Lissa come on in? Yea.
(17:31):
I think it's just an amazing idea. I wanted to
say that, and I just wanted to ask about how
does it work for distribution, Like do you find that
like those finals and are able to get distribution or
is that even the goal of it? And how is
the foreign market like included, Like I understand you said
you talked about as far as like you uh you
get a sense of more of the world you do,
(17:52):
just talk a little. I guess the far enerity and
that okay. Uh, So the film festival serves as the
distribution platforms simultaneously, so um you know, if if your
goal is to monetize, your film platform serves to do
that as well. Our terms are non exclusive, so if
there is another distributor that you end up wanting to
work with or another PR company, then you're totally willing
(18:16):
and able to do that. News new Coba as just
supplementary advertisement. In terms of the international market. It's it's
been very interesting to to learn how um important like
agriculture is to some community, small communities like in Turkey.
Um an entire entire community is UH survives off of pomegranates.
(18:39):
So you get to see how like how these people
UM they cultivate and they market, they sell these pomegranates,
and just how of a real life situation that is.
Some of these films from Iran really helped like illustrate
the the strife between difffferent classes, between and different genders
(19:01):
between UM the domestic and what's going on in Iran
versus what's going on internationally UM through the potential for
war and and and just the just the emotional energy
I guess that's been put on them because of where
they are in the state of the world. Right, Wow,
(19:22):
that's a great question to Hi, I'm just UM, I
guess I'm just curious of like how did you how
did you extend like how did you get international? You know,
because I'm assuming that being an m y U grabed
like you're you're here, you're New York based on based
in New York City, but a lot of a lot
of UM, a lot of students that and Yu are
(19:44):
actually international students. They come from ib UM, they come
from a very diverse background. So we were exposed to
the international community from the start. Since it's not since
the an Internet website, you know, where we're always successible
online and in terms of in terms of specific films
access to the international community, we've actually allowed filmmakers the
(20:07):
control to deal restrict access to their films in case
that's something that runs in conflict with their current distributors,
or if it's not a goal of their's, maybe maybe
some of the continent sensitive um, or they just don't
want it to be seen in a specific country. They
can they can geal restrict access as well. Wow. Control
(20:28):
for the artist great. And that's what I love. I
was gonna say that, Lee, And that's what I love.
I love the fact that you know, I don't have
the creativity that is and all of this creativity that
is on this zoom link right now and with me
in person um that it's not this um. It's not
(20:51):
this feeling of you know, I want to be seen
or I want to be famous. It's like I want
to do great work, I want to get it out
there and I own it. That is such a different
feeling than the urgency that this entertainment business cultivates. Yeah. Yeah,
And I think the sense of community where it's like, no,
(21:11):
you know, we're not We're not accepting like, uh, we're
not accepting so many movies to inundate our viewers. We
we have a very low percentage of of acceptance. Um,
you know, we just out of ten thousand films, we
only accepted you know, about three hundred of them. And
so really what we want to do is we want
to deliver most quality, like entertaining films to viewers. And
(21:32):
it's more so about appreciating the community, appreciating the films,
the work has been put into the films, rather than
just pump more content out every single day. Yeah, well,
my producer extraordinaire theory has arrived. You know what I
really like about this is I think finding you you've
done a prince. You've done a prince. But in the
(21:55):
movie industry, you have taken. You've made you've given all
a power to the artist, and you've taken you've taken
the movie houses out of out of power. You know,
you have you control your own destiny now. And that's
one thing I think it's been a big blemish in
the industry for a lot of art like directors and
(22:16):
filmmakers and scriptwriters. They're going like, yeah, I gotta go
through this dude, and this guy's got a red light,
all this kind of stuff, and now you have all
the power they can control you. You might you might
have just revolutionized a new, a new breed of filmmaking.
And you you might have unfortunately, you might have closed
down movie houses. Yeah. Why should I spend thirty dollars,
(22:42):
you know when I could spend ten bucks and have
the same experience almost you know, ye shut it down.
It's it's a it's a it's a Maverick idea. Your
last thing should be Maverick. Well, and that's why I
wanted with Darryl introduced me to him and we had
(23:03):
a conversation. I was like, we have to have him
on the show because he's creating a platform for filmmakers
but also actors. Actors want to work and they want
to work on good projects. And um, I've had the
pleasure of going to Amsterdam last year and there's a
whole world out there. You know, I would love for
(23:24):
Leon and to Lisa to do films out there. It's
not just America, you know, that has this imprint of
the entertainment business. So I just wanna, Wow, this just
flew by so many questions, so much information. I definitely
want to invite you back on the show. Um, I
(23:45):
want more people to have access to understanding who you
are and knew cou it's an amazing, amazing film festival,
you guys, and you are a maverick and your spirit
is so genuine, it's so peaceful and there you really
I feel like this is also a platform to really
(24:06):
engage with filmmakers and allow them to just show their
talents without the pressure and the noise that you talked
about earlier. Just have that freedom, man, and just create
good work and communal That's that's what it is. So saga,
it went by too fast, man, That's all right. I
(24:27):
had a great time. I'm having a great time here
talking to you guys, looking at you beautiful people. Oh well,
we've had such a wonderful time with you, and we
are going to have you back on the show. So
if you could just give us information again where people
can reach you. I want everybody to come on filmmakers
so they can visit our films at new dot com
(24:48):
and U k h U dot com. You have until
October there to submit your film for the New Confess
and we hope you have a chance to participate. Good luck.
They thank you and thank you for giving them the opportunity.
Everybody put your hands together for Sandc. Thank you so much.
(25:12):
We'll be back with Class in Session on the Spirited
Actor Podcast with me Tracy Moore. Hi, and welcome back
to the Spirited Actor Podcast with me Tracy Moore. And
you all know this is one of my favorite sections,
right this is Class in Session segments, and we are
(25:33):
still blessed to have Sanjay saying with us. He's still here. Okay,
So I'm gonna reap the scene and Leanne wrote the scene. Okay,
lean got some feedback. Oh my god, like our last
guest loved the writing. So Lean's read right Les Okay.
(25:56):
Exterior Sandra's home day. Miss Jasmine stands at the door
with cookies with the hopeful face. As Sandra opens the door,
Sandres surprised. Oh how's Jasmine. I'm surprised to see you're here.
Is everything okay, miss Jasmine? Hands are the cookies? Don't
(26:20):
worry about me? Is everything okay with you? Of course? Listen,
you don't have to be ashamed with me. I get it.
I'll keep her a little secret don't worries. I mean,
I'm I'm gonna be confused as what you're talking about. Damn,
(26:41):
you're probably at the point of deep rive our mente
the problem then cool fatigue. I don't have much on
a teacher's salary, but I've been packing lunch and snacks
for Gabby every day. What what I spent, how one
is perfectly fine. This Jasmine feels even worse than Sundra
(27:02):
is in denial and feels that she has to lie. Sandra,
It's okay. The kids also put together. They got to
raise money. If Gabby is beyond concerned about you losing
the house, moves in the house. Okay, miss Jasmine. If
you don't start telling me what you're talking about, Almo started.
Thank you. Also, the Babby told me everything, working three jobs,
(27:27):
your husband left, about to lose the home, and not
enough money for poor Gabby to have lunch. Jasmine, none
of that is true. My husband is upstairs sleeping. Hello,
miss Gabby. It's about as I have heard this before.
Denial is coming. Look, I just wanted you to know
(27:49):
that Gabby's class, in the entire Saint Mary School has
you and the family and our prayers and we're gonna
keep reising money and we're gonna keep her fed. This
Jasmine opens their arms to go in for a hug game.
Oh take my number down. I can take her on
the weekend and while looking for Carl on the app.
I'll be glad to watch her. It just takes the
(28:10):
number down. You know what. Thank you, thank you so much.
You know that I'll let you know if I mean
my cards carton it too. Yes, please do okay, take
care and see that's cute, cute, Okay, So say I
(28:33):
love the energy. I think. I think from the start,
it's like, what are those going on between these two?
Why are they why are they on different planes? They're
gonna read it again. Is there anything that you want
to give them in terms of um some direction? Um?
I think, uh ju Lisa, I don't know if I
(28:55):
would come across as offended so soon. Maybe maybe try
and try and figure out what's going on between m
Leon's character a little, a little before it becomes so
so so offended. H okay and anything for land Lean.
I thought that, um, I thought that at times, uh
(29:19):
like like like towards the end it became a little
over the top. But I'm not sure if that's part
of part of the scene. It kind of felt like
it should be. Um, so if it is, maybe go
more over the top. Okay, okay, excellent, excellent, So okay,
so you ladies, I just wanted to turn it. We're
(29:40):
gonna start a camp. Okay, whenever you guys are ready. Oh,
I have a Jasmine surprised to see you. Here's everything, Okay,
don't worry about me. Is everything okay with you? Of course?
Why wouldn't it be. Listen, Sandra, you don't have to
(30:02):
be ashamed with me, like I get it, keeping our
little secret, but worried? Okay, did I miss something? I mean,
I don't really confused as what you're talking about. Damn,
probably already at this day of deeprive our mente probably
mental fatigue. Look, I only have a teacher's salary, but
(30:25):
I've been packing and snacks for Gabby every day, so
what what I spent on one is perfectly fine. Andandra,
it's okay. Also, the kids that particular bake sil to
raise money because your little girl is so worried about
you guys lives in the house, losing the house if
(30:50):
it also want to tell me what you're talking about
I'm start to thank you, Oh Gaby, everything wreaking, any job,
husband left, the home is about to go, and poor
Gabby has no lunch. Miss, none of that is true.
Her husband is sleeping a little. Miss Gabby is about
(31:11):
to get high. Speak. I've seen this before. Listen, Denial
is comming. I just wanted you to know that the
entire school, Gabby class, and me myself, that we're backing
you up in prayer. We're gonna keep raising money and
we're gonna keep Gabby fat. M oh um, take my
(31:33):
number down if you need me to take on the weekends.
Are you gonna looking for Carl on the avenue? I'll
be glad to help. No, but thank you. Thank you
so much much, Jasmine, and I'll let you know if
I'm a car from too. Yeah great, you do very
(31:58):
nice clause. How is that serject? I feel like I
feel like the the quickiness is like just been taking
up a notch. I thought you guys are great. Yeah
that was fun, yea labies. Well, thank you my spirit
actor alumni, leon a motto take about and Mr Chell's
(32:22):
capree take a bow, and once again, thank you so
much for participating with us. Sanjay, We appreciate love here,
insights and your constructive criticism. Thank you again, Pat him
see everybody, it's been blessed. Well. We look forward to
seeing you again. So remember I'm gonna call you again,
(32:43):
all right, talk to you soon. All right, Thank you,
and we'll be back with Give Love on the Spirited
Actor Podcast with me Tracy Moore and now it's time
to give Love. I grew up in an era where
discipline was basically a beating. Basically, my grandmother used to
(33:06):
make us go outside and break off a branch and
then she would peel off the leaves and the skin
of the branch and then that's where we would get
a spanking or we would get open. Right, So fast
forward to now, I'm a grandma and I have a
seven year old granddaughter and I was disciplining Sriah and
(33:28):
I was really upset with her about doing something and
she made me stop and she said, Grandma, why do
you have to yell? And I said, I'm not yelling, saa,
I'm just being firm. Well, what ended up happening is
we ended up having a conversation about discipline, and she
(33:51):
made me listen and she made me look at it
from a seven year olds point of view, and I
actually didn't have to ask her to go outside and
get a branch. All I had to do was have
a conversation. What Saya has taught me is to slow
(34:11):
down and to really listen and to really see her
side of it. She teaches me patience, and as an actor,
you need patience on this journey because you do not
have control. You don't know when things are going to
happen for you. But what you do know is that
when you are consistent, and when you are persistent with
(34:32):
your work and your craft, things will happen. Learn to
be patient in your journey and reap the reward. Thank
you for joining us on the Spirited Actor Podcast with
me Tracy Moore. I look forward to our next Spirited podcast.
Thank you,
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 transition to
a celebrity acting coach after I cast a film New
Jersey Drive with executive producers Spike Lee and director Nick Thomaz.
I audition every rapper from Biggie Spalls to Tupac, and
(00:24):
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 Ye from The
Breakfast Club, and Vanessa Simmons, to name a few. I
also coach sports stars and host as well. I feel
(00:45):
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. Meditation of the day. Chance
(01:07):
never helps those who do not help themselves. When you
find yourself going through challenging times, you should know it
is only for your own good. I know that sounds crazy,
but it's true. The challenges that you face in your
life are there to strengthen you as a person. It
helps to really understand that you are not alone and
(01:30):
that with courage and determination, you will survive. There are
no mountains too high for you to walk when you
have faith today, I will accept what life has to
offer and come through still standing. Welcome to the Spirited
Actor Podcast with me Tracy Moore. Today we have a
(01:53):
very very special guest. UM. I just want to say
I've had um mutual friend Darryl Sledge, who was going
to be on the Spirited Active podcast, introduced me to
this young man and I was simply in strigued. So
I want to introduce you all to filmmaker in Why
(02:15):
You Lad Sanjay Sing? Yes, how are you doing? I
thank you for being on the show. And you know
I love Darryl. I know you love Darryl Sledge and
he's gonna be on soon. UM. I'm so grateful for
(02:36):
the introduction. But tell us about your film festival. Uh So,
this is the fifth year we're working on Nuku Fest
UM and it's a film festival with online screenings and
exclusive screenings created by creators, so we curate films from
all over the world, and accepted films get a chance
(02:57):
to are just playing our online film us for their favorites.
And at the end of the year the fall, we
will for one day have a screening, live screening with
the top ten nominated films and we decide which is
the best film out of all of those. Now are
these short films or are they featured films documentaries? So
(03:19):
these running duration from thirty seconds to two hours. Um,
we have movies that have been rated round Tomatoes and
movies that have just been you know, student animation shorts.
And the genres range from documentaries, dramas, comedies. Ours all
over the given. And when is your film festival? So
(03:41):
it's currently underway online buildings taking place now. And we
have our second our second cohort, the top ten nominees
announced on October third this year, which is when we'll
screen the top ten nominations and decide the best picture. Excellent.
So you have to give us, and you're gonna give
it to us again, but give us the information now
(04:02):
where we can um go and and and see you
know all of this, so you can go watch movies
today at new dot com and U k h U
dot com. Now are we allowed to vote? Yeah? Okay,
so it's open. The voting is open to the viewers. Yeah.
So tell me how does this idea originate from you?
(04:24):
And give us your background. So, UM, I went to
all You Film school. Um. Before then, I was just
team making home videos with my friends. And at school,
I cultivated an interest in directing and producing. UM, and
I ended up going off and producing commercial work, music videos,
(04:47):
some short films, and a feature that went off to
film festivals. And I realized while exploring the festival circuit
just how disconnected the entire industry was in terms of
the goal the filmmaker's journey to try and and reach
fans and then so I have as much control over
that film as possible. I didn't really see a platform
(05:08):
at the time that provided all the solutions I wanted
as a filmmaker. So I came up with it. I
wanted to make more. I wanted more control over my films,
and uh, since I make them for myself, if anyone
wants to see them, I wanted them to two recoup
the cause as as I thought was fair. So, UM,
(05:29):
what was as a filmmaker, what do you think is
the most because we have a lot of actors who um.
For instance, Lean is a writer and she writes a
lot of the scenes that we do on the podcast
in our segment, class and session. However, I know there
are other actors who are listening, you know, tell them
(05:51):
what the most challenging thing is and how you know,
because I love the fact that you found devoid and
you filled it. So there are ways to be able
to you know, still do work in film, create film,
and um overcome those obstacles. Absolutely, I think I think
that filmmaking independent filmmaking can be a sustainable in industry.
(06:14):
I think that, um, once we start getting so many
parties involved, extra producers, distribution agents, sales, those agents, UM,
those things are the sort we kind of lose track
of the scale of the movies we want to produce,
and everybody needs to get you know, their pockets filled.
So so essentially, UM, you end up buying the filmmakers
(06:35):
out of their own movies, when in reality, I think
a lot of that money uh that viewers paid towards
watching those kinds of independent films can go towards the
filmmakers themselves to continue to make independent films, and I
think one of the greatest problems is noise. I think
that there's just so much noise, so many people trying
to get into the industry. That really what you want
(06:58):
is you want a family, You want a community creators
to help decipher which one's which was ready to be
seen right now. So there are two points that you made.
Um in terms of the industry, there is a lot
of noise in there. And with I think I come
from the real independent film, right, So I come from
(07:20):
the She's Got to Have a Days And my first
film was just Another Girl on the I R T.
My apartment was our holding area. Um, you know, equipment
was in my house like by any means necessary. That's
how we were as filmmakers back then. You have now
(07:40):
the vehicle of the Internet, which is a powerful because
now we're talking globally, right. So when you say which
I loved the noise. People want to get in it
for the fame, people want to get in it for
the money. But there's this real, true art that I
feel and that was my connection when I met you,
(08:03):
that you really care about the art and the artistry
of filmmaking. Absolutely, I mean I wanted my movie to
be seen next to other films and the library of
catalog of other films, as opposed to next to cat
videos or memes or instructionals. I wanted my film to
be deemed as as a film and UM, I saw
(08:24):
that on a lot of these platforms they work in
a way to to give you as tending content or
relevant content, but really none of them go deep. None
of them go as deep as platforms like It's like
Netflix or HBO or Amazon. These are established platforms that
have utilized data to in a different extent than platforms
(08:45):
like YouTube or Vimeo or um even Dystrified just moved
platforms where you can just upload. And I think that
harnessing the collective power of independent niche films and independent communities,
you can eventually you can essentially direct niche communities of
similar audiences to similar films. So what we've done is
(09:09):
we've implemented a catalog of over five hundred tags UM
that breaks down every single movie on our platform, similar
to the way Netflix does and Amazon does, etcetera, to
deliver independent films too independent viewers. So has your catalog
extended out to actors as well? Because I would imagine
(09:32):
that there's a new breed of actors that gravitate to
your site, right, UM, inclusive of the working actors, likely
in and Ju Lisa. Absolutely. Um. You know, our our
filmmakers are one man shows or there. You know, their
their extensive crews. So the budgets range well just rage. Yeah,
(09:54):
some of these movies that look like they were shot
on an iPhone and some of them look like they
were shot for several hundred thous millers. Wow, definitely one. Well,
that's why I'm excited for you to see them because
these are two actors is very talented and you know,
it's great to connect the community in that way. I'm
gonna do something a little different because I do have
(10:16):
them on UM. But Lean and de Lisa, if you
guys have a question, just let me know and I'll
let you ask SANGI. Because this is also just generation wise.
I feel like this is the next generation and you
know what is now with um the coronavirus and the
(10:38):
social isolation. Let's say, you know, we have a theater
AMC that can see maybe five hundred thousand people. Now
you know the capacity is only going to be like
maybe of that, so people may not be going to
theater anymore. Now we're gonna be online. How are you
(11:00):
and to continue to UH have because your film festival
stands out to me, how are you going to continue
to you know, curate that in that because it looks
like this is where we're gonna go. This is the
direction now. So we we have to as in addition
to a film films will we also stand as a
marketer for the films that we curate and that are
(11:21):
participate in our catalog. So we cut trailers out of
all the films we market them on social platforms to
via email notifications, UM and we helped we help the
most promising films try and gardner as many views as
possible within our community. And I think that's really I
think that's really the goal is to try and UH
(11:43):
is to try and prop up the films on our
platform as much as we can. UM and and I
think the voting, the mechanisms built with on the platform
as well, they serve to bring popular films to the top.
So now is there a monetary reward? UM worth it?
You know, people get and people that the films on
(12:03):
your platform. Do the filmmakers get paid? UM? How does
that work. So we understand that a lot of filmmakers
have um a very specific journey about how they want
to monetize their films. Sometimes they just want to release
it outright, uh, to get as many views as possible
and then and then implemented a fee to watch, or
they want to start charging from the start um and
(12:25):
uh we we allow for both grows those strategies. So,
for instance, we have a Best Picture prize which incentivizes
all filmmakers to try and get as many views and
as many votes as possible, and then throughout the journey
as well, we allow filmakers to set a price for
their film at any time and they can change it,
(12:46):
they can take it off, it doesn't matter. And that
price can rage anywhere from tren cents too however much
they want. And then there's obviously some sort of percentage
that your company gets to continue, you know, working in
this capacity. Absolutely, so whatever price that filmmaker set, it's
a straight and do you have sponsors that are on
(13:10):
board that help in anyway. We're currently working with a
nonprofit called Overflowing Hands, and we we help We work
with them for our live screenings, So a percentage of
our percent percentage of our our ticket sales goes towards
non profit. Wow, this is such a great idea of
(13:31):
san Ja. I mean, I love the fact that you
spoke about ownership in the beginning, and you're also allowing
these filmmakers to own their projects. You know, that's very
empowering and and you know, honestly, you may you don't
(13:53):
need the studio recognition in the situation like this because
you're talking on a global aspect act and I want
to be global. I don't want to be local, like
I'm glad the United States. That's cute, but where you're
reaching those are different numbers that were used to in filmmaking.
Billions of views, you know, a potential billion billion viewership
(14:16):
is so much more accessible. And when you're talking about,
you know, really democratizing access and instead of charging ten
dollars fifty dollars for a stream of a movie, you're
talking about ten cents. That ten cents can scale and
you can make a lot more um when you open
up access to more viewers. Because sometimes actually really the
(14:36):
difference for why people don't they don't spend money on
on renting movies or buying movies. They just don't have
the capital to spend ten dollars for an online stream.
It also, UM really broadens you know, um, culturally the
stories that were able to experience, because sometimes Hollywood can
(14:59):
get very limited in their creativity, right and predictable. I've
learned so much about the world by curating these movies. UM,
just how diverse the world is and how diverse cultures are.
And uh, I'm I'm proud astonished at how some of
(15:20):
these filmmakers are able to produce such quality content with
such limited resources. They really they know exactly where to
appropriate certain resources to make humorous in their show and
their their stories. Well, I'll tell you this being an
in a grill of filmmaking and coming from that error,
when you have the passion for what you love, you
(15:43):
will find the way to get it done. And and
I'm gonna tell you that when you speak about community. UM.
Years ago, this was like nineties, I was on uh,
I was doing a film, I mean television show New
York Undercover, and UM, I really really super wanted to direct.
This is when I was like, this is my calling, right,
(16:06):
and um I was I was able to direct like
my first music video of friends. He had this artist
blah blah blah wrote the treatment got it right. We
had no money. Two friends of mine who were established
directors who I cast for. One of them was shooting
the day. We were shooting around the corner and he said, Tracy,
you can walk on the truck. Get anything you want,
(16:29):
any lights, gels, whatever. And someone who a producer who
hired me, was walking down the street my first job,
and he saw me and he was like, what are
you doing. I was like, well, you know, I'm directing,
get my real together wherever. He was like, Tracy, what
do you need? He acted as a p a blocking
(16:49):
streets and and to me, that's something that I miss
in filmmaking because when you go into a broader sense
working in studios, it's not as communal, independent, guerilla filmmaking,
And that's where you see the potential of who you
really are when you have you know, filmmaking is such
(17:10):
a collaborative industry. When you have your crew feeling like
it's just a punch in, punch out kind of job,
you're really missing out on captivating that creative energy. Absolutely,
I absolutely agree with you. So is I'm gonna bring
Do you guys have any questions to Lissa or okay
to lista has the question to Lissa come on in? Yea.
(17:31):
I think it's just an amazing idea. I wanted to
say that, and I just wanted to ask about how
does it work for distribution, Like do you find that
like those finals and are able to get distribution or
is that even the goal of it? And how is
the foreign market like included, Like I understand you said
you talked about as far as like you uh you
get a sense of more of the world you do,
(17:52):
just talk a little. I guess the far enerity and
that okay. Uh, So the film festival serves as the
distribution platforms simultaneously, so um you know, if if your
goal is to monetize, your film platform serves to do
that as well. Our terms are non exclusive, so if
there is another distributor that you end up wanting to
work with or another PR company, then you're totally willing
(18:16):
and able to do that. News new Coba as just
supplementary advertisement. In terms of the international market. It's it's
been very interesting to to learn how um important like
agriculture is to some community, small communities like in Turkey.
Um an entire entire community is UH survives off of pomegranates.
(18:39):
So you get to see how like how these people
UM they cultivate and they market, they sell these pomegranates,
and just how of a real life situation that is.
Some of these films from Iran really helped like illustrate
the the strife between difffferent classes, between and different genders
(19:01):
between UM the domestic and what's going on in Iran
versus what's going on internationally UM through the potential for
war and and and just the just the emotional energy
I guess that's been put on them because of where
they are in the state of the world. Right, Wow,
(19:22):
that's a great question to Hi, I'm just UM, I
guess I'm just curious of like how did you how
did you extend like how did you get international? You know,
because I'm assuming that being an m y U grabed
like you're you're here, you're New York based on based
in New York City, but a lot of a lot
of UM, a lot of students that and Yu are
(19:44):
actually international students. They come from ib UM, they come
from a very diverse background. So we were exposed to
the international community from the start. Since it's not since
the an Internet website, you know, where we're always successible
online and in terms of in terms of specific films
access to the international community, we've actually allowed filmmakers the
(20:07):
control to deal restrict access to their films in case
that's something that runs in conflict with their current distributors,
or if it's not a goal of their's, maybe maybe
some of the continent sensitive um, or they just don't
want it to be seen in a specific country. They
can they can geal restrict access as well. Wow. Control
(20:28):
for the artist great. And that's what I love. I
was gonna say that, Lee, And that's what I love.
I love the fact that you know, I don't have
the creativity that is and all of this creativity that
is on this zoom link right now and with me
in person um that it's not this um. It's not
(20:51):
this feeling of you know, I want to be seen
or I want to be famous. It's like I want
to do great work, I want to get it out
there and I own it. That is such a different
feeling than the urgency that this entertainment business cultivates. Yeah. Yeah,
And I think the sense of community where it's like, no,
(21:11):
you know, we're not We're not accepting like, uh, we're
not accepting so many movies to inundate our viewers. We
we have a very low percentage of of acceptance. Um,
you know, we just out of ten thousand films, we
only accepted you know, about three hundred of them. And
so really what we want to do is we want
to deliver most quality, like entertaining films to viewers. And
(21:32):
it's more so about appreciating the community, appreciating the films,
the work has been put into the films, rather than
just pump more content out every single day. Yeah, well,
my producer extraordinaire theory has arrived. You know what I
really like about this is I think finding you you've
done a prince. You've done a prince. But in the
(21:55):
movie industry, you have taken. You've made you've given all
a power to the artist, and you've taken you've taken
the movie houses out of out of power. You know,
you have you control your own destiny now. And that's
one thing I think it's been a big blemish in
the industry for a lot of art like directors and
(22:16):
filmmakers and scriptwriters. They're going like, yeah, I gotta go
through this dude, and this guy's got a red light,
all this kind of stuff, and now you have all
the power they can control you. You might you might
have just revolutionized a new, a new breed of filmmaking.
And you you might have unfortunately, you might have closed
down movie houses. Yeah. Why should I spend thirty dollars,
(22:42):
you know when I could spend ten bucks and have
the same experience almost you know, ye shut it down.
It's it's a it's a it's a Maverick idea. Your
last thing should be Maverick. Well, and that's why I
wanted with Darryl introduced me to him and we had
(23:03):
a conversation. I was like, we have to have him
on the show because he's creating a platform for filmmakers
but also actors. Actors want to work and they want
to work on good projects. And um, I've had the
pleasure of going to Amsterdam last year and there's a
whole world out there. You know, I would love for
(23:24):
Leon and to Lisa to do films out there. It's
not just America, you know, that has this imprint of
the entertainment business. So I just wanna, Wow, this just
flew by so many questions, so much information. I definitely
want to invite you back on the show. Um, I
(23:45):
want more people to have access to understanding who you
are and knew cou it's an amazing, amazing film festival,
you guys, and you are a maverick and your spirit
is so genuine, it's so peaceful and there you really
I feel like this is also a platform to really
(24:06):
engage with filmmakers and allow them to just show their
talents without the pressure and the noise that you talked
about earlier. Just have that freedom, man, and just create
good work and communal That's that's what it is. So saga,
it went by too fast, man, That's all right. I
(24:27):
had a great time. I'm having a great time here
talking to you guys, looking at you beautiful people. Oh well,
we've had such a wonderful time with you, and we
are going to have you back on the show. So
if you could just give us information again where people
can reach you. I want everybody to come on filmmakers
so they can visit our films at new dot com
(24:48):
and U k h U dot com. You have until
October there to submit your film for the New Confess
and we hope you have a chance to participate. Good luck.
They thank you and thank you for giving them the opportunity.
Everybody put your hands together for Sandc. Thank you so much.
(25:12):
We'll be back with Class in Session on the Spirited
Actor Podcast with me Tracy Moore. Hi, and welcome back
to the Spirited Actor Podcast with me Tracy Moore. And
you all know this is one of my favorite sections,
right this is Class in Session segments, and we are
(25:33):
still blessed to have Sanjay saying with us. He's still here. Okay,
So I'm gonna reap the scene and Leanne wrote the scene. Okay,
lean got some feedback. Oh my god, like our last
guest loved the writing. So Lean's read right Les Okay.
(25:56):
Exterior Sandra's home day. Miss Jasmine stands at the door
with cookies with the hopeful face. As Sandra opens the door,
Sandres surprised. Oh how's Jasmine. I'm surprised to see you're here.
Is everything okay, miss Jasmine? Hands are the cookies? Don't
(26:20):
worry about me? Is everything okay with you? Of course? Listen,
you don't have to be ashamed with me. I get it.
I'll keep her a little secret don't worries. I mean,
I'm I'm gonna be confused as what you're talking about. Damn,
(26:41):
you're probably at the point of deep rive our mente
the problem then cool fatigue. I don't have much on
a teacher's salary, but I've been packing lunch and snacks
for Gabby every day. What what I spent, how one
is perfectly fine. This Jasmine feels even worse than Sundra
(27:02):
is in denial and feels that she has to lie. Sandra,
It's okay. The kids also put together. They got to
raise money. If Gabby is beyond concerned about you losing
the house, moves in the house. Okay, miss Jasmine. If
you don't start telling me what you're talking about, Almo started.
Thank you. Also, the Babby told me everything, working three jobs,
(27:27):
your husband left, about to lose the home, and not
enough money for poor Gabby to have lunch. Jasmine, none
of that is true. My husband is upstairs sleeping. Hello,
miss Gabby. It's about as I have heard this before.
Denial is coming. Look, I just wanted you to know
(27:49):
that Gabby's class, in the entire Saint Mary School has
you and the family and our prayers and we're gonna
keep reising money and we're gonna keep her fed. This
Jasmine opens their arms to go in for a hug game.
Oh take my number down. I can take her on
the weekend and while looking for Carl on the app.
I'll be glad to watch her. It just takes the
(28:10):
number down. You know what. Thank you, thank you so much.
You know that I'll let you know if I mean
my cards carton it too. Yes, please do okay, take
care and see that's cute, cute, Okay, So say I
(28:33):
love the energy. I think. I think from the start,
it's like, what are those going on between these two?
Why are they why are they on different planes? They're
gonna read it again. Is there anything that you want
to give them in terms of um some direction? Um?
I think, uh ju Lisa, I don't know if I
(28:55):
would come across as offended so soon. Maybe maybe try
and try and figure out what's going on between m
Leon's character a little, a little before it becomes so
so so offended. H okay and anything for land Lean.
I thought that, um, I thought that at times, uh
(29:19):
like like like towards the end it became a little
over the top. But I'm not sure if that's part
of part of the scene. It kind of felt like
it should be. Um, so if it is, maybe go
more over the top. Okay, okay, excellent, excellent, So okay,
so you ladies, I just wanted to turn it. We're
(29:40):
gonna start a camp. Okay, whenever you guys are ready. Oh,
I have a Jasmine surprised to see you. Here's everything, Okay,
don't worry about me. Is everything okay with you? Of course?
Why wouldn't it be. Listen, Sandra, you don't have to
(30:02):
be ashamed with me, like I get it, keeping our
little secret, but worried? Okay, did I miss something? I mean,
I don't really confused as what you're talking about. Damn,
probably already at this day of deeprive our mente probably
mental fatigue. Look, I only have a teacher's salary, but
(30:25):
I've been packing and snacks for Gabby every day, so
what what I spent on one is perfectly fine. Andandra,
it's okay. Also, the kids that particular bake sil to
raise money because your little girl is so worried about
you guys lives in the house, losing the house if
(30:50):
it also want to tell me what you're talking about
I'm start to thank you, Oh Gaby, everything wreaking, any job,
husband left, the home is about to go, and poor
Gabby has no lunch. Miss, none of that is true.
Her husband is sleeping a little. Miss Gabby is about
(31:11):
to get high. Speak. I've seen this before. Listen, Denial
is comming. I just wanted you to know that the
entire school, Gabby class, and me myself, that we're backing
you up in prayer. We're gonna keep raising money and
we're gonna keep Gabby fat. M oh um, take my
(31:33):
number down if you need me to take on the weekends.
Are you gonna looking for Carl on the avenue? I'll
be glad to help. No, but thank you. Thank you
so much much, Jasmine, and I'll let you know if
I'm a car from too. Yeah great, you do very
(31:58):
nice clause. How is that serject? I feel like I
feel like the the quickiness is like just been taking
up a notch. I thought you guys are great. Yeah
that was fun, yea labies. Well, thank you my spirit
actor alumni, leon a motto take about and Mr Chell's
(32:22):
capree take a bow, and once again, thank you so
much for participating with us. Sanjay, We appreciate love here,
insights and your constructive criticism. Thank you again, Pat him
see everybody, it's been blessed. Well. We look forward to
seeing you again. So remember I'm gonna call you again,
(32:43):
all right, talk to you soon. All right, Thank you,
and we'll be back with Give Love on the Spirited
Actor Podcast with me Tracy Moore and now it's time
to give Love. I grew up in an era where
discipline was basically a beating. Basically, my grandmother used to
(33:06):
make us go outside and break off a branch and
then she would peel off the leaves and the skin
of the branch and then that's where we would get
a spanking or we would get open. Right, So fast
forward to now, I'm a grandma and I have a
seven year old granddaughter and I was disciplining Sriah and
(33:28):
I was really upset with her about doing something and
she made me stop and she said, Grandma, why do
you have to yell? And I said, I'm not yelling, saa,
I'm just being firm. Well, what ended up happening is
we ended up having a conversation about discipline, and she
(33:51):
made me listen and she made me look at it
from a seven year olds point of view, and I
actually didn't have to ask her to go outside and
get a branch. All I had to do was have
a conversation. What Saya has taught me is to slow
(34:11):
down and to really listen and to really see her
side of it. She teaches me patience, and as an actor,
you need patience on this journey because you do not
have control. You don't know when things are going to
happen for you. But what you do know is that
when you are consistent, and when you are persistent with
(34:32):
your work and your craft, things will happen. Learn to
be patient in your journey and reap the reward. Thank
you for joining us on the Spirited Actor Podcast with
me Tracy Moore. I look forward to our next Spirited podcast.
Thank you,
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