Latest / Yeah Buddy! Podcast / A Journey from Music to Acting: Dexter Spencer's Story

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A Journey from Music to Acting: Dexter Spencer's Story · Yeah Buddy! Podcast

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Music.
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Yes, yes, yes. What's going on, world? It's your man, Buddy Romick,
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and we are back at it with another episode of the Yeah, Buddy podcast.
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And you know how we do every episode. I always try to bring some of my friends
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from the entertainment business in.
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We sit down, chop it up, see what we got going on.
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This episode is like no other. So if you are a first-time person, tune it in.
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Thank you for checking it out. And if you are a returning friend to the podcast,
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thank you for tuning back in. This episode, hey, this is a very special episode, man.
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We got, like, usually I do mostly just interview people, Sacramento,
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Bay Area, and stuff like that.
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But we got somebody not even outside of California, but all the way to the dirty
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South, Atlanta, Georgia.
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Right now, I want to introduce you to my good friend. He's an actor,
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comedian, writer. He's going to tell you about all the great stuff he's got going on in Atlanta.
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Give it up for my good friend, Mr. Dexter Spencer in the building, y'all.
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Hey, shout out, yay area. The entire, entire yay area. That's my man, what he would say.
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Yeah, yes. Yes, sir. You rocking the – you repping for the Raiders.
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They're out of Oakland now, but you don't say they're still – the pride of Oakland
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is still in the Raiders, you know?
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You know, that was one of the sentiments I felt being in your city recently
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was that that team belongs in Oakland.
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Yeah. I'm a fan of Raiders, a Raider. I've been to Raiders since Bo Jackson, man.
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Growing up, you know, a little kid in Mississippi, man, you kind of have your
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pick as to what professional sports team you're going to root for.
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Me, personally, I've never seen anything like Bo Jackson and that I've been
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with the franchise ever since.
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That squad belongs in Oakland. I refuse to rock anything that says anything other than Oakland.
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Yeah, yeah. Yeah, Oakland, man, they love support. They support their teams,
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their pro sports teams. But I don't know what it is, man.
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But for some reason, I don't know what it is with the city or something like that.
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They can't keep the professional sports teams, which sucks because the community
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of Oakland, the city of Oakland.
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I feel it's by design. We won't get into that. It's a whole story, but it's by design.
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We know that Opie is predominantly black.
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And then you move everything to San Francisco where we're not.
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Yeah, yeah, yeah, exactly. Exactly. Yeah, we'll get to the other stuff.
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But no, we got a lot of exciting things going on, talking about.
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So let's talk with you. You say you was born in a small town in Mississippi,
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but then you later relocated out to Atlanta, Georgia for school.
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But it wasn't really for acting. So tell me what you was doing before you got
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into the whole world of acting.
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I panicked, man. I started out managing my baby brother and them.
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They decided one day that they would wake up and be rappers.
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They wanted me to manage them. And the whole vision for moving to Atlanta was
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to make what their movement had bigger.
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So to get out here, go to school, intern, you know, normal.
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Shout out Coffeyville, Mississippi. We started everything right then and there.
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I got out here. I interned at a few record companies.
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The internship led into a lot of connections, a long, sustained career,
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but everything popped off from me hosting an open mic.
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And this is what I was telling you before, how everything kind of ties in together.
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I feel like God was kind of putting this in my path.
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And because I was so focused on my own ambitions and my own path in life,
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I wasn't paying attention to the signs, but my open mic did significantly Well,
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it's a legendary club here in Atlanta on the West Side, Bankhead,
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the notorious Bankhead, which had its own dances, which was a lot similar to the hyphy movement.
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I was a big fan of the hyphy movement. But my showcase, West Side Wednesday.
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Along with my showcase at Tips Club, Club Crucial, called Hustle & Flow,
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that I started with my late mentor, Clay Evans, God rest his soul.
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He was the former vice president at Grand Hustle.
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So we broke a lot of talent there, man.
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If you heard of the Shaw Boys Party, like Rockstar, EOB, K-Rab,
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Franchise Boys, we broke it. Yola the Great.
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I mean, you can we can keep going on, but we broke a lot of talent out of there.
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And I had a conversation with DJ T-Rock, who was the DJ there,
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who had been there for years at the time when I became the host.
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And he told me that he'd never seen that
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open mic showcase like that until I got there and I was like what do you think
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it is man he was like man it's your charisma man it's your smile so again this
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is God putting those little tidbits in my direction but I'm I'm not picking
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up on the signs it's just I'm glad I figured it out before too long before it
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was too late you know yeah.
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So that's pretty interesting. Because like I said, I have my iPod right here.
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I'm pretty old school and stuff like that. I got the iPod and stuff like that.
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But all those artists and stuff, all those artists that you just named and stuff
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like that, I got them all right.
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I'm not trying to date or age myself, but I got them all on my iPod right now, stuff like that.
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A lot of those artists kind of helped define the style and stuff like that.
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And that's how I kind of, you know what I'm saying? Because that's how it was
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and stuff like that. You know, Atlanta, you couldn't escape.
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That music and stuff like that matter of fact the franchise boys
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and it was on fire you know what's crazy is that the equivalent
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of the the environment in atlanta
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as far as the music is concerned of that era is
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mirror it is the mirror image of what's going on in the film industry right
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now in it yeah yeah yeah yeah i was gonna say like when you looked at like all
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the stuff that was going on in Atlanta during the early 2000s, like how you said,
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with the music boom and stuff like that, from the crump music to the trap music
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to all that other stuff in between and stuff like that.
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It's no surprise that the movie industry is what it is right now because Atlanta
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kind of shifted the culture and stuff like that to where LA is very like, LA's just got money.
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So they're able to spend money to kind of expose the culture,
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But Atlanta kind of did that thing to where like We're keeping the culture here
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so like even like When you have things like the Tyler Perry Studios To all these
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other type of Different level varies of,
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Filmmaking and stuff like that It's all within the essence of culture Of black
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people and it's beautiful.
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I feel like it's just a natural maturation phase. If you've got a guy that's
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directed over 70 videos, right?
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Musical videos for several, and they've done exceptionally well.
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The maturation phase for that director is going to be probably short films after
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short film, probably do a documentary after documentary for you long.
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He's on a full list. Shout out to my guy, Terrence Michael.
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That's his exact story. He took a shot on me and gave me my very first role
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as Coach Harris in a short film called League Dreams.
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And I just did a full-length film for him called I'm Blessed Enough to kind
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of get my roles mixed up at this point because I'm getting better.
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That film was called You Never Loved Me. And I play a record exec.
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Coincidentally, I play a record exec in that. But that's the natural maturation phase of it.
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And like I say, me starting out and being able to develop and break talent via
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open mic and getting the crowd to come near, I think it exuded a certain amount
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of a personality that people really enjoy.
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And I think it comes across well on the screen. And it's the reason why I've
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been able to enjoy my journey thus far into the acting realm so far. Make it transparent.
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Yeah. I think also like you being like hosting like open mics and just constantly
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seeing different talent and being able to see like what, like,
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oh, this person has the impact or this person has, you know, this or that.
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You're able to take that and then bring that into. So if you know what you're
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looking for, I know what this person is looking for because this person is looking
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for the same thing I was just looking for.
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Absolutely. Absolutely. Absolutely. It gives you a chance to see,
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to recollect your thoughts, right, into what worked and what didn't work.
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Now, you might have liked the project that didn't work, but there was something
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about that project that did work that was absolutely different from what didn't work, right?
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And you can be able to make a mental note, store it in the back.
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And I tell you, man, all of that is very advantageous to me nowadays. Right.
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Yeah. Yeah. Yeah. And then, so like with, um, we was talking about how this,
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the natural maturation going from like a big music scene to now like a big movie scene.
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How, what was your involvement like with the, with evolving along with Atlanta?
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Now you've gone from music to being in movies.
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Well, with me, I kind of reached a point where, with, with music,
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let's just, let me, let me not miss words.
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It reached a point as a record exam, right?
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That I didn't get in this I didn't sign up for this shit you know I don't want
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to I don't know if I can cuss on your show but I really want to.
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I didn't sign up for this shit I didn't sign up for this shit I didn't sign up for you know,
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here's a crazy thing for a rapper to be successful now in this day and age he
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has to get not only himself locked up but everybody he knows.
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Now think about what I just said, right?
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How many rappers you can name here in Atlanta that's going through right luchy?
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Still in jail. It's headline news.
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Young Thug.
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NBA Young Void.
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I mean, we can keep going, but I didn't sign up for this shit.
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I didn't sign up for this shit. So I went through a period of like,
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okay, what you going to do now?
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Okay, so you done lost your passion. You done lost your flame.
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What are you going to do now? I was pretty content with my decision because
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I felt like I got everything that I came to get out of the record industry.
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Once I started out on my own managing artists, I got my first Latin record my
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second year in the game. So that was kind of missing accomplishment.
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I didn't want to be, you know, just this humongous guy in music.
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I just wanted to do it because that was what I was passionate about, you know.
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And the most important thing that we can ever experience in life is going through
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this this period of reflection.
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And after that period of reflection you have
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reinvention and this is the place that
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i live in every day that i wake up and i thank the good lord
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above bro because i'm so happy when i wake up you can
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imagine my mind state and how it's different nowadays where
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before i was responsible for maybe seven
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people getting on a plane making it to a show making
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sure everything goes right you know even if everything goes
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right you never get a pat on the back you never get a bonus you never
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get any of that but the flip side of that if things go wrong it's all your fault
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so just imagine my mind state of waking up and being like okay well i gotta
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be on set at 9 30 but i'm only responsible for me getting to that set at night
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yeah yeah so it's like a weight lifted it's a,
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it's a chance of a lifetime for me that i don't play with you know i get a lot of reps in as an actor.
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Last year was my very first year in acting. I had some milestones that I hit pretty early.
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This year I came in this year with the mentality of, OK, everything you did that last year.
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OK, that was cute. But what are you going to do this year? What are you going
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to add to your repertoire for you to become a better actor this year?
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So that's when I started pursuing commercials and stage plays like my man Tim Slater just had.
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And you got to get those reps in. You got to do your due diligence and become
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a better actor. I don't want to rely on just the God-given genetics that I was
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given, because that's what I feel like actually makes me an actor.
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My grandfathers were incredible men. And some of the things that I've been given
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in my DNA, I'm just grateful that I have them.
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They have nothing to do with me. They existed long before me.
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So my job is to take what I've already been given and hone that craft and work
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on it as much as I can. And that's what I've been doing.
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Yeah so I want to yes go get into like the acting but before we do just one
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interesting you had said about like with the music like what turns you off about
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it like when you highlight it talking about like you know rappers gotta be in
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jail and trying to manage people that was more so like.
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The business side like that's like that's what the industry is asking for like
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we want this type of music like push this type of stuff out from like and then
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like with you being like a record exec like you got into the business for the art form of it,
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but you kind of have to strip yourself, the, you know,
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like the artist, I mean, and just strictly take business.
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But then when you realize what the business is, that's when you kind of like
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lose the passion because you're like, man, like this, this industry is just
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set up to, for these guys to fail and to set an example for other people to fail.
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Well, everything changed in the record industry. Shout out to one of my mentors, John Bencourt.
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He told me in 2001, I remember being on a phone call.
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I was doing radio promotions at the time, you know, taking independent records,
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taking them to the radio stations, the DJs, getting these records to play.
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John tells me in like 2001 that something is getting ready to come in the music industry.
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And at that point, John has been a music veteran for maybe since the 60s.
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And he tells me something is on the horizon in the music industry,
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and I've never seen anything like it, but it's going to wreck the entire industry
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as you and I both know it. And it's all the record industry's fault.
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I said, John, how is it the record industry's fault? He was like, well, they're greedy.
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Every time that music changed formats over the years, if you think about it, they had the 45s.
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When they went from the 45s to the 8-track, 8-track got more expensive.
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When they went from the 8-track to the cassette, the cassette got more expensive.
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When they went from the cassette to the CD, the CD was almost $20.
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You know he was lucky you find a CD for 20 bucks so the record industry just
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constantly being greedy over the years kind of did it to itself and that kid
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started Napster what John couldn't put his finger on was called Napster and
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it changed everything made all of the record companies.
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Consolidating so when you have all of these record companies starting to consolidate
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and one starts to buy the other of course big bank takes little bank so this
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little incubator layer over here they may believe in developing talent,
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you know, having a real dope A&R department where they're developing talent.
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And, you know, we got time to nurture this guy into who he's going to become.
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And then you have this conglomerate who has all of these private investors or
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maybe even the worst institutional investors, companies like Seagram's,
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companies like this, of that nature.
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They come in and they don't care anything about developing the art and they
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don't care anything about subject matter.
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They don't care anything about bottom line. All we make is a profit here.
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So it changed everything. And I was here to watch record stores close one by one.
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You know, all the record stores that I love and I used to do as an intern.
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You know, my job as an intern at Rubicon was to literally go and put the CDs
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on consignment, CDs and cassettes on consignment at the mom and pop store.
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And one by one, I just watched them disappear. No matter how big and how long
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they were here, how much of a staple they were in the community,
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one by one, all of them left.
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When that left you start seeing
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record companies consolidate when you start seeing record companies
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consolidate they reduce staff and we
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eventually got down to maybe three or four at the company so now and then and
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god please now we're in the day and age where the artist doesn't need a manager
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period i mean it really doesn't no it's crazy it's crazy times like i say like
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the consolidating I became a dinosaur really quick.
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And then I went through that period of, okay, well, what you going to do now?
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What else you passionate about it like?
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Mm-hmm. Yeah. And so that's how you found it to like the acting.
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And you also did comedy as well?
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Absolutely. Absolutely. I got in this to be a comedian, man.
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Been writing constantly.
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Music gave me a chance to have some really funny experiences.
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And I'm writing screenplays off of them.
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But the comedy, man, just as a kid, man, watching Richard Pryor with my Uncle
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Robert, man, in summer times and just going through his collection,
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you know, you kind of fell in love with it, whether I knew it or not.
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That very first scene that you see in Harlem Nights with Eddie Murphy as a kid
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when he comes into the bar, that made me an actor.
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Little do I know, me and my stepbrother used to recreate that scene all the
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time, but little do I know I became an actor that day.
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Mm-hmm yeah that's what i think that no matter what path
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it is like you take like in the entertainment business whatever you always cut it
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always kind of leads you to like you look
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back at it like oh this is where i'm kind of like meant to be and stuff like
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that and all those other things yeah all of the dots yeah yeah show promoters
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who at the end of the day they were trying to pick between groups to what group
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they were going to book for that weekend right and i've literally had promoters tell me, like,
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Dex, we only booked the group because of you. We like you.
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We like doing business with you. You cool. We like being around you.
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We want with your group because it's your group.
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So, again, the dots starting to connect like, man, maybe that's something. Maybe it's you, dude.
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Yeah. Yeah. And that charisma kind of travels further.
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Like when you're talking about the world of like acting and,
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and all that, that, that, that performance art and type of stuff like that.
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Cause people just kind of like to be around.
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I don't know what it is. Something about like people like to be around those
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type of personalities. Like I even see like, would I be on film sets?
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Like I'll, like, like I'll get booked for a lot of standard work and then it's
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like, well, shoot, you just cool, bro.
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Like you just a cool dude to be around on set. Like the last thing you want
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is somebody who's going to be just with the attitude or, you know,
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it's just some type of like staying personality, especially on a set because
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you're on there for like 14 hours, bro. Like, yeah, we try to be chill.
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Right. Be boundless energy. Be boundless energy.
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I'll tell you a key to that, man. A lot of people don't realize.
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Don't eat a big lunch or breakfast.
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Don't eat a big lunch or breakfast when you on set, man. You're going to lose your energy.
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Yep. Energy is everything while I'm on set, man. Don't eat that big breakfast.
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I normally make me a salad while I'm on set.
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For breakfast, I'll eat something really light, you know, some eggs or something
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like that. But man, eat light on those sets. Energy is very important.
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And again, man, being balanced energy, man, you know, chemistry and energy can bring you a lot.
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It attracts people who know anything about you.
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You know, we're getting to that later when we talk about the bondsman,
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but I want to tell you how energy kind of happened on that set,
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you know? Which that was it?
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Oh, the bondsman? That was the bondsman. Yeah. Okay, we'll get to that in a
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second and stuff like that. But I want to get into, we used to talk about Tim Rose.
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So let's get into that right now with Tim and stuff like that.
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I know you had, let's say you're out in Atlanta and stuff like that,
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but you just booked like your first acting gig over on the West Coast.
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Yeah, yeah. So through a good friend of mine, a good personal friend,
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the Yeah Buddy podcast, Tim Slater, he's been a guest on the podcast.
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I'm out to you. Anybody saw that episode? Yeah, salute to Tim.
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Everybody see that podcast episode? So me, me and Tim go way back to first acting
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job together is on Fruitvale Station all the way to Freaky Tales,
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which just came out early this year.
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So, yeah, me and Tim been in the game for about, like, yeah, 15 years.
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Like I said, I feel like I turned into a dinosaur real quick,
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too. Like, I'm like, I'm only 35. But, yeah, I turned into a dinosaur real quick in this game.
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It's okay, but you reinvent yourself. Look at you, brother. You got a podcast.
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Yeah, that's what it's about. Reinvent yourself. That's what it's about.
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Yes, that's what it's about. That's what it's about, man. So let's talk about
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this project that you worked on with Tim out here in the Bay Area.
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How did this project come about?
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So I seen the casting call online and I reached out to Tim.
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I sent him a reel of a couple of scenes that I've been in in productions here in Atlanta.
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And Tim liked what he saw. He sent over the script. When he sent over the script,
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I absolutely loved the character.
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When I went on my first Tim read, Tim hit me back and was like,
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yo, nah, nah, that's you. Yeah, Kofi's you.
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So everything came together. It's elite level writing. Again,
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I want to give credit to Tim for elite-level writing.
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Tim gave me a line in that stage production that had the entire audience in stitches laughing.
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It was the first time I've experienced in my life where I had to hold my next
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line because the audience is busy laughing.
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And listen, man, that moment, as far as stage productions is concerned,
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I've never done Heron, my nigga.
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But that's probably exactly how Heron feels. That's probably how people get hooked on Harold.
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You know, that response that I got from that crowd, man, it's like no other.
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I can't wait to do other stage plays, and not only that, work with my man Tim
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again because there's also plans to make this a full-length film.
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Yeah. What about the Bay Area, man? They embrace it. I don't know what it is
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about the embrace and stuff like that, but people will come out to the,
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come out to the bay area and like i don't know what about the love that they
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show to people and stuff like that but it's like people leave like oh yeah
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i could definitely do this i could make it here well what
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you get make it in this business that's synonymous with atlanta is that you
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have you're rich in culture and not only that you have a power base for your
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structure and what i mean power bases here in atlanta we had the dr mon king
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movement of course he's a born and raised here in atlanta but you guys had the
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same thing with hughie newton yeah the black panthers and all that,
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Panther movement, so you guys
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have a power base, and anytime you have a power base to black culture,
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the experience is going to be like no other.
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And I felt it when I was there. Trust me, I did. Yeah.
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Yeah. And so, what was the name? So, it was a stage play, and the way it kind
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of worked out is you guys, were you reading like you was reading it,
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like right there on the stage, you had a whole audience there?
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Celestial Chains is the name of it. Celestial Chains with the name of it.
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I had some incredible castmates.
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You guys have a lot of talent there in the Bay Area.
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One of my best friends is from the Bay Area. He's from Marin City.
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And because of that, I'm very well versed on the music scene in the Bay Area.
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I know that Tim is working on Jay Styler. Shout out Jay Styler.
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They have a project that they're getting ready to come out with.
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Tim is actually doing a documentary on one of my favorite rappers. The Jackal.
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R.I.P. the Jack. Listen. Yeah, R.I.P. the Jack. That's why I sent out my homie O'Shea.
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Ever since he put me on to the Jack, the very first song that I heard was the
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record that he did with Freeway, They Don't Know.
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And I listened to Tear Gas faithfully for maybe a year.
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I bumped it the entire time, just so I had the whole vibe of Oakland.
23:55
I bumped it the entire weekend I was in Oakland, just so I get the vibe of the
23:59
true essence of the city.
24:01
Tim is working on a documentary for the life of Jack, R.P. the Jacket Man.
24:06
I wish you had no attention.
24:08
Yeah, Tim, he's got this vision that I hope it comes true and stuff like that,
24:12
where he's trying to put together, like, it's like a Marvel Cinematic Universe of, like.
24:18
Bay Area hip-hop scene and stuff like that, and just show how,
24:20
like, it's all connected, and, like, it comes through the way he plans it come
24:25
through. It's going to be a game changer.
24:27
So, yeah, definitely shout out to Tim and stuff like that. And like I said, he's put in the work.
24:31
He's put in the work. Tim's a go-getter. The Bay Area is the home of the go-getters. It'll happen.
24:38
You know what's so funny true story is like because like what you
24:41
say like tim is a go-getter like as i said we was at the freaky tales the
24:44
premiere and we was at the after party and there was like a whole
24:47
bunch of celebrities around and stuff like that anybody know tim tim gonna get pictures
24:50
and stuff like that and i was thinking about i was thinking about tim the whole
24:53
time because i'm like i know tim gonna get a picture i'm gonna get a picture
24:55
with somebody too or whatever and like the whole time like he wasn't really
24:58
like going out and getting pictures i'm like all right cool whatever so i'll
25:01
go i go to the food buffet wherever grab food for like five minutes come back
25:05
he's still there just chilling or whatever and we like literally that's the
25:08
The only time I left Tim the whole entire time.
25:10
And then I look on his Instagram page the next time. This fool got pictured
25:13
with everybody. Boom, boom, boom, boom, boom, boom, boom, boom. I'm like, what?
25:17
I like. Work the room. Work the room. Yeah.
25:20
Yeah, Tim is. That's the dude right now. I'm so excited to even get booked in Oakland.
25:24
I want to work rooms, man. I feel like in this day and age, man,
25:28
there's a lot that we could do over the internet. But there's absolutely nothing
25:31
that's going to replace a good old-fashioned handshake, being able to read people's
25:35
energy, connect in a certain way through conversation.
25:38
There's nothing that's ever going to replace that, man. Yeah.
25:42
Yeah. And what made, what motivated you to want to even like,
25:45
like travel out to the Bay Area for it?
25:47
Was that just like a, like a personal like checklist goal for you this year?
25:51
Stage production. I had goals this year.
25:54
I wanted one to get booked outside of, again, I don't want to be known as an Atlanta actor.
26:01
No, actor. Yeah.
26:05
Worldwide. So one was to be booked outside of the region.
26:09
I didn't just, not just Atlanta. Okay, cool. I get booked in Atlanta in the South.
26:13
Like I told you, I'm in Alabama this weekend. I get booked out here quite often.
26:17
But one goal was to book a role outside of the market.
26:21
The second one was watching the Viola Davis and Denzel Washington and Anthony Mackie interviews.
26:29
These guys all have a synonymous trait.
26:32
And that thing that I'm speaking of is stage plays.
26:36
Denzel has always quoted the fact that you don't learn how to act on film.
26:41
You learn how to act on stage.
26:43
And when somebody of Denzel Washington's caliber makes an impactful statement
26:48
like that, you tend to listen.
26:50
Yeah he's one of the great yeah no
26:53
I definitely noticed that because like say you could like to my like with me
26:58
like one of the things I said like when I first started acting is I kind of
27:01
had like bad mentorship and so there was kind of like this thing where there's
27:05
all like there's a difference between being a film actor and being a stage actor
27:09
you don't really want to be a stage actor you want to be a film actor but then like I said like.
27:14
As I was growing in the film industry I kind
27:17
of noticed that like I did become more of a filmmaker
27:20
as opposed to being like an actor that i could
27:23
like i could do almost any job on a set like i do a lot
27:26
of stand-in work or whatever it may be but like the main
27:28
like that main focus of just being like an actor i definitely seen where i was
27:33
kind of like lacking on it on that and and i definitely feel that if i had like
27:38
well you know to the more serious approach to it i can still do it of course
27:42
you know so this is why you know
27:43
like i've realized that you know take the more serious approach to it,
27:47
this is where, like, okay, I know I can excel,
27:51
acting-wise. Absolutely, absolutely. Iron sharpens iron, and that's what you have in theater.
27:57
I say, man, the cast of Celestial Chains, incredible, incredible actors,
28:02
man, all of them, and enjoy being around that kind of talent,
28:07
that kind of elite-level writing,
28:09
that atmosphere, that environment, man, it was just a beautiful experience, man.
28:14
Yeah. So with the whole entire stage production that went on in Oakland,
28:18
what was the entire night kind of like beyond their itinerary.
28:23
So we wasn't the only stage production at night. We were women of five.
28:27
We were actually the headliner. We went last.
28:29
But the other four plays were all exceptional.
28:33
I didn't get a chance to really tune into them like I would like to because
28:37
they kind of had the green room separate.
28:39
But you could just hear from the crowd's reaction. They were definitely in full stride with enjoyment.
28:45
Like they really enjoyed the night. It was sponsored by the Betty Ono Foundation,
28:50
which is a nonprofit for women there in the Bay Area.
28:53
So we were really glad to be a part of that as well.
28:57
Nice. Shout out to Cecilia, Ms. Cecilia Peters. Also, she was on the event.
29:03
And directed one of the stage plays as well. I think she wrote and directed it.
29:07
She's a cold piece of work, man. Ms. Peters is a cold piece of work.
29:11
What was her name one more time so people can hear it? Ms. Peters, Cecilia Peters.
29:16
Okay so yeah shout out to ms cecilia peters and shout out to tim slater everybody
29:19
over at the uh what was the name what was it again the name of the event so
29:23
it was called the next 15 minutes and it was given by the eddie ono foundation
29:28
oh yeah that's 15 minutes uh oak stop you got to call the oak stop.
29:34
Okay, perfect, perfect. And so now let's take it back down to Atlanta and stuff like that.
29:41
You said you had been pursuing an actor for about a year or so?
29:45
Yes. So if I was, let's say, an up-and-coming actor getting started in Atlanta,
29:50
what are the steps that you took to get an actor? Are you starting up for casting websites?
29:56
Are you looking for an agent?
29:59
Absolutely. There's a ton of things that you can do online, right?
30:03
Just go to casting calls. They're everywhere.
30:06
They're on Facebook. They're on IG.
30:08
They're on everywhere. You can literally go Google them. But I feel like the
30:12
most important thing that I did becoming an actor was surrounding myself with other actors.
30:18
It will show you the roles. You become familiar with the lingo.
30:22
You become familiar with the process. You get familiar with what's being expected
30:27
of you on that camera when you hit it. You get a gist of what it's like to prepare for a role.
30:35
It's just like any other thing. Literally, it was the same way in the music industry.
30:41
You know, I went and interned and I sat under a record company CEO is how I got it.
30:45
So, again, the best thing that an aspiring actor can do is surround yourself
30:51
with other actors, surround yourself with someone that's willing to be a mentor.
30:56
When I say mentor, I don't mean a babysitter. I don't mean an adult babysitter. You're an adult.
31:02
Being proactive means everything to anything that you want to do in life.
31:06
But surround yourself with other actors. Yeah.
31:11
There's a ton of guys out there that's willing to give you some game.
31:15
Yeah the key word that you had said that always struck that always strikes
31:17
me is uh we said like mentorship especially in
31:20
this type of business because there's no real like you can't really like
31:23
go out and like look up on indeed or something like that to find like a job
31:27
application for you know actually something that you kind of like you have to
31:30
find your way into it and find your way through it and so when you find like
31:34
a mentor that like kind of show you like show you the ropes and stuff like that
31:37
show you like you said not babysit you but really hey this is how you move in
31:42
this business, if you really want to make it,
31:43
that man mentorship take you, take you way further than, you know,
31:47
I mean, any active talent that you have.
31:50
Absolutely. That, and it just being all out hustle.
31:53
Yeah. That being an all out hustler, because you, you, you have to have a hustle.
31:58
You have to have, with me, it was kind of, it was kind of like second nature.
32:02
Like I'm still not represented by agent right now.
32:04
And I know that's due to come because of the things that I have That's waiting
32:09
on release right now, which is going to give me a lot more exposure as an actor.
32:14
But I don't have a problem booking myself. I'm booked 10, 15,
32:18
20 something in our years.
32:19
So I don't have a problem booking myself and keeping myself busy.
32:23
It's more or less about whether the role fits me and what do I think about the
32:27
project overall and the potential of the project.
32:31
And so you have some projects coming up. It's called Hell's Desire.
32:36
Yeah, shout out Dr. Maya Speller. Dr. Maya Speller is a wonderful story within herself.
32:42
She is a strong sister here in Atlanta.
32:45
She's an executive producer here in Atlanta.
32:49
She has made the transition. Another person who's also reinvented herself.
32:56
But she started out writing books. and from books over in the film.
33:02
I think Hell's Desire may be her seventh or eighth film. She's already had a fan base.
33:08
She's already excited to do that project because I knew of her fan base already.
33:12
I played Reverend James Thornton in Hell's Desire, her film that's due to come
33:18
out really, really soon.
33:20
Very interesting character. I call him the most unique, most interesting man in the world.
33:26
Never mind the sacky guy. I know Reverend James Thornton is the most interesting guy in the world.
33:31
And when you guys get a chance to see Hell's Desire, you'll see why I say what I said.
33:35
Can you give us a little backstory or a little tidbits? I don't want you to
33:39
give us too many secrets or whatever, but just a little bit about the character's
33:42
backstory. You should never hire me again.
33:45
Yeah, yeah, all good. It's all good. And so did you already film that,
33:50
or is that the one that you're about to go out to film?
33:52
No, that's already filmed. Hell's Desire is on the film.
33:55
It's in post-production, and we are anxiously awaiting a release date,
33:58
as well as quite a few other projects.
34:01
But the film that I'm doing this weekend is called Black Grove,
34:05
and that's directed by a brother named Eli Thornton, Black Cotton Films.
34:09
Shout out to everybody over at Black Cotton Films.
34:11
That's a television show, and I play another interesting character on there, R.J.
34:15
Cheney. And R.J., I absolutely love that character because all of the experts
34:21
in the game, quote unquote experts in the game, tell you, go after the role
34:25
that's nothing like you in real life. And R.J. is nothing like me in real life.
34:28
R.J. is player to the fifth degree.
34:31
You know, he ain't got no love. He wants to be the star of the show.
34:34
He ain't trying to help nobody. You know, he wants to start.
34:37
All eyes on him. It's his world and everybody else just lives in it.
34:41
So R.J. Cheney is nothing like me.
34:45
And for that, I feel like he's the ultimate challenge, and I can't wait to do that.
34:51
What's your process like for breaking down characters? You said that character
34:54
is such a contrast from who you are as a person and stuff like that.
34:57
What's your process like of getting into character?
35:00
Then is there a process that you have for even getting out of character?
35:04
Right. I'm glad you asked me that. You know what? I've been giving some real
35:07
gain. Shout out to my guy, Omar. Omar is the director of photography on Hell's Desire.
35:12
But he explained to me through conversation because he also directs his own
35:16
films also. He's got a dope film.
35:19
I'm begging him to get in that one. he's got a really dope one on slate to come
35:22
out himself, but Omar gave me some real game and he told me,
35:25
Hey, you know, always create the backstory to the character, you know?
35:30
And I was like, what do you mean backstory? He's like, well,
35:33
you know what the, if the guy like, let's say for instance, you know,
35:36
he's just a regular character, right?
35:38
But you add little things to
35:40
him because of his experiences in life and things that he's gone through.
35:43
Like maybe he's OCD and he just moves shit around while he's having a conversation
35:48
with somebody during dialogue. It's just adding to the character and giving
35:53
the character a backstory.
35:54
So now, anytime that I prepare for a character, I try to give him a backstory.
35:58
Why does this guy feel the way he feels? You know, what shaped him to feel the way that he feels?
36:05
It was important for me to do that with Kofi and to play for Celestial Chains.
36:09
Celestial Chains, with Kofi's character, he's more of a pessimist.
36:14
You know, he was one guy that didn't have the village mentality.
36:17
And you know through with Tim and
36:20
Tim gave me the backstory for it but it was still kind of
36:23
the same for what I was thinking in my head without him telling me now Tim confirmed
36:27
that in person that he wrote the character based off of the fact that Kofi's
36:32
entire family got killed when the when the slave traders came to get him so
36:37
he's kind of lost all hope that things are going to work out as opposed to, you know,
36:43
Amiri's character who, you know, he's still holding on to a flint of hope that
36:49
his family is still alive and he'll still reconnect to him.
36:52
So little backstories like that are very important for character development, you know?
36:57
Yeah, yeah. And that also makes like the process of like once you get like onto
37:01
the film set, it makes it even like funner because then like even like when
37:04
you break it down, like the scene, you understand that like,
37:07
oh, every character like going into this scene, every character has a goal in mind.
37:11
So what is what is my character's goal? What is my character trying to achieve?
37:16
Then when you break down the fact that, oh, I could be, you know,
37:19
I could maybe have three different goals in mind, you know what I'm saying,
37:22
to still get to the same, to the same, whatever it is I'm trying to achieve or whatever,
37:27
then that's what becomes fun as an actor because like now every take could be,
37:31
it could be the same, but, you know, different, you know.
37:34
Absolutely. Now you're adding a layer to the character, you know.
37:38
And then when you do that, the director, yeah, when you do that,
37:41
the director's like, whew, oh, thank God, I'm a professional.
37:44
Huge, a huge relief because your end layers look there, you know? Yeah.
37:49
Yeah, because I'm pretty sure, like, the last thing the director wants to see
37:52
in, like, the cutting room floor, like, with the edit of the film,
37:55
is every single take from the actor is exactly the same way.
38:00
They're like, what's the point of so many takes if everything's the frickin' same way?
38:05
I watched, I had a chance to watch one of the greats. I got booked on Fight
38:09
Night that came out on Peacock. Oh, yeah.
38:13
Yeah, let me tell you about that, man. I feel like if they released that on
38:16
anything else besides Peacock, man, we are dealing with a worldwide phenomenon
38:20
that people would still be talking about right now and literally leaving work,
38:25
trying to get home and catch the latest episode of it. But it came out on Peacock.
38:30
A lot of people are rocking with Peacock, and I'm not down at NBC.
38:33
NBC got a hell of money. I would love to work with them again.
38:36
So trust me, this ain't like the NBC.
38:38
So you said Peacock as a streaming site has a ways to go.
38:42
But watching Sam work on fight night, I watched him do a tape when we were in the basement scene.
38:48
And Sam comes down and we're all being robbed there in the basement.
38:53
And Sam comes down and he has dialogue with the robber.
38:58
He does it four different takes, but every time he comes down that step, it's a different take.
39:04
And every time it gets better and just watching somebody like that,
39:10
given this buffet to the director of different flavors from during the editing
39:16
process, it has to be gold to the directors to watch guys like that,
39:21
you know, be able to add to a character and bring light to a character that
39:24
they didn't even envision.
39:26
And just for people's clarification we talk about sam we're talking
39:29
about samuel l jackson we're talking about the fight yes just
39:33
like with kevin hart and all them yeah yeah i
39:36
got i i was very fortunate enough to be locked in
39:38
the basement with these people for 12 days that's that's
39:42
terrence howard that's samuel jackson clifton powell shout out clifton powell
39:46
he gave me a bunch of game terrence howard gave me a bunch of game man what
39:51
a joy to be around your people who are on that level and see that they're still
39:56
your brother and they're still willing to see you,
40:00
see your way through the game.
40:02
Ain't that the dopest thing in the world though, bro? Because you wouldn't really get that experience.
40:06
You could meet somebody because I met Denzel Washington one time just randomly
40:10
at a basketball game years ago and stuff all like that.
40:14
But it was still very good interaction and stuff like that.
40:19
But it's totally different when you're like on
40:22
a movie set working with these actors because like i
40:24
said now it's almost like okay we're co-workers i'm not a i'm not
40:27
a fan walking up to you like there's that there's there's
40:30
a mutual there's a mutual understanding that we're both we're
40:33
both here to do a job we both got a job to do and even though
40:36
like you know we may not i may not be getting your pay or whatever but
40:39
but i'm still professional absolutely and
40:42
you know what my my experience in the record industry helped me to take those
40:46
moments in in in in stride they were seamless they were very seamless to see
40:51
that I'd already been around the likes of some of the greats in music and still
40:56
have a personal relationship with some of the greats in music.
40:59
You know, I was well prepared for that.
41:02
You know, I knew not to be unprofessional at any given time.
41:07
You know, you're here to do a job.
41:09
You know, NBC's money on you to be here. They got a position for you to fill,
41:13
and it doesn't involve bothering the other town.
41:17
Yeah, that's expensive. It's expensive on a movie set, bro. The last thing you
41:21
want to do is be unprofessional.
41:28
To watch some of those production companies and run through their money.
41:32
Yeah, when you see that, buddy, you know this is zero tolerance policy.
41:40
I was on a production recently, right? And they made me, I had a character as a construction worker.
41:46
And I get there and the guy was like, yeah, I'm a construction booth.
41:49
I'm like, no, I don't wear construction booths and this, that,
41:51
and this. You know, she was a female, actually.
41:53
And she was like, I guess she was from the East Coast or something.
41:56
You know, they assume every guy has Timberlands in their wardrobe.
41:59
And I'm like, something guy.
42:00
You know, I wear Stacey Adams, stuff like that, you know.
42:04
But she goes out when they figure out that I don't have any Timberlands.
42:08
They go out to the store. They buy a brand new pair of boots.
42:11
When it get the boots get to the set she starts scrubbing them against the street
42:16
in the ground and I'm like yo what are you doing those are brand new boots and
42:20
her response is oh we gotta make them dirty we gotta make it look like you actually did some work and,
42:25
that's when you just kind of don't say you're like y'all got way too much money yeah,
42:32
yeah y'all know.
42:36
You can keep these afterwards Right. Right. Like, they could care less,
42:41
bro. They could care less.
42:43
So what are some of the bigger productions that you worked on?
42:47
Like, I'm assuming, like, when you worked on, like, Fight Night,
42:49
that was kind of like, it was like an extra, like, a background role?
42:52
Yeah. When I got featured, I got featured on Fight Night. What I got featured
42:55
on is a foot delivery guy.
42:57
Okay. And I was there. My whole point, you know, Kevin ends up screaming on
43:01
us, and we have to help his, one of his mistresses.
43:04
Get something out of the car or something of that nature. And then I'm on a
43:07
Samuel Jackson's henchman who gets rocked in the basement. So I got featured on that. Okay.
43:14
Yeah. Feature work, like I said, that's cool work, bro. Just because I said
43:19
you feel like I'm somebody.
43:22
Yeah. I feel like I'm somebody today. Go up there. I am right there.
43:26
You know, you have to point it. And feature is, yeah.
43:29
You ain't got to point it or nothing and stuff like that. People see, I may not have no lies.
43:34
Don't worry. I don't got no lies. but I'm a person, I'm a character there,
43:37
you see it, that's all that bad is yet.
43:40
The same thing with The Bondsman I got featured on episodes 6,
43:43
7, and 8 and that's what I was telling you about earlier about chemistry is
43:46
this, people have this thing where they know if you take something serious,
43:50
they're willing to take a shot on you, now shout out to Miss Cat,
43:53
directed episodes 6, 7, and 8 of The Bondsman, but I know Miss Cat must have
43:57
took notice to the fact that anytime that I wasn't shooting the scene,
44:02
I was quietly and politely not
44:05
disturbing anybody but i was called quietly peeping
44:08
what she was doing as a director because in
44:11
my mind again i'm a writer so i have aspirations to direct my own productions
44:16
very soon actually so i'm always taking these lessons as i can't pay for this
44:23
in film school like you can't pay for this kind of knowledge so i'm always sitting
44:27
there and i'm watching the director,
44:29
and I think she peaked at, like, this guy really takes this serious. So, yeah,
44:34
one day I get booked and she uses me in every scene.
44:38
I mean, absolutely. I'm in every scene. I'm right there with the main character.
44:42
Shout out to Miss Denitra who plays Sheriff Ruby.
44:45
And then she had me escort Kevin out of the, you know, the series ends up with me arresting Kevin.
44:53
And when everything was wrapped, and I've never been a part of a television
44:57
show at this point, I'd never been a part of a television show on the last day
45:01
when it actually wrapped. So I believe it is Miss Kelly.
45:04
To give her my thanks for her actually giving me the like that I did.
45:09
And she tells me one thing that solidifies everything for me at that moment.
45:13
And she tells me, she was like, yeah, you and Trevin, Trevin was another actor
45:17
that was on The Bondsman as well.
45:19
She was like, I just want you guys to know that anytime you guys were booked,
45:23
it's because I specifically requested for you guys. You guys are really good actors.
45:27
And this is a lady from Australia who I have
45:30
no connections with never met in my life whatsoever
45:33
but again chemistry being there
45:36
in the moment her absorbing how serious i took it
45:39
and how much effort that i actually put into being
45:42
an actor it paid off for me so i just
45:45
want to tell everybody man take everything every opportunity that you have in
45:49
life take it serious man take this you never know who's watching and believe
45:54
me somebody's always watching yeah yeah i was gonna say like if you ever get
45:59
a chance to i don't know if you've done stand-in work or anything like that,
46:02
but if you ever get a chance to do stand-in work,
46:04
that's like film school and actor school just combined because you have to follow
46:11
around whatever actor it is that you're following around and you got to watch
46:14
how they act and their mannerisms because basically when they're setting up the scene,
46:19
you're the person that they're using to set the lighting and all that type of stuff, so you have to.
46:25
Literally just watch this actor all day, but then on the flip side.
46:29
I'm not above doing anything that's going to make me better as an actor.
46:34
And I've seen Stan Lee watch what they do and what they've been able to,
46:39
the knowledge they've been able to attain because the main characters,
46:43
nine times ten, they're standing in for the main character.
46:45
So, again, anything that's going to make me better as an actor,
46:48
man, I'm in this to win it.
46:51
And anything that's going to make me a better actor, I'm with it.
46:55
Stay in the work. Stay in the work. We'll do that. And like I said,
46:57
that it gets you in with the crew, too, because that's what you technically
47:00
are. You're a member of the crew.
47:02
So now you know the lighting crew. Now you know the grip crew.
47:04
Now you know all these PAs.
47:06
So now when it comes time to like how you say you got your production that you
47:08
try to get off the ground, you
47:10
got all of them right there because that's what they do. You know? Yeah.
47:14
It's how you treat people. Yeah. Get out there. Watch how you treat people.
47:18
I'll tell you how many times I've seen people in the record industry start out as interns. Yeah.
47:24
And people treat them like dirt. And the next thing you know,
47:27
that person has an artist that walks into a building one day and has to get
47:32
clear for a budget. And what do you know?
47:34
The guy that you used to treat like dirt is the check signer. Yeah, yeah.
47:39
Same with these production assistants, man. These production assistants,
47:42
they start off like, that's basically them that internship right there work
47:44
too. Then they're the producer on the film.
47:47
They're, yeah, they're the exec or whatever it may be.
47:51
You know, they're the person signing off all the check. You're like, what the hell?
47:54
Absolutely how do you treat people.
47:58
Treat everybody with the respect be cool like I said at the end of the day you're
48:04
on a movie set you could have a bad day on a movie set but a bad day on a movie
48:09
set is better than just a good day at a regular job so it's a blessing,
48:14
I had the best job in the world I'm not complaining,
48:17
but it's a job nonetheless it's a wonderful job before we do wrap up this episode
48:23
Was there anything that you wanted to get up?
48:25
I know we talked about The Bondsman, which is a show on Amazon Prime that starts Kevin Bacon.
48:28
You're on episode 6, 7, and 8.
48:31
We catch you on Fight Night on Peacock. You got Hell's Desire coming out next year.
48:36
A whole bunch of stuff, man. A whole bunch of stuff, man. It's good. Yeah.
48:40
Yeah. A few more. I play at Defense Attorney and Through Journal's Eyes,
48:45
a production called Through Journal's Eyes.
48:47
We actually shot out my guy, Daniel, who directed that one. He just hit me the
48:51
other day and emailed him and was like, yo, that film is finished.
48:53
We're just waiting, trying to decide what theater we're going to debut it in.
48:56
But I play at the first time in that one.
48:59
There's an upcoming production called Twisted Love where I play Pastor Calvin Drake.
49:04
Shout out to my guy, Jamal. He's directing that one. Shout out to my guy, Uncle Mike.
49:09
Uncle Mike runs a production company called Uncle Mike's Productions.
49:13
And I'm in two of his projects.
49:15
I'm in Fine Print, which I'm also doubling as a writer. Shout out to my guy, Keon. Shout out to...
49:23
The guy that plays Johnny, who's another really hilarious comedian, Anthony Turner.
49:28
I don't know why I was having a break. Yeah, yeah, yeah. He does a lot of shows.
49:32
He'll come out here for one of the standard comedians.
49:36
I have my partner, Michael Calvary Jr. He has a comedy show called The Say Loud
49:40
Comedy Show at the Laughs Unlimited Comedy Club up here.
49:43
And Anthony Turner, I think he was just up here a couple of weeks ago.
49:44
But yeah, he comes up here pretty regularly to do that show. He is a grinder.
49:49
That's right, yeah. That's why I'm so excited about Fine Print.
49:53
I feel the chemistry and this magnetic connection amongst everybody that's on set when we're at fine.
49:59
So I'm really excited about that. And not only that, but getting out some examples
50:03
of me and what I offer as a writer.
50:06
And we just had a really dope writer's meeting just a couple of weeks ago.
50:11
And I'm really excited about that one.
50:13
And then on the other side of that, uncle Mike also has one called Lena,
50:17
the seven letter where I played the father of one of the characters,
50:20
Brianna, which is really dope because that's the suspense. and a thriller.
50:24
So let me see if I got all of the productions out that I'm waiting on right now. I think I do.
50:31
I think I do. Oh, Cricket Suits. Cricket Suits.
50:35
Shout out Kimberland. She put me in there. Cricket Suits. I play Councilman Robinson. Nice. Nice.
50:41
Yeah. Yeah. I think I covered the gist of them. I know that's beautiful.
50:46
Sounds like you got a busy 2025 into 2026. So that's good. That's what you ought to be.
50:52
It's slow up here in the Bay Area, man. All the work, man.
50:55
All the work we're moving out to Atlanta, man. I'll be looking at that.
50:58
I might have to make a stop out there or something, man. You guys are the pioneer to...
51:06
You guys wrote the blueprint on how to make money in the record industry.
51:11
Let's be real about that.
51:12
Let's be real about that. I'm a down-hard A4 fan, so I know about Uncle St.
51:16
Charles. And I know that St. Charles also taught Master P.
51:21
So you guys have a blueprint to the music industry on how to get money out of this thing.
51:25
So I will tell not only yourself, but everybody else in the Bay Area,
51:30
my god tim slater everybody take that
51:33
take that chance a ryan coogler has already pulled it
51:36
proved that you can pull it off right but take
51:40
that chance create anytime there's a void in the market and you feel that market
51:46
it's worth millions if not billions if not trillions but you guys have a huge
51:52
void in the market y'all got a wonderful story to tell there's so many artists,
51:58
stories that need to be told.
52:00
I'm still waiting on a Mac Dre movie. I would love to see that.
52:04
I think Steph Curry's actually signed on as a co-producer for that,
52:08
or at least it's a documentary, but yeah, we got something on the way.
52:11
I would love to see a Mac Dre movie. Again, there should be another Black Panther movie, man.
52:19
The Black Panther movie was dope, but cool.
52:22
There's so many untold stories from our culture that needs to be told That's
52:28
based right there in Oakland.
52:31
You got to have a blueprint towards the music industry is concerned.
52:35
Take that blueprint, translate it to the film industry.
52:39
Yeah. I mean, I see. I definitely see that. I definitely see that.
52:42
Y'all in the real market, man. Y'all don't really need much outside the market to support anything.
52:48
Yeah, no, that is a point. I've always admired that about you guys. Yeah.
52:52
Yeah, we've always had that kind of independent grind to us.
52:56
It's always been there, man. I mean, you guys, in Atlanta, the average person
53:00
in Atlanta don't know who a filthy rich is.
53:03
But when they get out there, they find out filthy rich is the man.
53:06
Yeah, yeah, yeah, facts, facts. Yeah, hey, I thank you. I appreciate the words
53:11
of wisdom, man, words of inspiration and stuff like that.
53:13
Dexter, man, before we get out here, tell the people where they can find you
53:16
if they want to follow you on social media.
53:18
I'll say, cool, okay, cool. So on Instagram, it's at Dex, can't do it,
53:25
can't be done. The B in there is just B.
53:29
Dex can't do it, can't be done. All together, like a pimp named Slipback. All together.
53:36
Dex can't do it, can't be done. On Facebook, D-E-C-K-S, Dex Spencer.
53:43
TikTok, same thing. Dex can't do it, can't be done.
53:48
For sure. And like I said, y'all already know, you can follow me at YeahBuddyENT everywhere.
53:53
You can go to YeahBuddyENT.com. If you want to follow me more about Yeah Buddy
53:57
Podcast or my stand-up comedy, my sketches and all that good jazz.
54:01
Like I said, this has been the Yeah Buddy Podcast. Thank y'all for tuning in.
54:05
Hope to catch y'all. And I appreciate you too, buddy.
54:07
No, I appreciate you, Dexter, man. All the way from the ACL,
54:10
bro. I appreciate this. I appreciate this link up, bro.
54:12
So yeah, I'll definitely have you back on in the future and stuff like that
54:15
to see what you got going on there.
54:17
Oh yeah, but tune in. Once I stop the recording or whatever,
54:21
don't leave the studio yet though, and stuff like that.
54:23
Yeah, yeah, for sure. But yeah, this has been the Yeah Buddy Podcast,
54:25
y'all. This has been Buddy Rommet. I will catch y'all on the next episode, y'all. Deuces.
54:30
Good show. Good show. Good show.
54:32
Music.