CAB The Blackening Cast

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This is the Catch or Break podcast, the insider's guide to breaking into and navigating the entertainment industry. I'm Julie Harris Oliver. You can find us at catch or break podcast.com and all the social media at Catch A Break Pod, as well as all the podcast places to hide you over until the Project Greenlight season comes out.

We have something so special for you right now. [00:01:00] I got to speak with four of the cast members for the new film, the Blackening. If you haven't seen it yet, grab your friends and run. Don't walk and watch it in the theater. I sat down with Grace Byers, who plays Allison in the film and who you may know from Harlem and Empire.

Also, Jermaine Fowler, who plays Clifton, and you may know from coming to America and Judas in the Black Messiah. Also, Melvin Gregg, who plays King and previously was in Nine Perfect Strangers and the United States vs Billy Holiday. And finally, Antoinette Robertson, who plays Lisa and who you may know from Dear White People and Diggstown

we talked about what a special experience it was making this movie, and dug into all kinds of advice for actors pursuing this craft. Settle in. Have a listen

Today, I'm so excited to have four actors from the Blackening. On the podcast we have Melvin Gregg, who played King, Jermaine Fowler, who played Clifton, Grace Byers, who played Allison and Antoinette Robertson, who played lisa.

Welcome everybody.

Antoinette Robertson: Thanks for having me. Thank you. [00:02:00] Thank you.

Grace Byers: Thank you so much for having me, Julie.

Julie Harris Oliver: Now first things first, now that we're coming out of Covid and people are just starting to get back to the theater, it feels like the Blackening is something that people should really go to the theater to see.

But I'd love to hear from you, what is that experience like seeing it in a theater, and why should people go, grace,

why don't you start us off?

Grace Byers: It's such a communal experience, really. I mean, I, I think what I love the most about the Blackening is that it shares. So many idiosyncrasies and isms of black culture, but it's not limited to black culture.

It's not limited to the black experience, right? I think that any and everyone can see this and really enjoy this, but it's really those, um, nuances of black culture that everyone in the black culture can really identify with and understand and, um, commune with that makes this such a special piece. And when you're in the theater and you're watching it, even if you're not at the black culture, you feel like you're a part of the family, right?

And so it really makes you feel included and it is [00:03:00] inclusive and it's, it's just a feel good, you know, leaving the theater, hollering, talking about all your favorite moments kind of film.

Julie Harris Oliver: Jermaine, what would you add to that?

Jermaine Fowler: I will say you do have to see this movie in a theater. It is just energetic. It's, it warrants a reaction, negative or positive.

I think people are supposed to, you know, get excited during certain moments. You should see it with a, you know, a group of people because of the energy that it just, it invites so much conversation and reaction. It's just more fun that way. In fact, I, I just grew up in movies that were like that. I remember seeing scary movie in the theater when I wasn't supposed, I snuck in it, man.

I was fucking crazy. So I, I hope that, Is the same experience for, you know, the next generation who want to become actors or, you know, people who wanna be filmmakers, writers, whoever that is. I hope that this movie is that fit.

Julie Harris Oliver: Melvin, anything to add to that? What can the audience expect?

Melvin Gregg: They can expect to have a good time.

Um, so many of my friends who've [00:04:00] seen it and people who have, um, you know, hit me up on Instagram about the movie, they all say that like, it was a really fun time. They haven't had an interactive experience in the theater like this in a long time. Um, it's just fun, you know, everybody's yelling at the screen.

Um, everybody's jumping, laughing at the same thing. So you not only feel seen by the characters on the film because they're doing things that you want them to do, but you feel seen within the communal experience of the theater because it's like a whole group of you guys singing along the different songs or jumping at the same thing or laughing at the same thing.

So it's just, uh, It was an experience. So I would say expect to have fun.

Julie Harris Oliver: For sure. It was the singing that got me. I was like, is everyone actually singing in here? Oh, it's so great. Mm-hmm. And I heard you had a big screening at the Apollo. I would love to hear Antoinette, how, how that screening was. Cause I, I have to imagine it was just amazing.

Antoinette Robertson: It was a, a euphoric experience. I mean, like, I've seen it [00:05:00] so many different times, but there was something about being in the Apollo, the history behind the Apollo, how historic. It just felt like the entire moment felt so fitting. This piece of art that we created feels like it's definitely going to break barriers and, and create a wave of change within both the, the horror comedy genre, but also hopefully creates a space.

Where we explore way more black characters in, in a fully fleshed out manner as opposed to making them sidekicks. It felt so good to be in a room of people that we know have been there with us since the beginning, and also who are just truly excited and just willing to come into everything with an open mind and have a good time.

It just felt so good. I can't even explain it to you. The laughs that we heard during that particular screening were way [00:06:00] louder than any other screening. I mean, like, I feel like second would be Tiff. Um, everyone was just walking into a movie that they just want they saw that was like, you know, I'm intrigued.

They came in with an open mind and just like came to have a great time and it truly was exactly that. That's so great. They just loved it. Yeah, it, it was really great.

Julie Harris Oliver: It is a horror film, but it is also so flip and funny, like laugh out loud constantly. So how did you feel about kind of the mashup of those two genres and then as an actor, how did

you approach that Grace?

Grace Byers: You know, this was my very first, uh, horror film. I would venture to say that it could very well possibly be my last, only because of the fact that I'm not, I'm really not a big fan of the horror genre, which is hilarious. And it's so funny that even my team who, you know, receives a gamut of scripts that, you know, span all the genres, they are so used to me saying no to horror films, right?

So, so they, when they, when they brought this one to me, they were like, we know you're gonna say no because it's in the, you know, [00:07:00] the scary film realm, but because Tracy Oliver is a part of it, we're hoping you, you might take a look. And I read it and I was like, not only to, am I not saying no, but I'm saying absolutely, let's do this now if we can.

It was just so, so, so funny. So I say all of that to say that. If you are a horror film fanatic, you're gonna love it because there are quite a few scares that really satisfy. But if you're not, you're still gonna love it because people walk out of the theater pretty much arguing what genre they think it is.

Some people are like, no. Yes, definitely. It's a horror. Other people are like, absolutely not. It's a total comedy, right? And so for someone like me who does not like, like horror films, and for someone like my husband who does, we both adored it. And so I think that's saying a lot as far as crossing those lines in those genres.

Julie Harris Oliver: Oh, a hundred percent. I, I never go see horror films. Uh, but yeah, I was all in. For

sure. That's great.

Jermaine Fowler: I think it had to be funny first, I think some of the funniest movies, uh, you kind of earn [00:08:00] that laugh through, um, that suspense and that tension that you build. This movie has a lot of tension, a lot of buildup, uh, whether that's through the, the horror or the chemistry through the cast, uh, the infighting, all that.

I think, uh, the, the, the jokes just land organically and I feel like, um, you know, the trauma of being a, a, a black person is so, it's just so in, in the atmosphere of, of, of the film that people are just connecting to every, every little nugget, every little moment in, in the film to the big moments. I think people are just really relating to 'em.

And so trauma and comedy can kind of, you can't have one without the o the other, you know, I, I, it just sucks to say, but like some of the best films, some of the best comedians or birth through horrific or traumatic experiences, whether it's prior or, you know, some of my favorite. Movies or comedies, like they kinda have that connection.

Julie Harris Oliver: , what about you, Melvin?

Melvin Gregg: Yeah, I agree. I agree. I feel like [00:09:00] it's our perspective, a horror film coming from the perspective of the victim versus coming from, you know, whoever the bad guy is, is a completely, completely different experience. And, um, you know, from a distance you could see somebody falling, it'd be funny, but from their perspective, you know, it's traumatic.

So I think, uh, just understanding that, understanding the, the power of both horror and comedy, they, they kind of take you outta your comfort zone. You, you kind of lose control of your body and your emotions rather it be from laughing or jumping, uh, jump scare. It's all a part of the experience. Um, I guess that we create.

And as an actor, I think just playing every moment honest and just trusting the script and trusting, you know, just the project and the director and the other people involved. You'll, you'll land every time. Um, the jokes land because they're written, they're written, it's situational comedy. And then, you know, the jump scares a lot of times that happen in post, but just, just being honest to the moment.

Yeah.

Jermaine Fowler: And you know what's funny? You're gonna have pe some naysayers who are gonna say, why is [00:10:00] everything so heavy, heavy handed? Why is comedy so heavy handed? Like comedy's always been heavy handed, at least for my generation. You can go back to Bambi, like her mom got shot in the face. You know what I'm saying?

You can watch, this is doubtfire. It's about a bunch of kids going through a divorce. Like, everything's heavy. Like e everything has been heavy. It's just kind of how you handle it and what lens and filter, you know, you use the comedy, you know what I'm saying? So I, I think it all comes sides. Yeah, you gotta stakes.

Mm-hmm. Beverly Hills cop, his friend gets shot in the back of the head, you know what I mean? Like, that's how they start the movie. Like his brains are smoking and it rated our comedy. Like, it's just, you kind of need to take the audience to a place, you gotta start somewhere, you know? And I think, uh, it sucks, but like, you know, trauma and, and, and comedy do have a, it's a very thin line.

Julie Harris Oliver: Antoinette, how does that mash up for you?

Antoinette Robertson: Yeah, I'm, I'm not a horror girl. I've always kind of veered away from horror, to be perfectly honest. Like, I, I don't play in this spirit and in demon realm to be perfectly honest. Um, however, [00:11:00] when this script was, um, given to me, they were like, just, just read it.

When I read it, I was like, wow, this is innovative. It's a brand new take. Uh, we are taking on tropes. Uh, it's, it's reiterating the fact that black people are not a monolith. Like I love that. I mean, and then when we had the conversation of like, you know, the gory parts that were gonna happen, I was like, ok, it's fine.

Um, cause I was just, I'm immensely nervous when it comes to being frightened. And so it really worked, uh, in the film, given that, you know, Lisa is very much so the anchor, um, and the glue when it comes to her group, I'm very much so like a grounding force for all of them. And so having me be actually terrified kind of helped so much and allowing the comedy to soar the way that it did.

So I truly just kind of stayed. Uh, focused on the truth of the moment. I, I kind of ignored everything that was happening around me in terms of the comedy. Like I couldn't laugh at the jokes even though they were so funny. Yeah. Um, I just had to [00:12:00] stay really present in the terror and how traumatic a moment like that would be if I truly had to save my life and the lives of my best friends.

And I kind of like em embodied that and, and stayed in that world and stayed true to stay true to who I knew Lisa to be, who I crafted her to be and not kind of anticipate anything. I think once you, you layer things with anticipation, it kind of takes a surprise out of it for the audience and it's way more interesting for the audience to be as surprised if not more Yeah.

Than we are. So we, we found a way to keep it fresh and new for everyone, which, which was lovely.

Julie Harris Oliver: Yeah. And it so worked. It's like, it's something about like taking it so seriously that makes it so funny.

Antoinette Robertson: Mm-hmm. Most definitely. And I didn't understand that before now to be honest.

Julie Harris Oliver: Now let's talk about the way the film confronts all those horror film tropes, but also humanizes them.

How was that for you, Jermaine?

Why don't you start?

Jermaine Fowler: Man, I think every, every [00:13:00] character kind represents some sort of black trope or even, uh, stereotype, whether it's the biracial girl or the, you know, the, the black, you know, jock or the, the brother who's dating a white girl or, you know, the airhead. Um, everyone's got this surface level sort of trope that you see on the, on the outside, but you know, the movie's about kind of digging deeper and showing these characters for who they really are.

And I got a kick outta all that. Just seeing all those moments kind of play out during the, the perilous sort of like, you know, who's black is game moment. And it's weird cuz like, you know, all these characters have been. Scrutinized in some sort of way for not being black enough in, in some way. But the beautiful part is that they have each other, they all have that insecurity, and I think every black person has that insecurity.

Just being in America, you know, we all kinda like walk outside like. Black. Like, am I being black today? Like we all have that sort of like thing in the back [00:14:00] of our head cuz it's just, it's just is what it is. You know? I think every, every person in that, in that, in that cast and that in that friend group kind of represents, you know, a piece of, uh, of, of that how, how we all feel in a way being in this country.

In, in, in some sort of, in some sort of way.

Antoinette Robertson: Something that I've known for a very long time, or at least, at least been, that's been conveyed to me for a long time because I don't necessarily watch enough horror to know if it's completely true. Is that, What we've noticed is that the black characters have always had a tendency to, to feel a little disposable.

Um, yeah, kind of have always felt like tokens, which we know that's definitely for a fact. And, and I don't know if it's our community believing that the characters have always died first, because we never really caught a full glimpse into that person as a fully fleshed out human being. Like we've kind of only seen glimpses of them or the idea of what blackness was usually through the lens of whiteness.

And so what was really great [00:15:00] about this project, um, the thing that I thought was most interesting was that they took the time to craft all of these relationships. Like these, these are people that you can see that are representative, that someone you might have met in your lifetime. Like I have at least three or four friends that are definitely a part of this friend group.

And it, it was nice to see that they created these characters not to just. Be like disposable or, or, or some kind of placeholder, but main characters in their own story. They're not just tokens. You, you get to see them, their full, authentic selves. You get to see the dynamics between the friendship groups.

You get to see, even though they've been friends for 10 years, how vastly different they all are. And I just love that they, they, they chose to, to highlight the uniqueness of all of the characters as opposed to in Yes. Or year people having a tendency to not necessarily spend as much time on characters of color.

And so I really [00:16:00] love that we ha we start having conversations. You know, we, we say usually, uh, if there's a black character in a horror movie, it, we just anticipate that that person is going to be the first person to die. Well, if we are all black, then what? It's ridiculous to even think about quantifying your blackness, but if you put all of these, these friends in a situation where they must quantify their blackness, then the ludicrous conversations that happen sometimes behind closed doors and in the group chats start to come out and we can kind of laugh at ourselves and poke fun at ourselves and not take ourselves seriously, if that makes sense.

It does.

Julie Harris Oliver: It does. That was so delicious.

How about you, Melvin?

Melvin Gregg: I think a lot of the tropes, it's not nec, it's not necessarily about being black, it's about, you know, just the, the tropes we typically see in horror movies as far as like the archetypes of characters. Then of course the, you know, the black character kind of being the first one to dies, the, you know, the main trope that we tackle.

But a lot of it is like, okay, the door creek's open instead of going outside to see what it is, like close the door. [00:17:00] You know what I mean? Um, instead of splitting up, stay together instead of running upstairs, like run outside. So it's like it's, it is beyond just the blackness of it. Just a lot of the, the typical tropes and horror movies that we, we often see.

That's what I kinda didn't like about horror movies, cuz I just didn't feel like. People wanted to survive. So with this one, it felt like it was the, it was my voice, things that I would wanna do if I was in a horror film. So that was very, very exciting, um, to turn upside down. And it just, as far as the whole, the black thing is, you know, it's unfortunate that it is typically typical practice that there's only one black person in horror films.

Like, who decided like, we should just have one. Was it just like a token situation? It's like, who, we got a one, let's just kill 'em off, get 'em out the way. And so like, that's so outdated and for the fact that this has to be satirical in order for us to have, uh, all black cast is crazy, but you know, first one's through the door.[00:18:00]

But to, to speak on humanizing the characters. I think it was great that we were able to see these characters fleshed out and yeah, humanized in a way that we don't typically see because they, they, they're dead so early, so we don't get to understand who they are and what they're going through and what they care about.

So in this film, you know, cuz they're all black, we can't all die first. You get a chance to know 'em all and see blackness through different lenses.

Julie Harris Oliver: Grace, how was that for you?

Grace Byers: That was amazing. So Dewayne Perkins, who wrote this, along with Tracy Oliver, it, it came, it was his brainchild, you know, he, he did it with his improv group 3peat, a few years ago was a sketch actually that he did, um, called the Blackening, where it was like a scene where they were playing with that trope, right?

Like the black person was always first one to die. What happens when everybody's black? All right, let's try to see who's the blackest to, to send them out there, right? And so I think just really attacking that trope and just turning it on its head has been the most [00:19:00] fun. And you really get a chance to see, do we die?

Do we live? I don't know. We'll see. Does this follow that trope? Um, we'll see. But it's, it's, it was so much fun to really, you know, attack that.

Julie Harris Oliver: And it was so palpable. Like you could see their 20 years of relationship, right. You could tell they'd all gone to school together and had all these deep relationships.

Mm-hmm. But how did you, how did you do that on set? How did you bond really quickly and how did you approach that as actors?

Antoinette Robertson: I truly have no idea how it happened. It feels like we, we really didn't have enough time to spend with one another to, to cultivate anything. I feel like. The reason it feels like everything happened at the, like at the right time is because the pandemic was like kind of dying down a little bit.

We were all kind of stuck and restless at home. Like everybody wanted to be artistic. We wanted to be around people. Again, it just felt like everyone approached this project as a labor of love. We all kind of showed up, [00:20:00] uh, as our authentic selves and we, we meshed in such a way that kind of didn't even make sense.

Like the chemistry was out of this world. Like we were laughing so much in between takes that they had to remind us that we were at work. Like it was legitimately like I was there with my best friends. And I have to say, it felt like summer camp, like when you're a kid and you go to summer camp, you're like, you can't wait to see your friends the next day.

Like, that's how it felt. And so I think the fact that we genuinely enjoyed each other's company, but also that we all had been doing this in, in our own right. I think we all just kind of knew. How to, to fit in where we fit in and, and not try to overpower anyone else. It was just kind of like we all trusted each other to do what we do best, and then we just went for it and it just ended up being like, the most perfect lightning in a bottle type situation.

Jermaine Fowler: Man, you know, it's funny, I, I didn't really meet anyone prior to filming [00:21:00] the, the movie, but there was a genuine respect and excitement to work with everybody. I was excited to meet Mel. Uh, I've seen Mel, uh, and a couple things and I was like, oh, this is crazy. Uh, grace Wayne, I've known Dwayne Dwayne's name been floating around the scene for a minute.

X and Antoinette, uh, sink. Like everyone's been killing it, you know, individually, forever. And it was like, I haven't been this excited to work with an ensemble like that since. Sorry to bother you. So I was like, this is gonna be fire. I just knew it's gonna be great in Tim. So we were on set and it, we all just kind of clicked like as soon as possible.

And I think being in that cabin really helped. We were all just kind of stuffed in one communal area, just getting to know each other. There were moments that were just like we all bonded over, whether it be the, the food on set, a particular crew member, the scene in general, but there was a real dance. We were all like ready to, you know, do we all knew that we all had to bond and, uh, go through this [00:22:00] horrific, tragic, you know, these scenes together.

So I think we all were, were aware, but it wasn't hard. It wasn't like we felt like we had to do it. It just kind of clicked like that way. And that's very seldom. Like we all just kind of, we all just vibe. That's great. How about you, Melvin?

Melvin Gregg: Yeah, I think us all being in the cabin together forced us to kinda get to know one another.

And I think another great thing about the cast is a lot of us are just really transparent and honest. It's not really that filter that a lot of people put on when they try to project who they are to people. We kind of just like, this is who we are. You like it, you love it, you hate it, that's up to you.

So we didn't have to go through a lot of those filters of getting to know each other, um, for who we really were. We kind of forced the people who are, who, even, even the people who aren't typically like that, we forced them to be that way because we were that way. So I think we kind of skipped past a lot of the, um, pleasantries just yeah, the pleasantries and just kind of dove into it together and got to know each other and, um, felt like we had that relationship that was, you know, 10 years strong.

Julie Harris Oliver: Well, it [00:23:00] showed you, you all just jumped

in it.

Grace Byers: I'm so happy that you felt that because the chemistry that we all have as a, as a cast is really organic, and we were hoping that it would read, and I'm so glad that it did. Um, it is really rare to have two people come together on set, and you feel like, you know, you have to sell that we've known each other for years if you've just met, right?

That's difficult. But to do it with a group of people, it's even, it's even harder. Um, in this case, it was so easy. Everyone is super humble, super excited, was super excited to be a part of it. Just really talented, really fun, funny people. And so from the first day we just all kind of sat here like, all right, so let's do this.

And we, even now, we still have a group thread that we're all on, that we still talk on every si like almost every single day we're talking like, we're. We're a really loving group and we really enjoy each other, honestly. And so it's, it's [00:24:00] so fun to be a part of a project that's like that. It's, it's really a blessing.

Julie Harris Oliver: Now you actually have those relationships. Did you talk about your backstories at all? Like, did you make up, what happened 10 years ago with this and that, or was it just the I think

we, the bond, I think, yeah, like

Grace Byers: we had conversations with the group, um, as to what the relationships were like, and then some of it we actually said in the script, right.

So it's, it's clear that Allison and Lisa are pretty tight friends and, and also Lisa and um, Dwayne are really close friends. So you can tell the friendship dynamics in there. And I think individually we all had our own character history that we brought to that.

Julie Harris Oliver: For sure. So now this film was produced by Cash Like Studios financed by M R C.

It was picked up at the Toronto International Film Festival to be distributed by Lionsgate. How was the experience on set kind of making it, that perhaps was different from like another project you would typically do?

Grace Byers: For me, every project that I do, I try to make it a labor of love [00:25:00] and, and this was no different.

I, I think the reason why this one really felt so intimate is because it started off as an indie film, and so there was no way for us to even know that this was going to be distributed. I mean, you could hope that it would be, but there's no guarantees. Of course, you're hoping that people will get the vision that you are trying to portray, so, You know, it wasn't indie, it was a labor of love.

We all got together and we were like, listen, we're passionate about it, we're excited about it. We're doing something that we haven't seen out there before, so we're gonna put our heart and soul into it doubly, you know. But yeah, it was, it was just one of those experiences that we were, we all felt like it was a sacred experience.

It was really wonderful to be able to, you know, play characters that we could relate to in some way or form, and give them voice and give them body and flesh in, in a heartbeat. And to say, Hey, we hope people can get it, but you know, if they don't, it's okay. We still had the most fun doing it.

Melvin Gregg: It didn't feel like we had studio heads over the top of us kind of telling us what to [00:26:00] do and what not to do.

Um, it felt like we was making a movie that the creatives wanted to make. A lot of times with a studio film, there's a lot more people on set, a lot more opinions and it, you can feel it because things are a little safer, I guess you would say. Um, in regards to, how do I put it? Like, People are more cognitive of how the masses may respond to things versus doing what's organic to the film.

I, I felt like we were able to do what we wanted to do with the film. We were able to talk the way we wanted to talk, um, touch on the topics that we wanted to touch on, where's I felt like a, you know, a studio would've came in and been like, you know, maybe this is, maybe spades isn't super relatable. Let's do something else.

Or maybe, you know what I mean, we should try this or that or the other, because metrics show that these things work, so why not do those things? And I feel like we didn't have that. We had a freedom to just do whatever we wanted. MRC kind of gave us that and the producers that were involved with actually making the film, Um, [00:27:00] versus projects I've done in the past with studios kinda overhead directing us with what they see to be best.

Um, so yeah. Yeah, the, I guess the culture of the set felt more free.

Antoinette Robertson: I feel like

I'm so happy it was done this way because I feel like Tracy and Dewayne would not have been able to give the world undiluted blackness, if that makes sense. Mm-hmm. I feel like with other shows, um, if you're, you're dealing with a network and you're dealing with.

A studio, I feel like you kind of have so many cooks in the kitchen and a lot of changes get made. Uh, I think there in a lot of times there are a lot of executives that don't necessarily understand the subject matter and they have an idea or preconceived notion as to what they may believe blackness is.

Or they may want it to be a little, a little less raw and authentic, [00:28:00] I wanna say, because it might make it more marketable, I guess, to the masses. And so I feel like in a situation like this, I feel like the point is proven that if you truly just give the consumer or you give people authentic experiences, authentic human experiences, it doesn't quite matter what the race of the individuals are like.

I am obsessed with Crazy Rich Asians. It is one of my. Movies, movies. I did not have to be Asian to understand people who wanted love in their lives. Yeah. Or who, who, who have to deal with the fact that, you know, they're being felt to, to feel inferior by other people. Like, same thing with the notebook.

I didn't have to be white to understand what was going on. You understand what I'm saying? So I, I feel like in a situation like this, instead of veering away from Yeah. Uh, showing all these characters fully embodied, they leaned into it. They leaned into to, to making things very [00:29:00] culturally specific.

Because what we do know about black culture is it, it, it influences every part of entertainment and people. Didn't have to know what life in, say, an impoverished area was, but they do understand it. When you hear Lil Wayne talking about it, they do understand it. When you hear Jay-Z talking about it, I think there are instances in life where sometimes you need to stop making the, the audience feel like stop dumbing things down for them.

I think if you give them the truth, you give them authenticity, people will have a tendency to lean towards that. And so what I love about how this was produced was they didn't have anybody over them. They didn't have anybody giving them notes every two seconds. It was very much so they were allowed to make the movie they wanted to make.

And I think that the movie is

Grace Byers: better for it. So it was really just a treat to have Lionsgate pick it up and, and distribute it. And you know, like an indie turned into my first feature film [00:30:00] playing in the cinemas, right? And so that is, whoa, like even for me, I'm still like, wow, I, I feel really humbled by that.

Julie Harris Oliver: It feels like not knowing the distribution of it could have been really risky for y'all to take this on. And so what an incredible outcome for all of that. Uh, effort and intention. And passion and belief.

Grace Byers: For sure. And I think that when you are really about the art and you're really about the craft, um, you're okay taking those risks.

Like, I, I am okay taking those risks. I'm okay being like, Hey, this may or may not fly, but that doesn't mean that art, like this doesn't deserve to be

made

Julie Harris Oliver: for sure. And seeing it now, it's so, it's so obvious. Like, it, it feels like it's gonna be a cult classic. Like, duh, this should be out in the world. Of course.

Yeah. So good. Do you have a favorite memory

from shooting this?

Grace Byers: Oh, come on. I, I, one, I, I don't have just one, but I will say that there were many, many, many days. And, and of course cuz so much of the film takes place in the game room. And so there were [00:31:00] many days that we were just stuck in the game room just laughing and cracking up.

I, I think, I think one of my favorite days would have to have been when we were shooting, who's the blackest scene. And, uh, the camera was on Germane. And, you know, Tim, of course used what, four examples of why he felt he wasn't the blackest. Every time he did a take, he, he said something different every single time, every single time.

There was like one or two that was in the script. And then like the rest, he completely improv. And we laughed and laughed. Like we could not stop laughing because we didn't know what he was gonna say. And then also when he left the room, he had something different to say every time. And so every time he left, you know, I was, I mean we, we were just waiting to hear what he was gonna say and just, we were so happy the camera was not on us.

Cause we not stop laughing. It was so great.

Antoinette Robertson: Oh my God. All of all of the

scenes in the game room were wild.

They were [00:32:00] so wild. Like there were moments where I was supposed to be crying and, and Jermaine Fowler starts making the funniest ad libs, and I have tears in my eyes and I'm trying my best to not like break, but like I'm biting the inside of my cheeks because I know that if I bite the inside of my cheeks, like I'm not, I'm not gonna bust out laughing and ruin the take.

It was just, it was so fun between him and Ex Mayo. Um, Dwayne Perkins is a genius. Um, our creator, writer, co-producer, and uh, actor star. It was just amazing working with them. Um, they're just, All really great energy and it was nice to play off of them and, and, and just kind of, you know, do what we all love to do best.

But, but together with a group of people who love doing what you love to do, it's just, yeah, it was fun. It was so fun.

Jermaine Fowler: Melvin falling off his, uh, set chair. That was

a good one. I got pictures. I do [00:33:00] too.

Melvin Gregg: I got, everybody got pictures and that was just like a, I feel like that moment was just kinda, you know, it's kind of just set the tone, like for just not taking ourselves too serious, just having fun.

So they had us in these little pos that we had to sit our chairs in because it was covid time. So it was like these little bubbles that we sit our chair in. And I don't know, it just wasn't stable for me. It happened a couple times where I caught myself and this one particular time I didn't catch myself.

So it's like I just, I fell back in the chair and uh, by the time I hit the, before I could hit the ground, everybody's phone was out recording me and it was just like, yep, this is it. Taking picture. And it's just like, just having fun.

Julie Harris Oliver: I mean, that's the comedy, right? That's the tragedy plus no time at all.

Right?

Jermaine Fowler: Right. It

Melvin Gregg: could have been tragic, but you know, I found the humor in it. But beyond

Jermaine Fowler: that, we all kind of connected on the fact that, uh, we were all going through pivotal moments in our lives and careers, and we [00:34:00] all just. Shared them with each other, whether that that be someone just having a kid, whether that be, uh,

Melvin Gregg: someone, their kids got the same name.

Me, me and yo.

Jermaine Fowler: Yes, yes, yes, yes, yes. What? Yeah. Crazy. Oh my God. Uh, I remember I was on set and we, man, and it is two different sides of the story. Um, so I was on set and uh, Mel, you gotta go first cause you, it all started with you. I don't remember

Melvin Gregg: how it happened. I just remember we was talking about, oh, we both got a son and it was like, oh, both of my sons were like, I guess one or two at the time.

One maybe. Yeah. They were like the same age,

Jermaine Fowler: you said. Yeah. My, my, my son's name is Mars. I was like, my son's name is Mars. Wait, how old is he? I'm like, at the time he was like two and he was like, mines is two, two. And then, yeah, we knew, we just, we were like, all right, okay, now we know. We don't have to say now, but what a great idea for the film.

Yeah. And what if that was [00:35:00] the case? Yeah. We were laughing about the fact that like, you know what? Yeah. It was hilarious. It, it reminded me that movie Twins in a way with the, and you know, and so me and Mel, uh, before, you know, during the pandemic and before, you know, uh, we, we got, um, into the promotion of the film, we were just yapping about like, how can we make this a reality, like a real, uh, a real idea for a film?

So we, we still got talk about it. It was hilarious, man. It was, it was really funny. Oh my

Julie Harris Oliver: God, that's a great premise. And. And for that to be the name, like that's, that's not a typical

name that you hear everybody having.

Jermaine Fowler: Well, we have different reasons as to why we named our son Mars. My, my son's named after my mother, Marsha.

I just cut off the Ha and Melvin. Yeah.

Melvin Gregg: Um, his mom wanted to name him Mars and I was like, ah, it sounds a little too Hollywood like, like you just named the kid, like apples or peach, whatever. And I was like, [00:36:00] let's just name him Marley and then we can call him Mars. And she was like, cool. But it is weird because his mom name is Bobby, so it's like Bob and then Marley.

So I kind of just run with Mars.

Julie Harris Oliver: Oh God, that is so great. Okay. If you have a couple more minutes, can we go back and talk about what was your very first job in this business and how

did you get it?

Grace Byers: Okay. My first. Acting gig. I, although I was still in school, I had done a summer repertory stint and it was at the Santa Rosa rep and we did, it was a circulation of three plays.

It was Cat on a Hot Tin Roof, it was the Wedding St. Singer and I was also in Mame, right. The musical. And so that was the first time that I got a chance and it was great cuz I had, I played three roles and so it was really wonderful to get that chance to be like, okay, so this is what it feels like to be a working actor.

And really just put my heart and soul [00:37:00] into each of those roles and you know, really grateful for that time. Really grateful for that. You know, that preparatory time.

Julie Harris Oliver: Yeah. How fun. Okay. Jermaine Melvin, first Jobs

Jermaine Fowler: man. Okay. Does that mean TV and film or does that, you go back to. Gigs, like

Julie Harris Oliver: just whatever made you feel like, ah, I got a job acting like,

Jermaine Fowler: oh dude.

Yeah. So, uh, Eric Andre at the time, like, like I looked up to that dude, I still look up to him. He is just like an irreverent guy. Doesn't give a shit about, you know, anything but the joke. So I remember he hit me up and said, Hey, whatcha doing, whatcha doing today? I'm gonna, uh, this Renaissance fair in Pennsylvania or something, or Jersey or something like that.

And, uh, I need you to play a runaway slave. And I said, I'll do it. It'll be me, you Byron Bowers and um, Sean O'Connor. And what we're gonna do is run around. [00:38:00] Uh, this, uh, this, this Civil War reenactment camp and pretend to be runaway slaves, and Shawn is gonna chase you around. And, uh, I was like, all right, that sounds good.

And, uh, that was my first gig and I was really excited cause I wasn't getting paid to do anything. And my first credit was to be a runaway slave. Oh my God. And they were like a, we, I remember we ran up to like Abe Blink and the guy playing Abe Blink and like, Hey, what's up? Help?

He was still in character. He was like, oh boy. Hey guys. He couldn't break was, and so, uh, no, it was me and Eric. I don't think Byron was on that one. But anyway, like it was, um, it was my first like, real TV credit and I was just, uh, just flattered that Eric would ask me to do that. So, yeah. Yeah, that was my first, that was my first gig.

Melvin, how about you?

Melvin Gregg: Uh, I don't know if I could compete with that one. So my, my first gig, I was in Virginia. I had just been taking acting classes for a couple years. It's [00:39:00] probably like 2000 and, nah, it wasn't even a couple years. Might have been my first year, uh, like 2008 ish. And it was like an agent who kind of worked through Facebook and she sent me to this audition for the 700 Club.

So if you don't know what the 700 Club is, it's like a Christian broadcast network and they do these episodes where it's like, it's people giving their testimony. So imagine a woman, just like, you know, before I found Jesus, I was living my life, um, partying, doing

drugs, sex.

They would flashback and cut to reenactments of the things that she described.

So in this episode that I did, you know, I guess she was talking about doing drugs and it cut back to like a party in the seventies and you see me with like a big afro, like dressed like a pimp in the seventies and I'm cutting up some fake coke on a mirror and um, it lasted like three seconds and that was my first job and my check was [00:40:00] $25 and I still have it.

I was like, what's the point of cashing it? It'd be worth more if I just keep it. I got a $25 check for my first job. Um, so yeah, it wasn't my moment like I'm here, but it was like, okay, somebody hired

Jermaine Fowler: me. It's like we're getting started. We're

Melvin Gregg: getting started. Yeah.

Jermaine Fowler: Amazing. A slave, a pimping, a slave. Oh my god.

Julie Harris Oliver: Great, great. Antoinette, how about you?

Antoinette Robertson: First job, I would say a gifted man was the first time that I'd actually like, really like actually been paid to do a job. And I remember going into the audition and like I'd been like crying all day. Like I'm one of those people who kind of sit in emotion. I mean, I've learned, I've learned since, but like I was like sitting in the emotion all day and I was like crying, like it was just wild.

Every time I thought about my lines, I would cry. And then I got in the audition, I couldn't cry. Hilarious. And what was amazing about one of the execs at the time, he kind of stopped, um, I believe it was Peter Leto. He [00:41:00] stopped and he, he just kind of knew I had something and like wrote me a role, like wrote me like a small role, like a CoStar role.

And it was so kind of him, cuz he really didn't have to, I was like, I didn't, you know, I didn't, I didn't have it together for the, the lead I guess. But at the time I was so excited. Like I was on set, it was like a honey wagon. It was like a little tiny trailer. I didn't even care. I was just like happy to like finally feel like, okay, wow.

I actually like booked something from an audition, which was really nice.

Julie Harris Oliver: Well, and that speaks to showing up to the audition as who you are with whatever your special thing is, and they wrote you apart.

Antoinette Robertson: And he wrote me a part. I never forget it. It was like when they came to me to tell me about it, they were like, listen, you didn't get this role, but he really, really, really liked you so much and he truly thinks that you have something.

And so they wrote you in like, you know, a CoStar role. And, and I know it's small, but I was like, oh my God, I'll take it. I was so excited. That's [00:42:00] incredible. Yeah, it was really nice. And it's just been kinda like wild since then. Like I went from that to like recurring guest star on um, zero hour, which happened just like 10 seconds after that happened.

And so it's, it's interesting because like, I guess in this business, like there are a lot of doors. They get slammed in your face and then it just, you just kind of need one to like budge open just a little bit and then it's like a co-sign for everybody else. Now everybody's like, oh, I want her's, Domino's.

For sure. Yeah.

Julie Harris Oliver: What advice do you have for people just trying to get in and do what you do? Uh,

Jermaine Fowler: don't compare yourself. Don't gauge your career off of anyone else's. Just continue to trust the process, whatever your process is. And I guess comparison is the death of progress and of happiness as well. Yeah.

So just say the course, man. That's all I can say. You're the only, like, you're the only you. And be confident in that. [00:43:00] It's very easy to compare yourself when you lose a gig against this person, that person or that person. But there's so many factors in, into why you didn't get it. It's really never about talent ever.

Rarely about talent. Yeah. So, so just, just stay

Melvin Gregg: the course and just, but continue to work your craft. Don't expect to go somewhere without talent. You need to be able to fall back on that. Um,

Jermaine Fowler: but not just that needs to be the

Julie Harris Oliver: given. Yeah. You need, and then it's not

Jermaine Fowler: about you. Yeah. Right. You,

Melvin Gregg: you need that first.

Just the echo jermaine's point. Nobody could be you as good as you can be yourself. Uh, so find out how to make that work for you. You know, a lot of times people think acting is shape shifting and becoming somebody completely different. It's like, it's not necessarily like you can find characters close to you and find a way to play 'em in the most honest way and add texture to it and make it exciting.

So don't worry about learning all of these crazy accents and being something completely different, just. That's something you do later on after you establish yourself. Establish yourself and get yourself through the door. [00:44:00] But if you can get cast to something that's close to you that you're familiar with, that you understand that you'll be able to shed light into this character in a way different from everybody else, you'll have an advantage.

So to run away from that is kind of the, um, you know, show your superpowers. But another thing Jermaine said too was just trust your trust, your path and your process. Everybody's timing is different and it's specific to them. And you know what I mean? It is, there's no one way to do it. I remember, um, I had a acting coach, Dustin Felder, um, rest in peace, Justin, Dustin Felder.

He passed away not too long ago, but him and a good friend of mines, um, a good friend of mine, Keith Powers, we were in the same class and Keith was booking like everything. And I was like, damn, man. Like, when am I ever gonna book anything? And the fact that it was my friend kind of just made it like it was so close to home, I'm like, what am I doing wrong?

And he was just like, Everybody has a different path with a different pace. It's just like, stay the course, keep working, keep doing your things, stay true to yourself, and like your time will [00:45:00] come. And I kind of just remember that every time I think about, you know, the times where I was getting discouraged, it's just like I just had to trust my, my process and the pacing of that path.

And, you know, things will come when they're meant to come. And in hindsight, I wasn't ready for the things that I thought I wanted at the time.

Julie Harris Oliver: That's so true. Grace,

Grace Byers: what would you add to that? Oh my goodness. Um, I would say that everybody's journey is different. I, I think what makes the acting journey a little bit more difficult is because everyone, we would all love a formula.

We would all love, you know, like, you do this and this and this, and then this will happen. A checklist just not the case. It really is not. And so I think the number one, number one on my checklist would be to know that your journey can be and probably will be different. And that's okay. Um, it's, it can be a little scary, but it's also very much okay.

Because even now, when you talk [00:46:00] to a bunch, a bunch of actors, you know, we, we all talk about how we got here. We all got here differently. Yeah. So I would say just get rid of the whole formula bit, uh, because you just don't know where this whole journey is going to take you. But then the second part I would say, which I'm a big proponent of, is training.

Because I feel like talent will get you in the room, can get you in the room, but the training will sustain you in your career. Career. And especially if you wanna do, whether it's theater or camera work, you, you need that stamina. You need that sustenance. You need to be able to really have the techniques and the tools to be able to hold you when you're doing.

However many shows on Broadway a week or when you are doing that, take again and again and again and again, and they're trying to do it from fi 5,000 angles, and you have to cry for every single one of them. Right? And so I really believe that the schooling and the training that I got, and it really like, to me it's like go wherever you feel [00:47:00] led to go.

But the training that I got really helps to build a foundation for me, and I dig deep into that foundation so that I can prep for that. It also helps too, when you have to do an audition for tomorrow, it's like, okay, well what do I do and how do I do it? The training is everything. It helps you stay ready.

So your journey may not look like everyone else is, and that's okay. And really stay stuck in that training ground for yourself so that it can help to sustain you.

Antoinette Robertson: Excellent.

Julie Harris Oliver: Yeah, it's really hard to wing it for a long term

Antoinette Robertson: career.

Grace Byers: That's right. That's right. Or, or you can do something once or twice, but then you don't really have the tools that you need in order to keep doing it again or to keep you going for so long.

And, and I can just see the benefits of that even now in my

Antoinette Robertson: career. Yeah. Really smart.

Jermaine Fowler: That's great advice. Be prepared. You're gonna get a moment. You're gonna get a moment. Yeah. Be prepared. Be prepared when you get it. Yeah, man. Cause you gonna have to deliver. You're gonna have to deliver. Be prepped. [00:48:00] Uh, when you go on set.

Know your lines. Know your lines. I don't care if it's two lines. Murder every mo every moment that you get, if it's small to big, it's no small moments. It's always, someone's always looking out. Someone's always looking. Someone's always looking, someone's always noticing. So make sure you kill every little thing that you get.

I don't care if it's an extra role. That's how I started. I was an extra on college humor, like little vignettes or sketches and stuff, and I, I, I, I was getting 400, no 100 bucks, uh, an extra part. And that was my, that was my rent every week, you know what I'm saying? Yeah. I built up, then somebody noticed me and was like, do you want a speaking role?

And I said, I would love a speaking role, and the next thing I know, they're writing sketches for me. So it, that's how it starts. Just be ready, man. Be ready.

Antoinette Robertson: Just make sure that you're completely obsessed with it. Like if you're completely obsessed with constantly pursuing growth in this industry, if you're completely obsessed with the art of it, if you're completely obsessed with trying to lend [00:49:00] yourself and your gift to this industry just to make it better, then I feel like constant.

That alone in that in and of itself becomes its own worlds of like rewarding, and then all the other things happen. But if you don't truly love it, there's so much rejection, there's so many nos, there's so many people that are gonna tell you that you're not worth X, Y, and Z. You just truly need to hold on to the fact that if it's something that you really love to do and you could see yourself doing it, even if you couldn't get, you won't get paid $1 for it.

If you love it that much, then you should definitely continue to pursue it and know that hearing no now doesn't mean not ever. You just have to keep pushing because it's, it's literally a line. It's like it's a line and there are people stepping out of it every day. And if you just stay in line, it's gonna be your turn.

Julie Harris Oliver: Is there anything that I didn't ask you that I should have

Antoinette Robertson: asked you?

Jermaine Fowler: I mean, dude, if it's, [00:50:00] uh, about, if this is for, if this, if this is like a podcast for up and coming actors, I'm trying to think of the questions they would ask me. Cause they're probably gonna ask something about agents.

Antoinette Robertson: Probably. Yeah.

How'd you get an agent?

Jermaine Fowler: Oh man. Uh, not looking for one. Don't look for one. Don't

look

Julie Harris Oliver: for you. No one wants to hear that answer.

Jermaine Fowler: No one people, people hate hearing that. You can't, don't look for an agent. Don't look for a manager. They'll find you. There's always gonna be showcases though. There'll be showcases where you can like show what you got and there's gonna be people in the audience, but the less you, it's gonna sound really, really, really crazy.

But I'm gonna be real. When you're not looking for an agent or a manager, you'll find the best one. And I feel like when. This industry is like high school. It's just like high school and no one wants a needy person when it's really sexy and attractive when you don't need nobody. When you have a product that people want, when you building your own sketches online or social media or wherever it is, people are gonna find that and look, look [00:51:00] you up and find you.

But when you're out seeking for a manager or an agent, it gives 'em so much power and they ain't gonna do nothing for you. So I will say, make that a mutual sort of, um, connection. But when you're out like looking for one, it don't really happen. But when you're not looking, that's when it should, that's when it's gonna feel like, you know what I mean?

Like a, a partnership. A collaboration, which what it is. So that's my advice for looking for or finding or connecting with a manager agent, whoever that is. When you can choose

Julie Harris Oliver: them as much as they're choosing you.

Jermaine Fowler: Right. Honestly, it's, it's how it is man. It's high school. This whole industry is high school.

So be the person people are looking for and make sure your project, uh, what is that Jay-Z said? Uh, make sure your product is humming.

Melvin Gregg: Yeah. You gotta, you gotta create value for yourself. Once you, uh, you show that you're valuable, people wanna come in and, you know, be involved

Jermaine Fowler: and make, they wanna pretend like they found you or like they want to be the one that discovered you.

They discovered you. Yeah. Oh my God. When you overnight success. Yeah, man, I've been, I've been busting my ass for [00:52:00] years before I found anybody. So like, that's what people wanna take credit for that. So make sure that credit is worth it in some sort of way. Yeah. As far as the Asian

Melvin Gregg: thing, I agree you gotta build your own value and be seen as value and then people would, you know, put their bid in and then you just find a relationship that's mutually beneficial and just understand the business of it.

You know, if things aren't making sense for you, you have to move on. It's just the business. I was there when we were at A B F F. A guy ran into me, A guy didn't run into me. I was at McDonald's cause I was buying like food for like a homeless guy. I'm only saying that because I don't eat McDonald's. Um, and I'm not trying to cosign it, but, uh, it was a guy in there and he was like talking about my Birkenstocks and he was like, where you from?

I was like, la. He was like, oh, what you doing out there? Making movies? Just joking. I was like, yeah, actually. Um, and then he was like, do you have an agent? And he kind of just took a different tone as if he was gonna like, school me this up. And I was like, yeah. And um, I was like, [00:53:00] who's your agent? And I, I told him, he was like, how'd you get them?

It happens all the time. They, they, they saw me as valuable. Well, how'd you do that? It's just like, just work. And then he went on to tell me his, his story. But the thing is, just like Jermaine said, just work until you build enough value and you know somebody will take value in you. Like my way of doing that with social media, I couldn't get the agents that I want or the opportunities that I, I wanted or felt like I deserved.

So I had to build value doing something else. And you know what I mean? Doing social media, I was able to garner a, a large audience that in return became valuable. And then studios, not studios, but agencies saw that as valuable. So cool. I could use this to leverage me into getting the auditions that I want.

And then, okay, cool. Now I could use this agency to leverage me into getting to this other agency that I feel like would service, um, my needs a little better. So just kind of creating leverage, um, and just understanding your path and being intentional with everything you [00:54:00] do. You can't sit around and wait for an opportunity or wait for something to happen.

You have to, um, put your focus and your energy towards it. Be intentional, like I said. But when it comes to art, you have to make decisions based on what fulfills you artistically. Um, you can't move with the money, at least early on. Later on. Once you, you got enough leverage, you can, you know, sometimes do a money play, then do another play that, you know what I mean, feeds your soul.

But early on, you have to stay true to your art because chasing dollars is not gonna lead you to where you wanna be. And the money's gonna be gone, and then you're gonna be washed out. So it's like, stay true to your heart. Um, stay true to your heart and, um, put everything in it. Passion is things that you'll do for free.

Jermaine Fowler: Yeah.

Julie Harris Oliver: Grace, what is a nugget of wisdom you

would leave us with?

Grace Byers: Um, I, I guess one thing that I'd love to add to is that it's so important that when you're in this industry to have your [00:55:00] own foundation of belief in self, right? Yeah. And so for, for different people it means different things, but for me it's God and I, and I will say that because.

You know, there are some days that I, you know, don't know what to do. I don't know where to go. I don't know that because there is no blueprint. You know, I, I don't know how to navigate. But when I really can look deep down inside and be led by spirit, I really feel like those are the moments that are, that have always been key moments in my life.

And I think it's also important too, because you get a lot of rejection in this industry. Yeah. You know, there are a lot of nos before you get a yes. A lot of nos. And so you have to be, you have to know who you are and you have to have something else that you believe in, in order to hold you grounded so that when people are telling you no, you know that they're not telling you no.

You know what I'm saying? And so I, I think that that is just vital. It's really vital. Otherwise, you may find yourself falling away and really questioning whether or not you really wanna [00:56:00] do this when you know you do.

Julie Harris Oliver: Let's drill down on that a little bit. The way you said, they're not saying no to you, or,

what did

you

say?

Say that.

Grace Byers: Even when they say no to you, they're no.

Julie Harris Oliver: Exactly that because you know, it's, I don't know if you know, starting out that it has so little to do with actually you. That's right. And who you are deeply, right? That's right. Can you? That's right.

Can you expand on that a little bit?

Grace Byers: Yes. Like even when you're doing a lot of auditions, I think a lot of times we think, okay, what would they like to see in this?

Right. How would they like to see the characters? You know what, at the end of the day, they're not really sure what they wanna see. They have something written and they have an idea, but they're actually much more open to you being committed in a way that is truthful and organic. And they'll go, wait a minute.

We never thought of the character that way, but now we do. A big, a big part of that for me was Harlem. Like when, um, when I was playing Quinn, right? And so when I auditioned for Quinn, I was like, I don't know if this is [00:57:00] how they, they want it to be read, but this is how I feel like she needs to be. And so I just committed to that.

And they were like, we never really saw moments of her like that, but now we love this. And now we're, you know, so I, I say like, Really commit to when you're doing auditions and all that stuff, really, really commit to your organic truth with this character. Like the truth that, that you wanna take with this character and submit that.

And if that's not what they wanna see and that's not what they want and whatever, that's fine. But you did a heck of a job and I promise you, you've imprinted yourself in the minds of these casting directors and of these directors, um, because that's what really matters, that you're doing amazing art. Not just, oh, let me do what I think they want me to do.

You know? Cuz then you'll always the moving bullseye. Yeah.

Julie Harris Oliver: Make a choice

even

if it's the wrong one at the end of the day.

Grace Byers: Right. Cuz even then, like if you're committed to it and it feels truthful, it can be argued at whether or not it's the wrong one. You know what I mean? Yeah, [00:58:00] yeah.

Jermaine Fowler: And don't be afraid to make mistakes.

Early in your career is the perfect time to experiment, figure out what is right for you, whether it is social media, comedy, YouTube, comedy, maybe not even comedy, whatever it is, theater. I don't know what it is. Just sit down and really think like, you know, try it all. Play with try it all. I never, I never, it doesn't matter right now.

Yeah. Oh, I ain't know that. I never

Melvin Gregg: done comedy.

Jermaine Fowler: Nothing. I didn't even know that. I thought you did.

Melvin Gregg: Nah. I was never funny. I was never the class clown. I never made jokes. I just kind of kept it myself. But I saw comedy was working online, so I was like, shit, let me try to figure out how to do this thing. And I kind of just taught it to myself in a way.

Jermaine Fowler: Now I love it. That's exactly the point. That's exactly my point. Just, just figure out what works for you. If it don't work, you know, whatever. Uh, go to the next thing. But really sit down and figure out what it is that you wanna do. Come up with a game plan and just throw everything at the wall, you know, and have a good time do it.

Julie Harris Oliver: Antoinette, any other nugget of [00:59:00] wisdom you'd like to share?

Antoinette Robertson: Um, for artists out there, uh, Understand that it is a tough road, but it is very rewarding because I remember being told for a very long time that my dreams didn't make sense, and they truly don't have to make sense to anyone but you. And so I would, I would definitely encourage anyone who's second guessing whether or not they should or should not pursue their dreams because you know, like external forces are telling them it doesn't make sense.

Just know it doesn't need to make sense to anyone but you. If you can see it, you can be it. If, if you can think it, you can make it happen. And, and so long as you understand that and you hold on to that little voice in your head that's telling you, you can do it and say, screw all the naysayers, you'll definitely achieve your dreams.

You just have to keep going after 'em. Preach.

Julie Harris Oliver: I'm gonna leave it right there. You guys are [01:00:00] the best. You the be. Thank you so much, Melvin, Greg, Jermaine Fowler, Grace Byers, Antoinette Robertson, thank you so much for being on Catch a Break.

Antoinette Robertson: Thank you so much for having me.

Grace Byers: Thank you so much for having me.

Jermaine Fowler: Thank you.

Julie Harris Oliver: This has been Catch a Break. I'm Julie Harris Oliver. I'd like to thank our guests, Grace Byers, Jermaine Fowler, Antoinette Robertson, and Melvin Greg for bringing all the tea and special thanks to curvy.com, a dynamic platform that connects people to productions worldwide. Please check out our website at catch or break podcast.com and follow us on all the social media.

Catch or Break is produced in partnership with Cash Light Studios and the other 50%. Our theme music mantra for a struggling artist was composed by Andrew Jocelyn. Thanks for listening. Be sure to mark your calendars for July 13th. That's when Project Greenlight and our Project Greenlight season starts dropping.

Next up, if we're very lucky, we'll have one more interview with a key person from the Blackening. Fingers crossed. I hope this helps you to catch a break.[01:01:00]