Industry TalkBack with RonReaco Lee !

Hi All,

I am bringing you another industry talk-back all thanks to DFAS graciously providing these free talk-backs to the actors here in Atlanta. If you are my age then you’ll always remember him from the great show Sister Sister but you are probably watching him on Survivor’s Remorse in this decade. RonReaco Lee ( I would admit I didn’t really know his name all these years) was dropping wisdom and truth throughout this whole discussion and didn’t care about staying later to do so. It was a wonderful discussion and between the laughter and the truth bombs, my pen couldn’t keep up. So without further ado I present to you the notes I have from a wonderful night.

P.S. His birthday is the day before mine so that’s why he’s a boss and probably drinking from the fountain of youth too!

How long have you been acting?

I was actually raised in Stone Mountain, Georgia. I started here in the Alliance Theater taking a bunch of classes. I did my first film in 6th grade. Ted Boykins was my first agent. I worked different shows throughout elementary and high school. Atlanta was a different place then and if you came here to film it was for period pieces. I did Glory and a lot of period pieces and got tired of being called “N” word this and that and almost quit. Shay Griffin was the main Casting Director here so if you were good with her then you were good. I swear anytime I got tired and tried to leave the business something always pulled me right back in. At one point my regular job was at a daycare and I was ready to quit acting and do that until my agent called me and said I had to read this script.

I remember auditioning and going to the callback, someone also auditioning told me I was the only one reading for the character that day and this was a lead role so that empowered me.

Going to L.A.

I remember I ended up going to L.A. and becoming overwhelmed and I fell out of my training. You have to remember no matter how good you are you can’t forget your training and those foundations. I was missing beats and I had to reset. My friend who had moved to L.A with me helped me realize that. I ended up auditioning for Moesha and had a producer audition with a full room and Brandy and I forgot my lines. I said If I ever got another opportunity like that I would not mess it up and then I ended up auditioning and booking Sister Sister.

When the show ended what was that like?

As a black man coming off a show, its not the same like everyone else. I had to learn the pilot game and you realize there are so many auditions. Back in the day when a white show was about to get canceled they would add a black character to try and save it so I would go to the auditions seeing those familiar faces. You have to understand that this is a marathon, you can’t peak too soon but you can’t be flat, pace your improvement as the audition stage progresses and have something in your back pocket to pull out when needed.

I remember shooting a pilot thinking “oh this one is airing” not knowing they shoot 100 pilots and only choose 6 to make it to the air. Also remember when you come in with low credits they will low ball you with money. You get about 15 minutes to read over that contract before its time to audition for that pilot. I remember an audition where I saw Essence Atkins with her CD Player listening not talking. I thought why didn’t I bring mine, you have got to protect your bubble, don’t let someone invade that preparation.

What’s your approach On Set v.s. Audition?

I’m more nervous when I got the job. That’s when the real work starts. I started in Atlanta but people don’t realize I didn’t start on sitcoms, I did Glory and then had to learn 4 camera shows and the sitcom/comedy way. Then I had to crack into the single camera. When I got onto Sister Sister Tia, Marques, Tim Reed, Jackee had been doing it for 5 years already so I was studying them and how they prepared blocking and notating their scripts.

Did you become friends or kept it business?

I try to be friendly with everybody, creating relationships, saying hi to everyone. I don’t care if your working background, crew, whatever, it aint that much difference between you and me, both a phone call away from being fired. I was riding a bus my first year on the show getting recognized and saying hi to people.

Coming back to Atlanta.

I knew I wanted to raise a family here. I had a really rough pilot season at one point having 9 auditions and getting none of them. But I was blessed to do a BET show for 4 years and walked into Survivors Remorse. I was a top cast on the call sheet and that was new for me and a learning experience. I had a lot of dialogue and pages on that show but we had such great actors on the show such as Tichina Arnold. I still have that first call sheet, to be working with someone who had already 20 years in the game when you were just beginning was amazing.

Advice for Actors talking with Agents & Managers.

These are not things to rush but getting an agent is great. They can negotiate contracts. 9 times out of 10 the agent you might have now might not be the one you have when you get that Oscar.

How do you know if your agent or manager is working for you?

That’s a tricky one because managers aren’t that clear cut. If you ask them anything and their like “uh uh uh” watch out for them. Agents should be getting you a certain amount of auditions and if not then your contract might let you drop them. Some people complain about having to pay someone but remember if your paying someone that means your working!

I started with a manager but when I moved to L.A. my manager fought for me but was crazy. My first agent meeting said he couldn’t work with my manager so I moved to another one, which I really liked, and they said the same thing so i had to cut that manager. What I would do is I would have my agent scout for a manage and vice versa before I eventually decided to let one go. I never wanted to be strolling the streets alone.

Make those moves if you have to but be calculated before you cut one of them. If they say they can’t get you in because they have 5 people that look like you then let them trim the fat.

If you don’t have a reel what do you share?

You got to win them over with personality. When I started I had that movie but reels weren’t that huge. Nobody in this industry starts with already having a reel. End of the day agents don’t want to be embarrassed so reassure them and make sure once you have that footage it is polished and well made.

Make sure that your training is there. You can have an good reel but without training you get to that audition and your flat-Louis Stancil

What about joining SAG?

SAG is full of hustlers so don’t rush that process. Back in the day there were no student film contracts. So if you joined, all those great film schools you could no longer work with. Join when you have to join.

Whats’s your thoughts on the “L.A. actors are better” debate?

What L.A. classes basically did for me was give me a foundation on what to do in the rooms there. I wasn’t owning the room before and was limiting myself. When I auditioned for West Wing I asked my agent to ask the CD for feedback and he said I didn’t have that “IT”. I told myself I would make so many specific choices that if I didn’t get it they would be able to pinpoint exactly what I did too much of so I could learn. I took a Margie Haber class, read the book and started working privately with Crystal Carson. She helped me a lot and showed me how to work the room and own it.

How do you mentally prepare for scene?

I learn better when I hear. I record my lines into a device. I listen to it and sometimes even sleep listening to it. Now I use an app and its a game changer. I may record whole scenes or everybody’s part but mine. I do various tapes and listen to the one I like. If your rehearse your lines sitting and then on set they tell you to walk and talk, if you mess up realize that everyone has to reset for you to go again. After the first time they might say that’s ok but 2 or 3 in and your loosing them money. No matter what I am doing I try to incorporate those scenes in everyday life whether I am fishing, doing dishes, etc.

They love to rewrite so know your history, relationships, and intention as the character. Have different interpretations for a wide vs close shot and don’t get locked in one way. Be close to your lines and let them live in you. I remember being shocked on Glory that Matthew Broderick didn’t know his lines but the truth is he did and he just didn’t want to know them too well.

Method to put you in ease during an audition.

Deep breathe and find out what your nervous about. Is it nervousness because your excited etc?

I remember going into Lee Daniel’s audition and he looked at his phone the whole time and I adjusted to that, which was a mistake. I should have owned the room and took control. You need to make your that you take care of you and you feel good leaving that room

What do you do in the dead space between projects?

I don’t do enough to be honest. One of the disadvantages of moving from L.A. is that I have to insert myself into the creative spaces unlike L.A. where they were everywhere. I try to get with people and practice things. Sometimes you get loathed in security from a Job and you got to remember to do something to stay sharp.

I have a hard time saying No to people who want me to do work for them which is not necessarily something I want to get into right away in my career. Advice?

Its how you say No but be honest and truthful because you want to focus on your career. How can they get mad at that? Keep it real and don’t be used.