Kaye Singleton is an award-winning writer, producer, and actress that is well on her way to making her own footprint in this industry, or as the much-respected Tyler Perry would say, created her own seat at the table. As a multi-faceted creative talent, she is committed to telling culturally authentic stories for, about, and that explore, the beautifully diverse experiences of Black Women.
To date, as an actress she has taken on a variety of roles on hit shows and films. She’s best known for her series regular role beginning in Season 3 of Tyler Perry’s The Oval on BET as Simone, the beautiful, smart, and cunning wife of the Vice President of the United States, and her Six Season recurring role as the long-suffering, loyal – but problematic – “Josie” on Saints & Sinners, BounceTV’s #1 Show. She’s also had memorable roles on Sistas (BET), Claws (TNT), Don’t Waste Your Pretty (TV One), Tales (BET), American Soul (BET), and Dumplin (Netflix).
In 2020, Kaye secured her first production deal as a first-time Showrunner and Creator for the highly-rated anthology series – Covenant” which premiered on October 14th, 2021 on AMC’s allblk. Covenant’s unique take on bible stories is a stand out for the network as it’s quoted to “create a world of thrilling, suspenseful drama where characters and stories of the bible are thrust into a vicious dystopia of present-day, real-life situations. Each episode will reimagine a classic story as it would take place in the modern world – challenging viewers to examine how sacred lessons of faith and love fit into today’s society.
Enjoy my epic conversation with Kaye Singleton.
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Kaye Singleton 0:00
Who's your friends in the industry whose your uncle or your dad or whoever? And it's it goes in that path a lot of the times and so that, like you were saying, you almost have to persevere and wait it out to get past those people that were in these places that didn't deserve to be right. Because the very next day after that thing I cancelled in New York, I called an executive in LA, it was like, Hey, I'm in LA next week. Can I have a meeting? I would love to do this. I didn't, I wasn't really going to be in LA. But because he said, Yes, I booked the flight and ran out to LA. So I could pitch my show. But like those are the kinds of sacrifices you have to make that most people don't.
Alex Ferrari 0:41
This episode is brought to you by Bulletproof Script Coverage, where screenwriters go to get their scripts read by Top Hollywood Professionals. Learn more at covermyscreenplay.com I'd like to welcome to the show Kaye Singleton. How you doing Kaye?
Kaye Singleton 0:56
I'm good. How are you? Glad to be here.
Alex Ferrari 0:59
Thank you so much for coming on the show. I'm fascinated with your story. And there I haven't had I have many show runners on the show. But I've never had a first time show runner on the show. So we're gonna go into the weeds of I'm sure it went smoothly. No problems whatsoever. It was just worth our time. They just said Kaye, you all you have is time and money.
Kaye Singleton 1:23
Okay, yeah, that would have been a dream.
Alex Ferrari 1:31
But up so before we get started, what, why? And what how did you get into this insanity that is the film industry?
Kaye Singleton 1:39
Oh my gosh, so I was on a whole nother hack. I was in marketing for almost 10 years and then booked some random role in a student film and caught the bug. And I was like, You know what, let me take this seriously. So I had my job to transfer me to LA I was working with Moet Hennessy at the time. And I started taking classes at Stella Adler, which is a two year conservatory program for theater. And then I trained with Ivana Chubbuck and I was like, Okay, now I have this training, I'm gonna go back to Atlanta. And it was easier for me to get on as an actress, but then it's just like, 1000s Auditions later, I'm worn out, you know, I want to, I want to have the roles that I see myself in or that I feel like I can play. And I also want to be able to create, right, I want to have a seat at this table where I can have some say in some of these stories that are coming out. So then I was like, Well, let me take two years of writing classes. So then around, I want to say 2018, I took two years of writing classes, and then got into some screenwriting contests did to short films. And it sounds quick, it didn't feel like it. And it was a lot of hard work. And my and I got a meeting with all black. And thankfully, and this was after many meetings, it wasn't the first and they finally said, Okay, I think you know, you have something and we're willing to take a chance on you. As far as the scripts, and I pitched six different projects wasn't just covenant and that was the one that I'm surprised that they went with because it's so different being faith based anthology series.
Alex Ferrari 3:23
So let me ask you then, so you had so when you decided to so you went down the the Ben Affleck Matt Damon Tyler Perry route, which is like, I can't find the parts that I want. I'm gonna write my way in, essentially. Yeah. So how many projects did you use to do six shows? Did you have six shows with Bibles and like the full pitches and the pitch deck and all of that ready when you walk in when you have. So that was done on like six months, right? All those six projects you wrote those of us 6 12 months.
Kaye Singleton 3:56
I didn't write the actually covenant was one. I had a somewhat of a pilot written for, but it wasn't like, in its final draft mode. And that was the one that was the least done and the other ones I had, because I had been working on them a while. I was like, okay, these I have the show Bible. I have the pitch decks, I have the one sheets, but this one I had. So once they said, Okay, this is the one we're interested in. I had to go back and revamp the show Bible, make it more detailed, you know, make, show how it can go throughout the season, and from season to season and and all these breakdowns, and eventually do a lookbook and all these things. So yeah, and redo the pilot. And because it was COVID I actually had to write every episode of the season myself.
Alex Ferrari 4:44
So you could have a writers room, you could have a writers room.
Kaye Singleton 4:47
And thankfully I didn't because we couldn't afford it. The budget is you know, it's very much a new thing. They were taking a chance so it wasn't a huge Budget. Oh, so you know, it was it was the hardest thing I've ever done in my life.
Alex Ferrari 5:05
Well, you know, what's interesting about your story is that you didn't come into this business fresh in as like a wide eyed, you had another career. And you probably came into this in a completely different perspective where I've see so many filmmakers, so many writers who come in early when they're in their early 20s, or young, and they haven't done anything else yet. And they just are so wide eyed and bushy tailed about the whole thing that the business crushes them, where you already had some life experience, whether you already had another career, and you said, No, you know, what, if I'm gonna be an actor, I'm gonna go train, not I'm gonna go audition, and maybe I'll learn along the way. And then you said, Hey, I'm going to be a writer, I better learn how to write. And you took class two years of classes. So that's a really great lesson for everyone listening is like, it takes time to build up the tools and the toolbox to do what you're trying to do. Correct?
Kaye Singleton 5:56
Absolutely. And because this is the thing about writing and structure, you they can tell when you as soon as they get a script, any studio, Executive Producer, production company, whatever, they can tell, if you actually have the training in your script script structure, excuse me, is correct. And that was one of the things I think sold it because I had done all the backward. And so it looks, you can see the scripts, they jump out on the page at you. And that's only from training. It's not anything, you know, that I did myself, I wasn't, you know, a great person. Once I started writing, no, that's from training, and knowing how to do the format, knowing the beats, knowing how to do exact struck neck, still keep structure notes up on my wall, all around my office, because, you know, we're always still a student and trying to get better and trying to you know, improve ourselves. But it was the training, and I implore people to take the time out and invest in you.
Alex Ferrari 6:57
Now, this is what I when I work with actors, as a director. Anytime I'm in the casting process, I always try to be as kind as possible, because it's brutal. It's a brutal, it's brutal, more brutal for the actors coming in than it is for us. But it's also brutal for the director and the producers. Because if you have to just kind of go through this again and again. But while you were coming up as an actress, how did you deal with the nose and the rejections because there's a very different rejection from a writer rejection than an actor rejection, because the writer director is like, I don't like your work. The actor director is like, I don't like you for this. Like, it's personal like, and a lot of actors take it personally. But it really is like, You're too tall, you're too short, you don't have the right energy, you don't have the right look, and has nothing to do with you, and nothing you could do to get you to help you get that part. But with the writing, there are things you can do, you can rework the characters, you can rework things, but both have very distinct rejections, how did you keep going in this business?
Kaye Singleton 7:59
You know what it is, and it's a ticking clock that I have going on in my mind, right, and I'm just gonna be completely honest, you know, take down any curtains and just tell you the real, I am a woman of any age, you know, once you hit 30, it's like, there's a timeline ticking, that I have to meet certain goals, do certain things. And then I might want to have a family have kids all these things. So I had a different source of motivation internally, but also as far as rejection to, it's like, I had to learn to not take to put myself into these roles. Because at first I was getting my feelings hurt. I was like, I'm sick of this, I had stopped auditioning for a long time. And I'm done with it, you know, I'm gonna do go back to marketing or whatever. And I gave up a few times. But it's also when you have this pool, for this business and for this craft, and for this artistry, you learn to do the audition, and throw it away. Don't think about it, don't go into it thinking oh, it would be great if I had this role and how you look, don't daydream about it, do the audition, forget about it, delete it from the email thread. So you never have to look at it again, as far as the notice from your agent, and all that and keep it pushing because nothing is promised. And like you said, there's so many different factors because I've been on the other side, as to why you don't get cast that nine times out of 10 has nothing to do with you. Nothing to do with your performance. None of that it's just this is what was needed. Or maybe offer was already out and you're auditioning anyway, that happens all the time. They have an offer out but they also just want to see other people, you know, for good measure. And it's just people don't know all of the backstory and what's going on, you know, behind the curtain.
Alex Ferrari 9:47
Yeah, and not to mention, you know, sometimes like they bring in a young actor or a young actress. Oh, they just got cast in Black Panther. Or just that cast in The Avengers movie. So we're bringing them they're not the best for the part but he's going to be here Huge we're gonna bring him in. It's there's, there's a lot of this kind of politicking going on behind the scenes that you just don't know, as an actor but not as a writer. How did you because it's so different? How did you deal? Because I'm assuming that when you went into that first meeting, that wasn't the first time, you probably did a few other these meetings before? How did you deal with rejection from the from those experiences,
Kaye Singleton 10:23
They hit me, I had a meeting. And I'll tell you this quick story with a big network. For me, it was big to me at the time. And I was like, Oh, my God, I was excited about I was flying to New York, literally, the night before I get an email from you know, somebody's assistant, that saying that they're canceling the meeting that I have been working on for three months. And they're like, Oh, you could just email whatever you were going to pitch. But you know, we don't have time to do it. Tomorrow, I had booked a flight pay for a hotel, the whole nine. And it was just devastating. And I remember laying on my couch for a day, I gave myself 24 hours just to be pissed, you know, and just sit there, I don't want to talk to anybody I was. So it was hard to go through that process. But then you start to get a thicker skin and realize that that was not the place for you. And now I'm more meticulous about who I even attempt to pitch to, don't just throw your project out there. And this is renewal writers is your content, right? For the actual studio or network or whatnot that you're pitching it to do they fit it's motif, like they have a particular look feel for all of their shows. Whether it's FX or AMC, or stars or HBO or Apple, you can tell the kind of tone that they want for all of their shows and don't. So that way, if you know this, there's a very particular group that you're going to pitch it to, and then wait for the opportunity. Sometimes the it's not good to just cold call is all the time, it's not good to cold call and just send random email, but wait for a great opportunity. And it might just, you know, work out that way. Like I'm veering off always.
Alex Ferrari 12:13
No, no, no, it's it's you're No, no, you're absolutely right. Because I think so many so many times. writers and filmmakers and actors, they just want to they want it to happen tomorrow. We all want it to happen tomorrow. We all want to get that call, like all you have is time and money, which never comes. Because then you want that call, like you're a genius. We want to be in the K business. Can you did anyone ever say that to you?
Kaye Singleton 12:38
I can't Well, one person. And so that that is and I'm waiting for the next the next one, please.
Alex Ferrari 12:46
But we're all waiting for that. But that could take years as it was in your experience. And most people don't have the the fortitude to keep going because it's there's a perseverance. And I don't know about you, I'd love to hear your thoughts on this. It's not always about talent. Almost never about talent. It's never about skill. Even sometimes it's about who just stood in the game longer. Who's the most, you know, the perseverance of just keeping, going keeping going? Because I've worked with people I'm like, How the hell did you get 5 million bucks for this movie? Like, you're you're clueless, like, how is this? Even? How this a thing? How did you get on set? When I know 20 Other people behind you? Who could do your job better? Like I don't understand that. But isn't that in your from your experience? As well as like the person who just stays in the game the longest, doesn't have to be the most talented or the most skilled?
Kaye Singleton 13:39
Absolutely. This is a whole you know, business. It really is. Who's your friends in the industry? Who's your uncle or your dad or whoever? And it's, it goes in that path a lot of the times and so that like you were saying, you almost have to persevere and wait it out to get past those people that were in these places that didn't deserve to be right. Because the very next day after that thing, I cancelled a New York I called an executive in LA it was like, Hey, I'm in LA next week. Can I have a meeting? I would love to do this. I didn't I wasn't really going to be in LA. But because he said yes. I booked the flight and ran out to LA. So I could pitch my show. But like those are the kinds of sacrifices you have to make that most people don't because they get walked into the business without necessarily having to trudge through it. You know, like most do without question. It's a numbers game and I'm just, I'm over it in many ways, but I'm still motivated because there's so many stories I want to tell.
Alex Ferrari 14:46
I look I completely understand you because as you get older, you just put up with less BS you just, I mean stuff you put up a 20 you're not putting up with at 40 You know, like just just not like and I'm like no, I don't care how much money it is. My life's too short, like you start getting to that place in your life where you just start figuring out what's important to you. And, and it's hard for younger people to understand that because I remember when I when I had any bone that was thrown my way, no matter how unfavorable it might have been, I because at the beginning, you kind of have to do that to build up all the tools that you're going to need to keep going in this business. But as those tools as that toolbox gets heavier, you start going, I want to be picky. A little bit pickier a little bit more choosy. But I can see it in your in the way you say you're like, Yeah, I'm kind of all over it at this point.
Kaye Singleton 15:39
I have some PT, after covenant for sure. Because being thrust into a position of that magnitude, and you know, being there from, you know, the idea. And then the development process, which was, you know, a lot of it was just me doing tons of research, and then writing and then pre production, and then you're out of time with pre production, you only have a couple of weeks, then there's principal photography, and then, you know, post production and you know, who was teaching who's gonna teach me about rap? Nobody taught me rap. I was like, what, what is this concept? What is rap? Oh, I have to do all this paperwork, I have to do all these legal deliverables. I have to fucking, it blew my mind. This is the last day of filming when I was like, you know, figuring out what rap was. And then the post production is a whole nother beast. And then that's another three months where it's like, every day, there's something that needs to be done. And I don't know about you, but I'm one of those people, I want to sit in the editing bay with the editor for 12 hours a day sometimes, and make sure that every frame is right and that kind of thing. And then
Alex Ferrari 16:53
I lived I made my I made my bones in post production, I was imposed for 25 years before I retired. From I shut down my post house did everything because I was like I'm done. I'm a I'm a podcaster now.
Kaye Singleton 17:06
So then you know, you know, post.
Alex Ferrari 17:10
Oh, I've done everything from posting, suppose supervising VFX supervising online editorial color grading, I've done all of it myself. And so I understand the I mean, I literally consult people on how to do post workflow, how to get from the camera all the way to final deliverables. And they're like, what's the deliverable? I'm like, You need me more than you think. So that's the whole thing. But before we get to post, I want to I want to go back to the beginning of covenant. So you get thrusted into a showrunner position. First time, this is kind of an unheard of scenario, because you don't I don't hear the stories off is one of the reasons why I wanted you on the show. Because to become a showrunner, you need to have a track record, as a writer and maybe a head writer and, and then maybe a co producer, and you go through the steps and then maybe you know, 567 years down the line, they're like, Okay, you know, they wrote something really good. They've got a good track record, let's give them a shot to be maybe a CO CO executive producer, like there's a process because it's a massive amount of responsibility to try to run a show, even a show with, you know, small shows your show is not, you know, it's not Game of Thrones. So it's not a massive show. But it's still massive. It's like making four features at one time. So what was it? What was it like being thrusted into that in the pre production process, which was basically just you, which is a little, not not normal, it's just all you. But like, when you walked on set for the first time as a showrunner, and everyone's looking at you. Oh, by the way, you also you're also an actress in this, which is another thing that's mind boggling. And a producer and a writer, like how on God's green earth did you sleep?
Kaye Singleton 18:53
I didn't first six months. And I will tell you that I was so stressed out and probably went through a slight depression too. But I will say this, it was and I have a huge amount of respect for showrunners for producers for head writers for writers rooms. And, and so I don't take this lightly and quite honestly, I would have loved you know, to have a huge producing team, like, you know, like they have on HBO or wherever else. And that way I could have been more of the creative instead of having to deal with the business part of it. But having to do that and having to sit through, you know, pre production and pick out locations and do all these things. It changed me fundamentally. Right it it. I don't want to say it broke something I mean, but also rebirth something so that I could come out of this from a Naive Bayes and to like a fully grown adult, because we don't understand all these processes that go on behind the scenes. And I don't thing of people have a lot of respect for all those processes and all those positions, whether it be with crew or pas or script supervisors or what have you. And it allowed me to gain an immense amount of respect for those as well. And I feel like I went off in this tangent, so I forgot what question I'm supposed to be answering.
Alex Ferrari 20:19
What was it like you walking on that first day on set
Kaye Singleton 20:22
The first day on set. It literally was the scariest thing of my life. Because, yes, you do all this preparation? Yes, you you've done as much as you can do. But when is that first day? It's like, are we going to sink or swim? And so I got there. We prayed.
Alex Ferrari 20:43
I would, I would,
Kaye Singleton 20:46
I shed a tear. And, and it went. And before you know, before you know it, you know, you're 12 hours in, you're 16 hours in and then you go home and sleep for four hours, and you're back there the next day. And every day until the end, and it's it, it's changed me. And that first day on set will be something that I will forever remember for the rest of my life. It wasn't exciting as much as it was terrifying.
Alex Ferrari 21:14
But it it sounds like you went through basically, this was a film school for you like this was a trial by fire kind of scenario. Let me ask you, though, did you have the pressure of the studio? They're like, did you have like that whole Godfather, Francis Ford Coppola moment where like, we're going to replace you at any moment. If, if this if you're if you can't make your days, we're shutting this down. And we're bringing somebody else in to pick this up.
Kaye Singleton 21:41
I wish I would have had that.
Alex Ferrari 21:44
You know, you wish you would have had it, they would they literally threw you to the wolves like you just figure it out. And let us know when you got the show.
Kaye Singleton 21:51
Right! Because in that's what I want to tell newer creatives, your contracts are was really important to look into, right? Because my and I don't want to get too deep into it. But my particular setup was, you know, if we don't, it wasn't about the days it wasn't just about that you make these deliverables. And you do it for this amount of money. Or you're responsible for it. And you
Alex Ferrari 22:19
Ouch, oh, man, you really put yourself out there.
Kaye Singleton 22:23
Exactly. And so that's why I made the comment of you. I wish there would have been that case because it would have I think alleviated some of the pressure. Because there was another, you know, set of eyes and all those things.
Alex Ferrari 22:38
But but and also and almost also a ripcord that if you're like, Man, this is too hard. i i Can I could pull the parachute. I'll go back to marketing. Like, like,
Kaye Singleton 22:49
Right, exactly. But no, we're to do now is like you have to there's no other way you burn the ships. Right.
Alex Ferrari 22:58
You burn the ships. You burn the ships at the coast. You can't go back. You got to it's one way and that's it. Wow. I mean, jeez, that's that's ballsy. Man. I gotta I gotta give it to you, my dear. That is some big coho nice to go out there. But I have to ask you again, like, that's insane. What you're what's what's being proposed here, what you've done is it's slightly we all have to be a little insane to be in this business. But in general, but what you did was really amazing in the sense that you put it all on the line, this could have bankrupted you. This could have
Kaye Singleton 23:35
Offline but yes,
Alex Ferrari 23:37
This could have destroyed whatever career you were building in this space, other than being an actress. So you really roll the dice, and you try and you bet on yourself to make this happen. Is that correct?
Kaye Singleton 23:50
Absolutely. And I promise you is nothing but the grace of God that pulled me through that it was and I don't say it lightly, that it was the hardest endeavor. And when people say it's a miracle that any production gets finished, and you see it on the big screen, or TV or wherever it is, it really is. There's so many pitfalls and hills and stumbling blocks that come obstacles that come your way during the course of it, that it takes that kind of experience to get past it. And it to this day, I don't know how we were able to survive, but we're here
Alex Ferrari 24:25
And you also hadn't had you directed other than the short films prior to that. No. So you it's not like you were you were dipping into a dipping into a well of like 10 years of directing and 10 years of producing content. Like this is like the first time I'm doing it all for the for the real show. You're kind of learning on the go um, it's it's because I know what you went through. Because I've been there I've had a show that I had to knock out in four days and I had to do eight episodes. I we shot night, how many pages we shoot 96 pages and four As I think it was on a set with visual effects, I've been there and I was also posting like a $10 million movie for Hulu at the same time. So I was like, directly for 12 hours go home, had to fix some deliverables export, come back. Like you can see me on set. I was just about to like, bring it up. Yeah, I was out of shape. I was like, I'm like, I'm leaning on the DP, like, dude just framed the shot up, but I can't, I don't know what, like,
Kaye Singleton 25:31
Everything was skinny and flabby. And I was just like, hey, do you know?
Alex Ferrari 25:36
What but but yeah, exactly. It's this kind of insanity. So I understand what you're going through. But when I did it, I had 15 years of directing experience behind me producing experience, and, and so many posts experience. And so I like I understood, what was the you went in almost cold to that kind of scenario.
Kaye Singleton 25:57
You know what? It was like, either I do it now I take the opportunity. Or who knows, because like I said, right, before that I got turned down for even the pitch meeting, like they canceled it. And I was it and I didn't hear anything about it. So it was either you do this now, or you may not ever get an opportunity. And so I felt like I was between a rock and a hard place. I mean, did I realize I was probably in over my head. Yeah.
Alex Ferrari 26:24
But, but not really. Not until you got into it.
Kaye Singleton 26:28
Not so I really was there. And I was like, Oh, this is, this could be a good show. You know, and I really had, like you said it was like going to New York Film School. And that one production, and with the directing. And, and director one episode out of the four, but it was almost I did that because I know how I want directors to speak to me as an actor, and to to relay things to me or relay their vision. And I feel like sometimes, as actors, we don't get that. Because directors sometimes now all time because I've had some amazing directors, but sometimes they you know, focus on the lighting and the camera setups into this into that. And you know, they let actors do whatever they want, which is cool. But we want to know what the director wants. We want to know what their vision is. And we want to know that we're doing a good job or pleasing, you know, whoever the powers that be are. So because I had been through that side of it, I wanted to be able to communicate that with actors. And so I felt like I was a directors actor in that sense. Like, I can talk to them in a way that they understand that I don't that sometimes we don't always get. And so that was like the motivation to do that.
Alex Ferrari 27:48
Now, was I always asked us that question, because as directors as producers, there's always a day on set, that you feel the entire world's coming crashing down around you. I know that was every second of every day. But was there a moment that you in the in that production? Did you just go? Oh, no, I don't think I'm gonna make it like, and what was that moment? And how did you overcome it?
Kaye Singleton 28:15
Figure out the best way to tell this story. Publicly, right, we were on location for an episode. And it was actually the episode that I was in. And at the last minute, the owner of the location wanted to change the deal and say, Okay, we want more money, because we didn't think this protection was going to be this big. We'd already signed the location agreements, we had already signed the contracts. I was like, but you can't just change the amount right at the last minute. And so we went ahead and kept shooting, and then the owner ended up showing up on set and was saying, you know, we were going to shut it down if you don't pay another 5000 I was like extortion if you don't pay another $5,000. And I was just, I was livid. Right? Because it was already so many things going on so many things going wrong, right? It was just a storm at that moment. And I remember telling one of the second ad I think the second ad so you know let's get the cast and the crew very common is getting cast and the crew downstairs. And so I can have a conversation. They had a big huge finished ballroom basement. And so I can talk to you know, the gentleman, and so he was looking scared. I was like let's do this now. You know, is the foot some fire behind it? So then, once they were downstairs and I was alone with myself, a couple of producers and the gentleman. I remember like laying into this guy like this is ridiculous. You are extorting me this cannot Hold down, I remember we call the police and having them come. And like this, we have a location agreement that you are going to stand by. And I was, you know, and the police came, and they ended up making the owner leave, because of the location agreement. And I literally had to go from that from, you know, being upset, going off to, you know, talking to the officers who were very nice. And you know, getting all of that squared away. Now, I'm hot and sweaty and upset. And then I go film the scene. Because we were filming my episodes. So I had to, of course, now they have to pat me down, I guys sit on the couch, and do the rest of the show. And that's the thing, it's like, much responsibility, every everything falls on you. You got to solve the problems. You got to say the day and you got to, you know, figure out the rest of the show.
Alex Ferrari 31:00
Jeez god bless you, man, I looked at the whole location thing that was fun. I always hear that, oh, if that's happened, I'm like, yeah, oh, we dropped out, the location dropped out, we gotta go shoot something on the day of, I've never had it. I've had I've had the neighbor come out with the air blower, the leaf blower in the middle of the sea. And then you got to have a little bit of that cashola money lying around to pay off people. And please, please, please wash your car later. Please know you. Because they know especially if you're in LA Oh, forget it, then they absolutely know.
Kaye Singleton 31:33
That was another
Alex Ferrari 31:33
Oh, no, you've got to know you got to pay. Everyone's got their hands out. Everyone's got the end to end if a good location manager knows. They have to have petty cash on set to deal with that stuff. Because this is, but this is just experience. No one teaches you this stuff like this.
Kaye Singleton 31:49
We didn't have it. We're like, oh, we gotta go get that. Yeah.
Alex Ferrari 31:53
You the whole thing might have been like, Look, man, can we give you another 500 bucks and call it a day? And he probably like i and that would have been that would have saved you a lot of time and headache. And because every minute that's going by 1000s of dollars in production time. So what's it? What's it worth? So these are things you have to do, but and then but I've never had to deal with that and then go act in a scene. Like emotionally, how do you go?
Kaye Singleton 32:19
That was it was a crying thing with the I think was the prayer was
Alex Ferrari 32:23
An emotional scene on top of it.
Kaye Singleton 32:25
It was just like, do I ever learn my lines at this point? Where's the script? You know, so?
Alex Ferrari 32:32
So I always like to ask this question as well, especially when it's first time directors or, you know, producers, things like that. When I started out as a young director, I'd walk on the set, I'd be the youngest person there, there'd be much more experienced people there. And I got pushback from crew members, from producers and from actors. Did any of that happen on this project? Or any other project that you've worked on as a writer, producer, showrunner, director? And how did you deal with it on the day? Because, you know, I'm a Latino man, you know, but I can only imagine being a female first time showrunner slash actress, that there might be somebody on set, that'd be like, how the hell did this girl get this gig? And I've been doing that I worked with Francis Ford Coppola back in 72. Like that, that kind of vibe. So how did was there any situations like that? And if you did, how did you deal with it? So people can learn how to deal with this kind of stuff?
Kaye Singleton 33:32
Right! And, and I'm gonna say this, because they were an amazing crew. But I think sometimes you kind of lean towards what you're used to. And because it was my first time, and I was wondering, I was younger. It was, if I said something, you know, it. In the beginning, they may not have taken what I taken, whatever I said, as this is what we're doing. And they would refer to the DP or the director at the time to like, oh, you know, Kay said, blah, blah, blah. Should we do this? It was like the second guessing of it all. And I remember getting so frustrated about that in the beginning, because it felt like it was disrespectful, and that they weren't respecting the position that I was in. And I remember finally, standing up for myself during the first week of filming after you know, happened, how many times? And I think I had to tell someone like, Listen, this is how you feel about this is my show. And this is what we're doing. So if I say we're not going to do this location, it's going to be here or there or whatever it was about. That's what's going to happen, because nobody understands the vision of this story better than I do. Period hard stop. And to do that, if you run that risk, because I am African American, they There's this stereotype of being seen as this angry black woman. But it was almost like I had to stand up for myself and stand up for the sacrifices that I made to get there. Right? Because it really was when you think about it still you on the line is still you know, my reputation, my job, my money, my career, my this, my that. And so regardless of how you feel about it, this is how it's going to have to go. And you know, I implore other women to stand up, or other minorities or younger people or new creatives, stand up for yourself, because there's a reason why you're in that position. And don't let anybody second guess you.
Alex Ferrari 35:39
That's, I can only imagine the frustration of that, especially but I'm so glad that you actually stood up for yourself on that. Because if not, that's a cancer, that will destroy the production if, because if they feel they'll test you, they'll push to see how far they can push. And it's either consciously or subconsciously, and, and they're gonna go, Oh, she's a pushover, I can do whatever I want. And the whole thing becomes a fiasco.
Kaye Singleton 36:04
And then you got to try to reel it back in after it's already gone haywire. It's like, no,
Alex Ferrari 36:09
No, it is not going to work. Now, is there? Is there something you wish someone would have told you at the beginning of this process? Like, girl, this is what you need to watch out for? I know, there's a list of things. But what was the one thing you wish someone would have told you
Kaye Singleton 36:27
Learn budgeting. Take the time, out here, you got to do a line producer class, or do a movie magic budgeting seminar, whatever it is, learn as much as you can about budgeting and line producing before you do your first project. And of course, hire a competent line producer, but you need to know it for yourself. Me know how budgets work, you need to know what this cash flow is you need to know, you know what you're supposed to be saying what you're supposed to be checking off every week, what these deliverables from your producers and from your department heads are supposed to be, I learned the process. Because it's, it can hurt if you don't, and you'll figure it out, either sooner or later on the backhand, it's going to hurt. So learn that process before you go into it.
Alex Ferrari 37:21
And and it also had because you your money basically was on the line if you didn't know that it was going to fall into your bank account eventually. So you better learn the budget.
Kaye Singleton 37:30
Absolutely. Exactly. And even if you have you know a deal where it doesn't the studio is going to look at you. If the budget goes on and then actually knows that they'll give you that position again.
Alex Ferrari 37:43
Oh, get around town. It'll get around town real quick. Like, oh, no, she goes over budget. She goes over time it she never finished. done, you're done.
Kaye Singleton 37:51
Exactly. So learn the process before you go into it. I mean, and budgeted out all the way to end to post and talk to your post people. Also, this is another gem have post production involved in pre production for each meeting was Adam in its own meeting by bringing them in early, because that would have saved me money too.
Alex Ferrari 38:19
I tell everybody, I've had full episodes dedicated to people like get if you can afford to hire post supervisor, get them on and pre pro at minimum hire post supervisor and and just pay them to consult a workflow for you. So you know how to, because I know like what did you shoot on by the way? What camera? Was it? If you remember? Do you remember? Was it red or Alexa? Or?
Kaye Singleton 38:42
It was an Alexa? Ooh, okay, got the name set out.
Alex Ferrari 38:46
So if you're shooting Alexa depends on what file format you're shooting in Alexa, if you're shooting RAW, you shooting 4k Raw if you shoot there's a lot of different things. So that determines how much much pipeline you need to kind of push it and like who's your editing system? What editing system you use and identity system handle this? Are you doing this offline and online? And are there any visual effects involved? If there is even if it's like
Kaye Singleton 39:10
What hurts we wasted so much money shooting things on green, they didn't need to be shot on green, you know what I mean? And a post supervisor would have told us that and pre production
Alex Ferrari 39:25
Or VFX or and or a VFX supervisor could tell us you know you don't need to do that on green screen and green screens for people who don't know how to shoot green screens is just more costly because if you don't know how to shoot green screen then it's going to cost you a lot more money to fix it and post because then when you have to make roto I had a green screen come in with this is what they did I swear to God and you might you might understand this. Hopefully you do. You know green right green screen has to be one color. Four green, four different greens taped together in the middle of a sword fight in the middle of a sword fight like So dark light this that and I'm like, what he said, like, can you fix this? Like, oh, no,
Kaye Singleton 40:05
No, you're short away.
Alex Ferrari 40:09
You're not Peter Jackson, we're not going to roto every frame, you don't get that kind of money, like. But that's those kinds of little mistakes are so costly. And if you just hire somebody at the beginning to either guide you through it, or literally take you through the entire process all the way through, man, it saves you so much time and money at the end.
Kaye Singleton 40:29
100% That was one of the gems that I learned and my post production supervisor, Tracy, Kansas, she saved my life she came on after we were done, which was my fault. And that's why there's one of the biggest things that I learned. But it without her. And because she's such a, you know, she's 20 years in the game, we wouldn't have survived, you know, because she actually made sacrifices to grant covenant to live in, because we need it you need someone to be able to take that train, now that you're done, and completely finished the show. And she had the sound design she had the colorist, you know, with what does it call when they have to check the quality?
Alex Ferrari 41:14
Oh, that would be QC. Oh, for everybody, her eyes, her eyes just bolts down if you're listening, or I just bowed out of her head, because QC makes everyone tweak a little bit anybody who understands what Qc is, which is a short it's short for quality control, which if you send your your show to a post house, which about generally by the network, will tell you, you got to send it there. And as the past QC from there before it airs, they will find something. Always, always, it's never almost 25 years of this business doing that. Never once that I get that's fine. Never once because they have to justify their job. So though I put in the stupidest stuff here, like what
Kaye Singleton 42:02
It was such a time consuming, she managed QC, thankfully, oh my gosh, it was one of those things where without her I don't know if it would have you know, gotten on air because she was just a lifesaver. So, yes, Qc is a beast. And we I know for each episode, it was like two or three passes back and forth, back and forth QC. Oh, it's a glimmer of white light in the corner. And it isn't, but it's like those kinds of things that we had to Yeah, we had to do it.
Alex Ferrari 42:34
I'm gonna, I'm gonna I'm gonna give you a I'm gonna give you a little bit. And you might know this already. But this is a gem for you. In the QC process. There's two magical words that get you out of 50 to 60% of those problems. It's called Creative intent. Okay, you all you have to say is creative intent. And unless it's something technically like that little shimmer creative intent is great. It's God was looking down that is the the little shimmer that was the part of the seats creative intent. So if I mean unless there's like a cable in the shot, a boom in the shot, those things you can't say creative intent about. But generally speaking, creative intent gets you out of a lot. So everyone listening, if you ever have to go through the QC process, as a direct creative intent, get you about 50 About 50% of the stuff they can't because they can argue it, they can narrow it down.
Kaye Singleton 43:28
I was like I remember.
Alex Ferrari 43:31
That's just an OG post supervisors trick, creative intent. I was working with Lionsgate for a theatrical and they would bust out stuff. And I'd be like, creative internet directors and creative. And they're like, really? I'm like, yep, creative intent. All right? They can't.
Kaye Singleton 43:46
Because QC can keep you from meeting your deadlines. And then oh,
Alex Ferrari 43:51
And I'm assuming you're paying for QC, what was the student? Oh, of course. So then it's just an it's not cheap. And it just, you know what, because before it was a person sitting there doing QC, but now they'll run it through a computer, an AI system, and the AI will just start poking things out. They'll spit out a report, and that's what they'll send you and then somebody might eyeball it. Because before kind of that old, it was all somebody sitting down watching it. And that's their job to just catch any little issue where now it's so technical that even if a pixel is off, they'll kick it back to you because they ran through the system. So and they'll charge you ridiculous amounts of money to do it. Right.
Kaye Singleton 44:33
And then you have to get it just so people know after that. There's all these other legal deliverables that you need. Insurance and music and on tracks, contracts and the title reports and all these things.
Alex Ferrari 44:51
Oh, no, it's and you didn't know about any of this walking into it.
Kaye Singleton 44:54
With that, The eli was the li insurance,
Alex Ferrari 45:02
Kaye Singleton 45:05
Everything was a bill. I was just like, what is actually
Alex Ferrari 45:11
Like $5,000 for you know, insurance like what, what, what? Yeah, it's in these in this stuff. This is not the creative fun stuff that they talk about a film school. This is not this is but this is the realities of the of the film business, even on a show like yours, which you essentially we're doing an independent show with an output deal within that, which there are a lot more of these kinds of shows being made today, because content, they need content at an affordable price to hit certain markets. So it's not all going to be games of Throne Breaking Bad style shows, it's going to be this kind of it's essentially an indie show, you did an indie show, essentially, with an output deal
Kaye Singleton 45:53
With an outlet deal. And the crazy thing about it is now that it's there, it's like now you have to start to think about what you want to do next. And I do realize that it was we've done this independently, it was great, actually, I'm doing another independent film. But as far as the theory is, you want the support of a studio or network so that you can put out the best, you know, product possible. I'm personally I do, and it can be different for every person. So yeah, it was I was thrust into it without knowing a ton of stuff and don't miss out on workers comp and
Alex Ferrari 46:36
Workers comp and union rates and oh, no, no, no, it's there's so many because everyone's got their handout. Everyone has got their handout, from the payroll company to the workman's comp to, and then you get into post and you've got all of this stuff. And since if you don't understand what's going on, they'll they could take you for a ride. Oh my god, I
Kaye Singleton 47:00
Just have it all. Oh, they curse it for friend. Oh my gosh,
Alex Ferrari 47:05
No, no, no. Do you have any projects came to me which series and shows that had been, they basically had been completely taken advantage of and stolen their budgets, by somebody who didn't know what they were doing the good talk and they couldn't get past the finish line. Then they show up to me. They're like, we had 50,000 But we got five now can you finish it? I'm like son of a bitch. I can't help you, man. You gotta go out and get some more money. I can't do this. That's a lot of work.
Kaye Singleton 47:33
And that is that's what some in some ways, and we'll talk about it offline happen happened with me. But you have to you have to push through it in for because now how some of these contracts work if you don't, and I'm choosing my words carefully. They can put like a lien on your copyright.
Alex Ferrari 47:53
Oh, absolutely. No, yeah, they it's putting putting a show like this together. I'd imagine that the kind of deal that you had is like, Look, you were giving you the opportunity. This is how much money Yeah, I exactly the same deal. I did for my show that they gave me to produce. I wasn't the creative behind it. But I was the director and complete production of it all. And this is the dollars, this is what it needs to be at the end. Go to it. And that's what we did. And again, I had 20 years behind me at that point. And I and it was still probably one of the toughest productions that ever had to do shooting 96 pages in four days and never going over 10 hours and never gotten over 10 hours.
Kaye Singleton 48:37
Oh my god because it cost him to pay overtime. And then, you know, COVID was an additional bill.
Alex Ferrari 48:43
Oh, that was a whole other I can't even imagine having to deal with COVID as well. All right. I'm exhausted. I'm exhausted. Kay and I didn't even shoot this
Kaye Singleton 48:53
You have to have your COVID compliance officer your COVID nurse your COVID this your COVID pa it's just more money to spend and all the tests and all the PPE it's just
Alex Ferrari 49:06
It's insane so Alright, so the whole thing is done. You put it out there and then you it looks like you're doing a new show called gas is a called gas light.
Kaye Singleton 49:16
Yeah, so Gas Light is my baby actually wrote that before covenant and that's what got me in the room because they had seen some some clips of gas light and I love the concept. It's a it's also an anthology but it's a darker Tales from the Crypt kind of meets a relationship, dark therapists kind of world where we talk about different things not only gaslighting, but Stockholm Syndrome and the pole pygmy phenomenon. We take these social issues, and we thrust them into a theatrical I'm kind of showing with this dark, crazy therapist narrating away, it's fun. It's dark. It's funny, it's scary.
Alex Ferrari 50:09
And you're done. You're done with production of that one, right?
Kaye Singleton 50:11
I'm done with a pilot.
Alex Ferrari 50:14
Okay, so you're still, so you're still gonna post on on is this an anthology series, so it's not. So you're in the midst of this right now,
Kaye Singleton 50:21
I'm in the midst of that. And the crazy thing is because I also am doing a true crime psychological thriller film feature film. At the same time, I'm kind of juggling both of those. So I'm trying to make sure that we can go into pre production for the thriller in November so that we can shoot in December and get that done, hopefully before the years out, but that's my first feature frown, which is the psychological crime thriller, which is a new genre for me, but I'm excited.
Alex Ferrari 50:58
Use I'm exhausted. I mean, I hustle but Jesus
Kaye Singleton 51:03
I told you I'm on a ticking time clock. So y'all have time guys have time y'all don't have depression. Okay, I gotta sit down and baby at some point.
Alex Ferrari 51:15
So was it easier to get. I mean, obviously, it was easier to get gaslight off the ground. Cuz that's another your showrunner on that one. You're a creator of that one as well. When you walked into that one, how was different?
Kaye Singleton 51:29
Was that because we shot that before covenant? So that was basically like doing a short film. It was like, you know, we're gonna come in here, we're gonna be on location, two days, you know, everybody's my friend, the actors, the, you know, directors and I. So it was a much different experience. You know, we're just all having a good time. We're not getting out. We're getting it done. It just ended up looking. And amazing. And it's something that I can't wait for the world to see. But covenant was just like, you know, it's 100 people and the crew. It's we had 100 and some cast members. So it was a different beast. It was a lot on the line. Like that's like, the pilot budget was $20,000. Yeah, got it. It was more of the of the indie route. But what I want to do with gas i and we're in talks now is to have a full eight episode season. So I'm praying on that. I should hear about that next week. So good luck to your solution.
Alex Ferrari 52:33
Pretty so. So what was your biggest takeaway from the whole covenant experience?
Kaye Singleton 52:39
You know, I'm all about preparation. And making sure that you're prepared mentally, physically, psychologically, emotionally, for whatever endeavor you take, and but there's some endeavors that you can't prepare yourself for. But if you're ever in the middle of this storm, keep yourself grounded on the principles that you came into it with, keep a level of integrity. Because I think that gets lost, sometimes in a storm. Keep a level of honesty. And and don't forget why you came into this. Because after covenant, it almost made me want to give up on this industry, on the process on TV, film, whatever I was sick of it all, but remember what you came into it for. And so I think one of the biggest takeaways for me is learning that I can persevere through the, through the storm through the darkest of clouds, I can persevere through that. And there's a really beautiful little passage where they talk about a hummingbird that is perched on like a tree in the middle of the humming and the middle of a hurricane, but the bird is still able to sing. And you know, because they know where their joy and their peace comes from, which is from within. So no matter what's going on around you. And so that is my biggest takeaway to to know that I can persevere through and maintain who I am. And that way I can keep going for the next thing.
Alex Ferrari 54:22
I feel that it's beautiful, by the way, but I also feel that we as creatives, especially when we're thrown into those scenarios, which I completely feel your pain because I've gone down that road, a bit. Not as extreme as you do. I had my own extreme versions of almost making a movie for the mafia when I was 26. And, you know, doing all that for $20 million and met all the biggest movie stars in the world. And that's how I wrote a book about that. So I've been I've been down that I've been down that road as well. But I feel that when we go through these things in life as a creative especially as, as creatives we are being tested to see we're also being tested not only by the business but by life to see how far we can do we got the metal to keep going are is this really for you? And you know what? This business isn't for everybody. I'm sure you even on your journey I'm sure you've seen people just fall away. Yeah, follow it because it's just so hard. And unless you are just pigheaded or persistent to the nth degree or it brings you so much joy inside, that you have to do this regardless of the walls in front of you, then that's a different conversation. But I bet you it sounds to me that you, as you said at the beginning of the conversation, you walked in as a baby, and walked out as adult, because you and I'm sure there's shrapnel all over you. You got Yeah, you gotta walk arounds you got like the skin is tighter and tougher now, like you can take on, you know, much more now because you're battle hardened. And then some.
Kaye Singleton 56:03
Absolutely, yes. So and I'm looking forward to it. I wasn't at first. But now I'm looking forward to that next step. I'm looking forward to season two, you know, which I'm still writing, I'm looking forward to this film, I'm looking forward to gas light. And now it's now I can see the joy through the darkness. But you know, you have to be it, you got to build up that skin. If you want to survive in this business. You go into the pit on the metals.
Alex Ferrari 56:31
And this is the thing that we are there's this insanity. And I call it the beautiful sickness because it's exactly what we have. It's a beautiful sickness. Nobody else goes into war into hell into a hurricane all mixed into one walk out at the other end. And at first, you're like, I don't want to do that again. But like two days later, you're like, you know, it wasn't really that bad. I think I want to go do that. Again. There is an there's an insanity of being an artist and being creative. And even at those extremes. It's just it's from people, because my wife is outside of the business. And she looks and she's like, You guys are crazy. Like you guys really insane like that. It doesn't make any. Right. And we do it again and again to ourselves again and again. And again. Where I had I had I had one person on the show years ago a little while ago. And they said they bet the farm essentially the whole house. Everything on this independent film. And they had seven kids. Like it's one thing when you're young you got nothing going on. But yes, seven kids bet the whole thing bombed. Just went bankrupt, move back in with the parents took them seven years to get back out. But first thought that came into that guy's head when the movie didn't do well. we'll ever get to direct another movie again.
Kaye Singleton 57:53
That's the insanity because you love it. It's like appraising it. We're in psychologically. It's business as you know.
Alex Ferrari 58:05
It's an insanity. Yeah, it's no, it's an insanity. The normies as I call them, they don't understand they don't understand people outside the business don't understand the insanity. What because we're carnival folk, we ran away with the circus.
Kaye Singleton 58:18
Right! Did it and if you don't know how much money that, you know, I've spent on investing in these projects. It is just you know, you go, I keep telling my friend, you know, I don't mind going broke over and over and getting it back again. Because this is how much I love the art. And it pays off. I'm not saying that it's been all bad. But yeah, that's how much we're attached. We don't mind risking at all.
Alex Ferrari 58:45
No question. Now I'm going to ask you a few questions to ask all my guests. What advice would you give a screenwriter or filmmaker trying to break into the business today?
Kaye Singleton 58:54
Make sure that your scripts are tight, make sure that your structure is tight. Make sure that you have done all the work leading into it that you have done so that those characters and that show can sing when it's put on camera. You know, I think a lot of people because you can come up with a story doesn't mean you can write a script or a script or two different things. And so I would say a make sure you have done all the preparation. And now that you've done the work make go out there and do it. Don't wait on someone to give you a yes. Because like I said with gaslight and checklists and you know doing film festivals before covenant, you don't wait on the yes from the industry. If you have a budget to do something smaller, go ahead and do it. Get your vision out there. Because that's what's going to put you in front of people. Don't wait on somebody to validate you and say that okay, yeah, you're talented. You can handle this because I was out pushing my Self before anyone believed in me, believing yourself don't wait on the Yes. Prepare and and get it done.
Alex Ferrari 1:00:09
Now what, what is the lesson that took you the longest to learn whether in the film industry or in life?
Kaye Singleton 1:00:18
Just because you have a certain set of principles doesn't mean everybody else does.
Alex Ferrari 1:00:25
What in Hollywood stop it!
Kaye Singleton 1:00:27
It's like stop thinking because you know, you go by, oh, this is the right thing to do that that's going to be you know, someone's gonna they're going to, to gravitate to doing something honest or right. And I'm not saying that. I feel like I'm putting out all the things. But the things naive.
Alex Ferrari 1:00:49
Listen, just because your default is a certain set of morals doesn't mean that the person next to you has that same set, or even defaults to even close to where that is. This business is not look like this whole show is about the honesty of the business, because that's the only reason I started this show. Because there was nobody, there was nobody telling the truth. Everybody was just like, let's talk about this. And let's talk about that. It's all fun. And you know, I had this adventure, and then I was on set with, with, you know, Scorsese. And I'm like, No, that's great. That's lovely. We love to hear those stories. But this conversation is as raw and true as it gets. And this, I hope, terrify somebody should I hope to terrify somebody to get into action, if they truly want to go down this road? Or if somebody's already going down this road to understand what is ahead for them. Because I always use the analogy. It's like, it's like, you're in the room with Mike Tyson and at six, and you're gonna get punched. And most of us in the when we walk into this business don't even know we're in the ring, let alone in the fight.
Kaye Singleton 1:01:55
Right! And all I'm saying is protect yourself. Go into it with a level of protection so that you can maintain the vision of your project. And so that's the biggest thing that I've learned today. And
Alex Ferrari 1:02:11
And last question, three of your favorite films or shows of all time.
Kaye Singleton 1:02:17
Oh, I have a top five in both. So we'll do film. Which genre do I want to start with? Okay, so this is a fan. I'm a fantasy period piece girl. So one of my favorites from when I was a wee baby is Willow dies or something I will always loud. I always love that movie. I just, it takes me back. And I think it was for this time. It was beautifully done. So I'll always gravitate to that. Drama. Now it's kind of changing. But back in the day, one of my favorites was absolutely Braveheart. So God so good. At the end when he yelled out the freedom and the fact that he directed it and was in it the whole time to was was really, really impressive. Also,
Alex Ferrari 1:03:19
Apocalypto is such an under rated film that Mel did. He didn't act in it. And um, the thing was genius
Kaye Singleton 1:03:27
It's genius. Brilliant. Brilliant. So it's a jump into a whole nother genre though it's a comedy. Boomerang changed my life. I'm just boomerang. What is my all time favorite comedy film? It made me it made me see myself in a different light as a you know, yeah, sounds like oh, I can go live in New York and I can work for it. And in fact, that's why I got into marketing because I saw Marcus Graham being the head of this, you know, advertising firm and it was just it was so aspirational. But it was also a great story at the same time and I can almost quote it throughout 18 million times so Boomerang is one of my absolute favorites.
Alex Ferrari 1:04:14
And that was that that young actress that never went anywhere Halle Berry I think her name she never did much after that. And Miss Robin Gibbons and Chris Young Chris Rock, rock. Martin lar ed ed. Eddie Murphy of course.
Kaye Singleton 1:04:33
It was a great Grace Jones everything kids
Alex Ferrari 1:04:37
Oh my god everybody was in that damn good pm Dawn song was in there.
Kaye Singleton 1:04:43
Yes. Oh, gosh. I love love love. John Wooden was in there too. I forgot to name him. But yeah, it was a it was a changing kind of moment coming of age moved from I love it.
Alex Ferrari 1:04:59
Kaye, listen It has been an absolute pleasure talking to you. Thank you for being so raw and honest about your process. And where can people reach out to find out more about what you're doing? Do you have a website?
Kaye Singleton 1:05:09
Absolutely, please go to road106films.com You can see the projects that I had and what's coming up and get more info about the movie. Agent right dark justice and gas light that is on the way. You can also find me on Instagram @kaye.s
Alex Ferrari 1:05:26
Kaye, it has been a pleasure, my dear thank you again so much for coming on the show and for all your knowledge bombs that you dropped on everybody today. I appreciate you my dear.
Kaye Singleton 1:05:38
Oh, you're so welcome. I loved being there. Love. Oh, I gotta say one more thing. Sorry. Make sure you tune into bet because on October 11. The oval will be back in full effect the oval on bet from Tyler Perry. And also check out covenant on allblk is still streaming and doing great. If you haven't seen it, please get a subscription check it out. It's a great show. And I love those actors are phenomenal.
Alex Ferrari 1:06:13
Thank you my dear. Appreciate you.
Kaye Singleton 1:06:14
Yeah thank you!
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