NOLA Film Scene with Tj & Plaideau
A podcast about acting, filmmaking, and the improv scene in New Orleans.
NOLA Film Scene with Tj & Plaideau
Rachael Knaps: Theater Tales, Dream Roles, and Superpowers
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What happens when a versatile artist juggles auditions, teaching, and honing her craft? Get ready to be inspired by Rachael Knaps, an actress, singer, dancer, and teacher who brings boundless enthusiasm and energy to everything she does. Join us as we reminisce about our shared experiences as background actors in "One Night in Miami," directed by the incredible Regina King. You'll laugh along with us as we recount our humorous attempts to make our smallest roles come alive with authenticity and dedication.
Follow us on IG @nolafilmscene, @kodaksbykojack, and @tjsebastianofficial. Check out our 48 Hour Film Project short film Waiting for Gateaux: https://www.youtube.com/watch?v=z5pFvn4cd1U
Hello everyone. I'm Rachel Knapps. I'm an actress, singer, dancer, teacher, creative artist anything else and I am super super excited to be on NOLA Film Scene today.
Speaker 3:Hello, welcome to NOLA. Film Scene with TJ and Plato.
Speaker 2:I'm TJ.
Speaker 3:And, as always, I'm Plato. Oh, ladies and gentlemen, folks out there, we are having technical issues left and right. Tj's computer went down, rachel couldn't find her headphones, my light went out, which, if we ever get this on YouTube, you'll be able to see. But we have persevered and we've made it through to bring you our special guest, rachel Knapps. How are you, my friend?
Speaker 1:Thank you, I'm doing well. I'm doing well, been keeping myself busy auditions, teaching, working, trying to balance creativity with real life and men, the two together at the same time.
Speaker 3:The dreaded real life.
Speaker 2:I know it's always good when they can join together, though, for sure.
Speaker 1:Of course I try to mend them together. You know I try to do my art. Each day Makes me just a happier person. I saw a quote somewhere what makes an actor an actor is acting, and I was like that's so simply put that it's just silly, but it totally makes sense. It's like right, you have to be doing your craft constantly to keep up your work, keep up your creativity or technique stuff like that. Brian, do you want to tell everyone how we met?
Speaker 3:I do, I was just getting into it. But also, to go back to your point, it's not only having to act to keep up your acting, but it's just having to act. It's that need. You don't care if it's a million dollar budget We'd love that or working free with your friends, like you did and came out and helped us on Death Trip, which should be out this year.
Speaker 1:Yeah.
Speaker 3:Which we'll tell you more about in the coming weeks or months.
Speaker 1:It's true, it's true.
Speaker 3:Yeah, rachel and I used to work background and it was on a movie called One Night in Miami and that was directed by Regina King. It was about Muhammad Ali. He was still Cassius Clay at the time and the first time he won the title against Sonny Liston. So they pick people and the Miami fight because it was a London fight, miami fight. And the other scene I did was the Copacabana.
Speaker 3:But in the Miami fight it's the ring, a table of reporters and then the front row of background. Front row of background and Rachel and I were there with the stars right behind us Malcolm X, yes, the singer, leslie Odom Jr Leslie Odom Jr and he played Sam Cooke. That's prime real estate for background. And they say OK, and they give us some directions, go ahead. And we're all kind of cheering Cut, ok, everybody can't be Cassius Clay fan. So we're going to separate you by birthdays and it's like every other month. So the front row was Clay Clay me as a Liston fan, rachel next to me as a Clay fan. Clay Clay I'm like I got nobody to even play with. What am I doing? And I'm in my 50s. Rachel's a beautiful young woman in her 20s. So we came up with this little story to keep ourselves occupied and to give us something to do instead of just sitting there blank faced, right that she was my date.
Speaker 3:But I've got money and I put $20,000 on the fight for Liston to beat up Ali because a lot of people didn't like the way Ali talked back then with Clay. So the round's going and you're kind of pointing in my face like ha ha, look how good he's doing. And I even gave you a talk to the hand at one point about four decades to early, so I kind of kept it moving Round. One ends Liston's in his corner. He's not getting up. You're tapping me on the shoulder and he throws in a towel when you see me, when I stand up, and it's such prime real estate. It's what we all you know. Oh, you can see me.
Speaker 1:And I'm like what the hell?
Speaker 3:I just lost $20,000. In this look of shock on my face you point to me, ha ha. Turn to the guy next to you. He had a cardigan sweater. So we say you left me and went home with Mr Rogers. That's how we met.
Speaker 1:For sure, for sure, yeah. And see, like that's why I was drawn, I feel like that's why we got along so well is because you were there as a background actor, but you were there creating a character. You know they don't give us character names as background actors. Right, you understood that telling the story is much easier when you have a story to tell. So just creating those fun little characters gave us some kind of business to do. It gave us a relationship rather than just OK, now applaud, ok, now look frustrated. You know, it's like the motivation behind those feelings and those reactions are just as important as the lead players in the movie.
Speaker 3:Right.
Speaker 1:And we're in the trailers. We made it.
Speaker 3:Yes, hey, everybody, look at this, we also they had people smoking and you don't smoke nicotine on the set. It's not even oregano, it's just clothes.
Speaker 1:It's like an herbal blend.
Speaker 3:Yeah, it's so basic, it might as well just be paper. Yeah, but when they started handing them out and I had quit smoking in 98 and this we filmed in 2019 or no, early 2020, I was like no thanks, and not because of I didn't smoke, because I know every take and every scene you have to do it again you've got to do it over and over, even if you just hold in your mouth.
Speaker 3:I was like I don't want that near me and the people around us who did on the other side of the cardigan. He was so sick of those he's like oh my god, it was.
Speaker 3:Now the advantage we had for being right in front of the stars. So when you have a crowd scene folks, you don't always have that many people to fill it out. So if a row is the A crowds in the front, b crowds in the middle and C crowds at the end and you're facing that direction, that's fine. But now you turn it. You want to get another part of the crowd, so you move the C to the front and the A to the middle and the B to the back and you keep rotating and moving people. But because you could see our faces so much on the star shots, we just sat there. Yeah, it sounds great, but sitting there for 14 hours, except for lunch and maybe a break or two.
Speaker 1:It's painful.
Speaker 3:It's fun Not as much fun as you would think.
Speaker 1:Yeah.
Speaker 2:I was sitting on my brains all day and it hurt like hell. That's all I'm going to say. At least you got to sit and you weren't having to stand the whole time.
Speaker 3:Exactly that's true or out in the sun it was February, it was cold, but we were in a warehouse, second line studios, I believe.
Speaker 1:Yeah, that's true and like. So when you're on set, like sometimes they'll give you waters or snacks or something, and then when they're rolling they say hide the water because they don't want the labels, it's not the right time period, et cetera, et cetera. And the prop master had given me a popcorn little container, baggy thing. And then I got snack from Crafty and so I hid my Crafty snack inside of my prop popcorn and I'll never forget it was the most embarrassing thing ever. It was like a really good shot. Everyone was into it. The actors, like the fight looked so good and we both stood up to cheer and the Cheetos fell out of the popcorn container and you can literally.
Speaker 1:I mean there's how many people were in there? Hundreds of people. And you can hear Regina King looking at the film being like oh. And you can see them like wow, this is really good. And then pointing to me and I'm like my career's over, I've ruined the shot. They're going to kick me out, but it's fine.
Speaker 3:They're all going to kill me.
Speaker 1:So finish your snacks, friends. Don't hide them in your props.
Speaker 2:That way you don't have a white coffee cup show up in the background of the series finale of oh I don't know Game of Thrones.
Speaker 1:That's true.
Speaker 3:And that one had the Starbucks logo.
Speaker 1:I think that's right, everybody makes mistakes.
Speaker 3:They were really magic. Then it just becomes pop culture. Right, it's a multiverse? I think yeah, for sure, mother of Dragons.
Speaker 1:Shy Latte Lodge. Uh-oh, ryan, just had a blue light in the background.
Speaker 3:Oh, my light that died came back. It must have been the Starbucks, oh oh oh, I know that you do a lot of stage productions around town, rachel.
Speaker 1:Mm-hmm, I do.
Speaker 3:Tell us about that.
Speaker 1:Yeah. So I love musical theaters probably my first love. I love TV and film as well, but my first show I was ever in was the Sound of Music at like, our local community college and I was six. I remember the auditions because it was a bunch of kids, because they needed kids for the college. This is how I knew I was a serious actor. I was like taking this so seriously. They were like you know, sometimes it doesn't come down to your talent, it comes down to your looks, and so I thought I did a good job. But I went home and I was like I have a freckle on the side of my face. They're not going to cast me as Gretel. Like I don't look the same. Well, I got the part Long story short. I loved it. I cried and cried when it was over. I miss my brothers and sisters and my mom's. Like you don't have multiple brothers and sisters. It's just a play. But ever since then I've been doing musical theater and I think the community has a lot to do with it. Like something about the live. Storytelling is just so raw to me.
Speaker 1:I grew up doing a lot of theater. I went to NOCA, New Orleans Center for Creative Arts for high school and for musical theater, and then, from there, I continued my studies at the American Musical and Dramatic Academy in New York City. I know it's such a long name, so fancy, so sophisticated. No, we just call it AMDA. Yeah, that was one of the hardest things I've ever done. It was awesome and really hard, because you are taking 8 am ballet classes after you've had rehearsals till midnight, you know, and then you're taking 8 am drama classes where they're like OK, let's talk about your trauma and how it relates to your character, and it's not normal college.
Speaker 3:You're like I, just my trauma is I need to sleep.
Speaker 1:For real. You know I still do theater. I was able to do an internship at the Muni in St Louis, missouri, which is one of the largest outdoor theaters in the country, and I did all shook up there. I was in the teen ensemble and that was just so cool. I mean, I have done over 40 productions and that one was just. We literally had a Ferris wheel on stage. Like where else do you get to do that?
Speaker 3:Wow yeah.
Speaker 1:Yeah, it was really awesome. So I've done that. And then recently, within the past couple of years, I did a production with JPASS Jefferson Performing Arts Society. I was in a very special niche show called Sweet Potato Queens. It's set in Mississippi and it follows Jill. Connor Brown is the writer and the author. She's a real person and she grew up in Mississippi and it kind of just follows a character very similar to her, but also other women and a gay man that she's really close with and they decide to become kind of like these pageant, almost like drag queens for parades, for, like, the St Patrick's Day or whatever parades.
Speaker 3:Okay, all right.
Speaker 1:Yeah, it was kind of funky, it was a little jazzy, a little country, but I feel like that was the first production that I really had a lead role as a professional theater actress. So I'm really, really grateful that I had that opportunity and that experience, because I was in a cast surrounded by women. It was a small cast there's like six of us, maybe three men that were, you know, in it and with it, but, to be honest, the story was mostly about the women. So it was really empowering for me. Like you know, in my young 20s I was just kind of trying to find myself and it really pushed me to just be carefree and strong and trust the work that I've put in.
Speaker 1:It's a lot of no's in this business and sometimes I feel like I can sneak into background things. I don't feel like I can sneak into theater. I feel like even community theater. I kind of have to like really be like guys, hey, let me in, and it's the same all over the industry. But I feel like I'm blabbing. This is a podcast. I know that's what I'm supposed to do.
Speaker 3:No, no, no, no, no. We want all the content. Yeah, for sure.
Speaker 1:Yeah.
Speaker 3:Something you said about when you were a child that you left and you missed your brothers and sisters on the stage. Yeah, I've tried to explain that feeling like after I was on Bill and Ted Face of Music for a week and then coming home. Or I just did a short in Shreveport after we all were in a movie called this Soldier's Heart, we all came out and gave some great performances and helped out very low budget and you know you keep coming out for me. Next time I'm getting you paid, Rachel and lines.
Speaker 1:Yes.
Speaker 3:Just going back to the normal life and it's not that normal life is bad, but you miss that creative thing. It's like something has connected your heart and you've separated from it.
Speaker 1:Yeah, no, it's true. And I mean, yeah, it translates to film and television as well. I mean you're with these people every day for hours and hours and you're working through. Sometimes the material is light so it's not as fluffy. But I mean, in Sweet Potato Queens I played a preschool teacher who was secretly abused at home. That's not just like super chill, have fun every rehearsal, like you kind of have to dig into trauma sometimes with these strangers, you know. But what makes it so special is that they're all there to help you tell that story and help you create something. And, like you said, you know when it's low budget, even when it has a budget, but especially when it's low budget, you really kind of have to help each other with multiple roles and you run into issues and you build a family, because if they don't help you the job doesn't get done. So then when that's over, you're like where's my friends? What happened to building random sets in this McDonald's bathroom? I don't know.
Speaker 3:Yeah, totally, totally.
Speaker 1:Yeah.
Speaker 3:Everybody was pitching in, just the camaraderie of like-minded people.
Speaker 1:Yeah, exactly.
Speaker 3:Our friends and family are great and they do their best to understand. But it's hard to explain. I'll say something, and it sounded very pompous when I said it. So I came off the Bill and Ted set and after a week being supercharged with that and I was working a day job, which is a graveyard shift job for me, and then either going straight to set or, if it started later, I'd take a nap then and then go set to work. You know, pushing myself beyond the limits and then the next week being so deflated, I turned to my wife and said you know, it's not like it's going to happen, but I can understand why actors turn to drugs just to get a feeling back after being so involved with something. And she said you're crazy. I went, yeah, kind of, but it's. It's that yearning to fill that spot in you that's been empty for so long and the creativity touches it and fills it and you feel great. And now that chance has been taken away by circumstances.
Speaker 1:Right, exactly.
Speaker 3:Or in the audition process. You're not given that circumstance, oh this one's great, I'd love to do it. Yeah, okay, here's the next one. I'm going to do it. You know it's hard to explain that to people.
Speaker 1:Yeah, it is, and I mean it's a weird industry for sure, I won't deny that. But that's part of the reason I love it, like you know, like there are some people that I went to college with and I'm like you eat, breathe and sleep musical theater, which is great, but have you ever heard of anything else besides that? Do you know anything besides that culture? And honestly, we were taught that at EMDA. A lot is like you have to be well-rounded. What if you get a role as a tennis player? You have to know how to play tennis. You have to learn how to play tennis. If you're playing a radio talk show host, you don't know anything about regular music. You have to kind of be a well-rounded person in order to fulfill some of these roles that you're put in.
Speaker 2:So I think, doing musical theater to me, I don't think there's anything that would prepare you more for acting than that. To me, that's all exposing a vulnerability. Singing, dancing and acting yeah, the singing and dancing part, those two right there I mean, of course I didn't grow up being trained how to do that, but when I first got into acting I had a difficult time showing vulnerability. When I was little I was in a play and I had terrible stage fright. Growing up I overcame that, but I just can't imagine that world. I did plays you know a few here and there, and I did a couple through church that weren't really musicals but had singing in them and I never, never, had a lead role. I've never had a good voice. I've taken some voice lessons, but to me that's the pinnacle of performing arts, because I don't know you, just you.
Speaker 1:Yeah, it's a lot.
Speaker 2:I think you hit the nail on the head. You have to be very well rounded to do that, because to me there's a lot of wheels turning all at once to make all that happen.
Speaker 1:Yeah, definitely.
Speaker 2:If you did something now, what's the typical prep time, like rehearsal time for a show? Like when you come together as a group, start rehearsing and then do the first performance? Like how long of a time frame does that take?
Speaker 1:Yeah, so every production is different. Usually it's probably a couple months. It really does depend on the production, but a couple months, three months maybe, of your time from start to finish. Now at the Muni we had two weeks to put on a full stage production choreography, music, costume changes. That is crazy Wow.
Speaker 1:Yeah that is crazy, like I mean, I wasn't a lead in that, so they did even more memorization than I did. And I'm like, come on, guys, they sent you the script sooner, didn't they? So I mean, sometimes it's a quick turnaround, but there are other productions where you're in it for months and I think that's where the family thing comes back. In is like you're literally with them for three to four months sometimes. So you're not going out on the weekends with your friends, you're missing family parties to party at the rehearsal on stage, you know.
Speaker 2:Wow.
Speaker 1:But yeah, I would say a couple months, three months.
Speaker 2:And it seems like there's nothing that would be more bonding than that, because you're going through a whole gamut of emotions with the performance and then dealing with being tired and everything that comes with that, and you're all experiencing it together.
Speaker 1:Yeah, Trauma bonding.
Speaker 2:Yeah, for sure.
Speaker 1:It's definitely mind blowing. But the advantage in theater is you rehearse so much that the lines kind of grow into you instead of having to sit down and just memorize Right without the other. And I tell my students that, like I teach performing arts and I try to bring that attitude into my film and TV scenes as well, and it's not exactly the same. But when you are dancing like you can't dance without acting that movement is happening for a reason and so, like you said, you remember the lyrics because you remember oh, I put my hand out on this word or oh, I take a breath in my song right before I sing this lyric. So you're right, it kind of does help you grow into it.
Speaker 1:Now, tv and film is much different in that way. At the core they're both acting, but you don't always get a lot of time with the script. Sometimes they change your lines the day of. I showed up to set the other day and had most of my lines memorized and we were missing a character. They just were a no call, no show, which is so rude. By the way, anyone who's listening people understand. You have lives and emergencies. Tell them, come on now.
Speaker 2:Tell somebody yeah.
Speaker 1:Yeah, so somebody didn't show up so we rewrote the scene and we had to re-memorize it. So that's really challenging, but all in all, the story stays the same. You have a character that you're working from, and so something I've really enjoyed is doing character work. I took private lessons with Lance Nichols. I think you've mentioned him on the podcast before, I'm not sure.
Speaker 3:He's a wonderful, wonderful actor. Yes, I don't know him personally, but I know him. He's great. Yeah, yeah he's great.
Speaker 1:At the beginning of COVID, I did some private lessons with him and two of the big things that I remember he said stop being afraid to be messy and know your character, your who, what, when, why and how, and sure you can know your who. Okay, I am a teenage girl in high school who has bad grades. Well, that wasn't enough for him. He wants more and I'm like, okay, she likes volleyball. He's like, okay, more she likes this and he's like no more more.
Speaker 1:He really literally had me write paragraphs about my character for one scene for an audition, and it was some of the best work I've done because it did help me memorize the lines, because I knew why my character was saying them and I used the text that was given to me to create my character and, like for auditions, they don't always tell you what your character is, they just give you a script. So it's kind of our job to create that character and use the text given to us to come up with the background story, and sometimes you just have to do it in five minutes.
Speaker 2:Yeah, I think it helps get that into your bones quicker if you know the character and understand the character, and that's why they don't give you a lot in the breakdown. They want to see what you do with it. They want to see what each person's interpretation of it is, and you might have six people that view it the same way, and then you have that one outlier that looks at it completely different. There's an actor named Mark McCullough and I heard him talking one time about how he preps for an audition and within 30 minutes he'll have a 10-page script ready to go, because he sits down and visualizes the character and a lot of the same things that you just described breaking down the character, understanding and knowing that character. It's kind of like the circle exercise. The words don't matter. You understand the character and then the rest of it comes and it's just like having an everyday conversation.
Speaker 1:Yeah, for sure I just had an idea.
Speaker 3:The light came back on it for those listening. Even Anne had that thought it's. I don't have to explain who I am when I'm talking to y'all. I have a lifetime. It's all in the back of my head. We may have or may not have interacted in the past. Same thing with the character. Okay, my character loves roller skating. There's nothing about roller skating in that script, in the film, but I can write yes, at the age of 12, I took a bad fall, broke my ankle, ripped the ligaments and it was a trauma.
Speaker 1:Yeah.
Speaker 3:It's just fleshiness.
Speaker 1:Maybe that destroyed your confidence.
Speaker 3:Yeah, To take on new things. There's one line in the script and it says okay, we're going to go ride a bike, and I go okay, let's do it, because that hesitation is remembering the pain. But I'm talking to the girl who I want to impress. So I've got a man up and you know and go through. So that's why you get into the weeds and get into the minutia of the character. So when you're on set doing all these other things, you're blocking and getting to set and you know you got to remember your bills at home and you're blah, blah, blah, you're tired. You won't have to think about the character, just as Brian wouldn't have to think about that, because it would just happen, naturally.
Speaker 1:Right, right, yeah, no, I love that example.
Speaker 3:It's a good one. Yeah, that's a good point and one of our favorite questions, because I think we've got your inspiration already that it's just been a lifelong thing. From the start, you'd like a duck to water. That was it. If you didn't know, your heart knew where you wanted to be Right. If you didn't know, your heart knew where you wanted to be right, what would be your dream role or dream actor or actress to work with that would make you feel happy that you made it. What's your dream?
Speaker 1:man, oh man, someone to work with, okay. So my mom when I was young taught me the great lesson of famous people, or regular people too. So I never had like a fangirl phase like a lot of young teenagers do, like I would never like obsessed with any celebrities, except for Josh Hutcherson.
Speaker 1:Bridge to Terabithia yes, he stole my heart, I know right, but I do like him. I don't know. Something about the way he brings the naivety to strong characters is really interesting to me. A lot of the roles I get are silly or ingenue sweet types, but I can play a badass too and I would love that. And I think Josh Hutchison is very similar in that way to where he can be a badass, but one of those that's a softie. Also, zendaya would be a dream, I don't know. Maybe we could be besties or something. I don't know. There's so many people. Emma Stone, yeah, yeah, I think those are some of them.
Speaker 3:So what you've just said is two of Spider-Man's girlfriends. Hmm, you might want to be with Spider-Man. It might be a roundabout way.
Speaker 1:Exactly, exactly, yes, yes, dude, I would love to be in Spider-Man. That would be so cool. I've taken stage.
Speaker 3:Who's your favorite?
Speaker 1:Oh no, Don't ask me. Don't ask me that who's my favorite Spider-Man.
Speaker 3:No, I was gonna say who's your favorite superhero, but you've taken stage combat. Is that what you're about to say?
Speaker 1:Oh, ok, yeah, so I've taken stage combat before, but I really want to get into more stunt work, like stunt scenes, because you know, if I do play a character, that's like has a bad side. Like I got to know how to hold a gun, I got to know what to do when they put me in wires and I'm flipping off a building, like I want to do that, like actors that do their own stunts. That's so cool to me because like that's hard, that's hard, that's hard, but it's for me. It's choreography, it's dancing. You know you're dancing with your scene partner, you know where the sword is going to go, you're doing a turn, you're doing a spin, you're you know. Oh, this is a pirouette, but I'm not pointing my toe, I'm not having my ballet arms, I'm slicing their head off right, right, and the way you.
Speaker 3:For me, the dreaded thing right now is running. The way you run is from the character. So I'm a bigger guy. I just did a thing. I was kind of the sidekick and the wannabe and I'm here, boss, and I'm gonna help you, and we had to kind of climb up a wall and I went, hold on, and I walked two steps and there was a pole and it was like something I could step on. So the character has to find ways to overcome and and then we had to go down some steps to run through an alley because we're being chased. And after he passed the camera, you can see me kind of and I have bad ankles in real life. So I'm top heavy and bad ankles and I'm oh, okay. So the fear, my fear, was there and then ran.
Speaker 1:And it wasn't like a full out jogger.
Speaker 3:It's a goofy fat guy, you know what I mean. Like oh God.
Speaker 1:I'm running.
Speaker 3:So the character also can be embodied in the way you do things.
Speaker 1:Yeah, that's a great point. It's like you might be physically fit, you might not be. How do you translate that to your character? Like, if your character is supposed to be super fit but you're violently ill that day, how do you fake it? How do you make it look like you are super athletic, you know? Or how do you just add that to your character?
Speaker 3:Right, and now I will go back to the other question who's your favorite superhero or your favorite superpower? What would you like to have in real life?
Speaker 1:Oh, in real life, I don't know. I love flying. Like I just think that would be so cool if I could fly places, because I always, like when I'm driving, I always have the windows down, like I'm kind of a thrill seeker. You know, like that would be fun, I could jump off a tall buildings. But realistically it might be more useful to teleport, because flying still takes time to get somewhere If you could teleport. You don't have to worry about the rain or sky traffic, you know, or moving things with my mind. Okay.
Speaker 3:That's my final answer Moving them and teleporting them.
Speaker 2:Wait, y'all can't move stuff with your mind.
Speaker 3:What oh?
Speaker 1:wait, you can do that. Please teach.
Speaker 2:Yeah, yeah, yeah. Y'all can't, Y'all don't know how to do that.
Speaker 1:No, no, can you teach me?
Speaker 2:Yeah, yeah, but it's a trade secret, though We'll talk All right, we'll talk off. Off camera.
Speaker 1:Off the record.
Speaker 2:That's right, Brian. What would yours be?
Speaker 3:Mine is super stretching, like Mr Fantastic Nice, and you can add his mental powers because he's so smart With his wife, the invisible woman. There is a dirty aspect because you could do things outside on the beach, invisible. No sand can get in her bubble and yada, yada there you go. So if I'm a big guy, I can control this. I can look skinnier. If I've got something on a top shelf, I don't have to climb a ladder.
Speaker 2:Okay.
Speaker 3:Lock your keys in the car or the door, you can make your fingers go under. You know what I mean. It solves everyday problems. Like I have sinus trouble. I can make my sinuses bigger and make them drain and not feel that pressure. You know what I mean.
Speaker 1:Oh wait, you're putting some good points out there, yeah.
Speaker 3:And then you know it's all body control. He turns into like a ball to bounce. He can flatten himself out the glide. When his child was threatened by a very powerful villain called Onslaught, once he busted in the room he controlled his muscles so he was like Hulk size. It was like this guy's got everything.
Speaker 1:Yeah, what about you? Tj Brian might have convinced me.
Speaker 2:Invincibility.
Speaker 1:Invincibility.
Speaker 2:Yeah, the ability to regenerate and heal quickly, that would be mine. That's what I would do Nice?
Speaker 1:That's a good one too. Would you be invincible as in live forever invincible.
Speaker 2:No, not necessarily Just the ability to regenerate from injuries, from damage. I think you could get a lot done.
Speaker 1:That's also a good one.
Speaker 2:Yeah, yeah, I could still jump off buildings with that power. Yeah, that's a fact. I mean motorcycle helmets, seatbelts. Who needs it? You can just regenerate.
Speaker 3:But, like I think it's Deadpool in the comics, if you split in half there are now two Deadpools because they both regenerated. Oh, which could always be good, stay home and send the other guy to work. But you know there are advantages and disadvantages to every power. You know what I mean, this is true.
Speaker 2:I always thought it would be kind of cool to have a twin. I mean, I've got two older brothers that are twins but they're not identical twins. But how cool would that be if you had a twin. One of you likes to go do one thing and one of you likes to go do something else. I mean you could?
Speaker 3:split responsibilities, exactly, exactly. My sister. She's six years older than me, so when I was being born, she wanted twin brothers, and then I came in and she's like, no, I can't deal with that.
Speaker 1:She's like just one. No thanks, One's plenty.
Speaker 3:Oh God, thank God.
Speaker 2:She might have dodged a bullet on that one.
Speaker 3:The world might have dodged a bullet on that one. So I think we're at that time.
Speaker 1:That time.
Speaker 2:Rachel, it was really cool meeting you and working with you on set on the Soldier's Heart.
Speaker 3:Yeah.
Speaker 2:And I'm glad Brian talked you into coming on the podcast and telling us a little bit about your world. We haven't had anyone on yet that has talked about the musical theater side of things sharing some of you with us.
Speaker 1:Yeah, it's a pleasure to be here. I'm so, so happy that you guys welcomed me and it's great to see you guys on set and we'll see each other again on set. We've all got great ideas. I'm going to plug myself real quick, if that's yes, ma'am, please do follow me on instagram rachel naps. R-a-c-h-a-e-l-k-n-a-p-s. I also have a website that I'm hoping to update really soon, so stay tuned, because that'll be all even more nice and pretty rachelnapscom. No one really has my name, so that's pretty cool.
Speaker 3:Isn't it great to be unique in that way.
Speaker 1:Yeah.
Speaker 3:There's no other Play-Dohs. There's very few of us in the world. You know what I mean. You're a knapsack. You're a knapsack, so you know you're unique.
Speaker 1:Yeah Well, thanks again. So much, you guys. I really enjoy listening to catch up till we get to this episode, because I think you guys are doing some great work and it's going to get you far, thank you, thank you, bye, buddy, don't cry.
