Welcome And Guest Introduction

Greg Staffa 0:00

You're listening to the Staffa Corner Podcast, a Staffatarian look at entertainment and life. With your host, Greg Staffa. Joining me today is actress, producer, writer, and director Erica Hubbard. You may recognize her from shows like Lincoln Heights and Let's Stay Together, and films like Cinderella's story. Behind the scenes, she's helping bring independent films to the audience, all while mentoring young people through the Erica Hubbard Foundation. Erica, thanks for joining us today.

Erica Hubbard 0:51

Thank you. Thank you so much for having me on your show.

Growing Up On Chicago’s South Side

Greg Staffa 0:54

So tell us a little bit about yourself. Where were you born and a little bit about your upbringing?

Erica Hubbard 0:59

I was born in Illinois. I'm a Chicagoan. So I was raised on the South Side of Chicago. Go White Sox. Go Chicago Bears. Go Clubs. Right now, Chicago is a good time for us. And just grew up on the South Side. Then I ended up going to an all-girls preparatory school named Seaton. And but I graduated from Downers Grove North. So that's a little bit about me as a Chicagoan.

Greg Staffa 1:25

And that concludes our interview as a Chicago White Sox fan. I was great to have her on. We're in Minnesota, so hearing that made this interview very short. And I appreciate no, just kidding. As a child, you're making me laugh. Oh my gosh, Frank. And I mean, if there's any other changes, you can be happy for us.

Erica Hubbard 1:52

We haven't had something done for us in since 2005.

Greg Staffa 1:57

Probably been longer for us. We will look past this uh this flight. They come into my home and uh you know basically brag about your team and and okay, okay, back on track.

Erica Hubbard 2:12

Okay.

Early Imagination And First Stage Break

Greg Staffa 2:13

So a little bit about your upgrade. Were you like a creative child? Were you one that was imaginative? Was there any early signs that this person, you know, loves being in front of other people?

Erica Hubbard 2:24

No, I was so my imagination is beyond this world. And I think my dad caught it when I was like eight and put me in the theater. So my first live stage production was like at the age of nine, and facing an audience and had to go out there and I started ad-libbing. I didn't know what ad-libbing was at the time, but the audience bursted into like laughter and they started applauding. So that's kind of like my my dad had picked it up. And then he was like, Okay, so you like this. And I was like, Yeah, I watch commercials all the time. I I talk to myself, I create a lot of things in my head, a lot of different characters. So he caught it at the age of um eight.

Commercials Voiceover Modeling And Union Life

Greg Staffa 3:04

You did the plays and stuff, but you also did commercials as well, correct?

Erica Hubbard 3:07

Yes, I did. It's actually on my Instagram page. My uh one of my first commercials was with Chick-fil-A, and I did that at about age 10, I want to say. So yeah, I did commercials. I also did voiceovers, have a voiceover now that's still on Disney Plus called The Replacements, where I play two different characters. So and I did modeling as well. I was the Noxima girl, and then I ended up being the clean and clear girl. So uh a lot of uh I just I just took a knack for entertainment as a whole.

Greg Staffa 3:37

As a child was doing these commercials and doing these things, was that something that you recognized was a business, or is this a fun activity that was more of a playful hobby to you at the time?

Erica Hubbard 3:48

Yeah, it was uh as a child when you're performing, I think it's more playful at the time. I had no idea that I got paid for it. You know, I just thought I'll go and uh be personable and then have fun.

Greg Staffa 4:03

At what point was there any indication that this is something I want to do for a career, not just something that's a little bit more fun for me to do that my dad enjoys taking me to and stuff. Yeah.

Erica Hubbard 4:15

Well, it got serious for me, I want to say, around my teenage years, uh, when the big agents came in and they were circling around me and telling me you could do this, you can go here, you could do this, we can create this for you, we can introduce you. And so I was like, whoa. So then I kind of knew that it was a business. And by that time, I was already in the union. My dad, they already signed me up for the union um in the early 90s. So uh when the agents came and it was like a few different agents circling around me, I was like, oh, okay, so this is a job, this could be occupation. And then what ended up happening to me is I kept getting pulled out of school a lot. So I had I had to do a little homeschooling too, as well, because I was always missing school because um I was I was on set a lot.

Greg Staffa 5:00

And was this something? I mean, did your dad have any experience in the industry? Was this something that he was learning as he went along too? Because it sounds like he was instrumental in all this.

Erica Hubbard 5:11

My dad, the stage parent, uh, had no idea what he was doing. Uh, he had a friend, a really good friend that worked for Sears, and he kind of told him everything what to do for my career. He told him about modeling and acting and commercials. So I can't I guess we all owe it to his friend because my my dad had no idea. So his mentorslash friend told us what to do and how to sign up for agents. Because actually, my first couple of jobs, I didn't have an agency. They were just paying me directly, and then they were like, okay, so she's starting to book a lot. You gotta have an agent, some kind of representation. We're gonna call them, then they call you, and then you come to us. And so then my dad kind of figured it out, you know, as I was as I as I was a kid through his friend.

Greg Staffa 5:58

And you did, I mean, you had some early roles where you were, you know, minor uncredited

Training Auditions And The LA Leap

Greg Staffa 6:03

characters and stuff like that. At what point did you realize that this is the career choice? Because I mean, when I'm when I was younger, you know, I had dreams of being an astronaut or you know, whatever. But those were dreams that sounded fun and realistic to at the time, but reality kicked in. At what point did you realize that this was the career goal for you?

Erica Hubbard 6:26

I think early on, I'm gonna say not much later than maybe 12, 13, I had a huge audition for uh early edition. And when I got on that set around the pros, I was like, whoa, I like this. And then right after that, I booked uh ER, and I had a small role on that, but I was with like heavy hitters in the scene, like people that are like award-winning, you know, thespians. So I kind of knew right then and there I like this, and that was with uh early edition ER. And then I uh end up joining the theater, the theater club in high school. And so I was like the drama geek and I loved it and you know, took a nap for improving. Then after that, I went to Columbia College and under Sheldon Potenkin, who was our rest in peace, was our chairman of our theater department, he coached me day in and day out on everything, all techniques. So then we're getting into techniques when I was like 18, and uh you got to learn all these techniques, and it's several of them, you know, and read all these books and stuff on, you know, on the the craft. Now they just say acting, it was the craft and hone in on your skills. And so he, you know, three years of that, and then graduated from Columbia College. Before that, I did Save the Last Dance and I did Light It Up in Chicago, and I was ready to uh go to LA. And then when I when I got to LA, it wasn't much later that I booked uh, like you said, uh when you introduced me a Cinderella story, and so I'm with Hillary Duff. And I oh my gosh, I couldn't believe it. So that's when you know when hit it up, hit hit it off with something big like that. I end up booking my first TV series right after that, Lincoln Heights.

Greg Staffa 8:14

Early edition, that's one of those shows that I think not enough people had a chance to see and appreciate it. I recently just bought it on DVD just so I could have a copy of my for myself. But it's one of those shows where I think is uh an underrated, very nice family show.

Erica Hubbard 8:31

Oh my gosh, the is the the writing brilliant, brilliant. I but a lot of shows that come out of the Midwest too, and that feel to me, and I I'm so happy I got my start in the Midwest. I just think it's it's just uh a town where you you you can breathe creativity, you know, it's not the hustle and bustle of everything, like uh, you know. Um so a lot of good shows come out of Chicago, and that was one of them. Early edition and ER. And ER.

Greg Staffa 9:02

And well, I think early edition was special because I think nowadays everyone needs to have a big bad guy or a controversial twist, or and this is just a show about helping people. I mean, at its core, there wasn't a big bad guy, there wasn't a big, you know, conflict. It was just he gets his newspaper and we never fully understand why, but and he just goes and helps people. And I think that message is kind of one that's lost these days.

Erica Hubbard 9:29

Oh, yes. It I mean it it's a classic. It's a classic, and like you said, it's something you can re-watch right now and still, you know, appreciate.

Producing Directing And Set Collaboration

Greg Staffa 9:38

So you you've done a lot of acting, but you've also taken on a lot more hats. You've done some directing, you've done some writing. What was it about those kind of things that made you want to branch out, be a producer, stuff like that?

Erica Hubbard 9:54

Well, just growing up on a set as a kid, I saw everybody's position that they play on set, and the producers are like the ones that put it all together. They like put the pieces of the puzzle together before you even start filming. And I love that. I like the brainstorming work of it before everything, you know, the lights come on and the cameras start rolling. So I looked at a lot of producers that I look up to, and I just uh asked them to like mentor me, and they did. And plus, me, I didn't I didn't really need a shadow because I'm always like on set, so I could shadow them kind of like just when I'm there, you know, acting and then look, you know, on on breaks and see what they're doing and listen to, you know, eavesdrop. I just I just love the talent of a producer, one of the best producers that I know that I've I've had the opportunity to work with, Lawrence Fishburne. I seen him work when I booked a Keyland B with Lionsgate, and I was like so impressed. Was like, okay, I'm gonna join the PGA. I'm gonna do exactly what he's doing. I like this. Okay. And then when Angela Bassett came in and they start talking, I was like, wow, they're putting the pieces of the puzzle together to create magic. And I like, I love it. Not I like that, I love that.

Greg Staffa 11:08

Is there some of it that has to do with because we're seeing a lot of talent like that becoming producers? Is some of it the desire to kind of help control what you don't have control over as an actor? I mean, because as an actor, you're told where to go, you're told what to say, you're told this and that. But as a producer, you gain some of that control back again. Is that some of it that you have more control over the direction that you're going?

Erica Hubbard 11:35

Well, I don't say it's control. I like to say it's collaboration. So, I mean, uh with the sets that I work on, predominantly it's not I'm I play this role. I mean, I play this role. It's none of that, it's always a collaboration. I like to call it a artistic family. So we are creating in the moment and it's collaboration. And so some ideas I take from the producer, some ideas they take from the actress, and vice versa. And then we switch roles, and even the director, too. I've I've had the um the privilege of having directors say, Erica, how do you want to set up this shot? So a lot of shots they let me set up. I appreciate the collaborative effort amongst the whole family on set. And I think that's when creativity happens at its finest, is when we're all working as a team, brainstorming how to get this shot to how to how to make this shot come alive.

Greg Staffa 12:27

Does that ever conflict with each other? The two different jobs, like as an actress, have you felt I want to do this scene again? I want to do a reshoot, but the producer in you says, this type, you know, time costs money. We can't afford to keep doing it. We're happy with what we have. Do the two ever kind of class with class with each other?

Erica Hubbard 12:48

Not with me. I think because I've been doing it so long. I've been, oh, should I tell how long I've been doing it? I've been doing it for 30 plus years, so I kind of know how to navigate the waters. So I'm always conscious of the the delivery as an actress and what we have to do to get the emotion out of the scene in the moment. And then I'm also thinking about, okay, we got to get this shot. Sometimes I'm I'm thinking about it before the producers do it. I'm like, you guys, we're losing light here. And they're like, oh, thanks, Erica. I'm like, hey, we got to get this shot. We have so many moments, I mean, so many, so much time before we get this shot. So it's kind of like it's already embedded in me to do all of it at once. And and maybe it's my ADHD, but I like um having my hands in everything, kind of like cooking, and you put all the ingredients in, you have all the different people, and then the pot boils and it smells good, and now we're ready. So I I I just I like to fast track and just create with everybody. And I think that it's just something that's innate in me because I've been doing it since I was like eight or nine, you know. So it all comes together.

Greg Staffa 13:51

My next question is it's gonna start a little bit unusual, but bear with me. There's there's a game that I've played on occasion on my phone, it's a pipe game where you line up the pipes and create a flow, and you try to find the best flow for the pipes and the maneuver it around. As an actress, as a producer, is there a flow that you enjoy? Like, does being a producer make you a better actress? Does being an actress help make you a better producer? Does being a producer help make you be a better director? Is there any kind of flow that you say doing one has enabled me to be better at the other in a certain way?

Erica Hubbard 14:32

Wow, that's an excellent, excellent question. Wow. Uh yes. So I feel like you need to know all the duties of the job. And I think it makes you a better creative. Because a creative, you could have the producer in you and the director in you, and the writer in you without even having having done it yet, but you want to. So I think that if you research everybody's role and you take a knack for everybody's joining, let's go ahead and further and say the grips and the gaffers and find out what they do, and not just the producers, but the line producers or the UPM and find out everybody's role. I think overall, it just makes you a better creative. So you can collaborate with everyone, say, hey, you know, you missed this, or how about if we include this? And I I like doing that, you know. So you got to know a little bit about everything. To me, it makes you a better, a better entertainer overall.

Fixing Hollywood Genre Balance And Labels

Greg Staffa 15:32

If you're named Queen of Hollywood for a day or a week and you can make one big change, what's something out there that you would like to see change either from an actress's perspective, a director's perspective, producer, either any way you would look at it, is there something that you would love to be able to snap your fingers and just have it change? Most definitely.

Erica Hubbard 15:55

I would like the change that I would like to see in Hollywood would be okay, so they have this big rollout of films coming. 2027. Let's say the studios they all got together and they're gonna make 30 films. You're gonna make 30 films about what? Let's let's divide the genres up so we don't get one too much of the same thing. And I think that's so important. And also, if it's female-led or male-led, okay, can we split this up so we could say we're gonna do four of this genre, but we're gonna have four of this with females, we're gonna do this genre, we're gonna have four with uh males, but then we're gonna do the rest with female, male-led uh-driven work, um where they're playing opposite of the scene. It's not just one character uh being led the entire film trying to solve whatever in the entire film, but it's gonna be male, female. So I just think if we strategically find out what the audience wants, and I feel like what the audience wants is not being quite given to us. And so now it's like, okay, we're starting to see people go to the theaters because we're listening to the audience and people who are moviegoers or people who are actually streaming our television shows or our movie of the week. We have to listen to the audience. And so if we want, if they want more female-led uh movies, let's create that. So that's the one thing I would say. We have to sit down and say these block of films, what is the what's the genre? And can we can we literally divide it up in half and make up half male, half female, half female uh led uh uh work? Because I feel like it's um it's not balanced. It's not balanced.

Greg Staffa 17:41

Interesting. I would almost have the opposite opinion as you, but I respect that. I find that a very interesting answer. There the reason I find that opposite is because I think too often we we put things in boxes. You know, we say a Cinderella story, I'm even aware of a Cinderella story, and I'm an old white male. But I grew up knowing about a Cinderella story, Hillary Duff, and all that. And I think too often these days we put things in boxes where we say, This is a f you know, this is a female chick flick, or this is a black comedy, yeah, versus saying this is a comedy. And so I I get what you're saying, but at the same time, I wonder if that also diminishes by saying here's an action film, female led action film, instead of saying, here's an action film that was great, you know, that it was enjoyable versus saying this is for females, this is a chick flick that chicks are gonna love.

Erica Hubbard 18:38

Let's say that we don't if we don't say that what it is, then it does get diminished because then you'll end up having more of one and not the the other. So I think it's important to keyword code keyword in, but in appreciation, it's a it's like it's magical that even if it's a female-led project, the males come and they look at it, and we have more males that look at it than females. But I think that the the weight system, like the scale has to be balanced where it has to be half and half. That's the only way to make it equal. I think it has to be equal, and but we have to put our headspace into how much am I gonna give you and how much am I gonna give you? Okay, so then it balances itself out. That's the only thing. But I and the the magic, the beauty of it is everybody loves the creativity of it. And it's just like, wow, even though that was that, we brought this audience in, and it's amazing. And I think that's the magic of it all.

Greg Staffa 19:36

Sure.

Mentoring At Risk Youth And Foundation Work

Greg Staffa 19:37

Now, one of the things that you're noted for is you do a lot of mentoring of young people. Is I have to wonder, was some of that because of how you were brought up in the industry? Did you see things that you wish were done better or you wish that you were made more aware of? Your dad was instrumental in helping, but even you admit that he didn't have the full knowledge. Is that part of where the mentoring comes from? Is is seeing that and trying to avoid some of the pitfalls that you may have may have faced.

Erica Hubbard 20:10

Well, okay. To be honest, uh with you, uh so it's a touchy subject for me, but um I can take the question. I mean, I don't mean to put it in the case. No, you don't have to. It's okay. I'm I I I I can talk about it. Okay, so to um to be honest with you, my my dad and my mother were divorced at a very young age. So I was in kindergarten. So my dad would pick me up when I had the jobs to do and every other weekend. So that's when I saw him. But my mom, who was suffering from depression, I kind of was uh living with her, and I say kind of because my grandmother raised me. And so I was on the south side of Chicago. So the only time I really got to perform in the arts is when my dad picked me up for jobs and it was therapeutic for me. It was the outlet. But in the environment that I was, I I was raised in uh on the south side, it was I saw a lot. I saw a lot. I don't even know if I if there's a movie out there that could explain what I saw. I can't even think of some of these movies. It's like, so I I grew up in like a gang infested community and made it out. Lucky, survived a lot of things. And that's why I ended up forming the the nonprofit because that I was at-risk youth. I was a latchkey kid as well. So I want to go back and talk to those kids that feel like they can't get out of those areas and those communities and let them know there's hope. And look at me, I survived, but your head has to be in the right space and stay away from all the dangers that you see. I know it's hard because you're just like wrapped around all this violence, but if you just stay to yourself, get your education, lock in. And know that this too shall pass, you'll get out of this environment and you'll make something of yourself and become a success.

Greg Staffa 22:08

Nice. And the name of your foundation is the Erica Hubbard Foundation, correct?

Erica Hubbard 22:14

Yes, that's correct. The name of my foundation is the Erica Hubbard Foundation. But I also like to work with other nonprofits. I've been working with a lot of other profit nonprofits and at-risk uh communities and under under underserved areas.

Building Characters With Real Technique

Greg Staffa 22:28

And I'll put a link to the Erica Hubbard Foundation on your little bio here when I when I post your episode. When you do a role like a Cinderella story, where it's a it's a major feature film, and you do a guest appearance on, say, a show like CSI Miami, where you're on it for one episode, but then you do something like Lincoln Heights, where you're on it for 43 episodes. There's three different dynamics there. Is your approach as an actress the same for each one, or do you approach one differently based on the severity of it or knowing that this is gonna be a couple seasons versus a walk-on role?

Erica Hubbard 23:08

Well, I uh approach everything the same, no matter like how long I film it. But I as far as the the character work, the development of the role, I approach it differently because I have to use my techniques, and so I have Sheldon Petankin, rest in peace, mother chairman of the theater department screaming and yelling at me. See, the character would not do that. The character would not do that, and I'm just like so. He pays attention to everything. Oh my gosh. I mean, how you sound, how you sit, how you how you see how you speak, how you your cadence, everything, your posture. So I um your beats, your moments, and what emotional technique you have, you know. So I I have to approach all the characters differently, whether it's uh drama or comedy, and what life the character has lived in my head, and you know, the moments, the beats, all that stuff. So I approach the characters different, but every every single uh uh opportunity that I receive, whether it's for a day or two or three, three weeks or whatever, I'm appreciative of it. And I I act like it's a war an award-winning, like even if I know I'm not gonna win an Oscar or an Emmy for it, I approach my work like that to the best of my ability.

Five Roles To Start With

Greg Staffa 24:25

Back when I was younger, we used to have things called video stores. And on the video store, you'd go there and there would be like employee recommendations, and the employee might pick five things that the employee recommends. If Erica Hubbard had her own video store full of Erica Hubbard roles that she's played, what would be her five suggestions of Erica Hubbard roles to check out? Whether it be big roles, small roles, things you had fun with?

Erica Hubbard 24:55

Ooh, that's a great question. Ooh, Greg. Okay. I only could pick five.

Greg Staffa 25:04

Yep. Okay. I mean, it's a store full of Erica Hubbard stuff, but this is uh the five employee recommends.

Erica Hubbard 25:13

Okay. Can you give me five plus a bonus one?

Greg Staffa 25:16

Uh I'll give you as many as you want.

Erica Hubbard 25:19

Okay, thank you. Thank you so much. Okay, so starting with films, I'm gonna say the film selection. Most definitely a Cinderella story with Hillary Duff, I would say Keeland the B, uh, with Angela Bassett, Lawrence Fishburne, Kiki Palmer. Most definitely, I would say save the last dance. I think that's a classic. It set the record for uh dance movies and stuff like that genre. Most definitely perfectly single. I played opposite of Jay Alfonso Nicholson, and everybody knows his work now. Nobody knew who he was back then, but I knew he was something special. So most definitely perfectly single. And then um, if you want to say a rom-com, something cute, something fun, I would say my perfect wedding. And then the bonus, the bonus. Um what would be the bonus? Uh what would be the bonus? I'll stick with those five. I'm I'm gonna stick with what you said. Five. And then I'm gonna move on to the five TV, top TV uh shows that I've I've done. So most definitely, I would say Lincoln Heights. Uh, I would say that's for drama. Rest in peace to Chadwick Bozeman. Uh I would and Richard Roundtree. I would say Let's Stay Together. Queen Latifah I loved working for her production company and working on a TV show. That's one of the best bosses I've ever had, was her. So Queen Latifah and Shaquim. Uh, they they did the they did an original series, one of the first on that network. So Let's Stay Together, Lincoln Heights. I have to say everybody hates Chris because every time I walk down the street, everybody loves me playing on that TV series. They always say Yvette, the babysitter, and they always say, I'll be right back. So I have to say everybody likes that. And that was fun being on the Chris Rock show. So uh everybody hates Chris. I would say cold case. The work ethic of that television show is superb. And when I had the honor and privilege to work with that cast, it was a dream come true. Uh, the other one, I would say King of the South. King of the South is airing now with Cold Black, uh Kevin Hart's uh production company Heartbeat and Upscale, and it's a vertical series, and we have that that just came out today and it's streaming, and it was a lot of hard work. And uh shout out to Isaac Keyes, who was on Power Force. I I love playing opposite of him. So King of the South, most definitely.

Underrated Work Stunts And Being In Demand

Greg Staffa 27:55

And then a bonus question along the same lines is there anything that you've done, and maybe you had a small role, a major role, where it's a work that you're extremely proud of or production that you're extremely proud of that just never clicked with an audience. Maybe it was at the wrong time, maybe COVID or something just kind of drowned it out. Is there something out there that now that everything is available online or streaming or even still some DVDs out there, there's something that you wish fans of yours might not be aware of that you wish they would go back and give a second chance at?

Erica Hubbard 28:32

Yes. I uh did an episode, guest star episode, on a series called Joan of Arcadia. And I had the honor, oh my goodness, to work with Joe Montaigne. And I'm still uh can't believe that I had the honor to work opposite and learn from him and be in a scene with him. So I play Casper in an episode on Joan of Arcadia. And then also um that was a guest star, but if as far as a TV series, I was in a TV series that's action-packed, and I did my own stunts, and it's called uh In the Shadows, where I play a spy. And um, yeah, so COVID that happened during COVID, and a lot of people didn't see it, and it didn't get the publicity that I think it deserves. But I mean, people get a chance to see that I can do my own stunts, and I would love to keep doing uh more stunt work.

Greg Staffa 29:25

Now, how do you find the balance when you're when you're learning about a role and maybe the offer hasn't been made to you yet, but you hear about a project and it's something that you're interested in. At what point do you put on the actress hat? Do you put on the producer hat? What kind of dictates which version of Erica Hubbard do we see?

Erica Hubbard 29:48

Well, I I'm in a space right now where I j I just kind of like open the emails and people kind of offer me the role. So I'm so blessed to just like have people just call me for opportunities. Like this week I had to turn down two offers because I already got booked on one offer that takes me to North Carolina. So I'm getting ready to head over to do a comedy. But I don't kind of I I don't really talk to my agents like that per se, because I'm always working. So I I want to say maybe I'm always working because I do all the genres, and you don't see a lot of actresses do all the genres. You see, oh, that actress does drama. She's good at drama. Oh, that actress does comedy, she's good at comedy, and you see that. Me, I go back and forth, but I I like I said, I owe that to Sheldon Pasink in my theater chair that had me working on um doing a lot of stage. So I kind of he he taught me character development, and a lot of people don't work on that character development, and he that was big for him. And he he he's coming from Second City, the looking glass, Goodman Theater. He's working around people like that. And I was trained under his chair, working with people from all those amazing, amazing stage theater plays, people from plays. I had professors who work with Steppenwolf, and they would come and train me. And you know, good, like I said, Goodman Theater. So I have all of that training, and I think that's one of the reasons why um people like to hire me so much because I'm into creating the character and character development. So I'm just I'm just I'm just a lucky girl. Just open up my emails and I just get, you know, opportunities. And I'm thankful.

State Of Hollywood And Streaming Shift

Greg Staffa 31:30

Now, earlier I mentioned that we were naming you Queen of Hollywood for the day or for the week or whatnot. And back to that award that you're Queen of Hollywood. Usually presidents give the State of the Union address every so often. As Queen of Hollywood, what would you see the state of Hollywood in?

Erica Hubbard 31:52

Oh, the state of the Hollywood that Hollywood's in right now is beautiful because we're at our highest form of creating on so many platforms and it's so many opportunities that people can just, you know, indulge in. Right now is the time. It's the time, the magical moment to create. It's there, it's happening, and it's uplifting, it's motivating. And to me, I'm empowered seeing other artists create on so many different uh platforms. And it's our livelihood is at its peak right now. And I'm excited that we're here where we're uh it's the ultimate form of creating right now, and this this energy is just everybody, everybody is creating. You have companies that are coming out with um social media platforms that are hiring entertainers to create, and I think we're in a beautiful space right now.

Greg Staffa 32:49

Do you feel that Hollywood is keeping up with the times? I mean, we there used to be like you could do a big budget featured film that would make a bunch of money in the theaters, but you could also do a smaller independent film that would not do as well in the theaters, but make it up on DVD sales or VHS sales. Now we don't have that kind of revenue coming in, yet at the same time we have streaming, which allows a lot of people that might not have had a voice in creating something or writing, you know, a show to be able to put on a platform out there that they wouldn't have had that 10 years ago. Is Hollywood adapting to that shift?

Erica Hubbard 33:29

I think they they're seeing the ship Hollywood seeing the shift, and they're trying to scramble right now and adapt to the shift. Uh so it's it's happening now. I can't say it it has happened, but it's happening now. Uh and I'm so glad that they're the Hollywood seeing the shift, and they're you know, growing accustomed to what people want and the how they want their entertainment. And a lot of it is streaming, you know. So there's so many apps like A Twist, ATwist, and people are uploading and enjoying content on those different apps, streaming apps. And the time is now when you know for entertainment and to enjoy it because uh you can do it from your phone. You can go anywhere and look at it from your phone, and that that this to this extent has never happened. People used to have to just stay in the house and watch it, but now you can be on the train, you know. You could, you know, you're waiting for your burger and a uh a drive-through and watch and be entertained, you know, in the parking lot. So I don't know. I love like what's happening now to me, you know. My phone goes everywhere with me, and it's a privy to see everybody's talent on the phone, on the mobile device or the iPad, and just watch everybody's work and and be entertained for the day.

Greg Staffa 34:48

Nice.

Women Filmmakers Marketing And Visibility

Greg Staffa 34:49

Now, I have gone to probably six or seven Southwest Southwest film festivals throughout the last few years. I'm amazed by the number of female film directors that are doing shorts and stuff that are making the film festival circuit. But I've also noticed that there's a disconnect, it seems, at least in my opinion, from the women that are winning awards for their shorts and doing amazing work for their films at the film festivals and seeing it translate into bigger productions. As a producer or a female, do you see a disconnect there, or do you see that kind of breaking down and more opportunities coming up?

Erica Hubbard 35:33

Well, there's there's most definitely more female producers that's coming up in the ranks. And uh I do believe that you know, with social media, they're getting known more about their work, and so um their following is going up. Yeah, there's there's women out there that are creating some brilliant work, and we can see this. We can see this, you know. I mean, years ago in the old system, when we before social media, we didn't know the the DP was a woman who did centers. Now we see her all over the internet and well deserved. You know, the DP is a woman and she creates and she did something magical for uh the film centers. So it's a lot of beautiful work out there. And we get to see it more because of social media, but I don't think it's a disconnect. When you have your mobile device and your iPad and your computer, all you had to do is just do the hashtags and research women producers or brilliant, brilliant producer, women print female led producers, female um led movie producers, and then it pops up, you know? So those hashtags are important, women. That's what it is. So how do we market ourselves? Then we're getting to another subject. How do we promote ourselves? We're getting to another subject. Do we have a brand strategist? We're giving to another subject. Do we have a publicist? We're getting to another subject. So that's a whole nother thing. Like the movie obsession, you know, it's a little film, but then it went on to be a big film and make all this money. But the marketing and the promotion was brilliant. So that's that's where you have to get your education. And I knew that a long time ago when I was on Lincoln Heights, like, hey, we have this beautiful film. We have this beautiful filming production that's a TV series called Lincoln Heights, and it's beautiful, but who knows about it? And early on, nobody really knew about it. So, you know, back then we had magazine releases and we got a couple of them, but we weren't building an audience now on Hulu and the streaming services, and with the marketing and um promotion of social media, a lot of people know about Lincoln Heights years later. So that's that's all that's a whole nother education process that people have to learn. But with that, if the if you if you can master that, then you'll find out about the beautiful women producers, you know, uh in the brilliant shows that are out, or the content creators that are doing their thing, you know, along with influencers, uh, creating great entertainment for us.

Greg Staffa 38:04

I have

A Spielberg Holiday Love Story Dream

Greg Staffa 38:05

three more quick questions and wrapping things up. I appreciate your time. Um if Steven Spielberg came to you with Steven Spielberg Money and says, I love your work in Lincoln Heights, I love your how you produce things. I have Steven Spielberg backing. What's a story that we can tell together? Is there a story? Is there a genre? Is there a personal story that you would love to be able to tell?

Erica Hubbard 38:30

Yes, most definitely. I wrote it three years ago. I most definitely have a holiday story. He's never done a holiday story, and those are magical pieces of work that everybody enjoys around the holiday time because everybody loves a love story, whether it's around the holiday time or not. Two of my favorite films would be The Notebook and Titanic. So it's a love story. But let's say we have that around the holiday season and just that blossoming, flourishing love, you know, that the two characters are mesmerized. So I wrote it and I'm ready when you know that budget comes. And uh most definitely it would be filmed in the beautiful state of Illinois where the the winter is beautiful and the snow, and we don't have enough pictures with element. I just don't get that. Why did you know everything's sunny? Everything's not always sunny and you know, outside. So we have to capture more of films with element, and I think that's the beauty of nature is seeing the seasons change and making a love story in it.

Greg Staffa 39:36

What

What’s Next And Where To Watch

Greg Staffa 39:37

are fans of yours looking forward to that we can see you in the near future? Anything you can talk about?

Erica Hubbard 39:43

Oh, yeah, most definitely. I appreciate everyone following my career and my work, and I love the support. And uh I have right now streaming on A Twist most definitely, please support King of the South. It is a thrilling, suspenseful vertical drama series about a lady trying to fight for her marriage, trying to fight for her business to keep her business up, trying to fight all kinds of allegations and just trying to fight in her life and um be at come to peace with everything that's unfolding. So, King of the South, it is so intense, it's thrilling, but most definitely it would it will captivate you. So most definitely check it out on A Twist. And special shout out to Heartbeat for uh creating, helping us to create King of the South.

Greg Staffa 40:33

Nice. And

Identity Trailblazing And Goodbye

Greg Staffa 40:34

finally, last question is something I ask of everyone. But Erica Hubbard, when we mention your name, we often mention Lincoln Heights or Erica Hubbard from a Cinderella story. It's always associating you with the work that you've done. But when you get up in the morning, you go into the bathroom, splash a little water on your face, and look in the mirror for the first time that day, who is it that you see?

Erica Hubbard 41:00

Erica Hubbard, the trailblazer, because I've come from you know a community that was challenging to becoming something of success. So I just uh I I just I'm so thankful that I it was a trailblazer and I got through the worst of that I thought life could bring to something that I'm happy that life is happening and bringing joy to me.

Greg Staffa 41:26

Perfect. Well, Erica Hubbard, thank you so much for coming on. I appreciate you taking your time out of your busy schedule. I'll be sure to add a link to the Erica Hubbard Foundation uh on your page and look forward to seeing what the future holds for you.

Erica Hubbard 41:40

Thank you so much. Thank you so much for having me on your show. I really appreciate your time and I really appreciate your platform. Thank you.