Joe and Jada - The Real Report - London Brown on Uncle Marvin’s Death, Raising Kanan Backlash, working on Ballers with The Rock & touring with Chris Tucker

Episode Date: August 26, 2026

London Brown joins Tony Yayo and Uncle Murda to break down Uncle Marvin’s shocking death on Power Book III: Raising Kanan, why fans turned against Kanan, the making of the show’s shootouts and fight scenes, and Marvin’s loyalty to the Thomas family. London also reflects on being broke before Ballers, turning a small role opposite Dwayne Johnson into five seasons, touring with Chris Tucker, learning his craft through theater and comedy, and preparing for long days on set. Plus, Yayo and Murda turn the interview into a hilarious argument over S.W.A.T. 2, Bruce Willis, Tires, and Money & Violence.See omnystudio.com/listener for privacy information.

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Listen to Our Town on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. In then episode one, Marvin and Lulu get into a fight in the driveway, and we was throwing the punches, and I think Eve directed that one, and it was just like, we all looked at it. It was like, it ain't selling. So then the one who plays Lulu, Malcolm Maze, was like, you know, let's just hit me for real, let's just go for it. And sometimes if you get actors that's down in that way, let's just make, let's just make,

let's just sell. For you to hit him for real? Yeah, he said, man, just hit me, let's just go for it. Yeah, he's like, let's really fight, because I'm going to try to hit you, you hit me, let's go. Let's just go for it and just commit to it. That's crazy. That's a gangster.

So how hard did you hit him? Not hard enough to get unemployed. You know, I want to make sure we want to work. He didn't get stabbed. Right. Shut the fuck the up. Okay. Proven.

Role! What's that point you get movies with? Oh! Brimble! Yo, Brinnell. All right. That's my video. I would get that.

I would get that a little. That's out. How my. That's him. Yeah. Yeah, it's the Talk of New York. And this is the Boy Uncle Murder, aka A. Lairjet-Lennie. And today we got one of the best actors on the Canaan show

and as well as a lot of other shows. Yeah. London Brown, A.K. Uncle Marv is back from the dead. Make some noise. Whoa. Back from the dead, baby. Whoa. It's good to see you, man.

Likewise. Yeah, I appreciate it. I mean, everybody, you made everybody hate Canaan. Let's get straight into it, right? That's a fact, man. You made everybody hate Canaan. But my thing is, I thought you was going to. going to kill Canaan before he killed you.

So as your character, what did Uncle Maugh? He didn't want to kill Canaan? You know what? Well, honestly, technically, Jubach stopped him. Because when he went to the Cana House, and you was going to damn there killing him. It was done then. Jukebox stopped that.

And then even, but I still, I think that Marvin, the way Marvin was, I think he would have probably felt, some type of way about it after the fact. Because he had so much love for Rock. I mean, Marvin is not, again, Marvin is not a dude just snatching purses, Mollet. Like, he's not a goon.

He's just standing on what he's standing on. And it may not always even be the best way to go about it. But really, most of the stuff he's doing was to always look out for his family. Or if somebody crossed him wrong or disrespecting him, like I think episode one, the dude got out of the line with Rock. So Marvin, you know, nailed him in the, in the, and hit him with a nail gun and buried him in the wall

and that wasn't even you know again Marvin isn't afraid of that kind of he just yes it wasn't even his own issue it was again him taking out for family that's that's it he was just standing on me cross the line he don't even know

all of what the dude did but he didn't know if his sister said handle it all right well let me go handling them dream me little tea while I'm doing it and get on to the next thing that was it facts fact yeah man I think that's why

I think that's why that's part of the reason I think the street's really connected with Marvin because they understand Marvin is, we all at some point was a, but was a Marvin or Noah Marvin. And he just, you know, just, again, he's not, he's just trying, he just responded to a lot of stuff.

He's not really starting it. Like, again, it'd be different. If he's just going around Robin Banks, and be like, he might be a different person, but he's not that either. Definitely. You know, but he just. He was down for the family for real.

He was down, man. That's what I felt like when, when Canaan killed, like Lou, it was like, damn, it was kind of like, even though he went to go kill Rock, it was a mistake kind of from killing Lou, right? But when he purposely killed Marv, Uncle Marv, it was like, man, fuck this little nigga now, man,

because niggas loved the juke, like, Marv so much, he was so down, like, it was like, how could you do that? But you know what I felt when your character, Marvin, Uncle Mawf, rest in peace, when he's, when you said the way Rock and, um, and her bodyguard just left Lou out there like a piece of garbage. Yeah, yeah. It was just real fucked up.

That's why I think he was even kind of interesting because it was like, again, why did Rock tell Marvin what that can and did that? What kind of selfish play was she running? Because I still don't even understand that. And then also I'm like, man, why y'all leave him?

Even if you had to, there are other ways to hide the body and deal with the body, but to leave Lou out there like that, I think we have to go back and see what kind of person Rock was at the end of the day. Rock was trying to get Canaan to kill his father. She left him out there. Like, Rock been manipulated for the junk.

I can see the spin off about how you and Rock, how y'all came up and loo with a whole. Y'all could probably revisit something like that, man. I mean, it would have been dope because, you know, again, before we come to raising Canaan, you know, Marvin had did some time. Their father had committed suicide. It's a lot of stuff. We gotta still figure out how, really how the Thomas family really grew up. But I mean, who knows, man?

You never know what's-knacking pop. You could tell a story while y'all doing y'all how they was coming up and all that. Jeff Con, the baby father, all type of shit. How do you prepare for a scene, like the fight scene you have with Canaan? I mean, because it looks real. I mean, like, you know, we, I took a couple of acting classes, but I know I'm not you, murdering, no, he ain't you. So, like, and I know.

I know you've been active for a long time. But how do you prepare for something like a fight scene like that? We had, we're going a couple of days before and just go over the choreography. And the guys were really, really good. They'll show us what they want to do. And we'll go over it a few times, like that day before and then revisit it. Or early that weekend, then the day of we'll go over it. But, you know, as much as people enjoy what Marvin did, I mean, it worked.

We both got to do it, make it happen because he's selling the punches. Of course. So the way he, you know, is take after take, you know. So those days are draining because, again, the way you, the way people throw hands in real life is not like choreography at all. Like, as opposed to just sometimes you may want to just, let's say, you swing his, and you can go hit someone in the face. when it's choreography, sometimes it got to be exaggerated. You got to swing like across the eye line just to make it look like you hit the chin. Little things like that that's technically, and they tell us,

because they know they said, man, I know it just feels awkward. And it feels like you're doing this and you're doing that. But trust me, that's how we sell it. So between that, I think Mario Van Pueblo was directed that one. And they just got to know how to get the right angle so that the audience can see my, my punch going across Canaan's face, but then they got to turn around and cut back to him, like, whipping his face around to catch the punch.

So it's just, it's like it's technical. It's just a long day of getting close-ups and the wise shots and, you know, because even when, like, even just slamming him against the wall, I'm, you're good, yeah, me good, I'm good. So fortunately, he was down to make it work. You know, mainly you thought you was throwing him against the wall a little too hard, Maybe so you're like, yo, you're driving. Yeah, I'm just checking.

All right, got you. You know, but then also, I remember there was a scene in episode one, Marvin and Lulu get into a fight in the driveway, and we was throwing the punches. And I think EVE directed that one, and it was just like, we all looked at it. He was like, it ain't selling. So then the one plays Lulu, Malcolm Mays, was like, you know, let's just hit me for real. Let's just go for it. And sometimes if you get actors that's down in that way, let's just make, let's just make,

let's just make, sell it. For you to hit him for real? Yeah, he said, man, just hit me. Let's just go for it. He's like, let's really fight because I'm going to try to hit you, you hit me, let's go. Let's just go for it and just commit to it. That's a gangster. So how hard did you hit him?

Not hard enough to get unemployed. I want to make sure we don't want to work. So I was like, I tell you you good and, you know, but it's more of a tussle and just knowing again how to play the angles. And then, for example, they have, they'll have like stunt mats down there painted the same colors to cement on the ground. So all this movie magic, you know, that goes down. now really helps make it work. But I think everybody, it felt like everybody wanted the project to do well as opposed it wasn't like just a writer's thing or it wouldn't even just a 50 thing or just produced.

I felt like the actors, the crew, the makeup, the war, Joe had his, had his legs down. Because I think people forget as well, Lulu had the, like, he was out there with the jeans and the 40 Below's and he got a look and Marma got another look. And then you look at Joey, Joy out there, Neek out there with the whole MCM jumps up. I mean, so. They put that together super dope, man. They did a great, man.

They did a great job with those things, man. Just the details, making sure the cars make sense, the language fall in line. Because I remember I was seeing the Michael Jackson movie. And there's the main scene where Michael Jackson was about to shoot, the beat of video he got on you know the Crips and Bloods you know

and they said they had a scene in there one of the actors he said man one of the actors did a dance move and another guy was like Mike we doing this

it's called a CWalk I'm like I don't remember no CWalk I'm from L.A but I don't remember I was ever even thinking about no Cwalk and backing note

was it late 80s or something I'm like that was and I mean not who am I didn't even make any notes of that but that was one thing being from L.A. I'm like

We didn't, we didn't dance like that. And back in the day, so. But anyway, all that said, with this show, I think they did a really good job with the details. Yeah, I body this shit, man. Oh, I mean, I think with shows, y'all was there with one of the best drug dealer shows, it's definitely it. Yeah.

Because I feel like it was y'all in Snowfall, really. Snowfall was a good win. And I feel like y'all was there because every actor was just great. Like, people always be like, yeah, what 50 people would put you in a show? And I'm like, if you put all his friends in the movie, or show, it wouldn't be a hit show. You know what I'm saying? Like when you, when the way the actors are put together

and the way the show is confirmed, it put together, and it just looks, it's just a great show, man. I appreciate it. Now let me ask you, when you do the Bree shootout, very big shootout. Okay. How do y'all prep for that? Those are blanks you using and everything like that?

So we, it's like, uh, no, they're real, yay. No, I know it's blanks. No, but it could be, no. Yo, did you hear this, nigger, man? I said it they blanks. Blinks they're using, you could use, some people use, you could use, like, AI or you could use graphics. Okay, that's valid.

What is he talking about? Okay, that's a valid. Don't try to say that shit is valid. No. Get out of here with that shit. Man, get out of here, man. I definitely did. I definitely did.

I was in a Swat two. I was in a Swat two. You talking about this SWAT two shit still? I'm on tires now. Swat two? I was with Bruce Willis, man. No, Bruce Willis? Yeah, yeah.

He's talking about SWAT too. Well, I'm in tires now with Shane Gillis. I don't got to catch up. I don't got to catch up. You got money and balance right now on Amazon Prime. Money and violence? You did two lines. I'm not even going to argue.

I'm not even going to argue. I didn't get two lines. I don't care if I played parts. I really prepped for movies. Like I play parts on real sense and stuff. He can't pay money of violence. He don't know. He don't know.

I was in different episodes. He don't even know. He wasn't in that shit for longer than 45 seconds. No, he's gonna argue. But I'm on tires right now. Okay. Shout out to you and tires. But he ain't no fucking that though.

You can't compare money and violence to an Emmy Come about did you use Blake. Shout to Shang Gillis. No, but what I said is, why you guys? As far as the hood go, money and balance is killing that tie shit. Niggas in the hood don't know what the fuck tides is. Set out the money and balance. Whoa!

Let's go. Fia. Shut out the money and balance. Shout to Mee and Gellis. We are on Mee Lamedon. Emmy nominated. Tires. Shout out of the money and balance.

Emmy nominated in the hood. All right, cool. Let's go. We're going to edit that anyway. You ain't going to shit. Why are we going to edit that? We ain't going to sit on money balance. I'm not shit on Tires.

We ain't shitting on time. Mr. Edd, he wasn't going to edit something. This is the real report. So what I'm saying to him before he started screaming and going crazy. Yeah, I love it. Because I was what he was. Look, when he was in his movie, he didn't shoot shit. I definitely did.

Can I finish? Yeah, no, you're talking about my movie when I didn't shoot. I was in a movie with Bruce Willis. You was in bum-ass SWAT 2 that bum-ass Benny Boominum produced. Nobody don't even know that shit, Swat 2. Nobody never saw it. I was with Bruce Willis. Okay.

He's telling me with him. Shack to Brunney said. He hyped because he was in tires. No, no, no. He was excited because he was with Shane Gillis. That's what he talked about. He's super excited. That's all I talk about?

Yeah. Now you sell you. He's super excited. I'm happy for you, my brother. Say out to Money and Balance. Say it's a little hate. We don't hate over here. We love.

That's all love over here. We don't need to hate. Yo, but that. Because you said everything I say is Shane Gillis. You can talk about, don't sit on money in Dallas. And Bruce Willis, nigger. Don't sit on money balance. Who shit it on Bruce Willis?

My move, I'm not, I'm in there really working in my movie. I don't know what the fuck you were doing in your movie. All right, we're gonna get back to you. I was working. You hear me, London? I believe both. I believe it. But before he really cut me off, because he said, I said,

what you're dealing with blanks for the scene, right? I don't want to argue with this guy. Y'all turned a tornado on here. But look, I said, was you dealing with blanks on the scene, right? Yes. Because when I did Swat 2, there was blanks and I had to be careful, because I had Benny Boom wife, like, like, The blanks, the gun was too ahead.

So they told me, Yeo, you can't play with the blanks. But sometimes they can do other graphics or other things. Okay. So when you really fucking cut me off. Get the fuck out of here. I know they don't got real bullets. People would be dead. It was blanks.

What are you talking about? So, yeah, it's back to the question. Sometimes I think it works both ways, which is when it came down to that, we, it depends on where people, where the actors are, they ever. dealt with a gun before and all that stuff. So they would do some training just to get people used to guns. But the guns, they're about, I forgot the different sizes of them, but as far as they're like blanks, quarter blanks, blah, blah, blah.

And so what happens is depending on how close we are or what take it is, they may shoot, we'll shoot a gun, and the sound may be as loud as like, it might be like literally a clap of noise, pause, and then you've got another one maybe a little bit more. It'd be louder than the first one. But then the third one, you actually see fire come from the gun. So it just depends on like, again, how close we are to people. And we know that if the target is at the camera, we shoot a little off to the right or to the left.

We also got to watch where the shells project. When Neek was, I mean, there was a scene in episode one. Because somebody can get hurt, brother. I know that. Go ahead. He's going to go and set and do this and hurt everybody. No, no. That's what you're going to do.

Brooklyn. Listen, one thing about me, I put it in work in real life. Like, see, he talked that shit, but I'm only playing with you. I put it in work in real life. So I never did those things like that. I'm real accurate. I'm just talking about I'm accurate. So even when I'm on the movie set, I know how to do that.

You know what I'm accurate? Get out of here. I know you, it's a joke to you, but I'm being dead serious. Get out of it. Like, I'm real accurate when it comes to that shit. And you can check my rap sheet when it comes to shit like that. I ain't capping. Y'I could do after you.

Y'I could check it. There's no cap over here. You know what I'm saying? Yeah, yeah, because he don't know about cases. We're still talking about cases or we're talking, let's get back to him. We're talking about shooting right now. We wasn't talking about shooting. I don't shoot.

And I'm an expert at that, nigger. Okay, well, I'm an expert at that shit. No problem. Yeah, yeah, I'm an expert. You can check my rap sheet. I'm an expert at it, nigga. I believe, okay. I put the pain in for real.

I believe it. No, no, whatever you I want to ask. No, no, go on. He's on his. Oh, yeah. I'm just like you know, I'm just speaking facts. It ain't no rent. I'm speaking facts.

Yeah, you can speak that. That's all of this. There ain't no rent. Nobody's trying to. Ain't no red. You're talking about I'm going like that. No, no, I don't shoot like that, brother. I don't talk about the views on the set.

I don't do that on the set. Oh, you take everything personal. I was on the real set. I was on set. I don't want to argue the whole interview. We having fun, man. Nah, this is arguing. You own one.

I don't know what. I love it. I love it. This is how we all. Back to the blanks with the safety. All it is like, there's a scene where I. With Breeze. A couple of things.

There's a scene episode one. when Marvin is trying to, he's trying to shoot at Neek. And when it comes with that kind of gun, you've got to be careful because the shells. Of course, obviously people who don't know, the shells are hot when they come out with the chamber and everything. So there's some safety things that they get involved. But overall, it was cool. You know, we'll do, again, we'll do a couple shots, getting all of shooting over Marvin's shoulders to get all the breeze stuff. And then they turn around and show our.

But it's just a process. That was a real late-night shoot, and we just tried to get it done. Was you familiar with using guns and shit before this? Yes. I'm talking about, man, fellow shooter. See, thank you, man. Can I get some love on here? Oh, my God.

No. Lundy, give me some love over. I mean, yeah. It's a family-friendly show. This is the real report. This is the real report. So you did have experience. So you did have experience firing guns and shit like that.

Yes, copy. Can he talk about that a little bit? You know, I want to stay employed. I don't know anything about that. I don't know anything about that. I'm corporate. I don't know what's about talking about guns shooting. I just said like this thing is upset.

I heard him he said some actors you got to teach them because you did mention before that. You know, me and him go through. I said, but I heard you say some actors you got to teach them how to use a gun and some actors have experience with it already. Well, you know, the thing about it is we, you know, there's always like a gun safety guy on set because, of course, I forgot a couple years ago. An actor did kill somebody by mistake. And then, see, and I go back to props and whoever else.

Fast. Because, like, every, I don't care what's going on. We, we, we, we, they, somebody coming by with a flashlight to make sure the barrel clear, you can see both sides. Because if it's an act sometimes who, who are just inexperienced and they have the gun, they'll hang out and they tap in over here, they scratch their head and the gun go off. It's very, it's very dangerous. Like, that's what I said.

In the Bruce Willis movie, if you shot, you would know about the blanks. That's why I was kind of asking you. Because the blanks. I got to say, I know about the blinks yet. Don't know. Money of Violence didn't have blinks in it. Yes, they did. Oh, I didn't know that. I thought it was like the graphics.

It didn't look like that. But go ahead. We didn't have no graphics and there was. And in the Bruce Willis movie, I actually got shot. So of course, when they shot me, it was blank. So yes, I had experience again, shot and using it as well. No, when you get shot, you don't have blanks on. Of course, you got the packs.

You got the packs. You got the packs. You got the passing. But what I'm saying is when you're handling the gun, you getting shot doesn't mean shit. I got shot too in the head. I had a blood pack on my head and I had all that other shit in Swat, too. Y'all go check it out. Ties is out now. Shout to Shane Gillis. We're winning. We're winning. Shout to Shane Gillis. Emmy nominee.

Out. Best show ever. Um, see, for me, I know with the squid packs and they go like firecrackers blowing up on your head. But with the blinks, you have to be crazy. You know what I'm saying? Because also, too, man, you do got to be careful because especially like when that's that scene with Canaan, he still is fairly, close. Like sometimes the, you know, the dust and different things like that can be what it is. But yeah, we do use the squids and sometimes we use them without. And then the last two takes, that's when they come in and really put the stuff because the only got maybe two copies of that shirt that they bought so they can really show the blood and everything like that. But we had a great, I mean, again, everybody was down to the details.

Get Bell Pure Fiber Internet with Crave Netflix and Disney Plus from $94 a month. Price guaranteed for two years on internet with a two-year term and auto pay credit. Visit bell.ca for details and to check availability. Bell, connection is everything. On the new podcast Solita, we share the messy reality of traveling alone as a woman. I can wait four hours for the next bus or this random dude is offering me a ride on his motorcycle. I chose option B. I'm Julie Pinero, and I travel by myself because it's a rare space where I can say yes without asking anyone else first.

I'm on a mission to reclaim the word solita, trading the pity for possibility. Every time I tried to be alone, I kept meeting people, and they were like, you smiled at us. Not a lot of people smile around here. It's when you're alone that you're most receptive to the world as it is, and not the lies you're sold about it. It can be a time where you push your limits, change your mind, or wake up to a new version of yourself. So whether you're a solo travel veteran or you're too nervous to, to book your first trip. I hope you listen to Solita on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

Hey, this is Hayes Davenport. And Sean Clements. We host the podcast Hollywood Handbook on the Big Money Players Network. Our show is extremely accessible to first-time listeners. Each week, we talk to someone in show business, aka the biz, and try to help them with their careers and see what they have to offer us. Everyone has a good time, and no one gets mad at their publicists for letting them do our show. We've had a lot of great guests like Sarah Sherman, not that great.

Actually, can you help me shape this? How about we flip it on his head, right? How about we flip the script? What is the surprised woman? Actually, you think is the straight man is actually the one who's acting weird. Adam Scott. This entire time, you've been expecting Adam Sandler to come to visit the show. I would never expect.

I have, I would never set expectations for something like that to happen. If the universe allows for something like that to happen, I'm open to it. I'm always going to accept. You know, Danny McBride, fine. Yeah, it's all this fragile masculinity exuding. I could smell it walking down the hallway, to be honest with you. I was like, I was like, is that weed? Nope, it's fragile masculinity.

Ben Stiller, no. Because a lot of times out of context, people don't get it or even know what to circle is. You know what I mean? They're like, oh, what's a state. Everyone's so dumb except for you. And fake. Right. Fake and also not interested or just like, oh, I've got my life. I don't care

about your life. And a lot of other big shots that wouldn't be where they are without us. Oh, and by the way, Will Ferrell told us personally he loves the show and he wants to be a guest on every episode, but he's just so busy. Listen to Hollywood Handbook on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

I'm Nick Taturo. You probably know me from NYPD Blue, the longest yard, or Spike Lee's Black Klansman. But I'm also from Queens, which means I know pizza. And on my new podcast, delivering happiness with Nick Totoro, I deliver pizza from Prince Street Pizza to a new guest. Are you delivering pizza now? Then we sit down for a real conversation. I've shared a slice with everyone from Seth Rollins.

What are you doing my belt? To Alex Rodriguez. Just to let you people know, we're talking to one of the goats here. To Bill Burr. I don't think I've ever met somebody so exactly out of this. Mind is, I am. And now, we even have more great guests coming up, including the great John Titoro. It's called Happiness.

Delivering Happiness. Mariano Rivera. Oh, my God. And many, many more. Open your free High Heart Radio app. Search Delivering Happiness with Nick Totoro. And listen now. They didn't really mess around with Jess.

When you know your character is about to die, right? Because when we seen Ghost die, it seemed like it ruffled his feathers a little bit. Like, he was like, I don't get paid enough and this and that. Once his character died. When do you know your character is going to die? Do you know like three weeks ahead of time and how do you feel and do you get upset a little bit? I didn't get upset because I felt like... The show about the end anyway then.

Yeah, it kind of worked out. Yeah, like this shit is over. Like, it's over. I was like, all right, cool. No, what I'm just saying. Do you know like three weeks ahead of time or two weeks or like a couple of days? I'm trying to remember when South to, uh, shout to Sasha Penn, he's a showrunner. I'm trying to think if he actually told me in the beginning of the season or as we got closer

to it because they be trying to, stars really good at keeping the project secretive because people be, you know, they'd be spoilers and people have heard some things get out before. So, we really didn't know, know, like that, know like that, because they were trying to protect the script.

So, we would shoot the episodes. I think the audience thinks that we shoot like, like, we get all the scripts and we just kind of know all of what, in fact, I wanted to know what was ahead, but I, I'm glad they didn't let me know.

That way I could just play it for real. And just so I just had to be extremely present because I didn't know what was going on, but so that emotionally it all made sense, I just had to really pay attention. So as opposed to, because sometimes if you get the script, if you get something like a series

and you know everything that's going on, you may play some things too soon that you don't need to be playing. And let's just say, had I been, for whatever reason, y'all seen Marvin, and the nigger was sad in season three. You know, I'm sad already.

But by playing it towards the end, and we don't know. Between, we don't, first of all, we shoot out of order. So it's kind of hard to keep up with what's going on. All I know is I got to, let's say, Marman got a scene where he's picking up jukebox. And then the next day, me and Rock having McDonald's at the table. Like, we don't really know what's going on. You just got to just know your stuff.

And then between shooting out of order, and edits. We've had alternate endings and they do two versions of it and then the next thing is they've changed the script all the time. We get rewrites all the time. They draft after draft

and we'll do a table read. That's one version of it. And then they'll email another version that night and then the morning of they give us some new size in the trailer. It's always constant changes. See to all you actors on the come up it's a lot of work.

It's not easy. Oh, it is. I've seen a scene of somebody dying so much than I seen George. They had so many different versions of it. It was like five or six, I think maybe different versions. I think only one who might, who do something like that is Spike Lee good for that. Like, Spike Lee would double back on a, if you go back and watch a Spike Lee movie, for example, even like Malcolm X. And there's a scene where Denzel is shaking Spike Lee's hand right when, right when,

Malcolm becomes Muslim or whatnot. And Spike Lee's character goes to visit him at the mosque. And then Denzel's character and Spike, they do a hug. And Spike Lee, he'll show that like three or four times. He just kind of showed a hug this way, this way. So I thought, when that's the first one, I thought it was Spike. But it was a little dramatic. What you thought about when you saw?

Like, damn, they got me dying like four or five different times in this mall. You know what? I understood it. And I think it was, I think it was solid because I think the writers knew and Sasha knew the impact Mar was going to have. So as opposed to, again, as opposed to it being one shot and just falling to the ground, I think they just said, we're going to ring out this scene and let it happen like that. How many takes you have to do it on that one level? Oh, man, that was a few, no less than five hours of doing, even just that scene itself. It's just coming on the angles.

And then also, because of its graphics, you got to time it out and make sure the shots line up with the fall. And then on top of that, it's like, again, you, it is, that's why I was just trying, how do we make this, how do we make it work? But I think they knew the impact that Marvel was going to have, probably even more than I did. And that's why I think they just said, let it go out. Because initially, the shootout scene that I felt like would have been, not for me, but most people, I would imagine, if you want to go out dramatic, I'm thinking. The shit with Breeze. Now, Breeze, I'm thinking in the training day, set it off on the car. And doing the shootout, you know, you really get the shots off.

But it was actually better than it was just like this because it's just like, is this, is his nephew really going to? It was quiet. It was somber. It wasn't a lot going on. So everybody, whatever popcorn or whatever smoke, you know. you had, you was, at that scene, you was locked in because there wasn't nothing going on. You know what it felt like with all the characters?

It felt like you and Lou was like overly loyal and it's like Canaan and his mom was just super grimy. But I think that's the thing. I don't think people even, because initially when a show dropped, I remember all the women rallied behind Rock. Go ahead, Black Queen. She's strong and she's done.

I'm like, Rock is manipulating all this. She's puppeteering her brothers. But she had to be like that, I felt like. I feel like she had to be like that. She was too hard. She was not. She was in the, she was amongst other shop. You dropped loose, too. She had to be like that.

You dropped more off like a dead dog in the streets, man. Well, you know what? Okay, well, by that point, I mean, by that point, yeah. I mean, turn things like that, yeah, but I'm talking about everything else how she was moved when she had to be. Remember, she knocked off her bodyguard after that, because he's seen it. But people already hate her by this. She was like, I knew he was dying.

Like, come on. You know, come in for a minute, come to the car. They was just super grimy characters. You know, but at the same. And Kane had killed you in a fucking. the fucking church. Yeah, that's Canaan, but again,

that's the, that's the cany that I think people wasn't, when we first started shooting, it was just like, man, canine ain't, we don't, we don't really see, we don't see the OG Canaan right here. I'm like, no, you got to let this nigga build. He got to build that character. He got to, you don't, look,

people don't become, people aren't born criminals. There's some things that happen through child. What happened when, who really put him on to this and who? His mom's making him chill his pops. All of that, man. When you think about, even when we listen to Joe Crack's story about him getting into

and how it became this bully, he was getting bullied at one point. He was like, well, dang, that's not, at some point he was getting bullying. He said, enough is enough. I'm going, we up, let's get with it. And so I think that with Canaan, again, it was just one of those things. It was like, it was a progress, progress of process of progress. Where we looked up and we say, okay, because when we first, we first, we first, meet Canaan, he can't even stand inside of blood.

He's throwing up with marmos should nitting the head. And then we get to, we get fast forward. Yeah. Canaan, you know. Super grimy. Rimy. Yeah. But, you know, it's wild as I will say this.

I was talking to Joey about this, which is we thought unique was grimy until we saw him next to Breeze. He's like, Breeze something about Breeze. I'm like, we don't trust, I don't know. He, he, he, he's a little roofless. He a little bit more roofless. Something is you can't, you can't, you don't want him sitting in the back seat if that's your Uber. Definitely.

Him and, and, him and, who played Ronnie, a unique brother. Oh, yeah, he was driving. If I was an Uber driver and I saw him and he was standing out there with that small members-only coat just staring, denied, I'm out of there. You can't tell him and them two, you wouldn't, you know. But like I said, Kenney grew together. He grew to come and Jukebox. Like, she became more down and you look at her.

She like, understand her story so much more than that. Yeah. God damn, you see why she was so crazy. And that's why people were just like, man, she knocked off rock. But I'm like, dude, when she looked at, she looking at Canaan like, yo, my dad. And they just really start bonding and getting close. And they- When you died, people was happy that she killed, killed his mom. Yeah.

Oh, that's wild. That's the person. That's crazy. Because when they look at your character, everybody looks at you as the most loyal guy. You do anything for your sister. sister, you do anything for your daughter, you was doing anything for the young little baby, the white girl, the parents. Like, you would go out your way for other people.

That's why I think people, like, people cried. I spoke to Jess hilarious. You know, why they kill Uncle Maugh? For my friends, brothers, sisters. Like, you was a liked character, loved character on the show. I'm glad it worked out like that because sometimes you just don't know how the audience is going to gravitate to which every characters and things like that. And then again, we're not on the show with weak talent.

You got Tony, Dan's on there, Window Pierce. We got some bets on there showing up. Who's the boss? Come on there. I mean, come on. I mean, come on. They got Tony Danza on this. Who's the boss back in the days?

That was my show, man. That's what I'm saying. That's why when you showed up, it was just cool. You know, and it was just nice because even what he did was you could tell there was another group of audience who goes back, they don't know nothing about 50, you don't know nothing about hip-hop, but they know Tony Dan's, that community of people? You better believe.

Because who's the boss is what, 30, 40 years? Oh, man, easy. He was kids watching that. Oh, man. That was our show. We watched that safely. That was a fact. Yeah.

He was like one of the, well, he was like a single father that everybody loved, and stored on the show. And you know, you can still, for sure. You can still feel that the energy just, because, you know, different people, when we're on set, I've seen, or seen people go up to him and talk to him, and Tony's,

still, he's a likable dude. Like, he, you know, stories for days. Just, he knows everybody. Hey, yo, you know, Linda, come here, man. I remember, I was on the boat. It was me, nor Jesus, man. We walk in and we feed the people. I'm like, how you know Jesus?

But Tony know everybody. You with this. Everybody. Like, I'm used to him playing a good dad to see him play a good mafia guy. Was like, yeah. He'd been in front of TV so long that there's nothing for. There's nothing, man. We got, we got so ones to talk about.

Let's rewind in the time because, come on, man. You ain't lying about that. Oh, man. And you doing TV with the rock, man. You're going to make me go watch bowlers all over again, bro. Dude, you know what? Ballers is cool because that project, that allowed me to eat. I was like, all must up was in my mom's garage and in my trunk.

So that project was just, it finally. You get your own shit. It just said, I can breathe. It was just, you know, because. And then at that time, again, I was just in the ground. trying to figure it out. I had no agent or a manager. Was you doing comedy at that time?

I was doing comedy at that time. I was doing comedy from Jess O'Larry. It's not too long time. Yeah, I was doing stand-up at the time and had my little four jobs and just trying to figure it out. So when you got bullers, you was like, thank God. Dude, when I got...

You know what? When I got ballers... When I got ballers, I didn't even think... It took me a long time, believe that it was legit because they'd be making changes last minute on sit, man, they like you.

And then the network and say, yeah, but he don't have a big enough name, but we don't know this, and they switch up. We seen it on, you know, Fresh Prince, they switched out. My wife and kids, they switched daughters out. Like, they'll switch actors out in the minute. So for me, not until I really, and crazy, you know, not until I really, I was so broke.

I married I had to go, I had to move to Miami when I landed that. And I told him, there's like, you ready? I was like, listen, man, I need whatever check y'all supposed to give me after I worked. I'm going to need that right now to just live. Damn. And I'm, you figure this out. That's you told the company?

Yeah, I told them. I said, man, I need an advance. I got to, you know, and they worked out because they understood. I was, you know, just. But it was cool. Miami was cool, man. Miami was cool. We said we did two seasons there.

I was really planning on moving back for the third, but we came to L.A. But even with that, that was cool because nobody knew who I was. But all my scenes was across from Duane, right? Duane Johnson. So I was only supposed to do like an episode or two. I wouldn't really written in like that. Because I was a side idea. But they decided to make me a lead.

And then I think really from what I was giving them, I end up becoming like the antagonist in season one. Like everybody's going to love Duane anyway. But I was a, all my stuff was playing across from Duane. So I had to make them annoying and make them the friend that's to look out for what's friend and just because if you don't give the writers anything right they you know you you're in the coma in the next episode and you be in the car accident and you're out of here so i was trying to give them i'm telling i was trying to give them things to you know things to work with

and just keep the character interesting and that's how he stayed for five seasons but even with raysa canaan that was the goal too which was let me just let me keep marvin interested so that they be like all right we know we're like because also we got to bring you these words off the page. If we not doing nothing, the writers say, well, why we keep giving them these monologues and these things, and he don't even know how to, all right, let's go over here. And that's, and that's why

certain people are leaves. That's why you got between the mill. So with you, this improv too, you're not just reading the lines, you improv some of it too, or no? A lot of the first, like the first few seasons of, definitely the first couple seasons of ballers, and more so a lot throughout ballers. But then also

the first couple seasons of Raising Canaan, because I think the writers was trying to find Marvin's voice. We all trying to find, you know, because sometimes these writers write these characters, but they don't really know who they are, except to us as actors, when we go into these auditions,

and we say, this is what you're looking for. Because even with ballers, the character was supposed to be fat. His name was Fat Reggie, but I was the only one in there, you know, I'm buck 80, and I'm looking at all these linemen, but they didn't know.

So I was just like, I was just ready to, go. It's like, man, with these projects, sometimes it's like being an athlete on the bench. And you, like, you've been shooting in the gyms. You're like, coach, I'm ready to. And even if they don't want to reluctantly, because sometimes being like that with the network people. The people in the room will be, they like, yo, Lenn is the guy. But the suits be like, we don't know who is he and this. But people in the room were able to fight for me. And so when these opportunities come up, it's trying to, so when the coasts say, hey, yo, all right, Brown, let's go. I'm going there, I'm trying to lay up, dunk, cross over, get triple double.

You got to show up what you got because you dis your opportunity to make it happen. And also, like I've been saying, I don't know who will watch the show. I know his eyes, I don't know who's going to be, you know, go visit fifth or go to some event. and he is a and fifth got raised can in and he got that and this and that playing on the screens and while music and drinking

but who's the dude over there who's that? I need to make sure that whoever might tune in that might be able to make some things happen that is, I'm on point man.

That's all this was what, five seasons? Yeah, but all this was five seasons. That's great man. Work next to the rock. There's so much stuff that a lot of people out there didn't even know you did.

And did you go to actor school or no? Yeah. Well, I come from theater. Okay. And, of course, we take classes and courses. Explain that to me. Because I hear acting classes.

I never hear nobody say theater, but a lot of actors that do theater team to be great actors, too. Yeah. So, we, the thing, I think the difference between theater actors and TV actors is, you know, theater, I personally feel like it gives you a different way. where it creates a different work ethic for you. And then also, because, you know, once you start, once you start a play, then ain't no stop cut and go. You got to know that material because the show, once it goes, that train leave is out of there.

Then two, there's a different kind of presence that you, I think, you develop from working in such a large space. For example, that's like, if, I feel like if an artist only performs in a club for 100 people, that's cool. but some artists don't know how to transform when it's time to hit that stadium and come out in that theater and in the rooms

and they're standing here I'm like man you got a whole stage of energy is your energy can your energy be felt in a larger space and I think with theater we learn how to physically you be in the space

and command that so now when it's time to go to TV or film or whatnot you got to create all that same energy you had on stage, but play it right, play it right in the frame. And you learn, like, for example, I had to do, I did, I did a show, I did my first TV show called The Hustle. And, I only know, I played like me and Alon Noel.

Alon Noel plays, he plays, I can't his name, but he played a Coltrane on Nemesis. That's the other Courtney Kent Project that's doing this doing. Anyway, let's just on Netflix right now. Netflix. You've seen the first season, right? He's a darker skin guy. Shout to Alain Noel.

So we did that show. We only did six episodes. I was like, man, it was number one on few small networks, but we, it did well. The hustle? Yeah, it's called the hustle. Next, you know, I'm in the middle. At this point, I'm now, I'm touring with Chris Tucker. And we're doing work in the clubs and doing the theaters or whatever.

Oh, with the comedy shit. Get Bell, Pure Fiber Internet with Crave Netflix and Disney Plus from $94 a month. Price guaranteed for two years on internet with a two-year term and auto pay credit. Visit bell.ca for details and to check availability. Bell, connection is everything. Hey, this is Hayes Davenport. And Sean Clements. We host the podcast Hollywood Handbook on the Big Money Players Network.

Our show is extremely accessible to first-time listeners. Each week, we talk to someone in show business, aka the biz, and try to help them with their careers and see what they have to offer us. Everyone has a good time and no one gets mad at their publicists for letting them do our show. We've had a lot of great guests like Sarah Sherman, not that great. Actually, can you help me shape this? How about we flip it on his head, right? How about we flip this script?

What is the surprise woman who actually you think is the straight man is actually the one who's acting weird? Adam Scott. This entire time, you. You've been expecting Adam Sandler to come to visit the show. I would never expect. I have. I would never set expectations for something like that to happen. If the universe allows for something like that to happen, I'm open to it.

I'm always going to accept. You know, Danny McBride, fine. Yeah, it's all this fragile masculinity exuding. I could smell it walking down the hallway, to be honest with you. I was like, I was like, is that weed? Nope. It's fragile. masculinity. Ben Stiller, no. Because a lot of times

out of context, people don't get it or even know what a circle is. You know what I mean? Like you're like, oh, what's just a state. Everyone's so dumb. And fake. Right. Fake. And also not interested or just like, oh, I've got my life. I don't care about your life. And a lot of other big shots that wouldn't be where they are without us. Oh, and by the way, Will Ferrell told us personally he loves the show and he wants to be a guest on every episode, but he's just so busy. Listen to Hollywood Handbook on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. On the new podcast Solita, we share the messy reality of traveling alone as a woman.

I can wait four hours for the next bus or this random dude is offering me a ride on his motorcycle. I chose option B. I'm Julie Pinheiro, and I travel by myself because it's a rare space where I can say yes without asking anyone else first. I'm on a mission to reclaim the word Solita, trading. the pity for possibility. Every time I tried to be alone, I kept meeting people, and they were like, you smiled at us. Not a lot of people smile around here. It's when you're alone that you're most receptive to the world as it is, and not the

lies you're sold about it. It can be a time where you push your limits, change your mind, or wake up to a new version of yourself. So whether you're a solo travel veteran or you're too nervous to book your first trip, I hope you listen to Solita on the IHeart Radio app. Apple Podcasts, or wherever you got your podcasts. I'm Nick Totoro. You probably know me from NYPD Blue, the longest yard, or Spike Lee's Black Klansman.

But I'm also from Queens, which means I know pizza. And on my new podcast, delivering happiness with Nick Totoro, I deliver pizza from Prince Street Pizza to a new guest. Are you delivering pizza now? Then we sit down for a real conversation. I've shared a slice with everyone from Seth Rollins. What are you doing my belt? To Alex Rodriguez.

Just to let you people know. We're talking to one of the goats here. To Bill Burke. I don't think I've ever met somebody so exactly out of their mind as I am. And now we even have more great guests coming up, including the great John Tuturo. It's called happiness. Delivering Happiness. Mariano Rivera.

Oh, my God. And many, many more. Open your free High Heart Radio app. Search Delivering Happiness with Nick Totoro. And listen now. So, and that's a whole other story. But so then when when ball is, when we get to it, when. When ballers came around, we did five seasons of that.

And even though that was number one on HBO, you know, Duane decided we wasn't, that was it. So now it's like, well, dang. What I didn't know was that I was supposed to do six seasons or seven seasons of ballers because Raisin Canaan was down the way. That's why timing and things just line up the way they do. Wow. I don't know what's next.

But I know that, you know, I described this earlier. It's like bench pressing. Like when you first kind of starting out, me start off with the bar and then 10, 25s, and as you begin to get your reps, so you start adding more weight that you can handle. And I felt like Raising Canaan was just a whole gym session. It was a whole class for five seasons where I got pressed in a way to

demonstrate other sides of me that I didn't even know was quite there. Ballard wasn't emotional at all. You know what I mean? That was just a light comedy. But by season five, you know,

Marvin was at a completely different place emotionally than the other season. With everything. It wasn't no snacks involved. It was just drama, which was cool because I wanted people to see

this whole other side from even from stand-up or from season one. When you look at it, even season two and season five, Marvin's just at an emotionally different place that I think the people felt because I was at a different place.

I couldn't have played Marvin. I don't think 10 years ago. There's like certain things you got to grow. I had to grow into who I am today to even carry that kind of emotional weight with Marvin or even understand what that is. You know, because I lost a brother in 2015. So, you know, which is, well, yes,

peace be upon. which is, you know, that's why Marvin in London are not, we're not that far off from each other. Like, I'm just a, if you want to call it this, I'm like a healed version of Marvin. I know I can't go around pistol whipping people and or, you know, but I do understand why some people need to get pistol whipped. Oh, man, yeah.

You know what I mean? But as you get older, we realize consequences to how you change, move a little differently. So, but I do understand Marvin. Like I said, I used to cut hair in rehab centers. So I grew up around a lot of OGs, a lot of cats that did time, had to come back home, halfway house, figure it out, who used to be dophines and cleaned up, got their GR, and Social Security.

So people can't change. That's why even there's a scene where Marvin was telling Sam the crackcase and, man, take this money and just leave town, get on the bus. because Rock was just like, do what you got to do. You're supposed to not because that was. But Marvin understand because Marvin had been on drugs at one point. Marvin got, again, we see this empathy from Marvin. Marvin's like, listen, man, I'm trying to give you a chance

because I know how we all mess up, take this money, and just be out. Marvin was trying, throughout Marvin really does try to be his version of Thoreau. But that's why that was the chance he gave Sam. But when he found Sam in the crack house, he had knock his head off. He didn't want to do that. But it's just principals at that point. So he's just like, all right. You're out here.

You didn't pay attention. It's over now. It's over now. We got to do. We got to do. That's all Marvin is. Well, you know, I learned so much about you, man, because the bowlers thing, like, you made me go back and look at some more episodes of that.

And I ended up a five-year run on that, a five-year run on Canaan. but what I'm learning from you is I didn't know if you took acting classes or theater. I didn't know. Oh, speaking of that, not to cut you all, but the reason that classes are so important is I think people think we take acting classes or we train and acting to learn how to act, but we really are training to learn how not to act and just live in the truth of these things. And I think that even with that, a lot of times people think that good acting is crying and all the emotions, but it's really not,

it's really trying to not show all of that. And we feel those things, but we're not, you know, trying to play those things externally. We're just trying to just, because when you, when you are really listening with acting, you're in the scene, like London knows what he's going to say, but Marvin don't know.

So I got to really just sit and listen and process that. The actors may say the lines in a different way on the second take anyway. I can't go home. and practice how I'm really gonna sit. All I have to be, I just, I need to be present. And then writers are so good, it ain't hard to escape into some of these circumstances.

I'm sure if y'all had to do some of them lines from Marvin, you know, it ain't there, you ain't got to go sit in a dark basement of an acting class and figure out how I'm going to feel pain or what. No, man, we all been upset before. So, you know, when it's time to, that beat down, the only thing you would have needed to do is just learn how to hold the punches

so you don't really put a nigga through the wall but other than that, the anger of what Marvin felt yeah, we felt that stuff before so I mean, they just did a good job with writing it too, man. That's dope, man. That's great. So let's rewind to

how the hell you get on tour with Chris Tucker, man. So I'm in LA. Right. I'm in LA working clubs, working open mics, just I'm just working the scene and just getting my chops up.

And I was in L.A. at the improv. I was going to support one of my boys out of Atlanta. His name is Brandon Lewis. And we were both young comics at the time. And so when you do the improv, D. Ray Davis out of Chicago, when you do the improv on Monday nights in L.A., people, I think some comics think that it's easy because it's like a black room.

Because you're black and they black, it should just work. But that room, that's a hard room because they always got TV cast in there, John Bob Michael Blackson to Kevin Hart. You know, the hitters are in the room. And then their audience, they go there every Monday. So they want to see what they want to see. Anyway, I went to go support my boy, Brandon Lewis.

He goes up there, does well. D. Ray says, actually, I was trying to leave because I don't be hanging out. So I was trying to leave. And the guy at the night of that night, Big Spike was like, Hey, man, you always running off. I just hang out sometimes. I said, man, I'm just hang out. I was like, all right, whatever.

So I stick around, D. Ray Davis said, hey, yo, has Chris Tucker seen your set? I was like, no, man. He said, man, you should let him see. I was like, no, he's working out. Chris Tucker's working on a new material for his tour. I ain't want to bother him. So then D.R.A. was like, hey, man, Chris, you should see, you should watch London. And so, Chris, you know, I go on stage and I do whatever.

my five-minute spill was, and we exchanged numbers, and then you start going out on the road with him. So I thank him for that experience because it just let me know, you know, it gave me something to aspire to work towards because he, I'm with him. And you, like, and so y'all know this,

because y'all around, you know, y'all, you're around 50, y'all be around people. Right. But, you know, sometimes, the audience are, you know, sometimes your friends or whatnot, Now, they think they're around or seen some celebrities they may have seen on TV.

But when you're around a real, bonafide, like, wherever, remember they go into, there'll be red carpets. Thanks. Chris is a, I don't care what people thought he was. They said, because we ain't seen him on Rush hour. They probably thought that he wasn't with the guy. That niggas the man. Oh, come out.

He's an A-lister, man. A-lister, man. He know he's an A-lister. And they come outside with him. He hit that stage. They get all that confetti and shiny dust on his coat on that lapel. I mean, when them lights hit me, that niggick, that audience goes nuts. What they, they, so anyway, being that close to him and just seeing like, you know,

because I used to go out on tour, I was, I was chill. I was, you know, throwing some jeans and a shirt and the hat. But after like two dates, I was like, no, I need to dress a little more. Was this before ballers and all that shit? This is before ballers, man. I was going to ask you how you go from theater. From theater to stand up because theater, ultimately theater is just like, stand-up is just like theater. a one man act.

You know what I mean? So the transition, I was already used to perform on stage, so that stand-up was just right. It was like, cool, I get this same feeling of the audience energy, but it's just by myself. I get to go up every night or whenever I want. So that's how that happened. But I have been ready to go.

And like I said, with stand-up, as you describe certain jokes within your set, you got to do an act out. You got to do, like, for example, for the audience, An act down is when you watch Kevin Hart say, all right, all right, all right. And he do his dad and he do all the physical stuff that his dad does or his friends do. That would be an act out. So that's why most comics, a good portion of comedians can do the acting thing.

Because we kind of do the characters within our set anyway. I understand because like in theater you can't make mistakes. Because I've been to any Broadway plays while you was out? Yeah, yeah. Because I went to with 50, we see Martin Luther King. It was Angela Bassett and Samuel Jackson. Samuel Jackson is one of my favorite actors, right? And it was great.

But you can't, when you're on stage, you can't make not one mistake. So I understand how the theater, it was easy. Comedy was easy for you. Yeah, but then also. Even with theater, sometimes you make mistakes, but you gotta keep it going, right? That's my point. I know you by saying you got to look like it's not a mistake.

Have you ever seen a Broadway play? Make a mistake? Me, I haven't. No. You wouldn't know. Yeah, and not if you didn't know. You weren't know. You weren't know.

Teach him something, London. I've seen Michael Jackson. I've seen Martin Luther King in a couple of other plays. But you went off, they made a mistake. I mean, if you stop your line or drop your line, I could see it. Nah, but they're not going to stop. They're going to keep it going. That would be, it's one of those things where those mistakes, like you mentioned,

if they're professional enough, there's no way. But that's how people get fired. And he went up there and said, hey, yeah, man, make sure you put the shoes back in the buck in the socks. He'd be like, and they're going to go ahead, you got it, they're going to let it go, whatever it is. But I'm telling you, there's always somebody in the wings. I remember I did a show, my first, my, my first TV show,

and my standing, first of all, he applied to be my standing. So for people who don't know at home, my standing is basically somebody's kind of like in my same height and built. And while I go work on my lines or go get a haircut or something, they set the actor stands in my place, and they set the lights and the cues and the cameras. Right. So my stand in, he got mad that they asked him to do what he's there to do.

And all I know is that he went off. He was cursing just going off. We took a lunch break. That nigger was gone. It came back. I'm telling you he was gone. And, you know, especially in the business, there's no arguments going on on set like that. Of course.

It's just quiet. So you're saying like to sit me and him doing this. Oh, hey, you know, they're doing this. They ain't doing this, niggins. That's why I'm on tires. That's why I'm on tired. Shut the fuck. Because I'm not with this guy.

Shut the fuck. You know what I'm saying? It's etiquette. It's etiquette. You got to, like, because what I learned from 50, from my acting coach Wendy, from just being around movie sets is being on time, not whaling on the set, not arguing, not saying I'm going to shoot people and not shot people. Listen, I work with movie people. You don't want to do that, right? Who did real movie?

I worked on real movie sets with Bruce Willis and people like that. Shout to Bruce Willis. I love Bruce Willis. He's so gassed up on Mattiard is one of my favorite movies. He gassed up on fatiers. Tie hard for not the movie murder was in this. He gassed up on Mattias.

All the diehards is better than all the movies you did with murder. Shout to Bruce Willis. I love you. Some people get. I love you can't even say they work with Bruce Willis, man. Dude, it's a real thing. Like, again, with them, because time is money, is time.

Like, them suits, they just be in the back. And they don't say, they'll do a little whisper, come back and somebody, it's always somebody in the wings, man. I'm telling me, it's always somebody looking for your spot. And there's just no time for that.

That's why, again, on Raising Canaan, everybody was cool. If there was some sort of issue or dispute, we didn't know, everybody, I'm sure that there's disagreements on creative ideas, but everybody just keep it cool, keep it smooth.

And we just try to have a good time. And it was, at least for me. I think for most of us it was. For all expiring actors out there, because now everybody in the hood want to be actors, they see 50s to the next Scorsesey, right? Yeah.

Right? So what advice would you give them? Like, what time, what's the day like on set? Are you on set 6 a.m. to 10 o'clock? Or, like, what's the day on raising cana? Shoot, man. Well, this is my routine on set.

I would probably study from, usually I'll probably study from 12 to 12. to 3 a.m. I might get a nap in from 3 to 4, hit the gym 5 to 6, get picked up and on set by 7 or so, and going over the lines, get the hair cut, makeup. And all of this is usually done like before 8 o'clock. You're in hair, makeup, where they got to do. You might try to get your little breakfast in. And then ultimately, what we call this is like, hurry up and wait. You be dressed and have your stuff, and you just, you're in the trailer, and, you know, they're

setting up, setting up stuff, but it is a lot of waiting around. But if you were lead, you ain't really got too much time to be waiting around. You'd be going over your stuff, studying. Because the last thing you want to do is be on set with somebody like a vet, like a Tony, or Samuel Jackson and your lines. You ain't got your material again. That's why I would lose sleep. Whatever, you know, whatever sleep I lost, I said, man, I'll get that back on the weekend.

But let me stay up and just make sure or whatever it is, just make sure I got the material because just no time for that. The last thing you want to be is the guy they're saying, all right, all right, cut, cut, cut. Murder, let me talk to you for a second, man. Listen, man, they put you to the side. You know. Yeah, I'm glad you used him as an example.

Go ahead, go ahead, murder. You're doing a great job for one to tell you murder. But your guy, yeah, yeah, he's the one. No. Yeah, what's going on? He's the one that we're going to. What's going on.

And that's how I, and I, it's a, shout out to our acting coach, Wendy. That's what she told me. She's like, you way better than Yeo. Like, we had a, we both did the acting. She was like, you way better. I'm not worried about it. She was like, yo, you are way better than Yeo. Shout out the Wendy.

Shout out the Wendy. Well, one of the biggest comedians in the world. He's talking about money and violence. Shout out the Wendy. Shout out the Wendy. It was on there for 30 seconds, man. I want to care. I want to care.

You don't have to take no acting lessons for that shit. Would you care if you on Emmy 9. Emmy nominated show for five seconds, 10, who cares? And hopefully Shane Gillis had me on season four. Hopefully, man. It's my best year ever. Shout to Shane Gillis,

you got to do some real acting, man. You got to do some real acting, man. You got to shout out to all the male actors. Shout to Benny Boom, Swat two. That's another one on that thing. Swat too was garbage. Well, money and balance was garbage. Money and balance is true.

The hood knows what's up. The herd route for money and balance. Let's talk about your tour. Okay. Yeah, basically I'm, people can just even follow me at Real Lennon Brown or TikTok, the real Lennon Brown. And I'm doing, dates are coming in, you know, as I'm moving along.

So, when it's to a start. We already jump in motion next Tuesday, actually. Next Tuesday, I think it's San Diego and then Detroit. And then we just moving around. Shout to Detroit, San Diego. Yeah, man. So we move around. And I got to come back here in New York, man.

New York is great, man. We're going to probably need you back on here again, man. Yeah, man, whatever, man. Let's just do it, man. It's always getting running to you. Do you have kids? Do you really have kids? No, I don't have any kids.

Oh, all right, cool. I thought like you, I thought you had a daughter. in real life. No, I know. I love kids, but I ain't have no kids, though. No, I know right now.

That's dope, man. That's dope, man. So we got Uncle Mav back from the dead. It's going to be hard to get away from that Uncle Mav name for a minute, too, man. You know what, but as we rival, like, I know that it's just, again, it's just one of those things

where we felt that probably that way about Fresh Prince, and then he messed around Dua Lee and then you do some other stuff. That's a fact. That's a fact. That's a fact. We talked about this earlier,

Westie Snipes in New Jack City. And we thought he looked at Nina, but as people, you know, girl, we figure out. That was dope. Good example. So, man, thank you, man. And then we got to remember he did so many movies before this. Like, name some. I remember it was Merry X Christmas.

Yeah, I did a couple of things. Back to the Good Live. I just talked with Kyle Pratt. We, we're trying to figure out. Like, I'm in the trenches of this. Oh, I got you, man. So it's still, it's still early. We still had to break it days.

Let me also shout out my podcast, at Killing the Pod, at Killing the Pod, at Killing the Pott with Justin Hires, BT Kingsley, man. Y'all be sure to watch and tune in. Very inspirational, man. And we're just trying to hear how you got to the millions, how you sell out the theaters,

how you become the guy. So, thank you, man. And you know, it's another thing before you get out of here. I usually ask for the top five. Okay. But it's getting so crazy to do that. So now I got something

where I'm starting the top 10. All right. Top 10 comedians from like, from like back in the days, the 80s to now. I'm going to speed this up. Because the producer ready. Okay, I got you, got you.

No, don't worry. Don't worry. He ain't worried about that, man, nigga. We pay his bill. I care. I care. I'm going with Richard Pryor. I'm going with Eddie.

I got to go with, I got to go with, and there's no order. Richard, Eddie, Chappelle, Patrice O'Neill, Paul Mooney. The Martin Show alone

is just classic. Then, you know, what I will say, I got Kevin on a list. for how Kevin looks out for his friends. I can't be, I'm not mad at that. I will, I'm gonna go with, I'm gonna go, and this ain't even like just on base

on just funny alone. Because I just think there's some other things that's important as you move forward. But I think about what Kat got going on, meaning like even though we may not see him in movies, we may see him in the movies, either way, Kat can always go and sell out something if he's in the hood somewhere.

Like he got the streets like him. But then I think about just, off the cuff funny, I think about Bernie. Shout to Bernie. I think that might be. I don't know the last track, but. I think what was that, eight and nine? Yeah, yeah, okay.

And then I'm a shout out. Ooh, two more, too more. I like Mike Eves, dude. Mike Eves is not to make something. He's not getting out with that. And then I'm going to say Chris, man. Chris fed me. He puts some money in my pocket.

I got to say, yeah, can't forget Chris Tucker, man. Yeah, definitely, man. Yeah, definitely, man. Well, definitely. You got the tour coming. You got the tour. Make sure you don't do no bum-ass movies like SWAT, too. Yeah, listen, he didn't disin me.

Denny Boom. Just make sure you're going to do that. Penny boom. You got to live a future, my nigga. Money and Valance was in one K. Shout out to Money and Valas. We are the streets, baby. We are the streets, baby.

I'm on Netflix. He's 2B. I'm on there. We're on Prime right now. We're on Prime right now. Let's go. Money and Valance is the streets. Whoa!

I survived nine months in captivity, and I've spent my life exploring how other people survive what should have destroyed them. I'm Elizabeth Smart, and these are the Survivor Files. Every week, I'm with survivors who live through the unthinkable, abducted, stalked, controlled, and nearly silenced. These are stories about what it takes to make it out alive. Listen to the Survivor Files with Elizabeth Smart on the IHeart Radio app, Apple Podd or wherever you get your podcasts. I'm Hoda Kotbby, host of the podcast, Joy 101 with Hoda Kotb.

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