1 00:00:00,720 --> 00:00:17,680 Speaker 1: I am all in, kiss you, I am all in 2 00:00:17,960 --> 00:00:22,000 Speaker 1: with Scott Patterson and I heart radio podcast. Hey everybody, 3 00:00:22,040 --> 00:00:26,279 Speaker 1: Scott Patterson, we are going to be talking to one 4 00:00:26,320 --> 00:00:30,280 Speaker 1: of the great New York theater actors of his time, 5 00:00:30,400 --> 00:00:34,879 Speaker 1: Lawrence Hilton Jacobs. Um. He has many credits that you 6 00:00:34,920 --> 00:00:37,760 Speaker 1: know him from. We're gonna get into all that. Very 7 00:00:37,760 --> 00:00:41,880 Speaker 1: excited to talk to him, reconnect with him. Super talented guy, 8 00:00:42,440 --> 00:00:45,559 Speaker 1: a quintessential New York actor. And let's bring him on. 9 00:00:46,800 --> 00:00:50,080 Speaker 1: Lawrence Hilton Jacobs. Ladies and gentlemen, he is here. You 10 00:00:50,120 --> 00:00:55,360 Speaker 1: were part of my childhood watching you and welcome back Connor, 11 00:00:55,400 --> 00:00:59,640 Speaker 1: that brilliant comedy. Um, so, how are you doing? What's 12 00:00:59,640 --> 00:01:02,840 Speaker 1: going on? Oh good man? Keeping it busy, you know, 13 00:01:02,960 --> 00:01:05,319 Speaker 1: and stuff like that. You know, Um, you know, kids 14 00:01:05,360 --> 00:01:07,720 Speaker 1: are big. You know, we got grandkids, you know, the drails. 15 00:01:09,319 --> 00:01:11,120 Speaker 1: Look at the youngest one is twelve out of my 16 00:01:11,160 --> 00:01:16,040 Speaker 1: grand babies, and so you know, she's developing, she's becoming 17 00:01:16,160 --> 00:01:22,040 Speaker 1: young ladies taking me out and uh, well it's wonderful 18 00:01:22,080 --> 00:01:23,920 Speaker 1: to watch them all grow up, isn't it. It's just 19 00:01:23,920 --> 00:01:27,880 Speaker 1: such a wonder man. How you holding. I'm doing good? 20 00:01:27,959 --> 00:01:31,080 Speaker 1: You know, I'm in Halifax. Shooting a TV series. I 21 00:01:31,160 --> 00:01:34,240 Speaker 1: missed my I missed my boy more and more every day. 22 00:01:34,280 --> 00:01:35,679 Speaker 1: I don't know how I'm gonna get through this, but 23 00:01:35,680 --> 00:01:38,520 Speaker 1: I'm gonna gonna have to get through it. Um miss 24 00:01:38,560 --> 00:01:41,320 Speaker 1: my wife, I miss everybody. It's just it's it's hard 25 00:01:41,360 --> 00:01:45,200 Speaker 1: to be on location. I'm sixty three years old now 26 00:01:45,280 --> 00:01:47,280 Speaker 1: and I'm on location and I never thought i would 27 00:01:47,280 --> 00:01:49,960 Speaker 1: be on location at this age. But you know, it's 28 00:01:49,960 --> 00:01:52,240 Speaker 1: a great job. But can what can you do? You know, 29 00:01:52,520 --> 00:01:54,360 Speaker 1: it's a it's a great role, it's a great part. 30 00:01:54,520 --> 00:01:57,200 Speaker 1: So the family that we're down with them because they 31 00:01:57,240 --> 00:01:59,440 Speaker 1: know that, and we just have to roll with the 32 00:01:59,520 --> 00:02:03,040 Speaker 1: dice and you know, the actor's life. Well, look, thanks 33 00:02:03,080 --> 00:02:07,040 Speaker 1: for coming in. You played principal Martin. How did you 34 00:02:07,080 --> 00:02:10,320 Speaker 1: get cast? Tell us about it. It's funny man on casting, 35 00:02:10,400 --> 00:02:13,080 Speaker 1: But I was the only male up for that gig. 36 00:02:13,720 --> 00:02:16,720 Speaker 1: That was I was like, you know, I don't think 37 00:02:16,720 --> 00:02:18,120 Speaker 1: it was gonna happen to you because I came in 38 00:02:18,200 --> 00:02:20,320 Speaker 1: and men and they have the audition process, and I 39 00:02:20,360 --> 00:02:22,040 Speaker 1: saw these females and a lot of one of the 40 00:02:22,080 --> 00:02:23,920 Speaker 1: actresses have been around for a long time, you know, 41 00:02:24,400 --> 00:02:26,960 Speaker 1: and so forth, and I was like, well, okay, Lee 42 00:02:27,120 --> 00:02:29,280 Speaker 1: was going to do my thing and I went in, 43 00:02:29,360 --> 00:02:31,880 Speaker 1: I popped on my glasses. That did it and didn't 44 00:02:31,919 --> 00:02:33,760 Speaker 1: let me leave the room. I told me I had 45 00:02:33,800 --> 00:02:39,800 Speaker 1: the parts. Nice. Um, why did you decide to go 46 00:02:39,800 --> 00:02:42,280 Speaker 1: into acting? And how did you break into the industry? 47 00:02:42,639 --> 00:02:49,120 Speaker 1: Because I was like, you were nuts, psychiatric help. I've 48 00:02:49,120 --> 00:02:51,680 Speaker 1: been doing it now five years. Man, you know I'm 49 00:02:53,240 --> 00:02:55,399 Speaker 1: coming to Sunday. I'm gonna be sixty nine, he said, 50 00:02:55,440 --> 00:02:59,280 Speaker 1: sixty three six coming up, you know. And um, I've 51 00:02:59,320 --> 00:03:02,520 Speaker 1: been doing it since um sixteen, nineteen sixty nine when 52 00:03:02,560 --> 00:03:04,760 Speaker 1: I got into the game, and um, you know, while 53 00:03:04,760 --> 00:03:06,280 Speaker 1: I was going to school of Art in design, I 54 00:03:06,280 --> 00:03:08,800 Speaker 1: grew up New York City, I just always wanted to 55 00:03:08,840 --> 00:03:10,919 Speaker 1: do it and try it, and you know, and as 56 00:03:10,919 --> 00:03:13,920 Speaker 1: a kid, I used to always um elementary school. They 57 00:03:13,919 --> 00:03:16,239 Speaker 1: always equip me in the place and always got to leave. 58 00:03:16,280 --> 00:03:17,960 Speaker 1: But it was like Peter and the Wolf, and I 59 00:03:17,960 --> 00:03:20,720 Speaker 1: guess it's just in you know, something like that. So 60 00:03:20,960 --> 00:03:24,640 Speaker 1: many remember you from Welcome Back Hodder. You play student, 61 00:03:24,680 --> 00:03:28,280 Speaker 1: and you years later on Gilmore Girls and you're a 62 00:03:28,320 --> 00:03:30,200 Speaker 1: school principal. What did you think of being back in 63 00:03:30,240 --> 00:03:34,560 Speaker 1: school setting, but this time playing an authority figure. I 64 00:03:34,639 --> 00:03:36,120 Speaker 1: didn't think of it in that way, you know. I 65 00:03:36,160 --> 00:03:37,720 Speaker 1: thought of it as let me do a good job 66 00:03:37,720 --> 00:03:39,600 Speaker 1: and learn the lines, and then the Gilmore girls you 67 00:03:39,640 --> 00:03:44,040 Speaker 1: have to learn the lines exactly as they are. It 68 00:03:44,080 --> 00:03:46,880 Speaker 1: was fun, you know. It's always interesting to try something 69 00:03:46,920 --> 00:03:50,320 Speaker 1: different or something that um can stretch you as an actor, 70 00:03:50,720 --> 00:03:52,360 Speaker 1: you know, and I've been I've been blessed in that way. 71 00:03:52,400 --> 00:03:54,760 Speaker 1: I've been able to play a moder variety of roles 72 00:03:54,760 --> 00:03:57,840 Speaker 1: over the many years of doing it. So it was fun. 73 00:03:57,880 --> 00:03:59,240 Speaker 1: I know. We had a little back and forth when 74 00:03:59,320 --> 00:04:01,600 Speaker 1: there was kind of you know, and um, we were 75 00:04:01,600 --> 00:04:03,520 Speaker 1: into it and so well I think we did all right. 76 00:04:04,280 --> 00:04:08,120 Speaker 1: Oh yeah, um, so we just recapped that episode Keg 77 00:04:08,160 --> 00:04:10,720 Speaker 1: Max where you played a pivotal role in justice life 78 00:04:10,720 --> 00:04:12,640 Speaker 1: and telling me he isn't graduating high school. Do you 79 00:04:12,640 --> 00:04:15,280 Speaker 1: remember the scene? You know something? I remember both of 80 00:04:15,280 --> 00:04:17,960 Speaker 1: them because I did him a you're apart. I remember 81 00:04:18,000 --> 00:04:19,719 Speaker 1: the first one was with the was the first one 82 00:04:19,760 --> 00:04:22,120 Speaker 1: with you. The second one was with you the second 83 00:04:22,200 --> 00:04:25,680 Speaker 1: year we have done the scene. I think the first 84 00:04:25,839 --> 00:04:28,160 Speaker 1: I think the first one was with me. It was 85 00:04:28,200 --> 00:04:30,640 Speaker 1: with you. Okay, I'm getting flipped and but but I 86 00:04:30,640 --> 00:04:32,680 Speaker 1: remember the young man coming in, and um, he was 87 00:04:32,680 --> 00:04:35,080 Speaker 1: a nice dude. You know, we talked and I mean, 88 00:04:35,080 --> 00:04:37,080 Speaker 1: you know, you don't remember everything. You kind of getting 89 00:04:38,200 --> 00:04:41,840 Speaker 1: around a while, but remember the experience was good. Um, 90 00:04:41,839 --> 00:04:46,720 Speaker 1: it moved pretty quickly and so forth, and so there 91 00:04:46,720 --> 00:04:50,680 Speaker 1: it is. Man, Yeah, so what so you recall Milo 92 00:04:50,880 --> 00:04:53,239 Speaker 1: was a nice young kid and um, as an actor, 93 00:04:53,279 --> 00:04:56,039 Speaker 1: he was definitely ready and on on, which you know, 94 00:04:56,360 --> 00:04:59,640 Speaker 1: we always gonna appreciate. Um. You know, your show was 95 00:04:59,680 --> 00:05:02,359 Speaker 1: the show that was very exacting on how you had 96 00:05:02,400 --> 00:05:04,960 Speaker 1: to perform something in terms of dialogue and so forth. 97 00:05:05,000 --> 00:05:07,360 Speaker 1: But I didn't feel restrained by that. But we're able 98 00:05:07,400 --> 00:05:08,880 Speaker 1: to find a little give and take with each other 99 00:05:08,880 --> 00:05:11,000 Speaker 1: that had some spontaneity in it. So that meant he 100 00:05:11,080 --> 00:05:14,120 Speaker 1: was a responsive young man. And um, so that that 101 00:05:14,279 --> 00:05:19,200 Speaker 1: enlightened me. Mm hmmmmm. Um. So what was your experience 102 00:05:19,240 --> 00:05:24,880 Speaker 1: like on the set compared to others? Um? Uh, you know, 103 00:05:25,000 --> 00:05:27,080 Speaker 1: when you're doing television as we've done for a lot 104 00:05:27,120 --> 00:05:30,520 Speaker 1: of the years, especially when we did Welcome mcconter, we 105 00:05:30,640 --> 00:05:32,680 Speaker 1: had dialogue, but we could be loose with it at times, 106 00:05:32,680 --> 00:05:35,200 Speaker 1: you know, and many times would have happened on camera 107 00:05:35,240 --> 00:05:37,479 Speaker 1: that became the lore of the show. We made it 108 00:05:37,560 --> 00:05:39,200 Speaker 1: up on the spot and somehow we just knew how 109 00:05:39,240 --> 00:05:42,680 Speaker 1: to respond. That ain't the Gilmore Girls. You know you 110 00:05:42,760 --> 00:05:46,840 Speaker 1: gotta written has got to be this and and so forth. So, um, 111 00:05:46,880 --> 00:05:48,719 Speaker 1: that made you really pay attention and it woke me 112 00:05:48,760 --> 00:05:51,160 Speaker 1: up a little bit. But on the set it right, 113 00:05:51,120 --> 00:05:52,880 Speaker 1: It is very very nice, you know, it was. You 114 00:05:52,880 --> 00:05:54,760 Speaker 1: could feel it as a family crew or a crew. 115 00:05:54,839 --> 00:05:57,920 Speaker 1: People are familiar with one another, so nobody tripped. They 116 00:05:57,920 --> 00:06:01,360 Speaker 1: were certainly very nice to me, um, and I was 117 00:06:01,440 --> 00:06:06,440 Speaker 1: nice to them as well. So all right, Um, had 118 00:06:06,440 --> 00:06:10,279 Speaker 1: you watched Gilmore Girls before taking the role? You know 119 00:06:10,400 --> 00:06:13,159 Speaker 1: something I had seen. It's like a lot of television. Um, 120 00:06:13,160 --> 00:06:15,039 Speaker 1: when you're in television as long as I've been in it, 121 00:06:15,440 --> 00:06:17,120 Speaker 1: you don't watch a lot of shows, which may not 122 00:06:17,160 --> 00:06:18,960 Speaker 1: be a good advertisement for our game, but it is. 123 00:06:19,320 --> 00:06:21,440 Speaker 1: But I had seen many clips and so I had 124 00:06:21,440 --> 00:06:23,359 Speaker 1: a feeling with the Gilmore Girls about this is the 125 00:06:23,360 --> 00:06:25,880 Speaker 1: popular show and on the c W back in that day, 126 00:06:25,920 --> 00:06:28,279 Speaker 1: so it was there. So I was very aware of 127 00:06:28,320 --> 00:06:30,560 Speaker 1: the mother and the daughter and the whole nine thing. 128 00:06:31,000 --> 00:06:32,560 Speaker 1: So I had a feeling what it was about. And 129 00:06:32,920 --> 00:06:37,160 Speaker 1: I like the show. I know some of my um 130 00:06:37,360 --> 00:06:40,160 Speaker 1: younger family. Uh you never know anywhere, but younger than 131 00:06:40,160 --> 00:06:41,880 Speaker 1: when they saw it. They were like lightening. Well that's 132 00:06:41,920 --> 00:06:52,040 Speaker 1: my favorite chilly Compare what it was like working back 133 00:06:52,279 --> 00:06:55,320 Speaker 1: in the seven early seventies, like Cornor was on. What 134 00:06:55,360 --> 00:06:57,600 Speaker 1: were the years? It was early seventies and mid seventies, 135 00:06:57,960 --> 00:07:01,159 Speaker 1: five to seventy nine, five seven nine, So what was 136 00:07:02,200 --> 00:07:05,200 Speaker 1: tell us how different it was back then compared to now. 137 00:07:05,560 --> 00:07:08,120 Speaker 1: You know a lot of television television as well as 138 00:07:08,160 --> 00:07:10,600 Speaker 1: movie still had movie stars and big stars. There was 139 00:07:10,640 --> 00:07:12,720 Speaker 1: a lot of fanfare behind that. When we did the 140 00:07:12,720 --> 00:07:15,600 Speaker 1: Welcome Macato Show, you did the show where you came 141 00:07:15,640 --> 00:07:17,160 Speaker 1: in on a Monday, you had to read through with 142 00:07:17,200 --> 00:07:19,360 Speaker 1: the cast and the crew and all you know, the 143 00:07:20,200 --> 00:07:22,280 Speaker 1: staff and so forth. Then you gotta when you started 144 00:07:22,280 --> 00:07:24,560 Speaker 1: rehearsing on its feet. You did that for a couple 145 00:07:24,600 --> 00:07:26,320 Speaker 1: of days. By Wednesday you would do it again, but 146 00:07:26,400 --> 00:07:27,920 Speaker 1: this time the network would come in and give their 147 00:07:27,960 --> 00:07:30,920 Speaker 1: approvals and make the changes. Then Thursday would come around 148 00:07:30,920 --> 00:07:33,000 Speaker 1: and we would block the show. The camera block it 149 00:07:33,440 --> 00:07:35,560 Speaker 1: will they Then on the fifth day, which is Friday, 150 00:07:35,560 --> 00:07:38,000 Speaker 1: you get it was being rewritten all the way. You 151 00:07:38,040 --> 00:07:40,040 Speaker 1: get your rewrites delivered to you early that morning. You 152 00:07:40,080 --> 00:07:42,560 Speaker 1: get to work by twelve thirty day afternoon, and then 153 00:07:42,560 --> 00:07:45,720 Speaker 1: you really pin, you know, fine tune what you've been 154 00:07:45,720 --> 00:07:48,360 Speaker 1: rehearsing in terms of camshots and so forth. And then 155 00:07:48,480 --> 00:07:50,840 Speaker 1: at five thirty we would do an earlier show with 156 00:07:50,840 --> 00:07:52,840 Speaker 1: an audience of three hundred. We should call at the 157 00:07:52,880 --> 00:07:57,280 Speaker 1: out of town tryouts. And then you do that, and 158 00:07:57,280 --> 00:07:58,840 Speaker 1: then we go off to dinner and we get notes, 159 00:07:58,880 --> 00:07:59,960 Speaker 1: and then we come back and we do an eight 160 00:08:00,040 --> 00:08:03,320 Speaker 1: collection with a new audience and three people, and that 161 00:08:03,120 --> 00:08:05,760 Speaker 1: that was over. We might do some pickups. Now, in 162 00:08:05,840 --> 00:08:09,080 Speaker 1: the beginning we first did it, we were there. We'd 163 00:08:09,080 --> 00:08:10,720 Speaker 1: come to work and we'd be there to tow three 164 00:08:10,760 --> 00:08:13,160 Speaker 1: in the morning shooting. But you get your show down, 165 00:08:13,400 --> 00:08:15,560 Speaker 1: you know, after a while. By the time we got 166 00:08:15,600 --> 00:08:17,960 Speaker 1: into the third year, certainly the fourth year, I mean 167 00:08:18,000 --> 00:08:20,080 Speaker 1: we're out of that. Studios passed, we really got notes, 168 00:08:20,240 --> 00:08:21,960 Speaker 1: we shot it, we were at it about not thirty 169 00:08:21,960 --> 00:08:25,040 Speaker 1: and night we're done. Wow. You know. Even rehearsals, we 170 00:08:25,080 --> 00:08:27,680 Speaker 1: would come in and rehearsals used to be at like 171 00:08:27,760 --> 00:08:30,120 Speaker 1: nine am, and it would go till six. Eventually it 172 00:08:30,160 --> 00:08:32,559 Speaker 1: became like eleven to four. I would sit down with 173 00:08:32,720 --> 00:08:35,839 Speaker 1: not not even trying to memorize it, read the script 174 00:08:35,920 --> 00:08:37,920 Speaker 1: and know it. It just it just got to be 175 00:08:38,000 --> 00:08:42,199 Speaker 1: like that for right, right right, and and you know 176 00:08:42,600 --> 00:08:44,920 Speaker 1: that's the difference thing working on a sitcom in front 177 00:08:44,960 --> 00:08:47,679 Speaker 1: of a live audience as opposed to working on a 178 00:08:47,720 --> 00:08:51,120 Speaker 1: show like Gilmore Girls. You do you like it better 179 00:08:51,200 --> 00:08:52,760 Speaker 1: in front of a live one? Did you like the 180 00:08:52,880 --> 00:08:57,200 Speaker 1: conter four or four camera live audience sitcom better than anything? 181 00:08:57,760 --> 00:08:59,240 Speaker 1: I think you make the adjustments that you go along 182 00:08:59,320 --> 00:09:01,320 Speaker 1: least that's might take on it. Um I came, I 183 00:09:01,360 --> 00:09:03,079 Speaker 1: come from theater. Is a lot of us, do you know? 184 00:09:03,160 --> 00:09:05,640 Speaker 1: I did different guys growing up as an actor and 185 00:09:05,720 --> 00:09:08,320 Speaker 1: living in New York City. Um, I learned to make 186 00:09:08,360 --> 00:09:10,520 Speaker 1: the adjustments. I started doing a lot of film before 187 00:09:10,520 --> 00:09:12,760 Speaker 1: I ever came to the sitcom thing. And when we 188 00:09:12,800 --> 00:09:14,600 Speaker 1: got in there with the four camera, the three cameras 189 00:09:14,600 --> 00:09:16,920 Speaker 1: in the one fourth camera as an isolator which they 190 00:09:17,040 --> 00:09:20,640 Speaker 1: call iso camera, you make the adjustments and so forth 191 00:09:20,679 --> 00:09:23,760 Speaker 1: and so um is there a preference? Um? Probably the 192 00:09:23,880 --> 00:09:25,839 Speaker 1: future films I like doing. I like doing the film 193 00:09:25,920 --> 00:09:28,800 Speaker 1: thing more like what you guys are doing. But doesn't 194 00:09:28,800 --> 00:09:30,800 Speaker 1: make any difference to me. No, you know, you just 195 00:09:30,840 --> 00:09:33,240 Speaker 1: make the adjustment and you, um, you understand that you 196 00:09:33,280 --> 00:09:34,960 Speaker 1: have to lay yourself back a certain way if you're 197 00:09:34,960 --> 00:09:36,880 Speaker 1: doing television, or you have to deliver it a certain 198 00:09:36,880 --> 00:09:39,640 Speaker 1: way if you're doing theater, and you just um step 199 00:09:39,720 --> 00:09:42,480 Speaker 1: up to that to that flavor, right right, right. So 200 00:09:42,520 --> 00:09:44,160 Speaker 1: you so you did a lot of New York theater. 201 00:09:44,240 --> 00:09:45,959 Speaker 1: You did you work with Joe Pop? Did you work 202 00:09:46,040 --> 00:09:48,520 Speaker 1: with uh? That wasn't When I went out one summer 203 00:09:48,559 --> 00:09:51,200 Speaker 1: with Joe Pap doing um, the New York Shakespeare Festival, 204 00:09:51,240 --> 00:09:53,679 Speaker 1: we did um ceremonies and UM when a ceremonies in 205 00:09:53,720 --> 00:09:57,240 Speaker 1: different what the wine sellers by with Joe Pap and 206 00:09:57,320 --> 00:09:58,920 Speaker 1: Joe Pap was really this is what he always did. 207 00:09:58,960 --> 00:10:01,120 Speaker 1: He was he would come around, he'd be a nice guy. 208 00:10:01,160 --> 00:10:02,679 Speaker 1: He always brought this I don't know if he came 209 00:10:02,679 --> 00:10:05,160 Speaker 1: out of the celling he read this this uh box 210 00:10:05,280 --> 00:10:07,120 Speaker 1: with all these wines and they came out of this 211 00:10:07,280 --> 00:10:09,920 Speaker 1: big creep and he gave everybody a bottle of wine 212 00:10:09,960 --> 00:10:15,199 Speaker 1: and thank you and this episode joke right, Uh, did 213 00:10:15,200 --> 00:10:17,080 Speaker 1: you ever? Did you ever work at the circle wrapper 214 00:10:17,280 --> 00:10:20,760 Speaker 1: place like that? A circle rapper? I auditioned for Joyce 215 00:10:20,880 --> 00:10:24,960 Speaker 1: Scott and didn't get the part George Sea, thank you, um, 216 00:10:25,320 --> 00:10:26,559 Speaker 1: but I tell you down at the public theater, and 217 00:10:26,640 --> 00:10:28,840 Speaker 1: we were down here a really enlightening thing for me 218 00:10:28,960 --> 00:10:32,480 Speaker 1: is um. Other people were always rehearsing work there. So 219 00:10:32,559 --> 00:10:34,560 Speaker 1: there was a young actor who was just about to happen, 220 00:10:35,000 --> 00:10:36,520 Speaker 1: and he was a North Broadway star and he was 221 00:10:36,520 --> 00:10:39,120 Speaker 1: rehearsing and he was no further further than maybe five 222 00:10:39,160 --> 00:10:41,480 Speaker 1: feet from me. And I'm in the audience watching him 223 00:10:41,640 --> 00:10:43,920 Speaker 1: rehearsed with the strip in his hand, and he's intense 224 00:10:44,240 --> 00:10:49,640 Speaker 1: and he's into his thing, and he's so there's Alpaccino. Man. Wow. 225 00:10:50,000 --> 00:10:54,040 Speaker 1: And then and there was like local joking dude, he 226 00:10:54,080 --> 00:10:56,640 Speaker 1: walks in. It was Morgan Freeman. So this is what happened. 227 00:10:56,640 --> 00:10:57,920 Speaker 1: This is the kind of people who was floating in 228 00:10:57,920 --> 00:11:01,360 Speaker 1: out and Dick, Anthony Williams and Roscoe round and oh man, 229 00:11:01,400 --> 00:11:03,720 Speaker 1: it was a nutsman. Johnny could say a lot of them, catchman. 230 00:11:03,760 --> 00:11:06,160 Speaker 1: I would see them all the time down there and 231 00:11:06,160 --> 00:11:08,079 Speaker 1: then get to know some of them and talk to them. 232 00:11:08,080 --> 00:11:11,520 Speaker 1: So for a young actor it was super education. So 233 00:11:11,679 --> 00:11:13,800 Speaker 1: that they all came through the public theater as well. 234 00:11:14,200 --> 00:11:16,920 Speaker 1: Everybody had stepped through the public theater that ever took 235 00:11:16,920 --> 00:11:18,440 Speaker 1: a step in New York City and wanted to be 236 00:11:18,440 --> 00:11:20,800 Speaker 1: an actor. We had down there. There was also the 237 00:11:20,880 --> 00:11:24,600 Speaker 1: Lamana Theater. There was you know, there was a new Um, 238 00:11:25,040 --> 00:11:27,600 Speaker 1: the New Federal you know theater down there with Whitty 239 00:11:27,679 --> 00:11:31,080 Speaker 1: King Jr. Ran forever until he retired recently, and um, 240 00:11:31,080 --> 00:11:33,880 Speaker 1: we all had our steps. There was was the Wooster 241 00:11:33,920 --> 00:11:36,440 Speaker 1: group going that weren't going back in the seventy front. 242 00:11:36,240 --> 00:11:42,440 Speaker 1: That's Willem Dafoe and Elizabeth the Compton um not knowing 243 00:11:42,480 --> 00:11:46,240 Speaker 1: that super super they were down on Garage Street or 244 00:11:46,280 --> 00:11:47,360 Speaker 1: something like that. I mean, it was just like this 245 00:11:47,480 --> 00:11:51,720 Speaker 1: super experimental stuff, that stuff going on down in the village, 246 00:11:51,720 --> 00:11:53,400 Speaker 1: you know, Like I said, the Lama, it was like that. 247 00:11:53,960 --> 00:11:56,600 Speaker 1: Mama did a lot of Yeah. I studied out of 248 00:11:56,640 --> 00:11:59,800 Speaker 1: the New Ensemble Company and then up in Harlem at 249 00:11:59,800 --> 00:12:03,560 Speaker 1: the Fantastical Ensemble. You know. Um, I had two days 250 00:12:03,600 --> 00:12:07,599 Speaker 1: in the actor's studio, did you Yeah, you know, I 251 00:12:07,640 --> 00:12:09,400 Speaker 1: mean there there was always gonna be really difficult to 252 00:12:09,400 --> 00:12:12,680 Speaker 1: get into the actor's studio. So listen, I walked up 253 00:12:12,679 --> 00:12:14,319 Speaker 1: to the door and they didn't they said, you're in. 254 00:12:14,640 --> 00:12:16,480 Speaker 1: I was shocked. I guess they had seen I've done 255 00:12:16,480 --> 00:12:19,120 Speaker 1: a movie called Clodian, you know, and so they had 256 00:12:19,120 --> 00:12:20,880 Speaker 1: seen that movie and so they knew me. They said, no, 257 00:12:20,960 --> 00:12:23,600 Speaker 1: you're in. And then two days later I got Coolie high, 258 00:12:23,640 --> 00:12:27,280 Speaker 1: so I had to split. So the actor's studio admitted 259 00:12:27,320 --> 00:12:31,320 Speaker 1: you as a member without auditioning because they've seen you 260 00:12:31,360 --> 00:12:34,000 Speaker 1: in a film. That's my assumption. These So they didn't 261 00:12:34,000 --> 00:12:36,360 Speaker 1: give me any they didn't give me no, no preamble, 262 00:12:36,400 --> 00:12:38,640 Speaker 1: and they said, okay, you're I came in and set 263 00:12:39,360 --> 00:12:41,120 Speaker 1: a couple of times to see people doing that thing. 264 00:12:41,240 --> 00:12:43,840 Speaker 1: You know. Didn't do it with Eli Strassburg, but other 265 00:12:43,880 --> 00:12:47,080 Speaker 1: teachers were there. And that was gone for six weeks, 266 00:12:47,200 --> 00:12:49,079 Speaker 1: six and a half weeks in Chicago doing COOLi hut 267 00:12:49,480 --> 00:12:51,600 Speaker 1: I was. I was an observer there for a couple 268 00:12:51,600 --> 00:12:53,280 Speaker 1: of years. I did a bunch of plays there, but 269 00:12:53,400 --> 00:12:56,640 Speaker 1: I never I auditioned once and they stopped me in 270 00:12:56,679 --> 00:12:59,480 Speaker 1: the first two and a half minutes. So it's like 271 00:12:59,679 --> 00:13:02,920 Speaker 1: they were shattering. But they never they never let anybody 272 00:13:02,960 --> 00:13:07,120 Speaker 1: buy after their first audition. Never the front door there, 273 00:13:07,160 --> 00:13:08,199 Speaker 1: you know, when you went in there and it was 274 00:13:08,240 --> 00:13:10,480 Speaker 1: all closed off in that little bobby, you know, and 275 00:13:10,520 --> 00:13:12,040 Speaker 1: they had this little slip thing they you know, they 276 00:13:12,080 --> 00:13:13,960 Speaker 1: opened up and looked like you know, Joe sent me. 277 00:13:14,000 --> 00:13:20,360 Speaker 1: It almost felt like, you know how that just worked out, 278 00:13:20,400 --> 00:13:23,520 Speaker 1: you know with me. So I had to act studio, 279 00:13:23,760 --> 00:13:26,360 Speaker 1: very intense experience in there. That that was That was 280 00:13:26,440 --> 00:13:30,720 Speaker 1: something um um. So you're currently working on a series 281 00:13:30,760 --> 00:13:33,800 Speaker 1: called A House Divided on Amazon Prime and All Black 282 00:13:34,480 --> 00:13:38,160 Speaker 1: or A L L B l K All TV, which 283 00:13:38,200 --> 00:13:42,760 Speaker 1: also Amazon Prime. It's underwritten by A mc amaz We're 284 00:13:42,840 --> 00:13:45,160 Speaker 1: doing that now for about three years. We just finished 285 00:13:45,160 --> 00:13:48,400 Speaker 1: a fifth season and playing this super lely rich guy 286 00:13:48,480 --> 00:13:51,319 Speaker 1: who's got a family of problem children and everybody else 287 00:13:51,720 --> 00:13:55,200 Speaker 1: and we're going through the most intense drama this last season, 288 00:13:55,440 --> 00:13:58,679 Speaker 1: which is coming out in October. They decided to make 289 00:13:58,679 --> 00:14:00,920 Speaker 1: me go nuts and I was having all just losing 290 00:14:00,920 --> 00:14:03,839 Speaker 1: my mind. So I'm missing everybody up, I'm having a 291 00:14:03,840 --> 00:14:07,079 Speaker 1: good time with and and that's that's Cameron Sanders, the 292 00:14:07,559 --> 00:14:11,520 Speaker 1: character of Cameron Sanders writing. I'm directing, and they got 293 00:14:11,520 --> 00:14:13,400 Speaker 1: me doing it all man so and I'm one of 294 00:14:13,440 --> 00:14:15,280 Speaker 1: the co producers on the show. So it's pretty cool. 295 00:14:15,440 --> 00:14:19,280 Speaker 1: All right. So check out Lawrence Hilton Jacobs and the 296 00:14:19,360 --> 00:14:23,440 Speaker 1: Amazon Prime House Divided. Uh, you'll be glad you did. 297 00:14:23,440 --> 00:14:25,840 Speaker 1: You also have a film coming out this October called 298 00:14:26,000 --> 00:14:28,160 Speaker 1: night Stalker. What can you tell us about it? We 299 00:14:28,400 --> 00:14:32,120 Speaker 1: don't start until a late part of October, and it's 300 00:14:32,120 --> 00:14:34,800 Speaker 1: based on a true story about a serial killer whoever 301 00:14:34,760 --> 00:14:37,320 Speaker 1: were killing a lot of women in Atlantic City and 302 00:14:37,320 --> 00:14:39,560 Speaker 1: then eventually went up to Long Island and they can 303 00:14:39,600 --> 00:14:42,000 Speaker 1: They never knew who this guy was, so they made 304 00:14:42,000 --> 00:14:44,160 Speaker 1: a story based on that with myself in two hot 305 00:14:44,240 --> 00:14:48,440 Speaker 1: shot female detectives and who come to the wrong jurisdiction. 306 00:14:48,480 --> 00:14:50,920 Speaker 1: But we gotta get this guy. And so that's the 307 00:14:51,400 --> 00:14:53,760 Speaker 1: through line of the film. Now, in real life, I 308 00:14:53,840 --> 00:14:56,920 Speaker 1: heard from the director, whose name is Keith Veil that Um, 309 00:14:56,960 --> 00:14:59,880 Speaker 1: the guy who had um was the elusive killer. They 310 00:15:00,000 --> 00:15:02,480 Speaker 1: found him, but he was a junkie and odeed and 311 00:15:02,520 --> 00:15:04,680 Speaker 1: he had an ode brother that I mean buddy that 312 00:15:05,160 --> 00:15:08,040 Speaker 1: you know, fested up about him. So did They didn't 313 00:15:08,120 --> 00:15:10,360 Speaker 1: rewrite the movie to put that in there because they 314 00:15:10,400 --> 00:15:12,280 Speaker 1: had a better in me. I just they like. But 315 00:15:12,280 --> 00:15:14,960 Speaker 1: but he gets his in the end, and you know 316 00:15:15,120 --> 00:15:17,360 Speaker 1: and um, I won't give it away, but um, but 317 00:15:17,400 --> 00:15:23,240 Speaker 1: I get him. Um. Okay, you're ready to play rapid fire, 318 00:15:24,120 --> 00:15:28,760 Speaker 1: Come on with it, man. How many coups of coffee 319 00:15:28,760 --> 00:15:31,560 Speaker 1: you have them? Every day. I don't drink coffee at all. None. 320 00:15:32,040 --> 00:15:35,360 Speaker 1: Who is your favorite Gilmore Girls character? The guy I'm 321 00:15:35,520 --> 00:15:37,520 Speaker 1: I'm looking at right now? There you go, There you go? 322 00:15:37,600 --> 00:15:42,160 Speaker 1: What would you order it? Luke's Diner? Um? Hamburger? Would 323 00:15:42,200 --> 00:15:46,320 Speaker 1: you rather go on a road trip with Taylor or Michelle? Um? 324 00:15:46,360 --> 00:15:51,080 Speaker 1: The jury is out? Yeah, that's probably neither. Uh finished 325 00:15:51,400 --> 00:15:54,280 Speaker 1: finished the lyric? And where you lead? I will follow? 326 00:15:55,840 --> 00:15:58,920 Speaker 1: What's the w where you go? I believe that's it. 327 00:15:59,160 --> 00:16:02,280 Speaker 1: I'm never remembering anywhere that you tell me? Too so close. 328 00:16:02,440 --> 00:16:04,600 Speaker 1: We're gonna We're gonna give you the We're gonna give 329 00:16:04,640 --> 00:16:09,360 Speaker 1: you the points on that one. Uh, Jackson's Vegetables or 330 00:16:09,560 --> 00:16:14,240 Speaker 1: Suki's Baked Goods Jackson's Vegetables. Man mean, yeah, you get 331 00:16:14,360 --> 00:16:17,640 Speaker 1: better believe it? Uh? Would you rather listen to Drella's 332 00:16:17,640 --> 00:16:21,120 Speaker 1: Harper the Trooper Doors cover songs? Trop Doors? I used 333 00:16:21,120 --> 00:16:25,120 Speaker 1: to go, hang up there? Are you kidding me? Children? 334 00:16:25,160 --> 00:16:31,040 Speaker 1: Prepper Stars Hollow Hi? Sit again? Chilton Prep or Stars 335 00:16:31,120 --> 00:16:35,480 Speaker 1: Hollow Hi? Oh Stars Hollow Hun. That's because you're the principal. 336 00:16:35,840 --> 00:16:37,680 Speaker 1: That's right, man, I'm in charge. Dare I tell people 337 00:16:37,680 --> 00:16:40,480 Speaker 1: were like what to do and maybe actually listen to me, Lawrence. 338 00:16:40,640 --> 00:16:43,920 Speaker 1: It was a pleasure talking to you, catching up with you, 339 00:16:44,600 --> 00:16:47,640 Speaker 1: and you are the real deal. I'm gonna read some 340 00:16:47,680 --> 00:16:50,600 Speaker 1: of your credits if you don't mind. Uh. You were 341 00:16:50,680 --> 00:16:56,480 Speaker 1: best known for playing Freddie Boom Boom Washington. Absolutely, welcome 342 00:16:56,480 --> 00:17:00,400 Speaker 1: back Carter, Welcome back Cotter. Uh oh, and you had 343 00:17:00,400 --> 00:17:02,200 Speaker 1: so much attitude. I remember when I was a kid 344 00:17:02,280 --> 00:17:05,440 Speaker 1: watch watching you. The attitude. I was like, Wow, that's good. 345 00:17:05,520 --> 00:17:07,600 Speaker 1: We're bout a little tough New York guys. When we 346 00:17:07,640 --> 00:17:12,600 Speaker 1: got all of us. You will also appear a number 347 00:17:12,600 --> 00:17:15,439 Speaker 1: of films and television use Glen Claudeine what you mentioned 348 00:17:15,440 --> 00:17:18,480 Speaker 1: got you into the actress studio Coolly High Roots Wow, 349 00:17:18,920 --> 00:17:22,760 Speaker 1: Roots was a massive television event. I don't know Roots. 350 00:17:23,040 --> 00:17:24,960 Speaker 1: This Sunday, I was at Glenn Terman's house that just 351 00:17:25,080 --> 00:17:26,679 Speaker 1: ranch has a ranch and you want to have a 352 00:17:26,680 --> 00:17:28,800 Speaker 1: bunch of people over. And I had not seen him 353 00:17:28,800 --> 00:17:31,480 Speaker 1: in years. I was sitting down with Ben Vereen from Roots. 354 00:17:31,520 --> 00:17:37,640 Speaker 1: Oh my goodness. Really in Years Man, which was just wow, Uh, 355 00:17:38,200 --> 00:17:42,520 Speaker 1: Bangers and Mash Alien Nation, The Jackson's in American Dream 356 00:17:42,600 --> 00:17:47,800 Speaker 1: and thirty one. Uh. Lawrence, has been a pleasure. Thank you. 357 00:17:47,800 --> 00:17:51,080 Speaker 1: You're the real deal. You're a real, real New York 358 00:17:51,119 --> 00:17:56,320 Speaker 1: theater actor who branched out and and uh got success 359 00:17:56,359 --> 00:17:58,679 Speaker 1: in film and television. Can't wait to check out the 360 00:17:58,680 --> 00:18:01,200 Speaker 1: new series. I'm gonna I'm gonna dig into it tonight, 361 00:18:01,400 --> 00:18:05,000 Speaker 1: I think. Okay, Uh, I'm good luck with your show, 362 00:18:05,080 --> 00:18:07,080 Speaker 1: you know. And keep on strolling, man, But get homes 363 00:18:07,080 --> 00:18:09,480 Speaker 1: and say hi today that sun man. Darn right, man, 364 00:18:09,520 --> 00:18:13,080 Speaker 1: I'm counting the days anyway. Much love, take care man, 365 00:18:13,640 --> 00:18:46,160 Speaker 1: Thank you, thanks for coming on you too, buddy. Hey, everybody, 366 00:18:46,160 --> 00:18:49,480 Speaker 1: and don't forget follow us on Instagram at I Am 367 00:18:49,560 --> 00:18:54,040 Speaker 1: all In podcast and Emailie at Gilmore at I Heart 368 00:18:54,160 --> 00:18:57,080 Speaker 1: radio dot com. Oh you gil More fans. If you're 369 00:18:57,080 --> 00:18:58,960 Speaker 1: looking for the best cup of coffee in the world, 370 00:18:59,000 --> 00:19:02,920 Speaker 1: go to my website from my company scott ep dot com, 371 00:19:03,040 --> 00:19:05,200 Speaker 1: s C O T T y P dot com, scott 372 00:19:05,200 --> 00:19:16,119 Speaker 1: ep dot com Grade one Specialty Coffee. Yeah.