WEBVTT - One on One: Lawrence Hilton-Jacobs

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<v Speaker 1>I am all in, kiss you, I am all in

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<v Speaker 1>with Scott Patterson and I heart radio podcast. Hey everybody,

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<v Speaker 1>Scott Patterson, we are going to be talking to one

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<v Speaker 1>of the great New York theater actors of his time,

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<v Speaker 1>Lawrence Hilton Jacobs. Um. He has many credits that you

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<v Speaker 1>know him from. We're gonna get into all that. Very

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<v Speaker 1>excited to talk to him, reconnect with him. Super talented guy,

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<v Speaker 1>a quintessential New York actor. And let's bring him on.

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<v Speaker 1>Lawrence Hilton Jacobs. Ladies and gentlemen, he is here. You

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<v Speaker 1>were part of my childhood watching you and welcome back Connor,

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<v Speaker 1>that brilliant comedy. Um, so, how are you doing? What's

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<v Speaker 1>going on? Oh good man? Keeping it busy, you know,

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<v Speaker 1>and stuff like that. You know, Um, you know, kids

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<v Speaker 1>are big. You know, we got grandkids, you know, the drails.

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<v Speaker 1>Look at the youngest one is twelve out of my

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<v Speaker 1>grand babies, and so you know, she's developing, she's becoming

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<v Speaker 1>young ladies taking me out and uh, well it's wonderful

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<v Speaker 1>to watch them all grow up, isn't it. It's just

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<v Speaker 1>such a wonder man. How you holding. I'm doing good?

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<v Speaker 1>You know, I'm in Halifax. Shooting a TV series. I

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<v Speaker 1>missed my I missed my boy more and more every day.

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<v Speaker 1>I don't know how I'm gonna get through this, but

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<v Speaker 1>I'm gonna gonna have to get through it. Um miss

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<v Speaker 1>my wife, I miss everybody. It's just it's it's hard

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<v Speaker 1>to be on location. I'm sixty three years old now

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<v Speaker 1>and I'm on location and I never thought i would

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<v Speaker 1>be on location at this age. But you know, it's

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<v Speaker 1>a great job. But can what can you do? You know,

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<v Speaker 1>it's a it's a great role, it's a great part.

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<v Speaker 1>So the family that we're down with them because they

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<v Speaker 1>know that, and we just have to roll with the

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<v Speaker 1>dice and you know, the actor's life. Well, look, thanks

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<v Speaker 1>for coming in. You played principal Martin. How did you

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<v Speaker 1>get cast? Tell us about it. It's funny man on casting,

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<v Speaker 1>But I was the only male up for that gig.

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<v Speaker 1>That was I was like, you know, I don't think

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<v Speaker 1>it was gonna happen to you because I came in

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<v Speaker 1>and men and they have the audition process, and I

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<v Speaker 1>saw these females and a lot of one of the

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<v Speaker 1>actresses have been around for a long time, you know,

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<v Speaker 1>and so forth, and I was like, well, okay, Lee

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<v Speaker 1>was going to do my thing and I went in,

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<v Speaker 1>I popped on my glasses. That did it and didn't

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<v Speaker 1>let me leave the room. I told me I had

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<v Speaker 1>the parts. Nice. Um, why did you decide to go

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<v Speaker 1>into acting? And how did you break into the industry?

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<v Speaker 1>Because I was like, you were nuts, psychiatric help. I've

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<v Speaker 1>been doing it now five years. Man, you know I'm

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<v Speaker 1>coming to Sunday. I'm gonna be sixty nine, he said,

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<v Speaker 1>sixty three six coming up, you know. And um, I've

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<v Speaker 1>been doing it since um sixteen, nineteen sixty nine when

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<v Speaker 1>I got into the game, and um, you know, while

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<v Speaker 1>I was going to school of Art in design, I

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<v Speaker 1>grew up New York City, I just always wanted to

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<v Speaker 1>do it and try it, and you know, and as

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<v Speaker 1>a kid, I used to always um elementary school. They

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<v Speaker 1>always equip me in the place and always got to leave.

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<v Speaker 1>But it was like Peter and the Wolf, and I

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<v Speaker 1>guess it's just in you know, something like that. So

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<v Speaker 1>many remember you from Welcome Back Hodder. You play student,

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<v Speaker 1>and you years later on Gilmore Girls and you're a

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<v Speaker 1>school principal. What did you think of being back in

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<v Speaker 1>school setting, but this time playing an authority figure. I

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<v Speaker 1>didn't think of it in that way, you know. I

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<v Speaker 1>thought of it as let me do a good job

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<v Speaker 1>and learn the lines, and then the Gilmore girls you

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<v Speaker 1>have to learn the lines exactly as they are. It

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<v Speaker 1>was fun, you know. It's always interesting to try something

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<v Speaker 1>different or something that um can stretch you as an actor,

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<v Speaker 1>you know, and I've been I've been blessed in that way.

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<v Speaker 1>I've been able to play a moder variety of roles

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<v Speaker 1>over the many years of doing it. So it was fun.

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<v Speaker 1>I know. We had a little back and forth when

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<v Speaker 1>there was kind of you know, and um, we were

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<v Speaker 1>into it and so well I think we did all right.

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<v Speaker 1>Oh yeah, um, so we just recapped that episode Keg

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<v Speaker 1>Max where you played a pivotal role in justice life

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<v Speaker 1>and telling me he isn't graduating high school. Do you

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<v Speaker 1>remember the scene? You know something? I remember both of

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<v Speaker 1>them because I did him a you're apart. I remember

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<v Speaker 1>the first one was with the was the first one

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<v Speaker 1>with you. The second one was with you the second

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<v Speaker 1>year we have done the scene. I think the first

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<v Speaker 1>I think the first one was with me. It was

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<v Speaker 1>with you. Okay, I'm getting flipped and but but I

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<v Speaker 1>remember the young man coming in, and um, he was

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<v Speaker 1>a nice dude. You know, we talked and I mean,

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<v Speaker 1>you know, you don't remember everything. You kind of getting

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<v Speaker 1>around a while, but remember the experience was good. Um,

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<v Speaker 1>it moved pretty quickly and so forth, and so there

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<v Speaker 1>it is. Man, Yeah, so what so you recall Milo

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<v Speaker 1>was a nice young kid and um, as an actor,

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<v Speaker 1>he was definitely ready and on on, which you know,

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<v Speaker 1>we always gonna appreciate. Um. You know, your show was

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<v Speaker 1>the show that was very exacting on how you had

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<v Speaker 1>to perform something in terms of dialogue and so forth.

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<v Speaker 1>But I didn't feel restrained by that. But we're able

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<v Speaker 1>to find a little give and take with each other

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<v Speaker 1>that had some spontaneity in it. So that meant he

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<v Speaker 1>was a responsive young man. And um, so that that

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<v Speaker 1>enlightened me. Mm hmmmmm. Um. So what was your experience

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<v Speaker 1>like on the set compared to others? Um? Uh, you know,

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<v Speaker 1>when you're doing television as we've done for a lot

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<v Speaker 1>of the years, especially when we did Welcome mcconter, we

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<v Speaker 1>had dialogue, but we could be loose with it at times,

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<v Speaker 1>you know, and many times would have happened on camera

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<v Speaker 1>that became the lore of the show. We made it

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<v Speaker 1>up on the spot and somehow we just knew how

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<v Speaker 1>to respond. That ain't the Gilmore Girls. You know you

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<v Speaker 1>gotta written has got to be this and and so forth. So, um,

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<v Speaker 1>that made you really pay attention and it woke me

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<v Speaker 1>up a little bit. But on the set it right,

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<v Speaker 1>It is very very nice, you know, it was. You

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<v Speaker 1>could feel it as a family crew or a crew.

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<v Speaker 1>People are familiar with one another, so nobody tripped. They

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<v Speaker 1>were certainly very nice to me, um, and I was

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<v Speaker 1>nice to them as well. So all right, Um, had

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<v Speaker 1>you watched Gilmore Girls before taking the role? You know

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<v Speaker 1>something I had seen. It's like a lot of television. Um,

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<v Speaker 1>when you're in television as long as I've been in it,

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<v Speaker 1>you don't watch a lot of shows, which may not

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<v Speaker 1>be a good advertisement for our game, but it is.

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<v Speaker 1>But I had seen many clips and so I had

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<v Speaker 1>a feeling with the Gilmore Girls about this is the

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<v Speaker 1>popular show and on the c W back in that day,

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<v Speaker 1>so it was there. So I was very aware of

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<v Speaker 1>the mother and the daughter and the whole nine thing.

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<v Speaker 1>So I had a feeling what it was about. And

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<v Speaker 1>I like the show. I know some of my um

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<v Speaker 1>younger family. Uh you never know anywhere, but younger than

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<v Speaker 1>when they saw it. They were like lightening. Well that's

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<v Speaker 1>my favorite chilly Compare what it was like working back

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<v Speaker 1>in the seven early seventies, like Cornor was on. What

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<v Speaker 1>were the years? It was early seventies and mid seventies,

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<v Speaker 1>five to seventy nine, five seven nine, So what was

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<v Speaker 1>tell us how different it was back then compared to now.

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<v Speaker 1>You know a lot of television television as well as

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<v Speaker 1>movie still had movie stars and big stars. There was

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<v Speaker 1>a lot of fanfare behind that. When we did the

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<v Speaker 1>Welcome Macato Show, you did the show where you came

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<v Speaker 1>in on a Monday, you had to read through with

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<v Speaker 1>the cast and the crew and all you know, the

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<v Speaker 1>staff and so forth. Then you gotta when you started

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<v Speaker 1>rehearsing on its feet. You did that for a couple

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<v Speaker 1>of days. By Wednesday you would do it again, but

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<v Speaker 1>this time the network would come in and give their

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<v Speaker 1>approvals and make the changes. Then Thursday would come around

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<v Speaker 1>and we would block the show. The camera block it

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<v Speaker 1>will they Then on the fifth day, which is Friday,

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<v Speaker 1>you get it was being rewritten all the way. You

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<v Speaker 1>get your rewrites delivered to you early that morning. You

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<v Speaker 1>get to work by twelve thirty day afternoon, and then

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<v Speaker 1>you really pin, you know, fine tune what you've been

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<v Speaker 1>rehearsing in terms of camshots and so forth. And then

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<v Speaker 1>at five thirty we would do an earlier show with

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<v Speaker 1>an audience of three hundred. We should call at the

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<v Speaker 1>out of town tryouts. And then you do that, and

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<v Speaker 1>then we go off to dinner and we get notes,

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<v Speaker 1>and then we come back and we do an eight

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<v Speaker 1>collection with a new audience and three people, and that

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<v Speaker 1>that was over. We might do some pickups. Now, in

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<v Speaker 1>the beginning we first did it, we were there. We'd

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<v Speaker 1>come to work and we'd be there to tow three

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<v Speaker 1>in the morning shooting. But you get your show down,

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<v Speaker 1>you know, after a while. By the time we got

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<v Speaker 1>into the third year, certainly the fourth year, I mean

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<v Speaker 1>we're out of that. Studios passed, we really got notes,

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<v Speaker 1>we shot it, we were at it about not thirty

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<v Speaker 1>and night we're done. Wow. You know. Even rehearsals, we

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<v Speaker 1>would come in and rehearsals used to be at like

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<v Speaker 1>nine am, and it would go till six. Eventually it

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<v Speaker 1>became like eleven to four. I would sit down with

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<v Speaker 1>not not even trying to memorize it, read the script

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<v Speaker 1>and know it. It just it just got to be

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<v Speaker 1>like that for right, right right, and and you know

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<v Speaker 1>that's the difference thing working on a sitcom in front

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<v Speaker 1>of a live audience as opposed to working on a

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<v Speaker 1>show like Gilmore Girls. You do you like it better

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<v Speaker 1>in front of a live one? Did you like the

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<v Speaker 1>conter four or four camera live audience sitcom better than anything?

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<v Speaker 1>I think you make the adjustments that you go along

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<v Speaker 1>least that's might take on it. Um I came, I

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<v Speaker 1>come from theater. Is a lot of us, do you know?

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<v Speaker 1>I did different guys growing up as an actor and

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<v Speaker 1>living in New York City. Um, I learned to make

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<v Speaker 1>the adjustments. I started doing a lot of film before

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<v Speaker 1>I ever came to the sitcom thing. And when we

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<v Speaker 1>got in there with the four camera, the three cameras

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<v Speaker 1>in the one fourth camera as an isolator which they

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<v Speaker 1>call iso camera, you make the adjustments and so forth

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<v Speaker 1>and so um is there a preference? Um? Probably the

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<v Speaker 1>future films I like doing. I like doing the film

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<v Speaker 1>thing more like what you guys are doing. But doesn't

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<v Speaker 1>make any difference to me. No, you know, you just

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<v Speaker 1>make the adjustment and you, um, you understand that you

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<v Speaker 1>have to lay yourself back a certain way if you're

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<v Speaker 1>doing television, or you have to deliver it a certain

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<v Speaker 1>way if you're doing theater, and you just um step

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<v Speaker 1>up to that to that flavor, right right, right. So

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<v Speaker 1>you so you did a lot of New York theater.

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<v Speaker 1>You did you work with Joe Pop? Did you work

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<v Speaker 1>with uh? That wasn't When I went out one summer

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<v Speaker 1>with Joe Pap doing um, the New York Shakespeare Festival,

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<v Speaker 1>we did um ceremonies and UM when a ceremonies in

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<v Speaker 1>different what the wine sellers by with Joe Pap and

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<v Speaker 1>Joe Pap was really this is what he always did.

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<v Speaker 1>He was he would come around, he'd be a nice guy.

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<v Speaker 1>He always brought this I don't know if he came

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<v Speaker 1>out of the celling he read this this uh box

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<v Speaker 1>with all these wines and they came out of this

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<v Speaker 1>big creep and he gave everybody a bottle of wine

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<v Speaker 1>and thank you and this episode joke right, Uh, did

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<v Speaker 1>you ever? Did you ever work at the circle wrapper

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<v Speaker 1>place like that? A circle rapper? I auditioned for Joyce

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<v Speaker 1>Scott and didn't get the part George Sea, thank you, um,

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<v Speaker 1>but I tell you down at the public theater, and

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<v Speaker 1>we were down here a really enlightening thing for me

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<v Speaker 1>is um. Other people were always rehearsing work there. So

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<v Speaker 1>there was a young actor who was just about to happen,

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<v Speaker 1>and he was a North Broadway star and he was

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<v Speaker 1>rehearsing and he was no further further than maybe five

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<v Speaker 1>feet from me. And I'm in the audience watching him

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<v Speaker 1>rehearsed with the strip in his hand, and he's intense

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<v Speaker 1>and he's into his thing, and he's so there's Alpaccino. Man. Wow.

0:10:50.000 --> 0:10:54.040
<v Speaker 1>And then and there was like local joking dude, he

0:10:54.080 --> 0:10:56.640
<v Speaker 1>walks in. It was Morgan Freeman. So this is what happened.

0:10:56.640 --> 0:10:57.920
<v Speaker 1>This is the kind of people who was floating in

0:10:57.920 --> 0:11:01.360
<v Speaker 1>out and Dick, Anthony Williams and Roscoe round and oh man,

0:11:01.400 --> 0:11:03.720
<v Speaker 1>it was a nutsman. Johnny could say a lot of them, catchman.

0:11:03.760 --> 0:11:06.160
<v Speaker 1>I would see them all the time down there and

0:11:06.160 --> 0:11:08.079
<v Speaker 1>then get to know some of them and talk to them.

0:11:08.080 --> 0:11:11.520
<v Speaker 1>So for a young actor it was super education. So

0:11:11.679 --> 0:11:13.800
<v Speaker 1>that they all came through the public theater as well.

0:11:14.200 --> 0:11:16.920
<v Speaker 1>Everybody had stepped through the public theater that ever took

0:11:16.920 --> 0:11:18.440
<v Speaker 1>a step in New York City and wanted to be

0:11:18.440 --> 0:11:20.800
<v Speaker 1>an actor. We had down there. There was also the

0:11:20.880 --> 0:11:24.600
<v Speaker 1>Lamana Theater. There was you know, there was a new Um,

0:11:25.040 --> 0:11:27.600
<v Speaker 1>the New Federal you know theater down there with Whitty

0:11:27.679 --> 0:11:31.080
<v Speaker 1>King Jr. Ran forever until he retired recently, and um,

0:11:31.080 --> 0:11:33.880
<v Speaker 1>we all had our steps. There was was the Wooster

0:11:33.920 --> 0:11:36.440
<v Speaker 1>group going that weren't going back in the seventy front.

0:11:36.240 --> 0:11:42.440
<v Speaker 1>That's Willem Dafoe and Elizabeth the Compton um not knowing

0:11:42.480 --> 0:11:46.240
<v Speaker 1>that super super they were down on Garage Street or

0:11:46.280 --> 0:11:47.360
<v Speaker 1>something like that. I mean, it was just like this

0:11:47.480 --> 0:11:51.720
<v Speaker 1>super experimental stuff, that stuff going on down in the village,

0:11:51.720 --> 0:11:53.400
<v Speaker 1>you know, Like I said, the Lama, it was like that.

0:11:53.960 --> 0:11:56.600
<v Speaker 1>Mama did a lot of Yeah. I studied out of

0:11:56.640 --> 0:11:59.800
<v Speaker 1>the New Ensemble Company and then up in Harlem at

0:11:59.800 --> 0:12:03.560
<v Speaker 1>the Fantastical Ensemble. You know. Um, I had two days

0:12:03.600 --> 0:12:07.599
<v Speaker 1>in the actor's studio, did you Yeah, you know, I

0:12:07.640 --> 0:12:09.400
<v Speaker 1>mean there there was always gonna be really difficult to

0:12:09.400 --> 0:12:12.680
<v Speaker 1>get into the actor's studio. So listen, I walked up

0:12:12.679 --> 0:12:14.319
<v Speaker 1>to the door and they didn't they said, you're in.

0:12:14.640 --> 0:12:16.480
<v Speaker 1>I was shocked. I guess they had seen I've done

0:12:16.480 --> 0:12:19.120
<v Speaker 1>a movie called Clodian, you know, and so they had

0:12:19.120 --> 0:12:20.880
<v Speaker 1>seen that movie and so they knew me. They said, no,

0:12:20.960 --> 0:12:23.600
<v Speaker 1>you're in. And then two days later I got Coolie high,

0:12:23.640 --> 0:12:27.280
<v Speaker 1>so I had to split. So the actor's studio admitted

0:12:27.320 --> 0:12:31.320
<v Speaker 1>you as a member without auditioning because they've seen you

0:12:31.360 --> 0:12:34.000
<v Speaker 1>in a film. That's my assumption. These So they didn't

0:12:34.000 --> 0:12:36.360
<v Speaker 1>give me any they didn't give me no, no preamble,

0:12:36.400 --> 0:12:38.640
<v Speaker 1>and they said, okay, you're I came in and set

0:12:39.360 --> 0:12:41.120
<v Speaker 1>a couple of times to see people doing that thing.

0:12:41.240 --> 0:12:43.840
<v Speaker 1>You know. Didn't do it with Eli Strassburg, but other

0:12:43.880 --> 0:12:47.080
<v Speaker 1>teachers were there. And that was gone for six weeks,

0:12:47.200 --> 0:12:49.079
<v Speaker 1>six and a half weeks in Chicago doing COOLi hut

0:12:49.480 --> 0:12:51.600
<v Speaker 1>I was. I was an observer there for a couple

0:12:51.600 --> 0:12:53.280
<v Speaker 1>of years. I did a bunch of plays there, but

0:12:53.400 --> 0:12:56.640
<v Speaker 1>I never I auditioned once and they stopped me in

0:12:56.679 --> 0:12:59.480
<v Speaker 1>the first two and a half minutes. So it's like

0:12:59.679 --> 0:13:02.920
<v Speaker 1>they were shattering. But they never they never let anybody

0:13:02.960 --> 0:13:07.120
<v Speaker 1>buy after their first audition. Never the front door there,

0:13:07.160 --> 0:13:08.199
<v Speaker 1>you know, when you went in there and it was

0:13:08.240 --> 0:13:10.480
<v Speaker 1>all closed off in that little bobby, you know, and

0:13:10.520 --> 0:13:12.040
<v Speaker 1>they had this little slip thing they you know, they

0:13:12.080 --> 0:13:13.960
<v Speaker 1>opened up and looked like you know, Joe sent me.

0:13:14.000 --> 0:13:20.360
<v Speaker 1>It almost felt like, you know how that just worked out,

0:13:20.400 --> 0:13:23.520
<v Speaker 1>you know with me. So I had to act studio,

0:13:23.760 --> 0:13:26.360
<v Speaker 1>very intense experience in there. That that was That was

0:13:26.440 --> 0:13:30.720
<v Speaker 1>something um um. So you're currently working on a series

0:13:30.760 --> 0:13:33.800
<v Speaker 1>called A House Divided on Amazon Prime and All Black

0:13:34.480 --> 0:13:38.160
<v Speaker 1>or A L L B l K All TV, which

0:13:38.200 --> 0:13:42.760
<v Speaker 1>also Amazon Prime. It's underwritten by A mc amaz We're

0:13:42.840 --> 0:13:45.160
<v Speaker 1>doing that now for about three years. We just finished

0:13:45.160 --> 0:13:48.400
<v Speaker 1>a fifth season and playing this super lely rich guy

0:13:48.480 --> 0:13:51.319
<v Speaker 1>who's got a family of problem children and everybody else

0:13:51.720 --> 0:13:55.200
<v Speaker 1>and we're going through the most intense drama this last season,

0:13:55.440 --> 0:13:58.679
<v Speaker 1>which is coming out in October. They decided to make

0:13:58.679 --> 0:14:00.920
<v Speaker 1>me go nuts and I was having all just losing

0:14:00.920 --> 0:14:03.839
<v Speaker 1>my mind. So I'm missing everybody up, I'm having a

0:14:03.840 --> 0:14:07.079
<v Speaker 1>good time with and and that's that's Cameron Sanders, the

0:14:07.559 --> 0:14:11.520
<v Speaker 1>character of Cameron Sanders writing. I'm directing, and they got

0:14:11.520 --> 0:14:13.400
<v Speaker 1>me doing it all man so and I'm one of

0:14:13.440 --> 0:14:15.280
<v Speaker 1>the co producers on the show. So it's pretty cool.

0:14:15.440 --> 0:14:19.280
<v Speaker 1>All right. So check out Lawrence Hilton Jacobs and the

0:14:19.360 --> 0:14:23.440
<v Speaker 1>Amazon Prime House Divided. Uh, you'll be glad you did.

0:14:23.440 --> 0:14:25.840
<v Speaker 1>You also have a film coming out this October called

0:14:26.000 --> 0:14:28.160
<v Speaker 1>night Stalker. What can you tell us about it? We

0:14:28.400 --> 0:14:32.120
<v Speaker 1>don't start until a late part of October, and it's

0:14:32.120 --> 0:14:34.800
<v Speaker 1>based on a true story about a serial killer whoever

0:14:34.760 --> 0:14:37.320
<v Speaker 1>were killing a lot of women in Atlantic City and

0:14:37.320 --> 0:14:39.560
<v Speaker 1>then eventually went up to Long Island and they can

0:14:39.600 --> 0:14:42.000
<v Speaker 1>They never knew who this guy was, so they made

0:14:42.000 --> 0:14:44.160
<v Speaker 1>a story based on that with myself in two hot

0:14:44.240 --> 0:14:48.440
<v Speaker 1>shot female detectives and who come to the wrong jurisdiction.

0:14:48.480 --> 0:14:50.920
<v Speaker 1>But we gotta get this guy. And so that's the

0:14:51.400 --> 0:14:53.760
<v Speaker 1>through line of the film. Now, in real life, I

0:14:53.840 --> 0:14:56.920
<v Speaker 1>heard from the director, whose name is Keith Veil that Um,

0:14:56.960 --> 0:14:59.880
<v Speaker 1>the guy who had um was the elusive killer. They

0:15:00.000 --> 0:15:02.480
<v Speaker 1>found him, but he was a junkie and odeed and

0:15:02.520 --> 0:15:04.680
<v Speaker 1>he had an ode brother that I mean buddy that

0:15:05.160 --> 0:15:08.040
<v Speaker 1>you know, fested up about him. So did They didn't

0:15:08.120 --> 0:15:10.360
<v Speaker 1>rewrite the movie to put that in there because they

0:15:10.400 --> 0:15:12.280
<v Speaker 1>had a better in me. I just they like. But

0:15:12.280 --> 0:15:14.960
<v Speaker 1>but he gets his in the end, and you know

0:15:15.120 --> 0:15:17.360
<v Speaker 1>and um, I won't give it away, but um, but

0:15:17.400 --> 0:15:23.240
<v Speaker 1>I get him. Um. Okay, you're ready to play rapid fire,

0:15:24.120 --> 0:15:28.760
<v Speaker 1>Come on with it, man. How many coups of coffee

0:15:28.760 --> 0:15:31.560
<v Speaker 1>you have them? Every day. I don't drink coffee at all. None.

0:15:32.040 --> 0:15:35.360
<v Speaker 1>Who is your favorite Gilmore Girls character? The guy I'm

0:15:35.520 --> 0:15:37.520
<v Speaker 1>I'm looking at right now? There you go, There you go?

0:15:37.600 --> 0:15:42.160
<v Speaker 1>What would you order it? Luke's Diner? Um? Hamburger? Would

0:15:42.200 --> 0:15:46.320
<v Speaker 1>you rather go on a road trip with Taylor or Michelle? Um?

0:15:46.360 --> 0:15:51.080
<v Speaker 1>The jury is out? Yeah, that's probably neither. Uh finished

0:15:51.400 --> 0:15:54.280
<v Speaker 1>finished the lyric? And where you lead? I will follow?

0:15:55.840 --> 0:15:58.920
<v Speaker 1>What's the w where you go? I believe that's it.

0:15:59.160 --> 0:16:02.280
<v Speaker 1>I'm never remembering anywhere that you tell me? Too so close.

0:16:02.440 --> 0:16:04.600
<v Speaker 1>We're gonna We're gonna give you the We're gonna give

0:16:04.640 --> 0:16:09.360
<v Speaker 1>you the points on that one. Uh, Jackson's Vegetables or

0:16:09.560 --> 0:16:14.240
<v Speaker 1>Suki's Baked Goods Jackson's Vegetables. Man mean, yeah, you get

0:16:14.360 --> 0:16:17.640
<v Speaker 1>better believe it? Uh? Would you rather listen to Drella's

0:16:17.640 --> 0:16:21.120
<v Speaker 1>Harper the Trooper Doors cover songs? Trop Doors? I used

0:16:21.120 --> 0:16:25.120
<v Speaker 1>to go, hang up there? Are you kidding me? Children?

0:16:25.160 --> 0:16:31.040
<v Speaker 1>Prepper Stars Hollow Hi? Sit again? Chilton Prep or Stars

0:16:31.120 --> 0:16:35.480
<v Speaker 1>Hollow Hi? Oh Stars Hollow Hun. That's because you're the principal.

0:16:35.840 --> 0:16:37.680
<v Speaker 1>That's right, man, I'm in charge. Dare I tell people

0:16:37.680 --> 0:16:40.480
<v Speaker 1>were like what to do and maybe actually listen to me, Lawrence.

0:16:40.640 --> 0:16:43.920
<v Speaker 1>It was a pleasure talking to you, catching up with you,

0:16:44.600 --> 0:16:47.640
<v Speaker 1>and you are the real deal. I'm gonna read some

0:16:47.680 --> 0:16:50.600
<v Speaker 1>of your credits if you don't mind. Uh. You were

0:16:50.680 --> 0:16:56.480
<v Speaker 1>best known for playing Freddie Boom Boom Washington. Absolutely, welcome

0:16:56.480 --> 0:17:00.400
<v Speaker 1>back Carter, Welcome back Cotter. Uh oh, and you had

0:17:00.400 --> 0:17:02.200
<v Speaker 1>so much attitude. I remember when I was a kid

0:17:02.280 --> 0:17:05.440
<v Speaker 1>watch watching you. The attitude. I was like, Wow, that's good.

0:17:05.520 --> 0:17:07.600
<v Speaker 1>We're bout a little tough New York guys. When we

0:17:07.640 --> 0:17:12.600
<v Speaker 1>got all of us. You will also appear a number

0:17:12.600 --> 0:17:15.439
<v Speaker 1>of films and television use Glen Claudeine what you mentioned

0:17:15.440 --> 0:17:18.480
<v Speaker 1>got you into the actress studio Coolly High Roots Wow,

0:17:18.920 --> 0:17:22.760
<v Speaker 1>Roots was a massive television event. I don't know Roots.

0:17:23.040 --> 0:17:24.960
<v Speaker 1>This Sunday, I was at Glenn Terman's house that just

0:17:25.080 --> 0:17:26.679
<v Speaker 1>ranch has a ranch and you want to have a

0:17:26.680 --> 0:17:28.800
<v Speaker 1>bunch of people over. And I had not seen him

0:17:28.800 --> 0:17:31.480
<v Speaker 1>in years. I was sitting down with Ben Vereen from Roots.

0:17:31.520 --> 0:17:37.640
<v Speaker 1>Oh my goodness. Really in Years Man, which was just wow, Uh,

0:17:38.200 --> 0:17:42.520
<v Speaker 1>Bangers and Mash Alien Nation, The Jackson's in American Dream

0:17:42.600 --> 0:17:47.800
<v Speaker 1>and thirty one. Uh. Lawrence, has been a pleasure. Thank you.

0:17:47.800 --> 0:17:51.080
<v Speaker 1>You're the real deal. You're a real, real New York

0:17:51.119 --> 0:17:56.320
<v Speaker 1>theater actor who branched out and and uh got success

0:17:56.359 --> 0:17:58.679
<v Speaker 1>in film and television. Can't wait to check out the

0:17:58.680 --> 0:18:01.200
<v Speaker 1>new series. I'm gonna I'm gonna dig into it tonight,

0:18:01.400 --> 0:18:05.000
<v Speaker 1>I think. Okay, Uh, I'm good luck with your show,

0:18:05.080 --> 0:18:07.080
<v Speaker 1>you know. And keep on strolling, man, But get homes

0:18:07.080 --> 0:18:09.480
<v Speaker 1>and say hi today that sun man. Darn right, man,

0:18:09.520 --> 0:18:13.080
<v Speaker 1>I'm counting the days anyway. Much love, take care man,

0:18:13.640 --> 0:18:46.160
<v Speaker 1>Thank you, thanks for coming on you too, buddy. Hey, everybody,

0:18:46.160 --> 0:18:49.480
<v Speaker 1>and don't forget follow us on Instagram at I Am

0:18:49.560 --> 0:18:54.040
<v Speaker 1>all In podcast and Emailie at Gilmore at I Heart

0:18:54.160 --> 0:18:57.080
<v Speaker 1>radio dot com. Oh you gil More fans. If you're

0:18:57.080 --> 0:18:58.960
<v Speaker 1>looking for the best cup of coffee in the world,

0:18:59.000 --> 0:19:02.920
<v Speaker 1>go to my website from my company scott ep dot com,

0:19:03.040 --> 0:19:05.200
<v Speaker 1>s C O T T y P dot com, scott

0:19:05.200 --> 0:19:16.119
<v Speaker 1>ep dot com Grade one Specialty Coffee. Yeah.