Shenseea, Dominique Fishback , Wood Harris & JB Smoove

- Lisa, tell them about our new show. - We have a new podcast. It's called Don't Lie to Me. I'm Lexi Yuanu, we're two best friends, 22 years apart, but so close at heart. - And I'm Lisa Di Giulio, the old one, which means we have wildly different references, occasionally different opinions, and at this point in my 50s, I've lived it all. - Now in my 30s, being the founder of New Shoes, good taste is my business. - Listen on the I Heart Radio app, Apple podcasts, or wherever you get your podcasts. - I'm Lacey Mosley, author, actor, stand-up comedian, creator, and host of Scam Goddess Podcast. - The True Crime Comedy Podcast, all about robbery, fraud, and those who practice it. Each week I bring on an amazing guest. - Ooh, I scammed them. - What? - I could talk to you for an hour. - You're a generational yapper, like me. - That's why I had to make yapping a job. - And now you can catch full episodes of my show on YouTube. - Start listening to Scam Goddess on the I Heart Radio app, Apple Podcast, or wherever you get your podcasts. - Scam Goddess. - Hi, this is Kylie Breakman, Angel Jaretana. - Jeremy Colhane, Patrick McDonald. - And we're the hosts of the Artists on Artists on Artists on Artists Podcast. - The Improvized Character Comedy Podcast where each week a new panel of artists discuss their craft. - Join us for a panel of Eurovision participants. - And we do a little Halloween sometimes. - Does the Pope dress up? - He winks on Halloween. - He gets right up next to the microphone. - I hear you get the elbows here. The eyelashes hate each other. You've never seen Italy so quiet. As when the Pope gets up to ring on Halloween. - Listen to Artists on Artists on Artists on Artists every Thursday on the I Heart Radio app, Apple Podcasts, or wherever you get your podcasts. - Self-care September is your reminder to slow down, check in with yourself, get off your phone, and maybe ask, why am I like this? I'm Gemma Spek, host of the Psychology of your 20s podcast. And this month we're helping you make sense of the person that you are becoming from setting boundaries and navigating friendships to understanding anxiety, confidence, relationships, and attachment. - Sometimes our biggest decisions without us even realizing it aren't driven by what we truly want, but by what will prevent us from feeling lonely or being alone. - Listen to the psychology of your 20s on the I Heart Radio app, Apple Podcasts, or wherever you get your podcasts. - You acted in one of my favorite all-time movies above the rim with Tupac. - So I'd go to the audition when I can play basketball, so you know, I'm about to go crazy. (laughing) - Nobody could dunk, nobody could even do that. - Yeah, yeah, yeah. - I got a real hooping at all. So I was in there literally like you see in the movie, pumpkin mugs, come from Chicago's. I was a little rough, you know, in there, right? Man, I'm talking about I'm taking off. Boom, push him off, like when I'm playing on boom, and I'm pushing my foot on the ground and stuff. Literally Jeff Pollock, who was director of "Rest of Peace," he came running on the stage. Literally, this is how I found out I got the role, right? He ran on the stage, like I say, he ran on the stage. - The director ran on the stage. You got this. - You got this. You got this. (laughing) - On this episode of the Shop Uninterrupted, Maverick Carter and Paul Rivera are joined by, Shensea. - It doesn't matter what anybody say, right? Because once you're destined for something and you're chosen, it is what it is. Dominique Fishback. - I don't think about people like, "Oh, are you nervous to do it, Sam?" It's like, "Not really. I've been wanting to do this from my whole life." And I got come from East New York, so I'm ready to, when it's time, it's like, "Time, I'm ready to go." - Wood Harris. - I'm a fan of "Dinja Washington," right? My whole class is like that due to Sydney Portier for us. - And JB Smooth. - I would always go on stage and I would improvise the moment. If you give me a certain microphone, a certain chair, a certain curtain, if they're a curtain behind me or a brick wall behind me. - Check it out. - Drama is easier than comedy. - You think, "Ah, that's a good question." - That's why you look to be humorous. If you're a dramatic actor, you should be looking for the humor to me, because if you're looking for the humor, then naturally you're broadening the role, 'cause it's a drama. - Yeah. - It's almost comedy without punchlines. - Yeah. - So no matter who you play, a killer, you better be funny or at least humorous. - Joe Pesci and "Goodfellas," it's humorous. - No, that is what I'm saying. That's exactly what I mean. - Because he's a killer. - And he's, that's exactly what I mean. - But when he comes on the screen, you like laugh, but it's the laugh. - That's what you mean, I got it. - That's exactly what I mean. - You agree with that, too? Drama's easier than comedy. - Yeah, I think it depends on the actor, 'cause I might, somebody who grew up doing the comedy thing might feel a little bit off when you have to do drama. I was just like theater, and like it's like theater, and film, like you start off doing theater, and you're like larger than life, and then you kind of film, and you gotta be a little smaller. But starting from film and going to theaters, like you gotta learn how to be bigger than what you always. - You're playing that for novice, who doesn't understand it really. When you say theater, you have to be bigger. I started in theater, and I went to like my first TV audition, and doing myself, oh, you make really strong choices, but that I was too expressive. And I remember being like, how can I be expressive? That's real life. I'm expressive in real life, so how could that not be real? And then I read a book called Acting and Film and TV by Michael Cain, and he talked about how theater has the same exact intensity as film. It's just almost like, if you shake up soda, and you open like that, it's gonna go like this. But if you slowly open it, then it allows it to like ooze out. And I think that's what it was for me. What I understood about you, I could still have the same emotions as big as they want to be like in theater. But when it comes to film, I'm letting it slowly ooze out of the eyes, and how I speak. - But that's a good point though, because your eyes are so important in film, doing a close-up, obviously there's no close-ups in theater, right? - That's true, yeah. - So you're doing a close-up, you might be doing something that looks bugged out for a camera, 'cause the camera's seeing, especially the high-deaf camera scene, that's a great point, Michael Cain, of like seeping out the feelings, the expressions, actually. 'Cause you could be doing expressions that pop off too large and people think you're wet. - Yes. - My rule of thumb is this. If I'm going in a room for a movie, a TV show, my rule of thumb is this. I go in big, or going big. You know why? - We'll take it always. - You go big, and they tell you, oh, that was great. Pull back a little bit. Everybody knows how to pull back a little bit. But you go in low, and it's safe. You don't know how, how much. Not you're doing so much. That they like, thank you very much. (laughing) - Wait a minute, wait a minute. You know what I mean? When they introduce you, thank you very much. You know you didn't get it? You know you know. You know, damn what you didn't get it. You just went so high that they're like, oh, okay, okay, okay. - It's so good, okay, okay. - My first like big TV experience was with David Simon on a show called Show Me Hero. And Alexa Fogo, obviously, she's a cast and director for all of his things. And I did this audition, I made a choice. And she was like, that was weird. But we're gonna keep it, yeah, yeah, yeah, we're gonna keep it. I said, no, I'm not gonna do it though. She said, no, no, no, no, we're gonna keep it. And like slowly took the mic off for me and I just remember me like, I must have messed that up. And then like, I didn't get a call back for like two months. And then finally, they were like, oh no, it was actually like an audience or producer's favorite that you did this big thing. And then when I went to my callback, I did the same thing. And then they was like, okay, that's great. Now do it like, and they pulled it back. But I was like, you said, I was able to like pull it back. - You can be big and actually fake almost. Like because a lot of real cities are so big in real life that you know, it would be like fake. - I'm so glad you said that you said being big in real life and then coming across the scene. You acted in one of my favorite all-time movies above the rim with Tupac. - Woo! - Woo! - Oh my gosh. - Woo! - I kind of was. - What was that experience like being across-- - 'Cause he's big rock? - That was my first film, that was my first film. So for me, I was-- - And that's the first thing I auditioned for. - Wow. - So I was just struck in general. - Your first audition was a first movie audition. - Wow. - But I was in school too. I studied theater, I went to NYU and study theater. So I was a student at the time. And I got the role through my brother, older brother, just meeting an agent being like, I think my brother could do that. There was basketball in, I could play basketball. So you know, I just need to act really. 'Cause a lot of actors can't really hoop, you know what I'm saying? - None of them. - They're gonna pretend like they can hoop on the fake, on the fake. - Look back. - Right, look back. - So I go to the audition. Man, I had a glossy photo that I took. Like it's not the right picture. (laughing) Who was your resume and all that. - I'm in school. - He's a basketball photo. - Confidence, don't have the confidence. - I get the audition, I go to it. Then I get the call back. And the lady called me. Her name is Mary, I forget her last name. One of the casting assistants she called and was like, I think you're gonna get this role. And then I was like, oh, shit. I forgot to give a movie. (laughing) You tell them it's the '90s. You know what I'm saying? I'm like, I'm mad, young. I'm like, what? I'm off the block. They said I'm a movie, okay. So now I'm charged, you know? So the call back was basketball. So I was like, I'm about to go crazy. I can't believe it. I'm like, "I can't believe it." Nobody could jump. Nobody could even do that. Yeah, we got a real hoop in it. So I was in there literally like you see in the movie, punk him. I'm from Chicago. So I was a little rough in there, right? And especially that time my life, I'm probably more incorrigible. Then the rest of everybody influenced by my Chicago environment. So man, I'm talking, I'm taking off. When I'm playing a boom and I'm pushing my foot on the ground, literally Jeff Pollack, who was director of the rest of the piece, he came running on the stage. He ran on the stage, like I said, he ran on the stage. The director ran on the stage. You got this. You got this. You got me. When I leave, man, and I'm on the A-Train, New York, and I'm going home, like, "Man, this is nice. I ain't no, like, I can't wait to tell my old G, I'm gonna tell my mom what's going on." And my mom received it like, "Oh, okay." Show me a movie, Mark. Show me a movie. Did you know Pock was in the movie when you were. No, at the time, it was Trech. That's right. For George Whitaker, not Leon, and two Pock. And I also heard, correct if I'm wrong, Pock gets shot towards that. He did get shot in that movie. He got shot at the end of that. And there was, like, they started to make decisions based on that. So one of the decisions was there was a lookalike, who was his stand-in, who just happened to just look very much like him. So, at the end of the movie, there are spots where it's not two Pock. Mainly in the game. When you see the game, he just missed the game. There was more for him to do in the basketball game at the end. You see him just off on the sideline. Yeah, do this, do that. But there was more for him to do. Instead, they ended up using a lookalike. Wow. Did you get to know him well? I got to know two Pock extremely well. Yeah, I knew two Pock really well. I talked to him up until he died two weeks before he died, because he was shot. Wow. But my memories of him that are more. that are personal are from above-a-ram experience, obviously. And I think that was his second movie. And two Pock wasn't iconic at the time. Of course. So, we talked about him from this perspective, like, in this era, with two Pock at the time. And I'm like an MC. I'm an MC. No, all I want to say, I'm an MC is like a gang. I'm an MC until I die. I'm an MC, right? So, at the time, I was just like, I didn't care who the rapper was. I was just kind of like, I'm a kid who you are. I'm a kid who you are, right? I don't care. I don't understand the person. That's how you have to be a MC. That's how you have to be, right? That's how you have to be. Right, so it's like, that's how I felt. And plus being from Chicago, you know, we kind of known as haters, you know what I'm saying? Right. You want to be Jordan? You got to be Jordan, okay? Or LeBron or top-notch person for them to be like, you are. To give it up. You have to be like, top-notch. It's a little ridiculous. Do you feel like the whole world? Do you feel like the whole world is like that now a little bit? Like you've got to go really far from to give it up to you? I think a bit because social media is a big role in that because you feel like you can touch anybody right now. Does that affect you and your decisions you make career wise? Of course. Because as artists, you have to find a way to keep yourself exclusive. You know, so you just have to find a way to live around the times that are changing. You know, so that's how I see it. Because I was seeing something when you were people giving you shit about not having your accent and I was like, this is like, come on, people really? The accent? Yeah. But you did a video. Accent can't live. You're not going away. The only thing is that when I'm here though, it's pretty hard for other people to understand me. So if I speak through my accent, a lot of people are going to be like, huh, huh, huh, you know, which makes me repeat myself over and over again. So in order to avoid that, you just speak standard English. I thought that you couldn't hear my accent even when I'm speaking standard English, but they said, no, I'm still pretty potent. So right now, right now, you're speaking standard English? I am speaking standard. Yeah, you heard that. Hey, yeah, accent for sure. I don't know. But somebody people are giving her shit about this, which is, yeah, like it's also a little like 2023. Yeah, like people just taught you anything. Because anybody can have a social media so they can just say whatever, even if it's not true. You know, which I mean, once they talk, it's good for everybody. But it's also, social is good to use too, right? You can, yes, because it helps me to promote my music really easily. Back in the days, I feel like it was harder for artists because they have to be popping out doing this run around. Do that, do that, going out, giving CDs, promoting, you know, touching almost everybody who they can touch. Now it's just a click and you touch so many people across the world and that's how I blew up through social media. It's hard. It's hard, man, because, you know, having been in this game 37 years and having been around for the inception of black comedy, when they hit that level, I'm talking about after the priors, the red foxes, the next wave when deaf comedy jam hit. Oh, my God. You know, you got to realize, years before that, we were already doing it. Of course. We were doing it. National Black Day in Harlem. That's where I started at. You know, the Paula was doing that thing. Cotton Club had comedians. Everybody had comedians. Black comedy hit fire. Now I'm gonna tell you. And it was on HBO, that helped too. That was the next level when it got on HBO, but it was a different time. Right now, young people are at the mercy of what people think about you. We didn't have that. It was like driving, you know, you guys can put your phone out. You know, now I'm pulling up navigation. You know, your phone will tell you how to get there. We had MapQuest. We had to have a piece of paper on our hand. You know, right turn. You know, pull over. We had to pull over for phone calls. But it's a different mindset. You didn't have to listen to the chatter of people telling you you can't do this. Yes. Yes. Yes. Yes. Yes. Yes. You did. We didn't have that shadow in our head. So we were oblivious. Yeah. We were fearless because we didn't have no fantasy. We were creating something that was amazing. It was different. Yeah. You guys. You guys are looking. I was really looking about you. Oh, what did I say? What did I say? Yeah. Yeah. Yeah. That's why you don't know. Which gives people more anxiety and made them fall into depression these days. I feel like that played a part in, like, whether or not, like, well, how I had to approach doing swarm. You know, I was literally, I was used to playing characters that were easier to digest and accept people liked me the way that they saw me in that way. Yeah. So when I was presented with this originally, Donald wanted me to play the role that that Chloe Bailey ends up playing. So which is the sister passes away in the first episode. But I was like, I mean, I read, I read the script. And I was like, man, I want to play Dre. And then he was like, what was it about? Did you feel that? Just because I knew that I didn't want to catch up to my own self as an actor. I wanted to feel, I wanted to feel challenged. I wanted to, I wanted to be like, like, I watched Heath Legend Joker and Hillary Swank and Boys On Cry and all of those types of films that we as like black people, black women don't, we don't necessarily get those opportunities where I was playing the best friend or the baby mom or whatever. Yeah. And I'm like, and so all the roles that I play that I love them, they also are, even though they might have a hard exterior, they're really warm and like loving and inside. And so people could say, Oh, I like, I like her. I like that. And that's this idea that women have to be likeable. Yeah. And I don't, I was like, man, I don't want to, I don't want to put myself in a box. I was like, I did Transformers. That's about to come out. And so I was like, that's really, people are really going to be like, Oh, we want to see her like this. So by the way, you are the first black woman to start to be a starring role in that project. Thank you. Just for a pause, we keep going. I appreciate that. But so it made me say, I want to, I read some of the script and I knew where she was going to go. She was going to dress, like dress male presenting at the end and all of the stuff. And I was like, I know I can do that. And I just want the opportunity to do it. So I asked him and he said, well, if that's the role you want, that's the role you get. What should you do with Sam, Judas, like, you steal the scene, the minute you're in it, which is I know how the competitiveness of being an actor, right? Do you know you're still in the scene when you do it? Or do you see it later? Because you pop, like, oh, I want to see more of her. Honestly, I don't think about people like, Oh, what are you nervous to do with Sam? It's like, not really. I've been wanting to do this for my whole life. And I got come from East New York. So I'm ready to, when it's time is like, time, I'm ready to go. So, so I tend not to do that because I don't want to get in my own head and then not do the character service. My character last day was telling me, telling me great was not scared of him at all. She, she would have had to go toe to toe with him. So I'm not going to come in here and go, I'm going to say I'm Jackson. I'm going to say, all right, it's time. I respect him, of course. But I'm not going to, I've been wanting this my whole life. And I was like, you always wanted to be an actor. Yes, I love that. When you guys are in a scene, is it competitive? It's like, my choices come from, okay, if you want to curb, I got to make a choice immediately. Tell us what that means. We don't go rehearsals. We do our blocking and the line is shot up. It's just blah, blah, blah, blah, blah. Blah, blah, blah, blah, blah. That's all we can say. And there's no scripts, right? Can we line? We'll have us in your hair. Got to stay in your head. Let's explain everybody. Show so we get an outline with eight nine pages outline that that's gonna outline the whole episode and we got every all two episodes have outline No dialogue zero dialogue. You got to know you everything is Development, which is amazing because there's nothing better to hear in something for the first time Where it's funny or whether it's dramatic Natural you get a natural reaction. Yeah, yeah, a natural reaction So my my thing is this I got a I choose every scene with Larry will Larry David Whether I'm gonna have his back or go against you go into the scene So on his BS I'm with him on his BS throughout the whole episode, but If I choose to go against him What's the better argument me versus somebody else me and Larry versus somebody or me and Larry are going to What my choice is going to be and he doesn't know what direction you're gonna go He does not know what I'm going to do I'll do I'll do I'll do we'll do the first few and then He'll laugh or he'll smirk a lot and I just say I'm gonna change it on this I'm gonna change it on his ass And then you don't know what's coming So it's like this and you're doing this on the go to we don't want to go We're doing it and on the go No, there'd be a question question if you you wrote on that set out that help you did that prepare you in a way for this or no No, man. I was doing all this forever back in New York when we used to have a Black comedy awards in New York, it was just for New York comedians. It was real like cool Get all the comics to come. It was really fly. I won twice for best and prompt to comedians Before anything I was on I wasn't even on TV it I've just I would always go on stage and I would improvise the moment If you give me a certain microphone a certain chair a certain curtain of their curtain behind me or the brick wall behind me I used everything at my disposal and people if they really love seeming because I wasn't robotic on stage I would address the elephant in the room, you know, I mean at one night I was on stage performing and You I can see outside. It's a glass big glass. You can see outside and I was on stage performing and and there was torn my car away I can see the No, I'm a big killing. I'm killing them and they're moving. You have a choice to me. Yeah I'm like, you know, they told my car where you're like, I'm crazy No, it was a funny thing that I came back and that became part of the show comedians could take any pain that ever happened pain in their life and make it funny make me laugh your ass You know me and we found that balance and we can do it and we can go the opposite direction some comedians make great actors With swarm I feel like the physicality that I got to do with the character it made her funny But I didn't set out to be like all this character's gonna be funny It was just the things that she did and I wonder if there's a difference between being able to be a comedian with punch lines and being a Physical comedian. That's a great question. There's two different unique styles I'm more of a physical comedian. Yes Physicality is my thing. I love it. I'm painting. I'm painting pictures on the stage. I'm making see things that aren't there You know, I did a show one night. There's like a one-man show kind of style and in the scene I knocked some guy out and he's down the floor I've finished I'll still perform my whole show and then Happy like another 10 minutes later. I walk across the stage and I step over him the crowd was like He remembered he's not to do that But that's that's the thing of that stays becomes a world and they're watching it and you're putting things there That's not they can't that they can't see you see them, but they can't see it punch line comedians they they have to they rely on their timing The pauses like you say the line's got about about so they're not fit. They're their moral body. Yeah, but they're also subject to Relying heavily on the joke working. Mm-hmm. Joe got to land every time at the red zone. The land changes Fuck off my best bit shit in that part of the heart of them at my best one I put in my head for my killer. JB. Do you have something in the chamber like if something doesn't hit you got something in the back pocket I try not to ever get to that point if I can but also what you do Which is very hard on stand-up coming which I always admire is the transition bit-to-bit meeting if a comedian's on stage for one hour They have to make you laugh. They have to get from this bit to that bit I try to write every bit in threes This happened but then this happened, but what of this happens? Yes, and then I still have the Ability to improvise because I go by what I hear if I hear somebody doing this or I did a show one night in Chicago. I swear this was Wonder wild ass nightclubs man. I was on that bad boy killing them right and this dude stood up in the back of the room and said God damn it. Get that motherfucker off the stage before he kills somebody I will never get that night man and people start to turn around laughing at him So nice you get that and you got these people in the palm of your hand to the point where You say god damn it they laughing at this one. Yeah, I don't like to plan it like that because I become A hostage to the joke. Yeah, I'd rather be a hostage to the moment that we are all experience at the same time Performance is different though. We improvise a lot too on stage because an audience is just an audience A live audience is just a live audience and each audience is completely different. You can't just be saying that okay Let's play some songs and get out of here because you have a time limit. You have to sit on that stage and sing from start to finish Even when people are looking at you like this You know, that's when you improvise though. That's when you improvise so you improvise you have to at least say something to connect with them Sometimes I go into countries where a lot of people don't know who I am Yeah, I can be there just singing the songs, but I got to stop at a moment and talk They don't know my songs. I still got to find a way to connect with them You know and so sometimes I can be looking at somebody in the crowd Complement them tell a little joke here. Bring somebody on stage meet and feel apart. I Think as creators and just as actresses and actors and just entertainers point blank period You have it in you. You just have to you know, it's natural as you write like what is your approach to Write in your punchlines or making sure something lands that didn't land for I think what I do is try to make it Real Authentic things that people go through very relatable. That's how I feel. You know, I've been through that I find out funny because it's such a norm for us to do and do some things and as an artist on stage You're there as the voice to speak One as many you know, so I think you just have to have relatable shit to be a punchline How did you get the role for Curve? I know you're a wife also a man a man of essence, right? But how what was the audition like I want to that audition into the room first of all and Everybody I knew was there. I didn't know that you had to improvise with Larry. My process is this I go in the room as the character I don't go in the room as myself because I control I can drive better if I go in the room as my as a character I come and I'm doing the whole mannerism and everything they look at me like They all look confused Okay, Larry, let's do this I'll improvise baby. Let's go. I said I don't know anything can happen. I might slap you in the face. I don't know I'll improvise who will we go at Larry looked at the producers like How did your wife manifest? She told me I was going to watch Curve and Doozy at her last show And we watched it all the time and I said I would love to be on the show one day And she said you're gonna be on that show one day. I can see you and Larry together. Right and it just was This thing that was supposed to happen in that way but me being aggressive and sticking to how I think and driving Allowed him to see something different than what everybody else who's gonna come after me was gonna do They said the producers said they didn't know who the character was until I came in the room. You created the character And I knew people like him, and I said, oh, I don't know what to do with this. Yeah, so you believe in manifesting or something? Everything that happened to me right now, I've manifested. Love that. I saw you talking about literally your car, you said you used to walk to work. Not as much as you used to walk to work. When I was a kid, I said I want two vehicles as my dream car, being a girl from poverty growing up. I said I wanted an X6. Because in Jamaica, X6 and B, my age is like, car. I wanted an X6, and I wanted a Lambo. I got both. I don't even want another vehicle to be like, oh, yeah, I'll get to the Lambo, no, I'm so patient. Yeah. I work. Because I have a goal. When I have a goal, I work towards that goal. I don't be like, oh, I'm going around here and then I come back home. You've done tracks with a lot of Kanye, Magdesty, when you want to track what an artist, are you and your competing too? Are you feeling that like, I want to win this fucking track? Because sometimes it depends, like, sometimes it can be offensive if you send a version and then when you hear somebody else's verse, you go back and you change it, it's like, some people can get offended by that. Yeah. So it really. Of her rappers talking about that a lot. Yeah. I mean, what is natural though, you know, that it pushes you to go harder and it makes a track. It's a better for both of you. You've got a track back in, like, oh, hell now. Yeah. And the worst thing is she. If I said that. No, we would do that. If I said her the track, she sent it back with her shit. And then the first time she hear my new joint. Yeah. It's on the radio. I don't know. Shit, that name is shit. Yeah, yeah. I was listening to you first though. I would say you the track. Yeah. You doing this. You do your thing. Oh, that's what she came with. Watch this. Right, right. But why do you do it the other way? I mean, I don't know. Some people, it's just like, it depends on who you are as a person. Like, if you're going to go on a track and put out your best, just put out your best, you know? Or not, they come back clapping or not, but if you decide to change it because you're so competitive, then it's still on you. Regardless, as long as I feel like it's not coming for a place where it's like malicious, or you're trying to, oh, I'll shine somebody purposely, when you're supposed to be working together, then that's when it becomes a problem. When you're just doing it to be like, oh, it's a fun competition to make the song better for both of us. I see no problem with it at all. That's why I never compete as an actor. Never. It's not a sport. I don't even know if you knew that actor's compete. They compete, though. They do. I've had, actually, I won't mention them, but why not? I'm in a shot, man. Alright, alright, alright. Because of Maverick, I'm going to say it, OK? OK. So it's Tarris Howard. There you go. Who is my boy? Man, Tarris will tell you right in your face. You know, I'm a killer in the scene, right? There's some actors in there. No. He's a great actor. I like these at least. Let you know. Oh, yeah, he won't come with no. He won't come. No, Tarris is straight forward. He's straight forward about life, but he definitely will tell you in the scene straight away like, I'm going to kill you in the scene, boy. He likes to look at you. He likes his eyes a lot, right? Yeah. But people like their eyes like to stare with them up, but they're going to kill you in the scene. But how do you compete if you guys aren't playing the same role? No, we're not playing the same role, but he's competing at the dynamic of the scene. And who, after the scene is seeing, he's the one you remember the more. Oh, my gosh. As a viewer, who do I pay attention to in the scene? There's plenty of people in the scene. Yeah. Like, I'm a similar one. I was saying, "Stean's feeling like she's in the scene, and I can't stop looking." Even when she stops talking, and I'm like, still, I want to hear more from her. That's what it means. But still in the scene is not a thing, really. True. Like, I'm a fan of Denzel Washington, right? My whole class is like that dude is Sydney Portier for us, right? He's the guy who, he's like, "Okay, see it. I'm an actor because of him." Yeah. Right? So when I'm, first time I had to do a scene with him, dude, I had like, you know, a little bit of chills because it's kind of like, I guess, "Oh, this is the remember the Titans?" Remember the Titans? Yeah. I'm not trying to steal a scene from Denzel Washington. That's ridiculous. Well, it's still a scene at all because in theater, you know, someone's stealing the scene is called a ham. Yeah, I really jump up and down and still the scene. If you're a train in theater, no one's still seeing you when you come from theater. Yeah. It's like, too. It's more support in a way. Like, I knew that last season, Tell Me Gray was really important to Sam. He'd been trying to get it done for 10 years. His family suffers from Alzheimer's and dementia and things like that and he really wanted me for the role. And in fact, I was like, I don't know if I don't do it because I was trying to do transformers and they were saying that I couldn't do both at the same time. But I was like, I'm gonna be still. I'm like, God, do what he does and then I got to go, right? But when I got there and the first day I was on set with Sam, I said a line and he said, he texted me. He was like, when you said that line, the weight was lifted off my shoulders because I knew it was in the right hand. I also think, like, there's something beautiful about, like, a humility. Like, again, you're not saying this because you're here, one of my other cult classics paid in full, right? And I think you found a way in that character that, like, it's a real topic, a real time. It's the jungle and your humility and your, like, just Zen almost in that role. You steal every scene in that. Like, what was that paid in full experience, like, like, making that movie? You portraying, like, a real life person. She said it many times. You don't want to do a disservice to anyone. So I know AZ, the actual person, you know? I met with AZ and I felt like I could be like him, you know, just another way I could say it. Like, I just felt like I could be like him. I mean, we all felt obligated to be in a sincere, you know, camera, I want to be sincere to the characters. And that all always happened. I find it funny, we've talked about cultivating talent, talked a lot about basketball, a lot about your career, working with you on shooting stars, a basketball player we may all have heard of in LeBron James' story. So, what's that about, like, shooting stars? Shooting stars was wonderful because I like to work with young talent, like kids and stuff like that, right? So the young people were just so much fun to work with because they're just full of energy all the time. They have to be almost brought down energetically, right? It's another true story. I get nervous in those things because you have to meet these people or sponsor them. You don't want to do a disservice to people. And when I met a coach, I was like, I'm not a lot like this dude at all, I'm not like him. He's doing my cry right now. I'm not shedding no tears, no time soon, you know? He was difficult, it was difficult for me. It's just a challenging role for me, that's all. Because he was, um, so he's such a nice, he's a good guy. Such a good person. I'm a good guy, a nice guy and all that, I'm making myself look like I'm not, I'm a very nice person. No, I am. Very nice, you know? But he's just different, he's a very unique person, you know? And then LeBron's iconic, beyond iconic and historical instance. I've also found it super interesting, and you're a genre of dance hall. There's people that are like, we want you to do you, but not to you. Dance hall is such a traditional thing and so personal to, to a culture. They may not want a new version, right? It's like, no, no, this is how we do it. When you as a new artist, do you feel that pressure? What? This is my life that I'm living right now. But guess what? It doesn't matter what anybody say, right? I wouldn't have gotten this far to have the opportunity to be like, oh, I want to mix it up now if I wasn't chosen to do this. When you look at my country, there's not like a thousand of us that make it out. No. Twenty, you know, so you got to be like, okay, this is what I'm chosen for. God wouldn't choose me if I was not strong enough to do it. He knows that I can handle the pressure of the world and the audience. I know that. And that's why I'm still here doing it. Because I feel like I'm chosen, it's my destiny regardless. I've seen this thing from I was a kid like this. What's the version of your dance hall that's different than old school dance hall? So my dance hall that we do these days is more like, it's mixed with more melodies and trap and different songs. Back in the days, you will hear like a steel or a little drum and then an artist is just like doing this flow like done, done, done. The type of music we're doing now, it goes like this. It's more flowing on the beat. Yeah, you feel me so, but what I'm doing now is like, when I came to America, it's like, when I go to the clubs, people are still enjoying the old school dance hall. The new dance hall has not broken ground here. So it has not. It has not. There's a lot of artists who came up that you don't know, well, I'm just lucky to be one of them that has image and a face that I market myself in a certain type of way where other people get to know about me. Because I have been doing new school dance hall, but ever since I came here in America, I said, "Wait, how are you guys still listening to these songs with me like, 'Oh, this is the jam?' Like, we hardly even listen that. Absolutely. Yeah. How are you guys still stuck on this type of music? Don't get me wrong. Vintage. Very legendary. It'd be like, I was going around the country and they're like, 'I said the hip.' How? You were like, 'What? What?' It's the same thing. It's the same thing. It's the same thing. So I feel, I take it up on myself to be like, nah, I got to help. So, my culture expanded and helped you guys catch on to what's happening down here. So I tried to mix. That's dope. It's crazy because I personally think Jamaica is the greatest country on the planet. Here's why. There's seven billion people on the planet. They have three million people on that one island, smaller than one island. - Yeah. - But you, I've not been everywhere in the world, but I've been a lot of places. You cannot go anywhere in the world, be like, yo, where's the reggae spot? You'd be up in Beijing, Hong Kong. - That's sure. - Yeah. - Poland, Amsterdam, New York, LA. You can go anywhere, be like, yo, where's the reggae club tonight? They'd be like, oh, it's on Tuesday. But there's a. - Oh, it's on Tuesday. - It's on Tuesday. - You'd be anywhere in the world, you'd be like, yo, what can I get, can we get a beef patty? - Yeah, maybe like, oh, down the street, girl. - Yeah, we know that we have major influence, right? But I feel like we as dance or community and Jamaica, if we unified more, we would reach even further. We inspire lots of genres, hip-hop, reggae tone. - Everything. - Almost everything. - Everything. - Everything. - And Afro and dance all is like. - And rock music, everything. They take happy moments. - How do you feel about the Afro beats now? - I love it. - It's great. - To me, Afro beats and Afro beats, to dance all is like brothers and sisters. Like, we move as one. I have a big fan base in Africa, because Africa really tunes into dance all. - You make us also very influential because one vein of it is really New York. So hip-hop is, you know, oh, man. - Yeah, yeah, for sure. - Yeah, it is. It's a fact, 100%. - Yeah. - And so, you know, it's either the offspring of the culture or the culture itself. - By the way, he talked about working with young kids. You talked about you wanting to be a child actor, but you clad it didn't happen to you, right? - Yeah, I mean, I think, I just think about longevity in a way. And I'm definitely real passionate, very Brooklyn. And I think I had to take the time to understand myself a little bit better, understand how to navigate my emotions. But I was thinking earlier about manifestation. That was one thing that I did a lot. I journaled a lot. And I wrote a lot of things. And one thing that I saw on Facebook today, 11 years ago, today I wrote something like, I hear six gunshots out my window while I'm trying to sleep. No wonder why I run from bullets in my dreams. And I said, like, all I could see is my Brooklyn residency. No wonder why, like, Sunset Boulevard seemed so far for me. But now when I did swarm, literally, my face was everywhere in Hollywood. It had the biggest billboard on Sunset Boulevard. And I wrote this when I was in East New York being like, damn, the bullet, the bullets. I'm working at the movie theater, have to work on Friday nights and come home from Manhattan to East New York at like four o'clock in the morning, cold, and being like, this is actually dangerous, but I can't even think about that 'cause I have to do it anyway. And just remember, like, oh, I can't wait to one day. I'm gonna be on the screen. I'm gonna be, you know, and I just put a lot of energy towards that. I think I was like that, too, just as a young person. And probably we all were like a little bit like that. Like, I never felt like I wouldn't be exactly this person, you know. I didn't have the obstacle of a parent or somebody being like, you can't do that. - I mean, that's what I think is so dope, your podcast, that you have, right? It's like, you don't need to do that, right? - No, no. You can't have a plan all the time. Your life is your journey. - So you can't burn bridges. You can't stop on toes. You can't afford it. You can't afford a misstep. You've got to learn from your mistakes. Don't make people feel bad. Don't step on toes. For me, it's another competition. My thing on stage, if it's five comedians on stage, it's five comedians. My thing is, make sure that people have a good time. So my podcast is just like that. My podcast is, you know, and my podcast, it's just fun. My podcast is called "May I Labyrinate?" I take these positive affirmations and I JV smooth them. My partner and I, my, my, my, my. And I JV smooth them. - You, you, you, you, you put, you just take 'em and you re-explain 'em to people. What do you think they mean? And I just elaborate on 'em. - With all of that, what you've done, the podcast is great. You still get confused with Warfield, Warlock, every now and then, you know, right? - You know what? His, his, this is no, I'll break it down. - You can't use the people. This is hilarious. Watch this, watch, watch. Watch what I'm gonna do to you. This is so crazy. It's so crazy. So, men, John Sally, you forget it, right? They'll say, "Oh, John Sally, you like Jamie?" You know, they'll say, "Hey, man, I love your work, Mr. Sally." Oh, they'll say, "Hey, but this much I love you." - It's a lie. - It's a lie. If he's sitting down and he's sitting down in the restaurant, they'll be like, "Hey, man, I love your work." - Okay, okay. - He told me this all the time. I said, "The one time I was talking to a guy for 15 minutes." And then all of a sudden, he said, "Man, I just, I always love you, man, Mr. Sally." I said, "Man, you think I'm John Sally?" But here's the funny thing, look, they think me and John look alike, right? But they say, "I look like Mr. Warlock," right? But Mr. Warlock don't look like John Sally. (laughing) Isn't it crazy? - Well, once they wish-- - Back to deck also, I get it, it's back to deck. So it's like, it's like four of us. But Warlock, it's like, "Jerry, when did you dress better than Warlock, John Sally, and it's back to deck?" (upbeat music) - Thanks for listening to The Shop Uninterrupted. Make sure to subscribe, rate, and review wherever you're listening to the show. For full video episodes, check out Uninterrupted's YouTube channel. And for weekly show updates, follow The Shop Uninterrupted on social media. - I'm Lexi Yuanil, we're two best friends, 22 years apart, but so close at heart. - And I'm Lisa Di Giulio, the old one, which means we have wildly different references, occasionally different opinions, and at this point in my foot is, I've lived it all. - I'm Lacey Mosley, author, actor, stand-up, comedian, creator, and host of Scam Goddess Podcast. Each week I bring on an amazing guess. - What? ♪ Scam Goddess ♪ - Hi, this is Kylie breakman. - Angel Jaretana. - Jeremy Cole, Hank Cash McDonald. - And we're the hosts of the artist on artist on artist podcast. - The improvised character comedy podcast where each week a new panel of artists discuss their craft. - It's right up next to the microphone. - You can, I hear you can almost hear the eyelashes hit each other. - You've never seen Italy so quiet as when the Pope gets up to wink on Halloween. - Listen to artists on artist on artist on artist every Thursday on the I Heart Radio app, Apple Podcasts, or wherever you get your podcasts. - Self-care September is your reminder to slow down, check in with yourself, get off your phone, and maybe ask why am I like this? - Listen to the psychology of your 20s on the I Heart Radio app, Apple Podcasts, or wherever you get your podcasts.