Marlon Wayans Part 2

In Part 2, Marlon Wayans gives credit to his brother Keenen's talent-spotting abilities, noting how Keenen discovered major stars like Tommy Davidson, Jim Carrey, and Jennifer Lopez, and he reminisces about the legendary four-year run of In Living Color.

Marlon shares stories about his experiences in Hollywood, like working with Eddie Murphy on Norbit, his close friendship with Tupac Shakur during the filming of Above the Rim, and how the tragic deaths of Tupac and Biggie impacted him. He discusses the origins of The Wayans Bros show and remembers some of their best guests, including Bernie Mac, whom they helped elevate to stardom.

He gets into the complexities of Hollywood, discussing his family's challenges with the Weinstein brothers and how they were cheated out of a fair deal for the Scary Movie franchise. He reflects on the impact of being a visionary Black entertainer and the importance of coming together to create rather than tear each other down.

Marlon talks about some of the iconic moments in his career, such as the making of White Chicks, which he describes as the hardest movie he's ever done. He responds to claims from Mo'Nique that White Chicks stole her baby powder joke, and addresses criticism about Black actors wearing dresses in Hollywood. He also shares his unique approach to comedy, stating that he doesn't write his jokes but performs spontaneously, "like Jay-Z in the booth."

In a more personal segment, Marlon opens up about his relationship with his daughter and the difficulties of accepting her transition. He discusses his desire to have another child in his 50s, his reluctance to get married, and how he plans to be a different father this time around.

Tune in to this episode of Club Shay Shay for a raw and insightful conversation with Marlon Wayans, filled with laughter, love, and some unexpected revelations.

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Episode Transcript

Speaker 1 (00:00):
Thank you for coming back. Part two is Underweight. Jim
Carrey played your brother, the oldest brother, Keenan. I think
the greatest compliment that anybody can pay. He said, I
wouldn't be successful without your brother.

Speaker 2 (00:12):
Yeah, I wouldn't be successful with all my brother other
I think a lot of us wouldn't be successful with
all my brother I think my.

Speaker 3 (00:19):
Brother, Well, it's different from me.

Speaker 2 (00:24):
I was nurtured, So I still think because I had
their guidance and then nurturing, I was gonna make it
regard right.

Speaker 3 (00:31):
Believe me, you.

Speaker 1 (00:31):
Had been around them enough. But he and Damon and
been in that family enough, you was gonna go out there.
You were gonna carve your own weight. Yeah, but Jim
needed this opportunity. In Living Color, when you're watching, you
credit not just Keenan. You got a credit Dame Damon.

Speaker 2 (00:46):
Okay, because Damon did earth girls are easy with Jim Carrey,
and they were friends and Damon was like your Keenan.
Damon was Keen's right hand man. That's his lieutenant on
Lemon Color. That was his right hand Damon. And then
Kim Kim was a soldier in that room, always writing
her sketches everything Kim did for the most part, she
wrote and created.

Speaker 4 (01:05):
So the Keenan was like, he was like, you gotta
trust me. This white boy's funny. He's like silly puddy.
He twists hisself up. He could suck his own dick
to be tried. It was like boy crazy and.

Speaker 3 (01:21):
Keenan was like, okay, let me see him. And then
Jim and he had.

Speaker 2 (01:25):
Just Hollywood didn't want on no more because he did
this thing called duck soup, that bomb or duck something,
duck factory and a bomb, and so they were cold on.

Speaker 3 (01:34):
Him, so the network didn't want him.

Speaker 2 (01:37):
And then Keenan saw Jim in the audition that Damon
brought him to and Damon was picking them up. Keenan
was like, he's hilarious. And then from there he put
him on and he let Jim buck wilder and let
me call it was a playground. Keenan always said, don't
just do what's on the script. He made us all
writers have something in your back pocket because when we

(01:58):
do second taking, third take, don't do the same thing.
The audience can only hear the joke one time. It's
on to get diminished in return, so they want to
hear something different, and so that's what we did.

Speaker 3 (02:08):
Keena was a starmaker, That's what I'm saying.

Speaker 5 (02:11):
Did you know Jim could be what he became?

Speaker 2 (02:15):
Yeah, I knew. I knew Jim could be what he became.
I knew Jamie could be what he became. I knew Damon.
I knew everybody on that set could become anything they
wanted to be. Rosie Perez was the choreography, Yes, you
understand for in Living Color, and the Living Color was

(02:37):
filled with great people, handpicked people with good vibes and
good energy and love. My family come to set, We
hug each other. You see the love my family has.

Speaker 3 (02:49):
We have love. That's why I all.

Speaker 2 (02:52):
Oftentimes when it comes to people and they talking, they nonsense,
they talking, they shit, Listen, I don't. I try not
to engage, right because I know I'm not about the
goons and this and that.

Speaker 3 (03:06):
I got love.

Speaker 2 (03:08):
I got people that died for me, lots of them
like so, and I don't want to engage in that
because I'm loved. So I'm loved enough to step back
from it because I know if I go, if I'm
in the fight, there's gonna be a lot of hands
in there.

Speaker 3 (03:22):
You got the nephews, you got the cousins. There's a
lot of wayans is.

Speaker 2 (03:28):
And I just go, you know what, I'm loved. So
when you get to a WAYN set, you feel loved.
You see, we love each other.

Speaker 5 (03:36):
Tommy said that.

Speaker 1 (03:37):
Tommy said, every time you guys come on set, you
hug each other, you kiss each other, and you like, damn,
I wish y'all could have had that man.

Speaker 3 (03:43):
And he did.

Speaker 2 (03:44):
He did in my family. Yeah from your yeah, my family.
Tommy comes on to this day. Tommy at the birthday party,
I pulled up.

Speaker 3 (03:50):
I love him.

Speaker 2 (03:51):
I love all my all, my all, my tribes, I
love them for life and all my all of them
will tell you I show up, I show up, and
we when you come in our world, we love you.
David and Grel will tell you we love period. Nobody
ain't gotten. Only people that don't know us got.

Speaker 3 (04:07):
Something to say. But anybody experienced us like they.

Speaker 5 (04:09):
Love I had Tommy on. Tommy said that like he.

Speaker 3 (04:13):
Is, Damn, Tommy talk a lot.

Speaker 5 (04:14):
He did. He did.

Speaker 1 (04:16):
Tommy said like he had a great relationship with j Loo.
They would speak when they was on the show. You know,
they went to dinner, they did things and then when
she kind of blew up, she kind of like brushed
them off. I know, you can only speak towards personal experience,
what you've experienced. Have you experienced something like that, what's
your relationship with j Loo or have you experienced something
like that. When someone started out they were kind of small,

(04:37):
they got big, and then all of a sudden they
really didn't know who Marlin was.

Speaker 2 (04:41):
I don't know, maybe they had something personal going on,
you know, Jamie and Jaylo. I can't speak on it
because I don't know, not Jamie, I mean Tommy and
j Loo. You know, maybe he had a Jlo joke somewhere.
I don't know, and you know, you never know what
could start that type of thing. But from my experience,
you know, j Lo blew up and when I saw

(05:05):
it's always love, always hey, how you doing house? Keenan right,
always been love. She's never been like, oh I'm above
you now, she's never been like that. In fact, my
role in Air, you know, she told Ben Affleck. He
was like, I need a good actor to do this role,
and I want somebody good looking to play George Rabling.
She's like, I need, I need this, and she said,

(05:26):
what about Marlin. He's a great dramatic actor. And so
Ben called me and was like, will you do this
role in my movie?

Speaker 3 (05:32):
And it was a great role.

Speaker 2 (05:33):
And I was like Bet and j Loo was the
one that was like, yo, you should hit Marlin. So
and then I went on press tours and I saw
her and her and Ben we sat at the same
table at the Golden Globes and love all love you
know what I mean. I don't there's no like you know,
but look, it's hard for everybody to always give you attention,
especially when you her You're being pulled this way, you're

(05:55):
being pulled that way. Everybody when you want the camera
sere and this and that, and so I don't make
it personal. I just go maybe she's busy. I'll hit
that at another time. But I don't know what her
and Tommy went through. I love jay Love you understand.
Go into a living color set, see everybody credits like
Puffy with finding that jay Loo was fine, right, he's

(06:18):
Christopher Columbus, I'm Magellan.

Speaker 3 (06:21):
I knew already. I knew that ass was round boy.

Speaker 2 (06:25):
I watched me on the saddle room in color in
back of me doing all the beach and I'm just
looking at her butt, like, man, then that's a lot
of bookie right there. But she was beautiful, little Puerto
Rican girl to me when she was just Jay looks
always been beautiful. And to see her and see her
and see her talent and see her blow up and
see her become a brand y'all from my model.

Speaker 3 (06:47):
Hey man, love love and one day, you know, I
sit down and go, one day you know we'll work together.
I love that.

Speaker 2 (06:55):
I love the fact that I go, oh, there's something
for me to work toward, because everything is full circle.

Speaker 3 (07:00):
You know, It's like everything was supposed to circle. In fact,
I remember.

Speaker 2 (07:05):
I got the role and Nutty Professor as Dave Chappelle's role,
and my character's name I came his name was Sweetest.
During the deaf jam Rror, I said his name is
sweet Booker, and he had a saying every time he
cracked a joking. But you know how sweet books say,
you better get out here. And so I had this

(07:25):
character and they thought it was hilarious. And then at
the same time we had to screen them don't be
a Menace, and it didn't do well, And then we
had to write that movie, and Keenan was like, well
I was keen I got the roll.

Speaker 6 (07:38):
He goes, Okay, you couldn't do that wrong, and you
can make Eddie's movie funny. Oh you could do the work, work,
gonna don't be a menace and do your movie and
make your movie funny.

Speaker 3 (07:53):
But you can't do both.

Speaker 5 (07:55):
Wow.

Speaker 3 (07:56):
I cried. I cried.

Speaker 2 (07:58):
He always had the heartbreaking like these things that he
would show you, and it was like God talking right,
and it's like this this this purgatory I'm in, and
I'm just like I want to do this, but I
have to do this, and.

Speaker 3 (08:12):
I chose it to don't be a minutes.

Speaker 5 (08:13):
Yeah you should have.

Speaker 2 (08:14):
I know you understand to work with my idol Eddie Murphy. Yes,
you understand what that meant for me. I love me
some Eddie Murphy. There's Richard pryor Damon Wayns, Eddie Murphy.
Those are my three goats right there, and you can
mix them up and pick one. I want to do
that movie so bad. Then years later I get the
opportunity to do Norbit and it just said buster taps

(08:39):
and that's all I had written. And once again, going back,
remember more money, I wrote all these jokes down. Remember,
don't be a minut. We wrote the whole thing in
a week. I'm a writer. Sat there bust the taps.
I watched Jane Fonda, I watched Billy Blanks. I said,
what would a great tap dance class be? And I
wrote a whole room team of a tap dance power

(09:03):
tap dance class.

Speaker 3 (09:04):
Right, And I get to set.

Speaker 2 (09:05):
And Brian Robbins, who now runs Paramount, he directed the door,
but he was like, uh, Eddie's gonna be a makeup
for five hours. We gotta we're gonna shoot something. So
what do you say? What do you have? He says,
bust the taps? What do you have you have?

Speaker 3 (09:19):
I said, I got this little thing that I worked out.

Speaker 2 (09:23):
Can I try it? He said, okay, I got the class.
I said, y'all just do everything I do.

Speaker 3 (09:30):
Ready to get here, one, two, three, four. I stepped
the poof gotta wipe it off. Power tap, power tap,
the class here, come to cops.

Speaker 2 (09:39):
They taking me to jail and I did the class.
I did a twenty minute class. They were sweating. Brian
Robbins was like, hold on, this is hilarious. We're filming
all this five hours. Brian filmed the whole class. Eddie
comes out the trailer dressed in his makeup and he

(10:00):
gets to the screen and he goes, Eddie, we got
something we want to show you, and so he shows
me the scene and I left the room.

Speaker 3 (10:07):
My idols in there.

Speaker 2 (10:08):
You know the dude I knew since I was eight
years old, moll and be free. I left the room nervous.
They start the thing and all I hear is when
Eddie laughs, he ross.

Speaker 3 (10:28):
I look in the room and he's smacking the chair
at what I'm doing. I stepped outside the room.

Speaker 2 (10:38):
I don't know where the east was, but I would
look to the east and I just prayed, and I
just thank God that I got to make my hero laugh,
and being that I didn't have that opportunity before, but
now given the journey, that it all comes full circle
that I get to make Eddie Murphy laugh him laugh.

(11:00):
We did a scene together and I said something like that,
you know, look at your big ol' orange as it
looked like the looked like the great pumpkin. Make a nigga,
go turn the nigga to away wolf something and eddiewhere
and I made him break. I was like, that's how
I knew. I was like, I'm onto something. So everything
is full circle. Everything happens for a reason, Everything is divinity,

(11:22):
and everything is God.

Speaker 5 (11:23):
Let's go to this. You were above the room with Tupac.

Speaker 3 (11:26):
Yeah, my guy.

Speaker 5 (11:29):
You had a very very close relationship with Pop.

Speaker 3 (11:31):
That's my man, that's my guy. That was uh he
was Uh.

Speaker 2 (11:35):
What happened was I knew Pap for a while because like, okay,
Omar was my best friend. It is my best friend,
mys and him my other best friend. Uh uh, Mitchell
were doing Juice okay with Tupac, so I was come
up from Howard to come to the set to hang.

Speaker 3 (11:57):
Out with them.

Speaker 5 (11:58):
So I met Pop that way, Okay.

Speaker 2 (12:01):
Then when I moved to La me and Jada Pinkett
became great friends. Jada Pinkett and Tupac went to the
same school together, right, so we had like this click
of performing arts, high school ghetto kids. And then I
got the role of Don't of of Boogaloo and Above

(12:21):
the Rail and I got to work with Pop and
we hung out like on set. We cracked up, We
laughed the whole time. This man would go work all
day smoking's weed. You know, he always he always high
that trailer. We shared a trailer together. I swear I
got a who I had a contact the whole time.

(12:46):
It felt like I was living in a Blunt's smoker
it was. And so uh we used to hang out
and then we laughed a lot together. We used to
walk around the streets in New York. We laughed a
lot as Park was silly, right. Pack was just like
he was a performing arts high school kid.

Speaker 3 (13:03):
That of the ghetto.

Speaker 2 (13:04):
I'm the same way I grew up in the projects,
like I'm one of I'm a project negro.

Speaker 3 (13:11):
All this Hollywood stuff that's not what I know.

Speaker 2 (13:15):
You didn't come from sixteen years of my life, raised
in the institution pretty much. So we all got along,
me and him Amar And was like when we all
got together, we can all laugh like kids. All the pressure,
all the gangster, all the no we just all laugh.
We hang out, you know. And Pop he always gonna
be his thug self. He was always had a bishop

(13:37):
in him. But he was such a multifaceted dude. And
if you watch out interviews we have old interviews. I
used to make him laugh all the time, and he'd
be silly with me, and you know, it's crazy.

Speaker 3 (13:47):
I remember I saw Pak was performing.

Speaker 2 (13:51):
He invited me down to clam Slam and he's performing
with Biggie. There's a picture with Tupac and Biggie, the
only picture I think of them two together.

Speaker 3 (14:03):
And if you look in the corner, I'm sitting in
the background twisting my hair.

Speaker 2 (14:07):
Now the irony is I saw Tupac in Vegas at
the lux Or twenty minutes before he got shot.

Speaker 3 (14:16):
We saw him.

Speaker 2 (14:17):
I seen suging all these cars and thugs and reds,
and I was like, I turned white.

Speaker 3 (14:22):
I was like, we shouldn't go over there, because just
wait for me.

Speaker 2 (14:26):
Hypac almost like, nah, we gotta go say with some
pay our respects. And pock was a huge star at
this time, and I was like, sure, this is short.
Looks like a lot of trouble over there. And so
I come over there, give him a hug. We all
talk kick it for five minutes and the BMW pulls
up and me O mar Mitchell were getting a cab

(14:47):
and we pull off and I'll never forget to look
on Tupac's face as we pulled off.

Speaker 3 (14:52):
It's kind of just like looking at us, like.

Speaker 5 (14:56):
Everybody should get in the car with you.

Speaker 2 (14:58):
It just he looked like, man, I missed that freedom.
I missed that fund. And he was just in this chaos.
There was something a part of him that's wished that
it was like the innocence. He could just go with
the innocence, right, and go with the And so we
left and then twenty minutes later we heard he got shot.

(15:18):
And then I saw Biggie twenty minutes before he got shot.
We're leaving a party.

Speaker 3 (15:25):
We're going down the escalator or we're going up the escalator,
and he was like, oh damn.

Speaker 2 (15:30):
He was like, yo, I low your family all lor y'all,
y'all make you laugh for all the stuff to do.

Speaker 3 (15:36):
Oh buddy, he was just bigging though stuff he had.

Speaker 2 (15:39):
I forgot what he had on, maybe a couchie sweater
or whatever, and he was, uh, you know, he was talking.
He was like, oh love you, dap me up, good
seeing you continue success, blah blah blah. Cause and I
know you know puff since college, Like I know these brothers,
I grew up in Hollywood. So we're leaving the party,
I see him again, dap him up. My brother Keenan's
and the party with me. He gets in his car

(16:02):
he has a drop top five hundred Mercedes sl I'm
in my brain drover and we here Keenan's like, you know,
don't hit him man's head as he went over the
speed bump and he pulled off, and he pulled off.

Speaker 3 (16:16):
I went to go eat at Jerry's Deli.

Speaker 2 (16:18):
I'm friends with Tracy Lee, who was a rapper, and
we was all eating over there and we found out
big gun shot went to the hospital. Saw a puff
and all the outside or Mark Pitt's, all those guys
I knew crying and uh and I saw a.

Speaker 3 (16:33):
Biggie twenty before he got shot.

Speaker 5 (16:35):
Wow.

Speaker 3 (16:36):
So twenty minutes after this interview, nigga, you make it shot.

Speaker 5 (16:41):
I ain't going nowhere.

Speaker 3 (16:44):
I ain't going to where they got no good you
fifty five cent.

Speaker 5 (16:51):
The Way of brother Show. Yeah, how do you guys
get that picked up? Well?

Speaker 3 (16:57):
What Sean had a Sean.

Speaker 2 (17:00):
Did a showcase for Warner Brothers and all these different places.
He had a showcase at the Lab Factory and Warner
Brothers want to sign him to a deal. So he
goes to have the meeting and I just had more
money come out. He said, They said, what do you
want to do? He goes, I always want to do
a show with my brother Marlin, right, and me and

(17:21):
him was already working on The Ways Brothers and he
was like, oh, Mallel for more money and Lemica the
two of you great, and.

Speaker 3 (17:27):
So we started developing the show.

Speaker 2 (17:30):
God was David Lee and Leslie Simon and we sat
there and we created the show together.

Speaker 3 (17:35):
And then.

Speaker 2 (17:37):
Then we got to NBC got to the table read,
and they didn't want John Witherspoon. They didn't want him.
They thought he was too ghetto. They thought that John
was too country, that he was too Detroit. You know
that George Detroit player brother. You know, John has a
very distinct personality, but he was veteran John a ghetto.

(17:58):
They didn't want him as our father. And me and
Sean was like, we don't want no other father. And
they was like, either you replace the father or you
don't get on our air. And we said we're out
replacing the father, and so NBC.

Speaker 3 (18:14):
Didn't pick us up. So then we're nowhere.

Speaker 2 (18:18):
Went and then WB is being created and they needed
a flagship show, and we did this pilot called Wayne's Brothers,
and they was like, we'll take it, We'll take it.
So me and Sean with John, and we said, you
gotta take John Witherspoon, bet and from there Wayne's Brothers.

Speaker 1 (18:37):
You do realize to be on network television. And the
only thing that you had to do in order to
get on network television was to change a character. You
know how many people would have changed that one character.

Speaker 3 (18:50):
Yeah, but not.

Speaker 2 (18:53):
We have a loyalty and we have instincts, and you
gotta trust your instincts. Without John Witherspoon, Wayne's Brothers, Me
and Sean, it's always gonna be funny.

Speaker 3 (19:00):
But you need to try and go off. You need
to try angle offense.

Speaker 2 (19:06):
That every time we threw John the ball, we knew
we knew that, we knew it he stepped or clay,
we knew it.

Speaker 3 (19:16):
Every time John and we had the time of our lives.
We laughed so much.

Speaker 2 (19:23):
We used to go to lunch together and John, he's
so country John or the two Chickens, and we was like,
oh cool, So you're gonna split this with him, No, nigga,
get your own.

Speaker 3 (19:31):
This is all mine, no vegetables. This chicken he shall
call him chicken man.

Speaker 2 (19:36):
And but man, we had so much fun and he
was like always telling me Marlon, you need to get
more keys.

Speaker 3 (19:43):
See, you need to have more keys. Don't just you
got this actor key. We got the producer key. See.
Now you want to be like a janitor where you
can open up.

Speaker 2 (19:51):
In the door you want. You got to get you
those keys. You need to get this stand up key.
And for years I never did stand up. I think
because of fear. I think because I grew up in
this household with all these comedians, and I always felt intimidated.

Speaker 3 (20:07):
I always felt like.

Speaker 2 (20:10):
Damon, I'm never gonna match what Damon's doing, and I'm
never gonna do what Keenan's been able to do. I
can't do it, Sean and Kim everybody. When you do comedy,
everybody you tell stories from your life. I got four
niggas already telling the stories of my life. Yes, so
what do I have to say by the time I
come along to the point exactly? But then you realize,

(20:34):
oh no, that's their stories from their point of view.
And as a comedian, as an individual, oh, I got
my own stories. I got my own point of view.
I got my own journey with my parents, and my
relationship is different. I got each one of these brothers.
I could talk about and pull from. I went to
perform an arts high school. I didn't do stand up

(20:55):
till later. I have a different journey, and so that
now gives me complete confidence. But John, you used to
always say, Marlin, you got the gifts, you needed to
go get them keys. And now that he's gone, I'm
hearing them stages so hard because I'm like John, I'm
gonna get them keys. I'm gonna get these keys. I'm
gonna go down as as one of the greats because

(21:19):
that that inspiration. I He's one of the people up
there with my parents that I want to make proud.

Speaker 1 (21:28):
And God, I'm looking at some of the guests that
you've had on you had Bernie mac, Missy Elliot, Jared Springer,
Gay Coleman, Pram Grell, Monica, Kenny Lofton Camacho, Buster Rhymes,
Keith wat Mbo, Paul Abdu.

Speaker 5 (21:38):
Who are some of your favorite guests that you had
on the ways?

Speaker 3 (21:41):
Brother, Damn you didn't mention them so fast. I don't know.

Speaker 5 (21:45):
Bernie Mack.

Speaker 2 (21:45):
Bernie Mack, Okay, so Bernie Mack. If you don't notice
Bernie Mack's first movie, Wayne's.

Speaker 3 (21:51):
We put on a lot of people.

Speaker 2 (21:53):
We put on a lot of people because if you funny,
we want to give you opportunity.

Speaker 5 (21:58):
You know.

Speaker 2 (21:59):
The first thing Bernie Mack did more money. He played
a bouncer and more money. Second thing he did, we
put him in a movie Don't Be a Menace. He
played Officer self hatred.

Speaker 5 (22:10):
Wow.

Speaker 3 (22:10):
Then we put him on Way as Brothers.

Speaker 2 (22:12):
Then me and Bernie did Above the Room together, like
I love Bernie mac Me and Bernie were very tight,
you know, I love I love that man. But I
always knew, once again, I always knew he was gonna
be funny.

Speaker 3 (22:24):
I always knew. So he was one of my favorites.

Speaker 2 (22:27):
I remember we would improvise something and we have some
kind of black joke or black and the hat, and
then he'd walk out of the room and shut. It
would just kill And he was one of my favorite
bust of rhymes. We put on everybody that we were

(22:50):
fans of in Vogue. We're fans of in Vogue, fans
of mister Elliott. It was good to act with them
and work with them. And we always thought of it
like I love Lucy. You know where she would have
guest stars on. You know that she was fans of
or friends with and you know, I'm a Buster came
on and you know, we was backstage and after the
show we gambled. He's playing craps and I think I

(23:12):
beat beat Buster for like seven g I think to
this day he's still pissed off at me.

Speaker 3 (23:19):
He killed them that night.

Speaker 1 (23:23):
This is what I want to I really want to know,
because you were a part of it. Do you think
we'll ever see an era of black sitcoms like we
saw in the nineties. You had the Fresh Prince, you
had your show, you had Martin, you had Jamie Foxx,
you had a living Single, you had the Con You

(23:44):
had so many.

Speaker 3 (23:45):
Will we ever ever see that again? I believe we
can surpass that.

Speaker 2 (23:52):
I'm hopeful you talking to a dreamer, you talk to
somebody that understands positive affirmations, that you put that power
in the universe. We ain't peaked. Black people were just beginning.
We're just beginning.

Speaker 5 (24:06):
Now.

Speaker 2 (24:06):
We're gonna have some work to do because as long
as we're not owning the networks and owning the airwaves
and having the executives that get our humor, then we're gonna.

Speaker 3 (24:18):
Be minimalized and marginalized. So I'm hopeful that there's gonna
be a new way of doing things.

Speaker 2 (24:27):
And I think we'll be able to do even more
than what we did in the past, because I think
the talent nowadays, you know, there's some special people out there,
and not just people, not just actors. Before we Hollywood
was raising actors since me and my brothers came along,
and Robert Towns and Eddie Murphy and all these people.

Speaker 3 (24:44):
Like now you got visionaries coming along.

Speaker 2 (24:47):
You got you know, Easa raised, you got Jordan Peel's got,
you got visionaries.

Speaker 3 (24:54):
That's not just people that's just like, oh, I'm an
act in something. You got me.

Speaker 2 (24:58):
You got people that's like no, no, no, no, I'm
ana craft something and produce something and create something that
is of us.

Speaker 3 (25:06):
Yes, the Kenya baruses. You know what I'm saying. We
are visionaries. So we just got to do more. We
have to collectivise, We have to we have to do
more stuff together.

Speaker 2 (25:14):
Empower each other, stop breaking each other down, right, I
just get they don't sometimes they don't know. You know,
from coming from a legacy, I understand how important it
is to build each other, not break each other.

Speaker 3 (25:29):
Right. It's so they want we ain't crabs in a barrel?

Speaker 2 (25:33):
Right? How can I help your platform? How can I
help you out? One day if I have a show,
a can you come? I'd love to have go talk
with you and talk to you about your legendary career
and all you've done, and how you've grown as a
as an industry, and how you've grown from Ian when
you first came on the air. When you first came on,
you could bare boy. You a southern southern as hell?
Who put this man? But back in myth indeed deep

(25:58):
them deep you would. Now you're doing this, you do
vocal exercise. I said, look at this man taking this
craft serious?

Speaker 3 (26:08):
I said, God, I was watching you.

Speaker 2 (26:10):
But I'm proud to see the evolution. Right, I'm proud
to drink this. I'm proud to come on this platform.
I think we need to do more of this. I
don't believe I need to break you down to build
me up, because that's in security. I believe in love
and I'm gonna I'm gonna have a great journey. I'm
gonna work with wonderful people and do wonderful things.

Speaker 1 (26:32):
Explain to me and my audience, how does syndication work?
Because you say it's like living.

Speaker 3 (26:37):
Don't they stop that ship? Damn it?

Speaker 2 (26:39):
After sign felt this and after Cosby said no more
niggas gonna get that much money.

Speaker 5 (26:44):
Ever, so syndication was you had to do what a
hundred shows episodes?

Speaker 2 (26:51):
I personally, I think if I do TV again, I
want to go back to that model. For me, that's
that's I want to do sitcom.

Speaker 3 (26:59):
I want to do TV.

Speaker 5 (27:00):
I want to do but they want to indicate you anymore.

Speaker 3 (27:02):
I want to do it. I think it's still a
model that is necessary. I think I think the brands
need a place to go.

Speaker 2 (27:10):
I think the networks have given up and they've allowed
the streamers to kill their business to we live in
a greedy business and they try to compete with each other.

Speaker 3 (27:20):
I just feel like, sometimes, yo, let Netflix be Netflix, right,
everybody ain't got to create that.

Speaker 2 (27:26):
You gonna kill your business to go try and do
their business and spend all this money chasing their business.

Speaker 3 (27:33):
When let them have their business. I want to I
like the syndications thing. I could I want to do it.

Speaker 2 (27:39):
I could do a Netflix or a stream I've been
very successful on all those. But I truly believe in
the syndication thing. You do one hundred episodes, maybe two
hundred episodes, and then you sell it market by market,
and then you sell it to the streamers. There's a
big business in it. I paid three million dollars as episode.

(28:00):
If I get three million dollars back on the first run,
then I'm recouping everything that I've made. And then the
second run, and if I'm getting a million dollars an
episode for those two hundred episodes, that's four hundred million dollars.

Speaker 5 (28:13):
Right.

Speaker 2 (28:13):
You got to think about the business of the business.
And now I just feel like our business is gobbling.
It's tough up and we need to break out of it,
you know, and and and and get back to to
not everything being under one roof.

Speaker 1 (28:30):
When did you realize that you could write that you
could really like now, I can write, but I can
write stuff that could become a movie. I could write
things that can become a sitcom. When did you realize
that you had that gift that you could really really
do this?

Speaker 5 (28:45):
Marlon?

Speaker 3 (28:47):
I think when I wrote my first sketch, first sketch
I ever wrote on my own.

Speaker 2 (28:57):
With chaperans, mister ugly man. Okay, it's funny because I
did mister ugly man go bar and people get mad.
Listen many I can't get mad with the jokes. I'm like,
if you're gonna get me mad about jokes, you better
get in line. There's gonna be a lot of Hey,
there's a lot of angry niggas out there. I remember
I had to run. I was on the set of

(29:18):
Lemon Color and I was dodging Shapa Ran because he
was you.

Speaker 5 (29:22):
Ever run into shop?

Speaker 3 (29:23):
Yeah, he was a guest on this show. Oh man,
keep set you up.

Speaker 2 (29:29):
I'm not gonna say what on doing for now, because
when you do it, today's face you know it's mockery
is the greatest form of flatter, right. But doing my
first sketch was like, Okay, I can do this. And
then when we went through twenty six drafts when we
did Don't Be a Minist.

Speaker 3 (29:50):
I could do this.

Speaker 2 (29:51):
Then we did Scary Movie and we had to go
do those nineteen drafts. Now for me, I'm when I
my specials now my stand up. I don't even write
it down no more. Really, I'm like jay Z in
the booth. I remember everything.

Speaker 3 (30:10):
I write it in front of the audience, so I
don't sit at home and go This was funny.

Speaker 2 (30:15):
I go up with a concept and I go all right,
I'm gonna work this out right here in front of
the audience and see where it takes me. There's gonna
be some quiet moments, but I'm gonna do that. And
I started doing that when I did God Loves Me,
which was all about the Will Smith Chris rock Slab
and I wrote the whole thing in my head in
three months, and I didn't tour it for long. I

(30:36):
toured it maybe three four months, and then I filmed
the special and then after that I was like, oh wow,
I'm in the matrix. I just ate the rap hill.
I'm in the matrix. Things is moving slowly, like I
see all these numbers literally, and I could put all
these numbers together and create these formulas.

Speaker 3 (30:53):
And now, good grief, same thing. I don't write it down,
this new one that I'm working on. I'm on tour.
Make sure you catch my tour, uh, the Wild Child
Tour coming to a city near you this fall.

Speaker 2 (31:05):
You gonna see I got I'm not just up there
telling jokes. I'm up there telling great stories. And it's
like watching a movie because you got all these different
characters and this hero that's going through this thing to
get in their lixir, and all along the way it's
just joke, joke, joke, joke, pop, relentless, and then there's

(31:26):
a little bit of heart and then there's some spirit.

Speaker 3 (31:28):
I want you to come down and check me out.
I'm I'm.

Speaker 2 (31:31):
I wouldn't say I'm in a special place since I've
really felt that. I've always been a humble man. I've
always been humble because I've been raised.

Speaker 3 (31:38):
I know what greatness is. Yes, starting to see mine.

Speaker 2 (31:43):
Wow, you get to a point and your excellence through
your work ethic and you go, oh, no, I know
what I'm doing.

Speaker 1 (31:55):
Scary movie, Mirror Max, Mirror Max. Yeah, that's hard. What
people don't know that's Harvey. That was Harvey Weinstein's company.

Speaker 2 (32:03):
Harvey Weinstein and his evil, ugly brother Bob. I'm gonna
have to drink on this man, you know, talk about
it now. See you waited for four shots in for
you to start getting juicy, and then this thing got
real hot all of a sudden.

Speaker 3 (32:18):
Did you turn this up? This end is the hot seat?

Speaker 5 (32:21):
What we could turn that, we would turn it out.

Speaker 1 (32:25):
So I read that scary movie that you guys got
a really really crappy deal.

Speaker 5 (32:30):
Out of it.

Speaker 3 (32:32):
I think in Hollywood you always get crappy deals.

Speaker 5 (32:34):
But that's not just your seventh or a deal, maybe
your first.

Speaker 2 (32:39):
What I think the first one we got a crappy deal, definitely,
but the second one, This first one was so big.

Speaker 3 (32:46):
You know, we opened the forty two million dollars, yes,
which was unheard of.

Speaker 2 (32:50):
Yes, And they try to say for a black director
that was a record breaker. No, that was a record
for just a comedy director.

Speaker 5 (32:58):
Period.

Speaker 2 (32:58):
That's what I know about Keenan Ken was like, no, no, no, no, no,
don't you put the black label on me. Don't you
minimalize or marginalize.

Speaker 3 (33:05):
My success by you trying to label it it.

Speaker 2 (33:07):
Let's let that bleed so that other black people can
know that there's not such a thing as just black success,
because black success has a ceiling. No just success. And
I just so happened to be black and that's how
he wrote, and you know, it was huge. So they
was trying to make a deal for the second one,

(33:29):
the weak enough because they seen the track and they
know it was gonna be huge. So we got a
good deal in the second one. You know, we got
twenty against twenty deal and then Merri Max did what
they did. You know they I always say, you know
they didn't just rape and molest women. They raped niggas too,
molested us in them deals. They were terrible people, terrible people.

Speaker 5 (33:51):
Did you know that that was going on behind the scenes?

Speaker 1 (33:54):
Had you heard whispers of things that he was doing
to women or people that were trying to get in position.

Speaker 5 (34:01):
Did you hear anything about that? Did you know anything
like this was going on?

Speaker 2 (34:05):
I hear things right, but you know, he never tweeting
my book, never asked me for a foot massage. I'll
have be like, man, you don't get the fuck out
of here. But if I had heard, like if i'd
have known somebody, if somebody came to me, I would
have pulled up on them, Hey, man, don't do that.

Speaker 3 (34:24):
I'm gonna tell you how to do your business, but
you ain't gonna do that business to my people. Don't
do that. That's just it's just now how you conduct
your business.

Speaker 2 (34:32):
If you want people to be successful, you don't use
your weight to try and get something from somebody. You
should want people to be successful for themselves. And the
feeling that you get is the fact that you helped
and nurture them and make them successful. This other thing
that's toxic, But God comes for you all the toxic
things that you did to me and my family.

Speaker 3 (34:53):
We took the franchise from us, took it from us.

Speaker 5 (34:57):
That was a.

Speaker 2 (34:58):
Franchise that because and then they stole the idea for
the third one.

Speaker 3 (35:02):
Right, we as gentlemen, we walked away from throw one
cause it was like, well.

Speaker 2 (35:05):
First of all, they took it from usself, put it
in and gave it to somebody else cause we couldn't
make a deal, so they gave it to somebody else,
and they didn't tell us. They read about it in
the papers and he was like, okay, cool. So then
that crapped out cause I'm gonna tell you something you
can try.

Speaker 3 (35:23):
You can try.

Speaker 2 (35:25):
You can't do Weighan's shit without the wayans. Yeah, you
can try, but eventually you're gonna lose a lot of money.
Cause what we do was special. We have two hundred
years of comedy between me and Sean and Keenan Damon Kim.
We have a lot of years of excellence of what

(35:46):
we do. You can't just put anybody on them. They're
gonna just do it. You can't do what we do.
You can do a version, and so they did. The
third one took the idea we pitched them cause we
we came to the table. We said, all right, if
you want to do this, we're gonna we're gonna get
a thirty against thirty million dollars deal because you made
this much money on the first one, you made that
much money on.

Speaker 5 (36:06):
The second one.

Speaker 2 (36:06):
We're gonna get thirty against thirty. All right, okay, back
we come in. King has the meaning pitched his idea.
They go, we love it. We're gonna make an offer.
They make an offer for what we made on the
first one.

Speaker 5 (36:22):
But hold on you.

Speaker 1 (36:23):
You just said we're gonna okay, you got us on
the second. First one, we did, okay, twenty for twenty
on the second, when we're gonna do thirty for thirty,
ain't no offer to be made.

Speaker 5 (36:31):
You already told us what we're gonna get on the
third one. How you gonna make an offer?

Speaker 2 (36:36):
Yeah, you feel that outrageous feeling that you feel, Yeah,
that's what we felt times three.

Speaker 3 (36:43):
So we just like, you know what, No, you we
told you what it was. You're not playing gentlemanly.

Speaker 2 (36:50):
So we went and pitched that movie, and we pitched
White Chicks to it was that movie in another movie.

Speaker 3 (36:57):
I think it was White Chicks.

Speaker 2 (36:58):
Yeah, so five of the Place, since everybody bid. So
then they come go, okay, we're gonna come over the
top and we're gonna pay you. I think it was
like a twenty against twenty deal whatever. And when you
got that on this second twenty two against twenty two
and no, we was like, no, here's what we're gonna do.
We're gonna go do this movie with Joe Rotha Revolution.

(37:22):
And they took the idea and I was like, oh,
fuck you. So they took the idea. They hired the
Zucker Brothers and they brought them on to do Scary
Movie three based on the idea that we told them.

Speaker 3 (37:33):
Now you got that one off. Part four didn't do
as well because now.

Speaker 5 (37:42):
You ain't got the Martin, you ain't got the Williams idea.

Speaker 2 (37:44):
Yeah, the first one you could. You could fool the audience.
They see Anna, they see Regina, They're like, oh okay,
they get there like, hey, whoa, whoa, whoa this this
this though. I like Regina and I love Kevin, I
love Anthony, I do but this don't taste like. Then
you do the fourth one diminishing returns. Then you do
the fifth one and the fifth one. I was doing

(38:07):
Haunted House at the time. I showed Haunted House to
them because I was looking for distribution. They were trying
to buy it and shelve it. But they tried to
take the ideas that I had in Haunted House and
apply it to Scary Movie five.

Speaker 3 (38:21):
But you don't know the formula, so they offered.

Speaker 5 (38:24):
We said no.

Speaker 3 (38:26):
I took it to.

Speaker 2 (38:30):
Was they Open Road, and we got was named another
company to give us the marketing budget, Endgame, and.

Speaker 3 (38:39):
I made that movie for a million and a half dollars.

Speaker 2 (38:42):
It opened to nineteen million dollars, which is huge, went
on to make seventy million dollars worldwide. Scary Movie five
or six, whatever it was, it died and they spent
a lot of money to make that movie. Now that
money that you spent making that movie, you could have
saved some money and made some money the money that

(39:02):
you spent making All you got to do is pay
the professionals that do it. And I'm not asking you
for anything that's crazy. I'm just asking for you to
respect what the craft is what we know how to do.
I want to all make money together and then but
God is everywhere right, So we didn't retaliate.

Speaker 3 (39:24):
We did nothing with him like this.

Speaker 5 (39:25):
You didn't find no lawsuit like he did.

Speaker 3 (39:27):
We should have. We should have.

Speaker 2 (39:29):
We didn't collect. That's all good. We go on made
our money. White Chicks made another classic. This little Man
made another classic.

Speaker 3 (39:37):
We do our thing fast forward to You know, sometimes
you ain't got to do nothing because.

Speaker 2 (39:46):
God's gonna do it. God's revenge. When God comes for you,
you gotta trust God. You don't retaliate. Vengeance is mine.
They took meor Max this company, maryor Max this, he
took it. Then they had the Weinstein co. And then
all this stuff started going down with the rape allegations,

(40:07):
and they took that company too. And now your brother's
in jail and you ain't in the business. I didn't
have to do nothing. All you had to do is
be good businessman. We asked for nothing. We did nothing
wrong to We didn't ask for anything. But sometimes they
get mad that a black man has a nerve that

(40:29):
asks for what his money supposed to be.

Speaker 3 (40:33):
Don't you tell me what I'm supposed to make this
is what my value is.

Speaker 2 (40:38):
And if you want that, then you're gonna have to
pay me what I'm worth. And if not, hey man,
I ain't got no beef if we just didn't make
a deal.

Speaker 3 (40:47):
So I love.

Speaker 2 (40:47):
I'm gonna take these great ideas and go somewhere else.
But don't be mad that you had to pay me
for what I feel my worth is.

Speaker 1 (41:00):
Ask you about this because people be asking me about it.
These Hollywood parties. Marlar, you've been at the Hollywood party?
What going on to these Hollywood parties?

Speaker 3 (41:08):
I left early.

Speaker 2 (41:13):
Because people people think that I've been to plenty Diddy parties.

Speaker 3 (41:16):
I left early.

Speaker 2 (41:18):
I swear to you, I never seen the stuff that they.

Speaker 3 (41:21):
Aimed to be going on. I never seen it.

Speaker 5 (41:23):
I never never.

Speaker 3 (41:25):
Those are the type of parties that I go to.
I don't frequent those type of parties. And even if
I go, like I.

Speaker 2 (41:30):
Said, I've never seen any of this. I'm like when
I hear about them, when did that happen? At what
time did this go down? Because I was there took
three thirty you mean three thirty two, so they waited
for me to leave.

Speaker 3 (41:45):
But all right, good that Wayn's Nigga's gone. He talked
too much.

Speaker 2 (41:51):
I've never seen it, never seen nothing, you know, I
see drugs. You know, I don't be seeing like I'm
not a man. That's about the gang bangs and this
and that. If I party, I like my own party,
you know what I mean. Even if I'm me and
you know back, they would be me and some chicks.
It'd be me and some chicks.

Speaker 3 (42:09):
I don't need me some chicks and some dicks. Now,
this is my My party, is my.

Speaker 2 (42:16):
It's all love. If there's a love session here, let go.
But I don't, you know, amtraks, because that'll get you
in trouble. I see, I see the forest through the
trees because I got God in my life. I got
my daddy in my life, I got my mama. Don't
do that now, you know better. Everything that you do
one day can come back to haunt you, So you

(42:37):
gotta be careful how you show up.

Speaker 3 (42:40):
I don't have no blemishes on my NASCAR.

Speaker 2 (42:43):
I am brand clean. I don't go to jail. I
don't do du wise because I don't drink and drive.
If I might have me a drink, I don't care
where I'm at.

Speaker 3 (42:52):
Call me a uber. I don't drink and drive. I
don't get in the silly like be things. Yeah, I don't.

Speaker 5 (42:57):
I don't.

Speaker 3 (42:58):
I don't. I don't do that.

Speaker 2 (42:59):
I don't carry you read nothing to value because I
don't want to give you a reason to want to
rob me.

Speaker 3 (43:05):
I got nothing. You want a credit card? Go for it. Man,
you got twenty minutes, have at it.

Speaker 2 (43:09):
Go rock out before I have to call in this.
Someone stole my car. I don't invite. I don't drive
fancy cars like Rou's races. And no, no no, I
got a Prius.

Speaker 3 (43:19):
No I got done. I ain't that you. I got
one car. I got two cars. I got a nineteen
ninety four Range Drober.

Speaker 5 (43:29):
Ninety four and it's still operational.

Speaker 3 (43:32):
Sure it's only fifty thousand dollars on it.

Speaker 2 (43:34):
Nineteen ninety four rain drobe wow, And I have a
Tesla that I'm about to drive over a cliff. I
don't like what he be saying about his trans child.
And maybe, man, you you don't treat them babies like that.
You know this on your babies? That was your your
sperm weird? Ain't they fault eli your sperm weird? It's
okay that weird sperm. I got it too, man, shit

(43:57):
love this child. So my point is, I don't I
watch how I conduct myself because I'm not just doing
this for me. I have to answer to God. I
gotta answer to my brothers. I have to answer to
my legacy. I can't act a certain way. I have
to answer to black people. I have to answer the
kids that want to be like me. There's a lot

(44:17):
for me to answer too. There's a bunch of people
that want to come laugh and feel good. And I
owe it to my fans to walk through this life
and be an example as best as I can.

Speaker 3 (44:29):
Now.

Speaker 2 (44:29):
I will, you know, I will go on my runs.
I will curse out you, not in airlines, Yeah, you know,
I will. When I'm mistreated, I'm gonna talk bad about you.
But if I don't have to, I'm a refrain. But
I watch my conduct. You have to watch your conduct,
so I don't. I don't go to those parties like that.
I've been to parties, but like I said, I never

(44:50):
saw nothing. I'd be so surprised when I.

Speaker 3 (44:52):
Hear certain things like that happened.

Speaker 5 (44:54):
Yeah, where was I with that?

Speaker 3 (44:55):
At? Exactly?

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Speaker 1 (46:11):
Did you were day at that party? Did you think
White Chicks was gonna When you're making White Chicks? Obviously
you and Sean, I think you Sean and you say, Keenan,
A couple of other people was writing this movie.

Speaker 5 (46:23):
And you're like, Okay, yes, blah blah blah blah.

Speaker 1 (46:26):
So when you're shooting this movie, obviously you're getting laughed.

Speaker 5 (46:30):
Did you think it was gonna do this?

Speaker 3 (46:32):
Yeah?

Speaker 2 (46:34):
We was like it's special, nobody's done it. I mean,
you have to say, that was the hardest movie Sean
and I ever did. Yeah to acting with two black
men playing two white girls. It's supposed to be summertimes
in the Hampton. Yes, we're filming winter time in Vancouver.
We're doing seven hours of makeup. We got these big
ass feet and these little fucking heels. Bunyan's was popping,

(47:01):
like you understand then when they put these contacts and
that was the worst hair going in your mouth. Seven
hours of makeup, and then after that, in order to
get the movie done, me and Sean pushed our call time.
We did something called force call. So you're normally supposed
to work a complete twelve hour day, and then you
got to send the actors home so they could sleep.
And it's called getting your turnaround. We pushed our turnaround

(47:23):
so we would do seven hours of makeup, and then
from the time we got out of makeup. Say, we
went to make up at three in the morning, and
we finished makeup by ten o'clock. Ten o'clock we start filming,
and we filmed till twelve o'clock at night. Go home,
get three hours sleep, come back do it again. This
movie was so hard, but we knew we had something special.

(47:49):
We knew the set pieces. We know this that weigh
and shit, we know, man, two hundred years of comedy.
We going this is gonna be. And I thought, when
once again my brother Shawn's underrated, he came up with you,
I did for whats This man called me up two
o'clock in the morning. I think this nigga was high
of green tea. He said, Marlon, we should play two

(48:12):
white girls. I said, Sean, you need left green tea.
I'm taking my black ass to sleep. Next day he
comes to the house, He's like, no, we gotta do it.
And I think it was Rick bought over FHM magazine
or Sean brought over Fahim magazine and on the cover
was Nikki and Paris Hilton, and he was like, these

(48:33):
are the girls that we gotta play. And he said,
I was watching this movie some like It Hot Boom,
So we watched something like it hot like the Matrix.

Speaker 3 (48:43):
He's like, that's it, I see it.

Speaker 2 (48:45):
Instead of criminals, we're gonna play cops. Instead of two
white guys playing two white girls, we're gonna play two
two black men playing white girls. Instead of the little
guy in the movie that's chasing around Jack Lemon's character,
we're gonna make him one of them big ass basketball
football niggas that love white girls, who in their whole terminology. Man,

(49:09):
it's snowing in here. Who says it's snools in april? Man?
You know, look at that big white one over there.
That's the abominable snowman. There was a character me and
my brother used to do all the time. So that's
who we hired. Terry crews as and then all the
girls the dance numbers we knew, we knew and it's
so much so I had such a good time. I
still found time to hang out with the cast because

(49:30):
I loved all those girls.

Speaker 3 (49:31):
We had such a good time to.

Speaker 2 (49:33):
The point to where I had Me and my brother
were staying in Yelle Town. We had this dope townhouse.

Speaker 3 (49:38):
We moved.

Speaker 2 (49:39):
We shut that townhouse down and we moved to the
crappy ass Sutton Hotel just so we could be around
the cast, so we could party with them on and
we knew that was gonna be a special movie. And
you know, to this day, people like the stigma of
you wearing a dressing. The white man, it got you
wearing a dress and nothing. You got it twisted. The

(50:01):
white man got me wearing a dress. I didn't do
this to try and get in Hollywood. This was something
that we created because we said this would be funny.
Black people, black artists, stop minimalizing your creativity. We should

(50:23):
do it all physical comedy. We should do drama, We
should do you know, romantic comedy. You gotta do slapstick,
you gotta We should be able to cover all forms
of our expression of comedy.

Speaker 3 (50:40):
Because white people don't do that. White people don't sit.

Speaker 2 (50:43):
There and go, man, look at look at Dustin Hoffman
wearing that dress. When wearing a look at look at
Rob Wims wearing a dress. There you go, Rob Williams wear.

Speaker 5 (50:53):
A dress again.

Speaker 2 (50:56):
He wasn't want to black people get screwed, skewered and
scrutinized white people in statues. Ron Williams won a Golden
Globe for Missus down Fire. Dustin Hoffman won an oscar
for Tootsie. And do you see any white people screaming
that about them? Black people? We have been so hurt

(51:20):
and so damaged through slavery and all that we've been through,
that we think we have.

Speaker 3 (51:24):
To uphold ourselves a certain way.

Speaker 2 (51:27):
We the best way we canhold ourselves is to support
each other.

Speaker 3 (51:33):
Don't be crabs in a barrel trying to break each
other down. They do that.

Speaker 2 (51:39):
It's been in our psyche for years. When does it stop?
When does it stop?

Speaker 3 (51:44):
This is what we do.

Speaker 2 (51:46):
We gonna use our airwaves to break each other down,
to the build each other up. Nah man, No, that's
not why we wear dresses. And a gay bone in
my body gains thing about me is my daughter. You
know what I'm saying, But honestly, and then not to
say that, but I'm not a hole mom, fall Bob,
I got gay friends. I'm comfortable enough as a man

(52:09):
that I can wear a dress and still feel like
a man. I'm doing comedy, so I'm gonna continue to
do comedy. And when you do it right, you know,
you know, when you do it right. You know how
Black people ain't mad at Robin Robert Downey Jr. For
doing the character in Tropic Thunder because he was funny.

Speaker 3 (52:29):
It was funny. He didn't downplay black people.

Speaker 5 (52:32):
He just did the black guy.

Speaker 2 (52:33):
He felt like he was in character and it was
funny and it came from a good place. So black
people ain't mad at that. It wasn't like he was
making fun of mockery of us when we did White Chicks, right,
mockery's graves for him.

Speaker 3 (52:47):
Flattery.

Speaker 2 (52:48):
You want to tell a good joke, the person that
you make in fun of, they should laugh the loudest.
You know who loved the White Chicks the most.

Speaker 3 (52:56):
White chicks.

Speaker 2 (52:58):
Black people loved it too. But that was why the
movie is a classic movie. And you know, it's sad,
you know that we haven't done a sequel. But see,
there's a difference between we do sequels and when they
do sequels. And I'm not that guy to be like
the white Man this, and you know I don't complain.

Speaker 3 (53:14):
I just do my work, man, right, I do.

Speaker 2 (53:16):
I'm too busy creating and being a force to sit
there and lick my wounds and look at doors and
beg them to throw out a bone.

Speaker 5 (53:23):
Would you be willing to do a sequel? Yeah?

Speaker 2 (53:26):
But but Tom Cruise, do a sequel to a hit movie?
They go, here's fifty million dollars back in niggas do
a sequel to the movie. Like, can you do the
same movie for half the budget and you make a
quarter of what you made the first time?

Speaker 3 (53:41):
What kind of math is this?

Speaker 5 (53:42):
Then you?

Speaker 2 (53:42):
If we're doing a sequel, wasn't it successful? I got
to make a bigger, better movie, and I'm not gonna
cheat the audience. I'd rather not do it and let
the classic just be a classic, right And in the meantime,
I create something new and create a new classic, and
we'll form a different business based on that. But if
you want to bring somebody back to a classic thing

(54:03):
and a classic franchise, and you got to make it bigger.

Speaker 3 (54:06):
And better than I can't. I can't creatively.

Speaker 2 (54:09):
Marginalize myself by the financials, not add another.

Speaker 1 (54:14):
There's a situ in White Chicks. I had Monique on it,
Monique saying, you guys stole one of her jokes? What
is this thing about joke stealing.

Speaker 2 (54:22):
I love Monique, I'm not gonna I love my sister
when she goes out for her money and things like that.

Speaker 3 (54:28):
I want to get your money, sister. If you if
you feel that your value was that, get it.

Speaker 2 (54:35):
I hope you get every last single dollar, and I
hope they put another million on top of it. Magical
performance and uh in a preciously super talented man.

Speaker 3 (54:45):
And but when it comes to like stealing her joke, No,
I don't need to steal joke.

Speaker 2 (54:54):
That's an old joke. That's like a knock knock joke,
you know what I mean. It's like, that's not a
specific joke. That joke been around for years. I never
even saw it. It was just something where he was
like on set and was like, oh, you'll be funny
if we did the day product.

Speaker 5 (55:08):
But I'm not.

Speaker 2 (55:09):
I wouldn't never steal. I wouldn't steal anybody's joke. I
think it's a I think it's a crime to steal jokes.

Speaker 3 (55:15):
I don't I don't steal them.

Speaker 2 (55:16):
That diminishes my returns as a writer. I'd rather punch
your joke and gift you that. I go watch comedians sometime.

Speaker 3 (55:24):
If I'm watching your set and you're.

Speaker 2 (55:25):
About to go, I go, hey, you know you should
try this right here. But but all right, good, I
don't go. I don't hearing this stole my joke. That's
why for me now, if it ain't personal, I ain't
doing it. I do sets that's about my pain, and
I go, what's funny about my pain? Because it's part therapy,
and it's part that's where the best humor comes from.

(55:46):
And so you can't steal my pain. You can't steal
my life. I have a personal journey. If you hear
somebody go, man, I'm near the young it's a ten
kids nigga?

Speaker 7 (55:56):
Is you.

Speaker 2 (56:01):
So?

Speaker 8 (56:01):
No?

Speaker 2 (56:02):
I would never still joke. I love Monique, respects to Monique.
I love you, says but no, that that's not how
it went down.

Speaker 5 (56:09):
You mentioned earlier your daughter.

Speaker 3 (56:12):
Yeah, hold on, let me get a drink. But this
is a drink of celebration. Home boy, how about that
my child?

Speaker 5 (56:22):
Your child? I saw.

Speaker 2 (56:24):
On social media where you like and people. I think
I need you to get drunk with me here. I
want you to start slearn. I want the old shame
that shop back before he became our team. There to him. There, mom,
your daughter. I like how you put it right back
in a place where it's brandy, get your mark on.

Speaker 1 (56:45):
When your child was growing up, did you notice anything
that wasn't normal of that that was specific to that
child's gender. Did you notice anything no, little Well, they
were always different.

Speaker 3 (57:04):
I noticed that they always had like there was always
a girl that there's this kid.

Speaker 2 (57:10):
When she was coming up Geraldine, that Geraldine and she
would just be like, yeah.

Speaker 3 (57:17):
She did it again, what you do? I said hi,
and she didn't say hi. And she had this thing
with this Geraldine girl.

Speaker 2 (57:23):
And it wasn't until earlier, I mean until later that
she explained to me that she had a crush on Geraldine.

Speaker 3 (57:32):
And that's why she would say I would saying hi
to her. I was just trying to express that I
liked her. And this was when my child became an
adult and I was like, oh, so all these.

Speaker 2 (57:42):
People that you had these beeps and these ripes with
those girls that you actually had rushes on.

Speaker 3 (57:48):
So I mine was always a little different.

Speaker 2 (57:51):
She always a you know, you look at the little
pictures of her when she little, you know, we google
and she's a like then they always had a secret lin,
and so there were signs. I think her mother saw
it more than I did, and so I think that's
why the transition was harder on me because I was
the last to know.

Speaker 3 (58:13):
But as hard as it was, I think that it's
not important. It's important what.

Speaker 2 (58:20):
You went through the five steps of grief, but I
think it's important that you get to acceptance. And I'm
proud to say it took me a week, a week,
a week, and it felt like forever, it felt like
five years.

Speaker 3 (58:35):
One very hard week. And this was happening at a
time when my mother was dying.

Speaker 2 (58:41):
My mother died, my father was sick, A couple of
my friends, people I love, had brain Anyrymsen, John Witherspoon died,
fifty seven people.

Speaker 3 (58:50):
I loved died.

Speaker 2 (58:50):
I was broken, and then it was the other way
on top of me, like what do you mean you're
transitioning to what? And for one week I was a
resistant And I'm proud to say I'm not proud of
the things that I went through, but I'm proud that

(59:11):
I got there.

Speaker 3 (59:12):
In a week. And I'm even I'm sad to say
some parents and some family.

Speaker 2 (59:17):
Members and some people it will take them a lifetime
and they'll never get to that magical place that I'm at,
which is just acceptance.

Speaker 3 (59:25):
Still my child, man, that's my baby.

Speaker 1 (59:27):
Because I think sometimes Martin, the hardest thing of a parent.
You have an expected You have an expectation of what
you think your child should or shouldn't be.

Speaker 2 (59:34):
Youhver see what it's beautiful as God will break you you.
We all got to answer to God. And so this
wasn't for them.

Speaker 3 (59:43):
This was for me. You are not me, young man,
I am God. You are not me. I designed this way.
I want to. The only thing you can do is
get this lesson unconditional love. Now apply that to your life.
Feel your freedom, feel your lightness.

Speaker 5 (01:00:00):
That's for you.

Speaker 2 (01:00:02):
I feel great, Golden God is I say God all
the time because I know you're real.

Speaker 1 (01:00:08):
You just welcomed enough. You welcome a child. Yeah, fifty
plus single, hen nid. I made my own grand baby.
Leave me alone.

Speaker 3 (01:00:19):
You think this little trans child's gonna give me a baby?
I don't know what's going on with the Organs. What's
popping now? Birk me a baby out of her dick.

Speaker 1 (01:00:28):
I don't know what to wreck me if I'm wrong
I read I think I read it that you said
you're not gonna get married now because you compare all
women to your mom, and that's an unfair comparison.

Speaker 5 (01:00:42):
Maybe I'm paraphrasing.

Speaker 2 (01:00:45):
No, I said that I didn't get married while my
mother was alive because I always wanted my mother to
be my number one girl.

Speaker 3 (01:00:52):
I knew my mama would cause havoc.

Speaker 2 (01:00:55):
I'm mama's baby, and so I don't want my wife
beef my mother like that.

Speaker 3 (01:01:01):
No that I know my son, I don't want that.

Speaker 2 (01:01:04):
And so my mother was. I know my mother was
on borrow time. So let me love my mama. That's
just one reason. The other reason was a nigga. I'm
in Hollywood. I got all his money, all this dick.

Speaker 3 (01:01:14):
I can't.

Speaker 7 (01:01:18):
You want me lying watch your ball? Why am I
gonna lie on a woman with all this dick? That's crazy. No,
I wasn't ready to be faithful. I had to get
some great hair. I had to skunk hat to happen.
I didn't want to show it everybody. I had to
I had to grow up.

Speaker 3 (01:01:35):
Man.

Speaker 2 (01:01:36):
I never wanted to get divorced, and so I needed
to become a man. And it took my parents to
go for me to finally be like I could see
myself again married.

Speaker 3 (01:01:46):
Oh wow, I could, man.

Speaker 5 (01:01:48):
Nobody can marry old lady.

Speaker 3 (01:01:52):
Here pull his own old ass, long shot. He used
up penis eye? Who want this?

Speaker 5 (01:01:59):
Who wanted? How different are you going to be.

Speaker 1 (01:02:05):
Being a father to this recently child, this recent child,
compared to where you were in the beginning, Your first
day is as a father.

Speaker 2 (01:02:14):
A little easier, right, less less expectations. They gonna be
what they gonna be.

Speaker 3 (01:02:21):
You know my other kids, you know they go to
fall home, they climb, but they got all this one.
I'm like a.

Speaker 2 (01:02:28):
She gonna learn when you fall down, she bust her
ass and get that knot on the head. She gonna
learn how to climb on high things. Yeah, she's gonna
touch that hot stove lit nigga, burn her hands. She's
gonna be like a gonna do it again.

Speaker 3 (01:02:39):
So you become a little bit and you give you
leave space for era. Always one of my kids said, good,
you're studying, you're doing this, you're doing that, you're being great,
and this one. I'm like, have fun, have fun in life.

Speaker 2 (01:02:51):
You want to hear, you wanna play piano, you want
to play instruments, you want to play, you want to sing,
whatever you want to do. Let's go do the things
that you're interested in. I don't care if you give
me all a's. I care that you give most effort
in the things you love to do most cause that's
what you're gonna do for your lifetime. Right, So if
you get a's in that, man, just give me a

(01:03:11):
C and the other thing C minus. I'm good cause
the thing you excelling at, you gonna.

Speaker 3 (01:03:16):
Be excelling at.

Speaker 2 (01:03:18):
I less pressure, man, I I'm I know life. The
most important thing about life is to be happy. I'm
not gonna I'm not gonna be in the way of
your smile, right, and Daddy supports you and loves you
with anything that you wanna do.

Speaker 5 (01:03:30):
Kyle broke me.

Speaker 2 (01:03:32):
Ki broke me, Ki broke my Egoki broke the thing.

Speaker 3 (01:03:36):
Where I was like, you gotta be this and you
gotta be that.

Speaker 2 (01:03:38):
Hey, man, I ain't gotta be nothing whatever y'all want.
I just gotta be a father and I gotta love you,
and I hope I'm an example and.

Speaker 3 (01:03:46):
I hope you feel love, but I want you to
be happy.

Speaker 1 (01:03:49):
Ketcham Marlin is Wild Child Tour right now. Take us
her own sale at Marlon wayam'sofficial dot com. Watch his
fourth stand up special, Good Grief, on Prime Video.

Speaker 5 (01:03:59):
Marlin way my man, legend.

Speaker 2 (01:04:02):
I just want to say, I'm glad I came to
this fine establishment with you, brother, to have this conversation
with a real set with fireplace.

Speaker 3 (01:04:11):
Yeah. You know, from one legend to a one big,
one day legend.

Speaker 2 (01:04:16):
It's good to sit down with people. I respect, man,
and uh my man, I love to sitting down with you.

Speaker 5 (01:04:22):
Yes, sir, my cigare you try to take him back?

Speaker 3 (01:04:24):
I sure did. Damn got me getting my damn liquor.

Speaker 8 (01:04:28):
All my life, grinding all my life, sacrifice, hustle the price.
One slice got the broa all my life. I'll be
grinding all my life, all my life, grinding all my life, sacrifice, hustle,
pay the price, one slice got the broa all my life.

Speaker 3 (01:04:48):
I've been grinding all my life