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A Suspenseful, Race Against The Clock Thriller!

Starring

Blair Underwood  Sharon Leal, Nicole Beharie, Pam Grier and Reed R McCants







Available Now on Blu-Ray and DVD

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40 and Leroy Exclusive:
Interview With Eleven

 

What is your earliest recollection in life?

 

Oh my God!  I think it was, knowing I could do music. Like being with my friends and battling in school. I think it kindergarten or first grade.  That is one of my first memories in life.

 

 

How did you get your start in entertainment?

 

I had a friend that worked at my mother’s job and he knew that I always like to go to events so. I really didn’t know what dee-jaying, I really didn’t was but I knew that was what I wanted to do. I wasn’t the really popular dude growing up but I always had music and used that as a vehicle for me.  The more I started working with peeps, the started taking me to the studio, and doing shows and events.  My homie KayGee used to work at the Apollo and he booked me there for the talent show.  I didn’t get booed but I didn’t win but as long as I didn’t get booed I was good money.

 

 

Tell us about your very first performance.   

 

I remember it was a Metro-North event. My parents used to work at Metropolitan Hospital and they had this empty lot and the carnival used to come through on First Ave. around 100th Street… and my boy KayGee was deejaying on the stage and I told him, “Yo, I want to rap,” and the gave me the mic and I free-styled the whole way. I was flavor of the month by Black Sheep.  I’ll never forget it. I always knew I could do it but before that time I never really did a show. I saw people doing it on TV but all I was thinking was ‘if I could keep these people hollering and screaming, I’m good.’  That’s all that was running through my mind, you know what I mean, and I went up there and I killed it.  There was an article in the Metro-North newspaper and I worked there at the time and when I went back to work a lot of people knew who I was. It was mad cool. 

 


How does preparing to spit rhymes in the studio, or on stage differ from preparing to work on camera?

 

I guess the difference is that before you go to the studio, you need to know the rap. You don’t want to be sitting there for 6 hours trying to lay down a 16 bar verse so you have to know it before you get into the studio unless your style is to write when you get there. I was never to good with that because usually you have to go back in and change it. That’s just the opposite of Ma Barker because I’ll be in the studio with Barker and she has no problem writing her rhymes right there.  If can’t do that – I have to write it a day or two in advance. [Laugh]    As far as the difference to being on camera – at least on 40 and Leroy, a lot of stuff is improvised so you have to be thinking really quick while you’re in the moment.  As far as other skits I’m doing, I have no problem reading while on the set, and just projecting the character over whatever the scene calls for.  For me, that’s really the difference between the two – with music I like to know in advance before you go into the studio and lay it down.  It needs to be a second language for you before you go up on stage or step into the booth.

 

 

How did you get involved with 40 and Leroy? What has your experience been like?

 

I met Reed through his daughter Keisha [Producer AG McCants] probably five years ago, and of course, doing music.  She was doing a play at that time but was also working in this studio in Times Square.  I think it was sometime last year Reed called and wanted me to do some acting. He was like, “yo, I got this project I’m working on and I got this great idea for you”. A month or two went by and I figured he had changed his mind. But then one day called and said, “I got it - meet me at my house on Saturday”, and I went over there and we knocked it out.  As far as the experience is concerned, it’s been crazy. Looking back on my life a lot of people have told me I was funny and even in school I was the class clown and always getting into trouble. Once I started working as a deejay at the Uptown Comedy Club [formerly on Channel 5 in New York], I began to learn that there was actually a format and a structure to comedy, although I never considered myself as a professional comedian.  But once again, working with Reed – he really demands that we work off the top-of-our-heads, but he will tell you whether you’re doing something right or something wrong.  He’ll show us some of technical aspects or have us work on facial expressions. It’s not just about standing in front of a camera and repeating lines or trying to be funny. Reed will be having us watch movies that I would never think to watch with real actors like Don Cheadle, or old Ossie Davis and Sidney Poitier movies. So he has definitely opened up my eyes to the point where I see acting and production in a whole new way. Word up.

 

Eleven Ego Crusher 

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Very few character names have been used as often as the name Leroy in comedy.   

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