WEBVTT 1 00:00:01.320 --> 00:00:02.359 How you doing out there? 2 00:00:02.640 --> 00:00:03.560 It's me Tigger. 3 00:00:03.839 --> 00:00:07.599 I am Dark Wayne Duck. It's me Bunkers Deep Bobcat. 4 00:00:07.799 --> 00:00:08.599 All right, y'all? 5 00:00:08.599 --> 00:00:12.039 Did it great? Your favorite firefly you desire? 6 00:00:12.119 --> 00:00:13.199 Hold old Knock guy. 7 00:00:13.519 --> 00:00:18.440 My name is Jim Cummings and welcome to tuned in. Hello, 8 00:00:18.719 --> 00:00:21.600 Hello out there, everybody, Jim Cummings here. Now I know 9 00:00:21.640 --> 00:00:24.120 what you're thinking. When is d Bradley Baker going to 10 00:00:24.199 --> 00:00:27.879 be on the podcast Good News Ladies and gentlemen, presenting 11 00:00:27.920 --> 00:00:31.879 none other the Myth, the Man, the Legend, Dee Bradley Baker. 12 00:00:32.679 --> 00:00:35.920 I'm here now, Hi, thank you, thank you. 13 00:00:35.880 --> 00:00:36.640 For joining us. 14 00:00:37.200 --> 00:00:39.960 Have you met Brendan from down Under? 15 00:00:40.039 --> 00:00:41.359 I did fifteen seconds ago? 16 00:00:41.479 --> 00:00:43.840 Hello again, Okay, it's lovely to meet you. 17 00:00:43.880 --> 00:00:46.159 Did great to meet you. Where's my Where do I look? 18 00:00:46.200 --> 00:00:48.479 Do I look at Brenda on the laptop? Or do 19 00:00:48.520 --> 00:00:49.719 I look up here at one of these camps? 20 00:00:49.759 --> 00:00:50.039 This is? 21 00:00:50.119 --> 00:00:52.359 This is the audience here, and that's your audience camera 22 00:00:52.359 --> 00:00:53.600 if you want to look at that, and then you 23 00:00:53.640 --> 00:00:54.880 can just talk to Brendan. 24 00:00:54.640 --> 00:00:58.280 Or okay you ever, I don't talk to Brendon. I 25 00:00:58.479 --> 00:01:00.920 don't do my best to ignore him. Yes, that's right. 26 00:01:01.320 --> 00:01:02.320 Chris is there, I'm here. 27 00:01:02.560 --> 00:01:03.079 We're fine. 28 00:01:03.880 --> 00:01:07.680 He's a it's actually an animatronic. There's no one down there. 29 00:01:07.680 --> 00:01:09.719 He's a Disney replicant. 30 00:01:09.799 --> 00:01:10.719 He's an AI. 31 00:01:11.280 --> 00:01:14.439 Yes, yes, better than being an a whole. 32 00:01:14.560 --> 00:01:17.200 Hey, good night everybody. 33 00:01:18.280 --> 00:01:20.359 Well, hey man, glad to be glad to have you here. 34 00:01:20.480 --> 00:01:26.519 Thank Yes, that's right. Well we've we've seen many other 35 00:01:26.640 --> 00:01:28.239 dimensions over the years, haven't we. 36 00:01:28.920 --> 00:01:31.959 Yeah, we have. It feels kind of like, uh, you know, 37 00:01:32.040 --> 00:01:34.079 we're past the end of an era and it's sort 38 00:01:34.079 --> 00:01:35.359 of forming into a new one. 39 00:01:35.560 --> 00:01:38.000 These things, Okay, what's the new one? 40 00:01:38.480 --> 00:01:40.959 The new one is no more ensembles and we just 41 00:01:41.000 --> 00:01:43.480 see each others podcasts. 42 00:01:43.599 --> 00:01:47.840 Yeah, podcast I miss the ensemble stuff. We've talked about 43 00:01:47.840 --> 00:01:50.280 it before. I like having people in the room. I 44 00:01:50.400 --> 00:01:53.640 like interacting. I like talking with people, and if they 45 00:01:53.680 --> 00:01:57.159 say something, it might inspire something different from you. And 46 00:01:57.480 --> 00:01:59.439 you know, I've said it before. I won't belabor it. 47 00:01:59.480 --> 00:02:02.239 But if you do an ad lib that they want 48 00:02:02.280 --> 00:02:06.680 to keep, sometimes the line after yours doesn't work, so 49 00:02:06.760 --> 00:02:10.319 that person has to come back in and redo something, restated, 50 00:02:10.680 --> 00:02:14.719 reconfigure it so that it matches and makes sense, which 51 00:02:14.800 --> 00:02:18.400 usually they don't complain because it's another session, but it's 52 00:02:18.439 --> 00:02:21.759 still a bit of an inconvenience, you know, I don't know, 53 00:02:21.919 --> 00:02:24.240 I don't know if you ever have that, Chris, absolutely, 54 00:02:24.520 --> 00:02:30.159 And when you do the Clones, they I just love 55 00:02:30.199 --> 00:02:34.439 that you're the Clones, I mean, And which clone? 56 00:02:34.479 --> 00:02:34.759 Are you? 57 00:02:35.039 --> 00:02:35.680 The Clones? 58 00:02:36.159 --> 00:02:36.319 Yeah? 59 00:02:36.360 --> 00:02:39.000 I know, but which one? All ten thousand of them? 60 00:02:39.039 --> 00:02:43.800 Yeah, except for Omega and U and Emery, I'm not them. 61 00:02:44.639 --> 00:02:45.599 Yeah, hell with them? 62 00:02:46.280 --> 00:02:48.639 Who see, I don't even know who they are, so 63 00:02:48.680 --> 00:02:49.360 the hell with them. 64 00:02:49.800 --> 00:02:54.840 Well, Omega was the Lynchpin clone sister in the Mad Batch. 65 00:02:55.560 --> 00:02:59.319 Oh her yes, oh yes, she said, ne'er do well? 66 00:02:59.439 --> 00:03:02.800 Well sort of yes to good ends though she she 67 00:03:02.919 --> 00:03:06.319 kind of saved the day in the end there. But yeah, 68 00:03:06.319 --> 00:03:08.680 I mean that that was a show where for a 69 00:03:08.680 --> 00:03:11.039 lot of it I was kind of I served as 70 00:03:11.080 --> 00:03:13.960 the ensemble. And I miss that show very very much. 71 00:03:14.680 --> 00:03:17.840 But that's that's like nothing else. I mean, it's such 72 00:03:17.840 --> 00:03:23.520 a it's such an odd, unique project. That's like nothing else. 73 00:03:24.520 --> 00:03:27.840 But for me, I mean, I was thinking today just 74 00:03:27.879 --> 00:03:30.759 in the legacy of the shows that you and I 75 00:03:30.800 --> 00:03:34.360 have done, that I really do miss ensembles. There's there's 76 00:03:34.400 --> 00:03:37.159 a lot of shows that I miss, not just the 77 00:03:37.199 --> 00:03:40.400 way that it's written and what the show is about, 78 00:03:40.479 --> 00:03:42.439 and then of course how people love it and how 79 00:03:42.439 --> 00:03:47.439 the animation looks. But you have this kind of Carol 80 00:03:47.479 --> 00:03:54.800 Burnett's show sort of collegial fun that the story, as 81 00:03:54.840 --> 00:03:57.879 you were saying, kind of comes from. It allows for 82 00:03:58.360 --> 00:04:03.120 a much more effective uh, improvisation and just the living 83 00:04:03.159 --> 00:04:05.960 theater of creating something together as a group, which is 84 00:04:06.400 --> 00:04:08.919 I mean for me, that's why I got into Why 85 00:04:08.960 --> 00:04:11.520 why I Why why I gravitated to acting? I think 86 00:04:11.639 --> 00:04:16.240 is because it was a group activity. These days, Uh, 87 00:04:16.279 --> 00:04:20.079 it's a it's a weird way in where you start yeah, 88 00:04:20.360 --> 00:04:24.720 with by yourself in isolation, either on TikTok or YouTube, 89 00:04:24.800 --> 00:04:27.560 and then maybe you branch off into doing a podcast 90 00:04:27.720 --> 00:04:31.240 or or maybe you collaborate with others. But it's less 91 00:04:31.240 --> 00:04:34.480 of a of a theatrical, more straight. 92 00:04:34.199 --> 00:04:38.279 Experience in it's more linear, yeah, straight too. 93 00:04:38.439 --> 00:04:40.079 But then there are those of us, you know, like 94 00:04:40.120 --> 00:04:43.519 a Tom Kenny for instance, Carlos Alzeraki, who come from 95 00:04:43.600 --> 00:04:47.199 stand up, which is solitary performing, but you're still connecting 96 00:04:47.199 --> 00:04:49.240 with a live audience, which I think is a really 97 00:04:49.279 --> 00:04:54.600 important part of learning the antenna of the intuition that 98 00:04:54.680 --> 00:04:58.160 you need in order to problem solve and create a story, 99 00:04:58.519 --> 00:05:02.199 you know, in real time efficiently, which is that's kind 100 00:05:02.199 --> 00:05:06.120 of the value that we bring as session players, which 101 00:05:06.160 --> 00:05:09.560 is really how I think of myself, is part of 102 00:05:09.600 --> 00:05:14.240 an ensemble that's mostly anonymous, not really in it to 103 00:05:14.319 --> 00:05:17.439 be front and center doing the rock star solo necessarily, 104 00:05:17.480 --> 00:05:20.560 although there's times where where it falls to us. But 105 00:05:20.639 --> 00:05:25.560 for the most part, we're there to connect and with others, 106 00:05:25.800 --> 00:05:28.279 to read the room, to read the script, and to 107 00:05:28.360 --> 00:05:31.720 work with the producer and the writers to find something 108 00:05:31.759 --> 00:05:37.079 that flavors the stew as beautifully as we possibly can. 109 00:05:37.240 --> 00:05:40.480 And we do that together as a group, not and 110 00:05:40.879 --> 00:05:43.079 I think it's more of a challenge to do an isolation, 111 00:05:43.279 --> 00:05:46.199 especially if you don't come from the experience of having 112 00:05:46.279 --> 00:05:47.519 him done that in some way. 113 00:05:47.839 --> 00:05:51.120 I agree, Yeah, I agree. Well, I really really like 114 00:05:51.560 --> 00:05:54.800 recording with others. Yeah, you know, and COVID smacked us 115 00:05:54.800 --> 00:05:59.680 all around for a while, and you know, I've and 116 00:06:00.040 --> 00:06:04.600 we've stayed that way regrettably. You know, I'm like, we've 117 00:06:04.639 --> 00:06:08.040 done Mickey Mouse Club, Micky Mouse House and Mouse, Mickey 118 00:06:08.120 --> 00:06:11.600 Mouse Funhouse, but you know, on on for about thirty years. 119 00:06:11.639 --> 00:06:15.360 And when we did a few of them, very few 120 00:06:15.360 --> 00:06:17.680 of them. I just thought they were great because you 121 00:06:17.720 --> 00:06:20.519 feed off the other person's energy that ad lib Well, 122 00:06:20.519 --> 00:06:22.720 he said something a little different. Now I'll say something 123 00:06:22.720 --> 00:06:25.360 a little different, and if it works, it works, and 124 00:06:25.399 --> 00:06:28.040 if it doesn't, you just go over it do it again. 125 00:06:28.439 --> 00:06:31.839 Yeah. I think the energy of the other performers, it 126 00:06:32.560 --> 00:06:38.160 not only fuels, but it inspires and it really makes 127 00:06:38.319 --> 00:06:41.920 everything just that much better. I think you can get 128 00:06:41.920 --> 00:06:47.079 close to that if you have good people, good performers, 129 00:06:47.600 --> 00:06:51.240 and then and the creators know what they want. But 130 00:06:51.920 --> 00:06:56.800 if there's more searching involved, yeah, or or or maybe 131 00:06:56.800 --> 00:06:58.720 those on the other side of the glass are less 132 00:06:59.040 --> 00:07:02.879 theatrically inclined, and shall we say, it's more effort to 133 00:07:03.040 --> 00:07:06.879 find something that fits beautifully in the story that they're 134 00:07:06.879 --> 00:07:08.600 trying to make as good as they possibly can. 135 00:07:09.920 --> 00:07:12.319 Well, I know that, you know a lot of people 136 00:07:13.800 --> 00:07:16.720 are prone to ad libbing someone that we both know. 137 00:07:16.959 --> 00:07:19.759 But I don't want to come across as snide, so 138 00:07:19.800 --> 00:07:23.639 I'm not going to mention his name. But it's just 139 00:07:24.040 --> 00:07:28.199 something that happens. And there is that fine line, because 140 00:07:28.240 --> 00:07:30.759 what will happen is you have a clever line. Oh, 141 00:07:30.839 --> 00:07:33.240 that's really good, that's really good. Okay, but it stopped 142 00:07:33.319 --> 00:07:36.600 the story cold. You did your funny line. Now we 143 00:07:36.680 --> 00:07:40.680 have to kind of kickstart the storyline again. And so 144 00:07:40.879 --> 00:07:43.839 I think if you can add lib in character and 145 00:07:43.920 --> 00:07:47.600 it serves the storyline, you're good. But if it's just 146 00:07:47.720 --> 00:07:51.399 you doing hey wack hey, I'll tell you you know, 147 00:07:51.600 --> 00:07:52.680 it's not so good. 148 00:07:53.199 --> 00:07:56.560 Yeah. I think of it like seasoning. I mean, we 149 00:07:56.600 --> 00:08:01.600 did a little panel sag this week and for voice actors, 150 00:08:01.879 --> 00:08:04.160 and that was one of the questions was what about 151 00:08:04.199 --> 00:08:06.759 improv And to me, it's like asking, well, what about 152 00:08:06.879 --> 00:08:10.839 salt or what about seasoning? About it, it's like, well, 153 00:08:10.920 --> 00:08:13.079 let's taste the soup and see if it needs it, 154 00:08:13.120 --> 00:08:15.839 you know, and and just a little bit, you know, 155 00:08:16.240 --> 00:08:18.399 a little can go a long way on that, and 156 00:08:18.480 --> 00:08:21.000 once you put in too much you've kind of need 157 00:08:21.040 --> 00:08:24.040 to start over or change things in a really substantial way. 158 00:08:24.720 --> 00:08:27.560 And so it's very case by case and in the 159 00:08:27.600 --> 00:08:31.319 moment and specific to the story that's being told. 160 00:08:31.439 --> 00:08:32.320 Yeah, yeah, yeah, yeah. 161 00:08:32.360 --> 00:08:33.960 You have to serve the story first, yep. 162 00:08:34.080 --> 00:08:36.679 Got to serve the story. And that's I mean, that's 163 00:08:36.759 --> 00:08:39.720 kind of that's the role of a session player, of 164 00:08:39.759 --> 00:08:42.639 a voiceover session player is to is to do that 165 00:08:42.759 --> 00:08:48.000 kind of efficiently and beautifully and with a sense of 166 00:08:48.039 --> 00:08:51.799 fun and and so you're in and you're out quickly. 167 00:08:52.200 --> 00:08:56.639 But it felt great and it solves it. Often it 168 00:08:56.799 --> 00:08:59.240 ends up being better than they ever hoped. That's what 169 00:08:59.279 --> 00:09:02.279 you want with what you bring, that you bring something 170 00:09:02.320 --> 00:09:06.440 that not only fulfills it, but it exceeds expectation. And 171 00:09:06.480 --> 00:09:11.200 it's done in this sufficient way so that you justify 172 00:09:11.279 --> 00:09:13.279 the price tag, the union price tag of bringing in 173 00:09:13.320 --> 00:09:15.840 a professional hopefully. 174 00:09:15.919 --> 00:09:20.200 Yes, yeah, and hopefully even more than the bare minimum 175 00:09:20.320 --> 00:09:24.279 of people. Absolutely so true. 176 00:09:24.480 --> 00:09:26.600 One of my favorite quotes of yours days is that 177 00:09:26.679 --> 00:09:29.039 you're just touching on my job is done well if 178 00:09:29.080 --> 00:09:31.840 nobody thinks about me, if I'm invisible. Yeah, And it's 179 00:09:31.879 --> 00:09:35.240 true because, as you were touching on, when they bring 180 00:09:35.240 --> 00:09:37.600 in these big names, now it's all about, oh, we've 181 00:09:37.639 --> 00:09:39.519 got this guy voice in this character, as opposed to 182 00:09:39.639 --> 00:09:42.440 how good is this character? It's more about who's voicing 183 00:09:42.480 --> 00:09:43.759 it these days. 184 00:09:43.960 --> 00:09:48.000 Yeah, it makes the marketing people happy to bring in 185 00:09:48.039 --> 00:09:52.000 famous people, and sometimes a famous person can deliver the goods. 186 00:09:53.039 --> 00:09:58.440 But for me, and maybe that's just because of my career, 187 00:09:58.480 --> 00:10:00.840 but it's also just somebody he likes to watch this 188 00:10:00.960 --> 00:10:03.080 kind of stuff that is distracting. I don't want to 189 00:10:03.080 --> 00:10:05.799 think about I frankly don't want to see behind the 190 00:10:05.799 --> 00:10:08.080 scenes that I don't want to. I don't want to. 191 00:10:08.399 --> 00:10:11.399 I don't want to think about the actor playing the role. 192 00:10:11.480 --> 00:10:13.399 I want to think about the work. 193 00:10:13.399 --> 00:10:13.720 I want. 194 00:10:13.759 --> 00:10:16.519 I want to see the story. That's what matters to me. 195 00:10:16.559 --> 00:10:18.679 That's what matters to me as a as a voice actor. 196 00:10:18.759 --> 00:10:21.639 Yeah, they're all Robin Williams anyway, right. 197 00:10:21.879 --> 00:10:24.879 Right, I mean he was kind of the the the 198 00:10:25.039 --> 00:10:28.399 Roman candle that started this whole fireworks show of bringing 199 00:10:28.440 --> 00:10:31.120 in someone who is a name and then building a 200 00:10:31.200 --> 00:10:34.519 character around it, and that that was a brilliant choice. 201 00:10:34.559 --> 00:10:37.720 I work there, Yeah, I worked beautifully there. But now 202 00:10:37.879 --> 00:10:40.559 for me, it gets in the way. There's there's trailers. 203 00:10:40.600 --> 00:10:42.679 I won't say which, but like there's there's trailers now 204 00:10:42.720 --> 00:10:46.240 where they they're really hammering it in who the famous 205 00:10:46.240 --> 00:10:49.159 person is that's talking right now, And so then you're 206 00:10:49.200 --> 00:10:52.360 watching the trailer just thinking of the famous person and 207 00:10:52.399 --> 00:10:54.799 it's like, wow, this really takes me out of the trailer, 208 00:10:55.120 --> 00:10:57.559 which probably tells me too much of the story anyway. 209 00:10:57.600 --> 00:11:01.759 In addition, and it's just but I mean it's it's 210 00:11:01.799 --> 00:11:06.080 just one more feature of I think, an industry that's 211 00:11:06.559 --> 00:11:13.799 more fearful and money angled and less creative. And I 212 00:11:13.840 --> 00:11:16.360 mean some of my favorite movies I've ever seen were 213 00:11:16.399 --> 00:11:18.960 movies that I didn't know who any of these people were. 214 00:11:19.879 --> 00:11:23.919 I think back, there's any number of examples, like Star 215 00:11:24.000 --> 00:11:26.799 Wars is Like when I was a kid, Star Wars, 216 00:11:27.159 --> 00:11:29.120 I didn't know anybody in that movie. I didn't know 217 00:11:29.159 --> 00:11:31.679 anyone at all. That was not what was drawing me 218 00:11:31.720 --> 00:11:33.840 into that movie or what made me go see it 219 00:11:33.879 --> 00:11:37.519 one hundred times afterwards. But it was a great innovative 220 00:11:37.559 --> 00:11:41.240 movie that I was afraid to make, bold, creative, interesting 221 00:11:41.360 --> 00:11:44.720 choices that came together and worked beautifully. That's what made 222 00:11:44.759 --> 00:11:47.720 me love that movie. Not that there were name brand 223 00:11:47.759 --> 00:11:50.879 people that I was going to see as as famous people. 224 00:11:52.399 --> 00:11:57.799 And the sound of the pew pew, absolutely, I just 225 00:11:58.000 --> 00:12:01.399 that really is so damn cool. And then not to 226 00:12:01.679 --> 00:12:04.159 divert too far off there, but I saw the making 227 00:12:04.200 --> 00:12:06.200 of Star Wars, and do you know how they did that. 228 00:12:06.519 --> 00:12:11.480 They got that the face of the laser rifle sound. 229 00:12:12.240 --> 00:12:16.000 They went out to the country, got a big giant 230 00:12:16.159 --> 00:12:20.000 telephone pole that was held in place with the really thick, 231 00:12:20.080 --> 00:12:23.559 strong cable and hit the cable with a hammer. 232 00:12:24.399 --> 00:12:25.240 That's it. 233 00:12:25.759 --> 00:12:26.559 I love that. 234 00:12:26.559 --> 00:12:26.919 That's it. 235 00:12:27.000 --> 00:12:28.159 And they dipped it in reverb. 236 00:12:28.720 --> 00:12:30.600 Done. Done. 237 00:12:30.759 --> 00:12:33.200 Now we've got a thousand gunshots. 238 00:12:34.000 --> 00:12:41.840 There's something so wonderfully open and innovative about everything about 239 00:12:41.840 --> 00:12:45.240 that original Star Wars. Oh god, it's we really lack. 240 00:12:45.480 --> 00:12:47.559 It was the first time for everything, it really was 241 00:12:47.600 --> 00:12:53.799 and it wasn't an expensive movie per se. It I 242 00:12:53.799 --> 00:12:57.440 think it costs less than Logan's Run, which came out 243 00:12:57.480 --> 00:12:59.919 a few months before, and everyone's like, ooh, Logan's Run, 244 00:13:00.200 --> 00:13:04.360 the big special effects movie, and the Star Wars like uh, 245 00:13:04.639 --> 00:13:10.120 bye bye yeah, and uh, it's just it. It's more 246 00:13:10.159 --> 00:13:14.919 and more, especially in a movie cinema, it's uh, it's 247 00:13:15.000 --> 00:13:17.080 hard to find something that just knocks you in the 248 00:13:17.120 --> 00:13:19.960 face and just say, wow, I've never seen this, completely 249 00:13:19.960 --> 00:13:23.759 didn't expect it, and it's and it's full of really bold, 250 00:13:23.840 --> 00:13:27.240 creative choices like that, rather than you know, replication of 251 00:13:27.240 --> 00:13:30.440 an ip that everybody knows, which I mean to be fair, 252 00:13:30.759 --> 00:13:33.559 there's a lot of great examples of really good uh 253 00:13:33.600 --> 00:13:37.559 standard you know, I p that that's that's beautifully done. 254 00:13:38.120 --> 00:13:42.480 Big tent poles big names, big expense, and it's good 255 00:13:42.960 --> 00:13:46.600 or or it can be really good. Often though it's 256 00:13:46.320 --> 00:13:48.759 it can be a little flat, a little tiresome, a 257 00:13:48.799 --> 00:13:54.000 little a little too expected and too familiar, and uh, 258 00:13:54.039 --> 00:13:57.279 it's just kind of a big money machine. But but maybe, 259 00:13:57.440 --> 00:13:59.600 I mean maybe Hollywood's always been a version of that, 260 00:13:59.759 --> 00:14:05.000 where the money calls the shots, and and like you know, 261 00:14:05.440 --> 00:14:07.919 Buster Keaton, this innovative director, we're just going to use 262 00:14:07.960 --> 00:14:10.240 him as kind of a funny guy to do some 263 00:14:10.360 --> 00:14:12.720 not so funny lines. And he's he's just going to 264 00:14:12.799 --> 00:14:15.720 do his thing, and we're doing these musicals, and you know, 265 00:14:15.759 --> 00:14:18.159 you just kind of you don't really pay attention to 266 00:14:18.279 --> 00:14:22.879 being creatively innovative when you're making this giant money machine 267 00:14:24.240 --> 00:14:26.600 in the big sausage factory of Hollywood. 268 00:14:27.759 --> 00:14:29.720 We make a lot of sausage. 269 00:14:29.480 --> 00:14:32.759 We do, and some of it's quite tasty, but some 270 00:14:33.039 --> 00:14:36.399 that's a little overcooked or too big, and you can't 271 00:14:36.399 --> 00:14:37.000 eat that much. 272 00:14:37.559 --> 00:14:42.360 That's right. God, now you you have been because I 273 00:14:42.399 --> 00:14:45.200 did my notes here and I'm trying to think of 274 00:14:45.240 --> 00:14:47.240 the first time that we might have worked together. Was 275 00:14:47.240 --> 00:14:47.879 it Phineas and. 276 00:14:47.960 --> 00:14:54.399 Firm, Well it did some Yeah, I did incidentals and 277 00:14:54.480 --> 00:14:58.720 I did the sound of Perry of the Platypus, but 278 00:14:59.679 --> 00:15:06.960 I was, can you give us some Perry Perry's Perry's just. 279 00:15:05.200 --> 00:15:07.440 Just like I know that that kills me. 280 00:15:07.759 --> 00:15:11.080 This guy's got more sounds in him. It's like you're 281 00:15:11.120 --> 00:15:15.600 like Frank Welker's soul son or something like, well did 282 00:15:15.600 --> 00:15:16.320 that come out right? 283 00:15:16.360 --> 00:15:19.919 He's a great inspiration. Absolutely, And he's the best. And 284 00:15:19.960 --> 00:15:22.440 he's I always I said, he's like he's Coke, and 285 00:15:22.519 --> 00:15:25.159 I'm I'm like Arci Cola. 286 00:15:26.120 --> 00:15:26.399 Yeah. 287 00:15:27.440 --> 00:15:30.440 I've often said that he's the Beatles and the rest 288 00:15:30.480 --> 00:15:36.080 of us are really trying to get into the Stones. Yeah, 289 00:15:36.399 --> 00:15:37.480 because he's the Beatles. 290 00:15:37.639 --> 00:15:41.320 Yeah. And that's another beautiful example of when I was 291 00:15:41.360 --> 00:15:44.200 starting out three decades ago in Hollywood. Is to be 292 00:15:44.279 --> 00:15:47.720 in the room with him and you and and Charlie 293 00:15:47.720 --> 00:15:50.320 Adler and Tress and and others like that who are 294 00:15:50.360 --> 00:15:55.279 really online, really confident, and and I could I could 295 00:15:55.320 --> 00:15:58.399 see you know, being this little insecure, kind of comedy 296 00:15:58.480 --> 00:16:03.240 oriented weirdo. How you present yourself and how you bring 297 00:16:03.279 --> 00:16:06.960 the power that's unique to you into a session so 298 00:16:07.000 --> 00:16:09.320 that it's collaborative and so that it's fun, and so 299 00:16:09.360 --> 00:16:13.279 that it really adds this fantastic element to what's happening, 300 00:16:13.799 --> 00:16:16.120 and that I needed to find my own version of that. 301 00:16:16.000 --> 00:16:19.080 That the answer is not to try to replicate any 302 00:16:19.120 --> 00:16:21.720 of that, but you learn from that and you sort 303 00:16:21.720 --> 00:16:24.799 of catch the spark from it and ignite your own flame. 304 00:16:25.440 --> 00:16:28.480 And I'm just very, very lucky that I came into 305 00:16:28.519 --> 00:16:32.399 this industry with that sort of an education available to 306 00:16:32.480 --> 00:16:38.000 me when I was auditioning. It's one of my soapboxes too, 307 00:16:38.080 --> 00:16:42.679 that the new generation they can't they can't learn from 308 00:16:42.759 --> 00:16:45.240 others in the audition booth. There isn't even an audition 309 00:16:45.279 --> 00:16:49.600 booth anymore. You're sitting by yourself and you're trying to diagnose. 310 00:16:50.679 --> 00:16:53.159 It's like being a doctor where you can't talk to 311 00:16:53.200 --> 00:16:55.399 the patient, you can't touch the patient. You have to 312 00:16:55.399 --> 00:16:57.720 just kind of look the patient over and then try 313 00:16:57.720 --> 00:17:00.399 to come up with what needs to be done. And 314 00:17:01.399 --> 00:17:06.319 this generation has to really search in the dark for 315 00:17:06.880 --> 00:17:09.160 the right kind of tone, the right kind of pace, 316 00:17:09.839 --> 00:17:13.640 and the right angle for auditioning, which I think is 317 00:17:13.680 --> 00:17:16.079 the hardest thing to do, but it used to be 318 00:17:16.119 --> 00:17:18.799 when I started. It's like, well, some have isdns, but 319 00:17:18.839 --> 00:17:21.960 you want to go easy on that because some people 320 00:17:21.960 --> 00:17:24.759 get their isdns where they audition from home, and then 321 00:17:24.799 --> 00:17:29.640 suddenly they just stop booking. And now that's everybody, yeah, 322 00:17:30.160 --> 00:17:34.680 where it's hardest for everybody without the input to kind 323 00:17:34.720 --> 00:17:37.160 of triangulate what it is you want to do. 324 00:17:37.480 --> 00:17:40.279 Well, it's good to have somebody who's got a pipeline 325 00:17:40.319 --> 00:17:44.319 to the producer, if not the producers themselves, the directors 326 00:17:44.319 --> 00:17:48.319 and the people hiring. And there was a place, happy 327 00:17:48.319 --> 00:17:50.880 to mention it called the voice caster where some of 328 00:17:50.920 --> 00:17:53.119 the best things that ever happened to me happened there. 329 00:17:53.160 --> 00:17:57.880 First through the audition processes, they call you in, they 330 00:17:57.880 --> 00:18:02.160 give you the sides, which is the script, and you 331 00:18:02.440 --> 00:18:05.319 put your head, wrap your head around it, and you know, 332 00:18:05.400 --> 00:18:07.319 you study it, look look at it for like ten 333 00:18:07.400 --> 00:18:09.640 fifteen minutes, and then you go in, you audition, you 334 00:18:10.319 --> 00:18:13.400 and you leave and wait. And that's kind of the 335 00:18:13.400 --> 00:18:16.279 way it was always. But now we're sitting in our 336 00:18:16.519 --> 00:18:20.440 closets or wherever home studios and you know, recording this, 337 00:18:20.559 --> 00:18:23.160 recording that. Then we're editing it. Now you're the editor. 338 00:18:23.240 --> 00:18:26.359 Now you're the producer. Now you're you know, you're the talent. 339 00:18:26.680 --> 00:18:29.119 And then you set it out and wait and it 340 00:18:29.279 --> 00:18:32.519 just it's not the same. It just doesn't feel like 341 00:18:32.599 --> 00:18:35.720 the same because you don't feel like you're performing because 342 00:18:35.839 --> 00:18:38.240 the people who are on the other side of the glass, 343 00:18:38.279 --> 00:18:42.200 as I say, they for me, they're an audience first, 344 00:18:42.839 --> 00:18:44.720 and if and if there's a bit of an audience 345 00:18:44.880 --> 00:18:48.960 factor there, I tend to elevate. I tend to Yeah, 346 00:18:49.319 --> 00:18:50.039 I'm a little better. 347 00:18:50.160 --> 00:18:52.640 It's a meaningful part of the equation of what's happening. 348 00:18:52.960 --> 00:18:54.319 Yeah, it's just better. 349 00:18:55.119 --> 00:18:58.599 Yeah. And to sit in the in your little audition 350 00:18:58.680 --> 00:19:02.759 booth at home, you're wearing all these hats that you're 351 00:19:02.880 --> 00:19:05.119 you may not be trained in and are not part 352 00:19:05.160 --> 00:19:07.440 of why you got into this. It's like I didn't 353 00:19:07.440 --> 00:19:10.160 get into acting or voice acting to be a director 354 00:19:10.599 --> 00:19:14.440 or a producer or or an engineer, and these are 355 00:19:14.480 --> 00:19:18.279 all things that you need to be good at. Otherwise, 356 00:19:18.480 --> 00:19:22.480 what talent you have, it won't matter because it stops 357 00:19:22.640 --> 00:19:28.000 at the audition if it's not good enough. And it's yeah, 358 00:19:28.039 --> 00:19:32.759 it's a great conundrum. The Union, Fortunately, they're offering a 359 00:19:32.759 --> 00:19:34.960 lot of free workshops with a lot of good people 360 00:19:35.000 --> 00:19:38.000 coming in so so you know those who are who 361 00:19:38.039 --> 00:19:41.920 are aspiring to this can see face to face. In 362 00:19:41.960 --> 00:19:44.119 addition to maybe studying with somebody who knows how to 363 00:19:44.200 --> 00:19:47.759 do this, hopefully face to face. And I would love 364 00:19:47.880 --> 00:19:50.440 if if I mean for me, I also for me 365 00:19:50.559 --> 00:19:55.480 personally doing things like stand up and improv where you're 366 00:19:55.519 --> 00:19:59.000 working with a live situation that you know you've got, 367 00:19:59.440 --> 00:20:01.799 You've got co that might work in this context, but 368 00:20:01.839 --> 00:20:04.480 now it's got to work in this context with these people, 369 00:20:04.960 --> 00:20:08.599 and you start to be able to dance, tap dance, 370 00:20:08.640 --> 00:20:11.319 read the room and yeah, and find it, you know, 371 00:20:11.680 --> 00:20:15.640 with whatever this audience is. And that was hugely important 372 00:20:15.640 --> 00:20:20.000 to me in being ready for doing this kind of work, 373 00:20:20.680 --> 00:20:21.880 was improv in particular. 374 00:20:22.079 --> 00:20:24.000 Oh yeah, and did you do stand up? 375 00:20:24.079 --> 00:20:24.319 I did. 376 00:20:24.359 --> 00:20:26.480 I did stand up for a couple of years, and 377 00:20:26.960 --> 00:20:30.000 the lifestyle didn't appeal, but. 378 00:20:30.000 --> 00:20:31.960 I learned that was rock and roll. 379 00:20:32.079 --> 00:20:34.960 Yeah, yeah, you learn a lot from that from doing it, 380 00:20:35.000 --> 00:20:37.759 but also from the others who are doing it, and 381 00:20:38.279 --> 00:20:41.240 for those who are trying but aren't they're never going 382 00:20:41.279 --> 00:20:43.359 to make it, those who've made it but wish they 383 00:20:43.359 --> 00:20:46.160 could get out, those who are just going to go 384 00:20:46.240 --> 00:20:49.200 straight to sitcom, which is how it was in the 385 00:20:49.240 --> 00:20:53.000 late eighties. And then I also did I did a 386 00:20:53.039 --> 00:20:57.240 couple of years of improv with sac theater. It was 387 00:20:57.279 --> 00:21:00.880 just Theater Sports in Orlando, Florida, with the likes of 388 00:21:01.160 --> 00:21:04.160 Wayne Brady and Jonathan Magnum and others. And I really 389 00:21:04.319 --> 00:21:08.079 learned a lot very quickly from that. It's like, I 390 00:21:08.240 --> 00:21:10.799 like this. It turns out I think I'm good at this, 391 00:21:11.559 --> 00:21:16.440 And and then it brought me these improvisational antenna that 392 00:21:16.519 --> 00:21:20.200 I use now all the time. That's that's vital to 393 00:21:20.240 --> 00:21:24.279 what I think we do, is it's highly improvisational. That is, 394 00:21:24.319 --> 00:21:26.960 you're ready, You're ready to steer it in whatever way 395 00:21:27.000 --> 00:21:29.960 it needs to go. And and that's the fun of it. 396 00:21:30.599 --> 00:21:34.200 And that's you know, that's that's it. That's what it is. 397 00:21:34.440 --> 00:21:36.680 Yeah, yeah, you give them one as written and one 398 00:21:36.720 --> 00:21:37.359 as it should be. 399 00:21:37.880 --> 00:21:38.440 Right. 400 00:21:39.079 --> 00:21:41.519 That's that's right, for better or worse. 401 00:21:41.559 --> 00:21:42.039