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Speaker 1: Hello, and welcome back to Movie Mike's Movie podcast, your

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Speaker 1: go to source for all things movies. I am your

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Speaker 1: host Movie Mike, and today I am looking back at

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Speaker 1: my top five favorite interviews of the year. I'll explain

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Speaker 1: why these are my favorite to give you some behind

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Speaker 1: the scenes with each of these interviews. Let's waste no

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Speaker 1: time and get right into this. Let's get started. In

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Speaker 1: a world where everyone and their mother has a podcast,

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Speaker 1: one man stands to infiltrate the ears of listeners like

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Speaker 1: never before in a movie podcast. A man with so

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Speaker 1: much movie knowledge piece basically like a walking Audi MTV

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Speaker 1: with classes from the Nashville Podcast Networking Cases, Movie mis

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Speaker 1: Movie Podcast. So we reached the end of another year

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Speaker 1: and I wanted to share with you my favorite interview

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Speaker 1: moments from one I love getting your new interviews on

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Speaker 1: this podcast, especially when it's people that I was a

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Speaker 1: fan of as a kid, or they're in some of

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Speaker 1: my favorite movies, or they're part of a project that

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Speaker 1: I'm really excited about. So I've pulled my top five

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Speaker 1: and here we go. Starting at number five was getting

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Speaker 1: to talk to some of the original cast of Willy

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Speaker 1: Wonka earlier this year. They were celebrating the fiftieth anniversary

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Speaker 1: of the movie. Yes, the fiftieth anniversary of Willy Wonka

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Speaker 1: and the Chocolate Factory, which is one of my favorite

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Speaker 1: movies of all time, And it was so cool to

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Speaker 1: see them all together again via zoom of course, and

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Speaker 1: getting to ask them about that original movie. We debunk

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Speaker 1: some myths that I've seen online forever and found out

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Speaker 1: whether or not they were really true, and it was

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Speaker 1: just awesome to get to talk to people who are

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Speaker 1: a part of movie history. So at number five is

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Speaker 1: the original cast of Willy Wonka. I got to talk

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Speaker 1: to the actors who play Charlie Bucket, Ruca Salt, Mike TV,

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Speaker 1: and Augustus Gloup. So let's check it out at number five.

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Speaker 1: Are are y'all great? Great to see? How great to

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Speaker 1: get to talk to you all. First of all, what's

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Speaker 1: it like to see everybody again for the first time

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Speaker 1: in a long time. It was the first time in

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Speaker 1: a long time. We have actually either in during Claygates.

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Speaker 1: We've caught up a couple of times. We've done a

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Speaker 1: couple of social calls because we are kind of a

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Speaker 1: weird famine. So but you know the fact that we

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Speaker 1: are still here fifty years later. That's the that's the extor. Well.

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Speaker 1: I have some myths I've heard about filming, and I

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Speaker 1: wanted to get what really happened from you guys. So

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Speaker 1: the first thing I heard of is that some of

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Speaker 1: you experienced some pretty crazy nightmares after filming that famous

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Speaker 1: tunnel scene. Was that a real thing? No, No, nightmare's here? Yeah,

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Speaker 1: not exactly nightmares. I think it was more of a

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Speaker 1: living nightmare while we shot it, rather than something we

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Speaker 1: dreamed about later. Um. Uh, you know, they wound us

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Speaker 1: up with some flashing lights and some uh scary footage

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Speaker 1: that they projected across the wall, and then of course

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Speaker 1: Jeane did his crazy read uh and so we weren't

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Speaker 1: really prepared for that. So it was it was nightmarish

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Speaker 1: to shoot, but I don't we're having a nightmare after

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Speaker 1: the fact. So it was after the fact. What was

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Speaker 1: it like being there when he's giving this performance that

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Speaker 1: you had really no idea what he was gonna do.

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Speaker 1: It was just like, all right, here it is, here's Gean.

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Speaker 1: While they're kind of going a little mad. They didn't

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Speaker 1: tell us. I mean, we've read the script, so we

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Speaker 1: knew what he was going to do. We just didn't

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Speaker 1: know how he was going to do it, and that

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Speaker 1: was the scary thing. And there's said slug that it

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Speaker 1: was kind of sweat and shitch like was very attractive,

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Speaker 1: really crazy. So yeah, that was a little scary, but

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Speaker 1: no lasting nightmare. So the other myths I heard was that,

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Speaker 1: I know a lot of the candy was you know,

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Speaker 1: fake props, some of it was made out of wood,

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Speaker 1: some of it was just plastic. But the chocolate river

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Speaker 1: was that real. And by the end of filming, what

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Speaker 1: did that smell like? Horrible? The smells horrible. Actually was

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Speaker 1: thinking borders and it was not any taste of proper

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Speaker 1: at all. It was there for a beach and uh

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Speaker 1: it was not freshly made, so not nonswers stump in

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Speaker 1: this and you had to actually be in that. What

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Speaker 1: what did you go in here? Was it a stunt person?

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Speaker 1: What happened? You know? I had to stump in this

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Speaker 1: thinking voda and it was very swallow and I had

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Speaker 1: to hit uh a hole that was shot the squaremita

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Speaker 1: And yes, I was very anxious that I wouldn't get

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Speaker 1: the whole and hit my head on the bottom of

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Speaker 1: the Tructors River. That's crazy. So Peter, I had another

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Speaker 1: mede for you. Um, I heard that at the start

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Speaker 1: of the movie and throughout the movie you were going

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Speaker 1: through puberty, and that your voice is higher at the

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Speaker 1: beginning of the movie and lower at the end. Is

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Speaker 1: that true? I mean, I think, I think we are

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Speaker 1: all going but yeah, I don't know. I guess it's

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Speaker 1: a little higher. I don't know, deal, what do you think?

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Speaker 1: I don't know, is thinking. And I was thinking, actually,

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Speaker 1: you know, maybe that was something to do with the

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Speaker 1: piano wires when you were in the fizzy message went

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Speaker 1: right exactly exactly. I think I would have answered that

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Speaker 1: question as follows. Sure if it was lower than it

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Speaker 1: went well. At the end of the field, my dress

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Speaker 1: was getting shorter because I was growing. I would do

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Speaker 1: your hair though, but your hair my hair, yeah, yeah,

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Speaker 1: and my hair my hair well, actually my hair shrank

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Speaker 1: because we had a crazy hair dresser woman that back

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Speaker 1: in the day, everybody was obsessed was split in. That

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Speaker 1: was the thing back then about you know, girl, you

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Speaker 1: have splitten and you would twist your hair into a

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Speaker 1: rope and run a candle down it to burn off

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Speaker 1: the stuns. And just in this terrible smell of burning hair.

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Speaker 1: That all was happening was she was burning my hair.

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Speaker 1: It was getting shorter. There was a scene where I go,

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Speaker 1: I go out of the inventing room and then into

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Speaker 1: the nicable wool paper and it's visibly to shorter. Well,

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Speaker 1: I appreciate the time, thanks for helping put all those

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Speaker 1: miss to rest, and thank you so much. Have a

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Speaker 1: good one. At number four, it's probably the person I

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Speaker 1: was most intimidated to interview because he is a living

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Speaker 1: legend and in his director, Chris Columbus. We got to

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Speaker 1: talk about Harry Potter. We also got to talk about

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Speaker 1: Home Alone. And I could have talked way longer with

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Speaker 1: Chris Columbus because he's written and directed so many movies

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Speaker 1: that have been so influential on all of our childhoods. Really,

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Speaker 1: and I can't wait to see him. He's part of

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Speaker 1: the HBO Max special with the Harry Potter Reunion, so

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Speaker 1: we got to talk all about Harry Potter. So here

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Speaker 1: it is at number four. Chris Columbus like, Hey, it's

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Speaker 1: an honor to talk to you today. Thank you so much.

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Speaker 1: Nice to meet too. So I imagine when you go

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Speaker 1: into directing the first Harry Potter there's a lot of

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Speaker 1: nerves are just like getting it right from the book adaptation.

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Speaker 1: How many times did you have to read the book

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Speaker 1: before you did this movie. Well, my daughter had to

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Speaker 1: persuade me to read the books. Okay, you know I

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Speaker 1: She started with, uh, Sorcerer's Stone. She said, we read

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Speaker 1: this would make a great movie. I said no. She

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Speaker 1: was about nine at the time. So I lived through

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Speaker 1: Sorcerer's Stone, Chamber of Secrets, Prisoner of Azkaban. Finally, after Askavan,

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Speaker 1: I said, okay, all right, all I read them. So

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Speaker 1: I read them in two days and I knew immediately

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Speaker 1: I have to make this into a film. So I

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Speaker 1: called my agent and I said, I'd love to direct

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Speaker 1: the first Harry Potter films. She said, you and about

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Speaker 1: thirty other people, she said, get in line. So I

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Speaker 1: was fortunate enough to get the job. But it was,

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Speaker 1: you know, I knew it was, as they called it,

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Speaker 1: a bake off at the time. So while you're filming

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Speaker 1: this movie, do you sleep at all? Like I imagine

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Speaker 1: just the scale of the production. What's going through your

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Speaker 1: mind or trying to get everything right? Like are you

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Speaker 1: able to process that and still do a movie? Oh? God, yeah,

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Speaker 1: I remember I shot at in England and are pubs everywhere,

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Speaker 1: so you hit the pub, I have a couple of

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Speaker 1: pints and you sleep very well. So it's the twenties anniversary.

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Speaker 1: And for me it's a movie that I, for some

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Speaker 1: reason associate with Christmas. Like every single Christmas I end

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Speaker 1: up watching the first Harry Potter. Like do you feel

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Speaker 1: comfortable people calling the first Harry Potter a Christmas movie.

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Speaker 1: I don't know if it's completely a Christmas movie, like

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Speaker 1: Home Alone is a Christmas movie, but die Hard debatable.

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Speaker 1: Everybody's arguing about that one. But I think that Potter,

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Speaker 1: it's just a sense of warmth and there's a fuzzy

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Speaker 1: qual even though there's moments of darkness in the film.

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Speaker 1: I think that's why it's shown a Christmas all the time.

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Speaker 1: I can't escape the movie at Christmas. I mean, yeah,

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Speaker 1: it's everywhere. The first two Potter films are always playing

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Speaker 1: from Thanksgiving to January first, which is, you know, a

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Speaker 1: good feeling. If there was anything you could change from

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Speaker 1: the way that the first one was made, what would

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Speaker 1: you change about it? I think I go back and

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Speaker 1: work on the visual effects of the quidditch match. Are

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Speaker 1: you talking twenty years ago, and visual effects weren't as

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Speaker 1: sophisticated as they are today. They were good, but they

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Speaker 1: weren't great. So I would love to spent about four

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Speaker 1: more months working on that first Quidditch match. If they

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Speaker 1: came to you today and said, hey, could you they

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Speaker 1: wanted to reboot Harry Potter. Is that something you would

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Speaker 1: even try to tackle? Oh? God, no, it's been done.

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Speaker 1: I mean I try to tackle. I think there's a

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Speaker 1: fascinating uh film to be made of Person Child with

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Speaker 1: our original cast Harry Potter and the Curse of Child.

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Speaker 1: They're almost ready to play those roles agewise. Um, that

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Speaker 1: would be great to revisit it in the same way

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Speaker 1: JJ kind of went back and revisited Star Wars and

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Speaker 1: did the smartest, most brilliant thing ever brought back the

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Speaker 1: original cast. So there's just a feeling of nostalgia that

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Speaker 1: I think is is kind of a wonderful thing. Has

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Speaker 1: there been any talks of that or is that just

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Speaker 1: something that you can see happening. I just I think

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Speaker 1: you're probably the second person I've said, but you know

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Speaker 1: you asked me. So going back, you you reference your

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Speaker 1: movie Home Alone now to the people who do argue

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Speaker 1: that that's not a Christmas movie. What do you say

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Speaker 1: to those people, It's definitely a Christmas movie. I mean

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Speaker 1: that's even done it without a doubt. It takes place

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Speaker 1: over Chris on Christmas Eve. It's a it's a Christmas movie.

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Speaker 1: I think. My favorite thing about that, I think you

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Speaker 1: were so particular about the colors in that movie of

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Speaker 1: making like the green and the red wallpaper. To me,

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Speaker 1: the whole movie just has that feeling. So it's hard

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Speaker 1: for me when people are like, no, that's not a

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Speaker 1: Christmas movie. No, I mean, Home Alone was designed to

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Speaker 1: be a Christmas film, but a warm I always hate

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Speaker 1: when I see these Christmas films that are that were

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Speaker 1: the either the decorations or the set design is just

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Speaker 1: cheesy and and not warm. The thing about Christmas that

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Speaker 1: makes it work on film is the warm So that's

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Speaker 1: what we went to. You mentioned the wallpaper, which was

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Speaker 1: a big debate for like a month before we actually

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Speaker 1: built a set, because I wanted to get the color

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Speaker 1: palette was you know, burgundy, deep greens, gold, just to

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Speaker 1: get that warmth, that warm field, and also carried out

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Speaker 1: over some of that potter as well. You know, we

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Speaker 1: use that warmth in the Christmas Needs in Harry Potter, Well,

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Speaker 1: I appreciate the time. It's a great talking to you.

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Speaker 1: In fact, suck it. What is that guitar, the blue one?

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Speaker 1: I think when we shot Christmas Chronicles, Little Steven in

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Speaker 1: the musical number play that guitar. That's a jazz master. Okay, excellent, great,

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Speaker 1: but thank you, have a good day. At number three

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Speaker 1: is one of the nicest people who I've ever had

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Speaker 1: it is Pixar artist Matthew Lunn. I kind of set

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Speaker 1: And I did some research on Twitter or finding, you know,

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Speaker 1: people responsible for making those movies, not just the animation,

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Speaker 1: but the stories that really draw us into Pixar movies,

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Speaker 1: the stories that make us cry. And I found the

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Speaker 1: guy responsible for that. His name is Matthew Lunn. He

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Speaker 1: posts a lot about behind the scenes of Pixar movies

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Speaker 1: like Original Concept Are and I did some research on

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Speaker 1: him and found that he was just responsible for some

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Speaker 1: of the biggest Pixar movies ever, from Toy Story to

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Speaker 1: Finding Nemo to up and I had to have him

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Speaker 1: on the podcast and I talked to him about that,

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Speaker 1: the emotional moments he has created through Pixar and the

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Speaker 1: ones that really made us cry. So this is number

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Speaker 1: three Pixar story artist Matthew Lunn. I'm joined now by

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Speaker 1: Matthew Lunn. He's a former Pixar story artist and animator.

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Speaker 1: He's the guy behind movies like the Toy Story films,

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Speaker 1: the Monsters Things, wharing his monstersing hat right now, actually

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Speaker 1: finding Nemo up, all these movies that just make us

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Speaker 1: feel all of these emotions. And that was kind of

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Speaker 1: your job, right Oh yeah, still is, but yes, it

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Speaker 1: was for for over ten films to Pixar. Ten films.

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Speaker 1: That's a lot of movies. So what I wanted to

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Speaker 1: do is I put together a list of the five

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Speaker 1: times you've really made me feel things in the Pixar

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Speaker 1: movies you've worked through, and just kind of go through

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Speaker 1: some of these of the stories behind how these moments

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Speaker 1: came to be and just what's kind of the process

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Speaker 1: of making people feel these emotions for these animated characters.

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Speaker 1: Absolutely the same fun to me, all right, So let's

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Speaker 1: start first at the very beginning the first picks our

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Speaker 1: movie toy Story, and I think just the overall premise

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Speaker 1: of toy story, it's these toys that when nobody's around,

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Speaker 1: they come to life, and being able to take that

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Speaker 1: I identified with these you know these characters now, and

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Speaker 1: it's that moment for me whenever Woody gets replaced and

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Speaker 1: you see all the Woody posters come down and the

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Speaker 1: buzz light your stuff go up, that I as a

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Speaker 1: kid felt like, man, I really feel for Woody right now.

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Speaker 1: What was the kind of idea behind that? Well, you

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Speaker 1: know what that's I haven't been asked that before, but

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Speaker 1: that is a very good question, just for anybody out

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Speaker 1: there that doesn't know. There are four of these story

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Speaker 1: Toy Story films. I've worked on all of them. And

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Speaker 1: one of the secrets to why these stories all work,

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Speaker 1: because seldom do sequels work, is because we kept going

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Speaker 1: back to Woody's greatest fear, which is being abandoned. Now,

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Speaker 1: that is a universal theme that all people fear in life,

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Speaker 1: all ages, all genders, all cultures. We all fear being replaced.

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Speaker 1: We fear getting old, not loved anymore. Um, it's that

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Speaker 1: fear of abandonments and it really strikes a chord in

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Speaker 1: the audience and toy story because it's something we can

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Speaker 1: all relate to. And that's one of those things you

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Speaker 1: want in a story. You wanted to be relatable and

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Speaker 1: connect with an audience, even if the characters are toys, rafts, cars, robots, whatever.

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Speaker 1: So that is the reason why that made such an

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Speaker 1: impact on audiences. Um was because of Woody's fear of

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Speaker 1: being abandoned. And how did the idea of would you

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Speaker 1: like become like, Okay, we're gonna kind of base it

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Speaker 1: around would he like? Why? Why was it a cowboy?

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Speaker 1: Why was he going to be the leader? Well, that's

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Speaker 1: that's another great question. You know, at first, he was

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Speaker 1: going to be a been twil equistal, you know, one

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Speaker 1: of those puppets that you put your hands and you

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Speaker 1: kind of operate the mouth. They look creepy, like the

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Speaker 1: goose bumps kind of you know character TV show, UM,

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Speaker 1: which first off is really creepy. People make a decision

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Speaker 1: within the first couple of seconds whether they like a character,

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Speaker 1: and if your main characters have been triloquist to all,

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Speaker 1: that's bad. So really it turned into We knew it

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Speaker 1: was going to be a buddy story. And usually in

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Speaker 1: a buddy story, two characters in the beginning don't like

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Speaker 1: each other, but then they become best friends at the end.

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Speaker 1: And it's always nice when not only do the characters

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Speaker 1: not blend together because of their personalities, but also because

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Speaker 1: of their physical appearance. And there was nothing better than

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Speaker 1: to do kind of the future in the past, stuck

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Speaker 1: together a cowboy and a spaceman, and so that was

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Speaker 1: that was really the idea. And then also, um, you know,

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Speaker 1: the whole idea for toy story really starts years before

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Speaker 1: with the animated short um that was called Knickknack, the

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Speaker 1: one with the little toy that is the that has

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Speaker 1: the symbols and drums, the very first toy story. He

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Speaker 1: the idea, it was that guy was going to be

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Speaker 1: the main character. It was gonna always be a toy,

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Speaker 1: but then it evolved into being Woody the cowboy because

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Speaker 1: of the buddy's story. Two characters buckt together that are

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Speaker 1: completely different. Next up on my list, I have Finding Nemo,

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Speaker 1: which very opening of the movie, a parent is killed

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Speaker 1: off immediately. Was that ever an idea of like man,

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Speaker 1: maybe this is a too too heavy of a thing

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Speaker 1: for kids, like can we really do this and pull

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Speaker 1: this off? Yeah? You know, um, you would be surprised

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Speaker 1: how many kid films, how many animated or live action

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Speaker 1: or children's books for kids, start off with the kid

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Speaker 1: being a an orphan or their parents are killed off

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Speaker 1: or one of them. It's it's it's a sure fire

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Speaker 1: way to get the audience to have empathy for the

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Speaker 1: main character, because if the character is an orphan where

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Speaker 1: their parents just died, you were immediately like, oh my gosh,

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Speaker 1: I totally care for this kid. So when you watch

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Speaker 1: you watch so many of the Pixar films, and even

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Speaker 1: if you go through all those like Rall Doll stories

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Speaker 1: like James and the Giant Peach and you know, Charlie

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Speaker 1: and the Chocolate Factory Rall Doll, he always had you know,

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Speaker 1: parents dead or dying in the beginning to be able

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Speaker 1: to get the audience to root for the for the

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Speaker 1: main character. And then when you look at Toy Story

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Speaker 1: or a lot of the other Pixar films, there is, um,

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Speaker 1: it's pretty consistent that there's only one parent or both

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Speaker 1: parents are disposed up. The lack of para kind of

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Speaker 1: kind of shine sometimes like all right, I'm into this now.

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Speaker 1: You know, I gotta tell you one of the reasons

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Speaker 1: why we also do that. And you know it's not

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Speaker 1: just Pixar. You know, you look at Frozen, they wiped

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Speaker 1: out the parents before. Right, it's a great way to

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Speaker 1: just get empathy for the main character. And that's basically

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Speaker 1: what I want to say. The next movie I have

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Speaker 1: up is Toy Story two, and it's the moment again

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Speaker 1: going back to the abandonment thing when Jesse gets abandoned

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Speaker 1: you learned about her and pairs perfectly well with the

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Speaker 1: Sarah McLaughlin song, like was the song already like alright,

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Speaker 1: already gonna have this song for the movie, or a

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Speaker 1: moment that was a sequence that was a last minute

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Speaker 1: decision on the film we had worked on. I had

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Speaker 1: worked on Toy Story too for almost three years, and

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Speaker 1: it took so many different story iterations. But one of

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Speaker 1: the things that was a real pivotal moment for us

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Speaker 1: in the story was when we decided that Jesse, Jesse

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Speaker 1: has gone through this before, She's been abandoned by a kid,

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Speaker 1: and we don't want on her just to talk about it.

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Speaker 1: We feel that it would be great to a seed

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Speaker 1: in a flashback and the song was written by Randy Newman,

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Speaker 1: who you know wrote most of the Pixar stuff, and

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Speaker 1: he was gonna sing it, yeah, you know, but it

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Speaker 1: was just the perfect move for when uh, you know,

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Speaker 1: would fit better to have a female voice for Jesse singing.

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Speaker 1: But man, that is a tear jerker, even for me

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Speaker 1: who worked on that. It gets me to one of

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Speaker 1: my favorite parts of that movie is whenever they're having

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Speaker 1: to cross the street and they take the traffic cons

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Speaker 1: and hide underneath them. Is that just a thing? Like,

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Speaker 1: all right, what's the most entertaining way they could get

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Speaker 1: across the street? Like is there different pitches for that? Well?

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Speaker 1: Oh you know that that was that was my idea, okay,

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Speaker 1: And so my my assignment from the director was essentially,

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Speaker 1: we need to get these toys across the street somehow,

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Speaker 1: Alice toy barn, how are we going to do it?

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Speaker 1: And I sat down and I kind of grew up ideas,

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Speaker 1: and then I finally said, you know what, I need

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Speaker 1: to just go to a freeway. I need to pull

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Speaker 1: my car to the side of the street of us

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Speaker 1: cars driving by me, and I just need to look

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Speaker 1: around and what is around me and say if I

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Speaker 1: was a toy, what would I use? And just by

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Speaker 1: chance that day there was like a minute work kind

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Speaker 1: of orange sign and orange pylon cones and stuff, and

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Speaker 1: I was like, I would totally hide under that orange

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Speaker 1: cone and I sneak across and then if a car

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Speaker 1: got close to me, maybe they would just weave around me.

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Speaker 1: And so UM on Twitter, just recently I put the

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Speaker 1: first drawing I had done that I showed the director

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Speaker 1: that made him go, okay, we're doing that. So that

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Speaker 1: was that was how that idea came about. So when

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Speaker 1: you see something like that, do you immediately start making

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Speaker 1: a sketch or do you just make a note of it?

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Speaker 1: How how does that come together? I remember I did, um,

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Speaker 1: bring my sketch book in the car, and I went

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Speaker 1: right back into the car and I did that sketch

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Speaker 1: and I and I and that was the one that

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Speaker 1: that kind of created what that whole scene was going

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Speaker 1: to be about. So I want to move on now

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Speaker 1: to up again. First ten minutes of the movie you

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Speaker 1: learn all about Ellian Carl and not only that, but

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Speaker 1: it's all there's not a whole there's not dialogue, it's

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Speaker 1: all just through the images through what we see from

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Speaker 1: them losing the baby to ultimately losing her, Like, how

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Speaker 1: did that come together? Well, you know, the first off,

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Speaker 1: I would say that when I'm making a film, and

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Speaker 1: this is one of the things I learned early on

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Speaker 1: when I was at film school, you need to always

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Speaker 1: be able to understand what's going on in a movie

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Speaker 1: with a volume off. You should always be able to

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Speaker 1: turn the volume off in a movie and be able

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Speaker 1: to tell what's going on through the visual storytelling. So

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Speaker 1: to be able to pull off ten minutes with just music,

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Speaker 1: some sound effects, no dialogue, and visuals that bring people

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Speaker 1: to tears, it's not easy, but it is possible. But

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Speaker 1: one of the things that that really made that work

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Speaker 1: is many iterations. You know, if you ever watch a

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Speaker 1: Jackie Chan movie, and I love Jackie Chan movies, he

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Speaker 1: is like you know, you'll see him jump up to

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Speaker 1: a spin kick, He'll kick some you know, some cup

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Speaker 1: out of somebody's hand that goes and knocks another person

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Speaker 1: out and there's no special effects. He just did it.

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Speaker 1: But you know, he did one hundred tries before they

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Speaker 1: caught on camera that final one. But when people watch

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Speaker 1: the film, they go, wow, he's amazing, But it's the

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Speaker 1: same thing in an animation and film. We do so

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Speaker 1: many iterations until we get the best version and then

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Speaker 1: that's what you get to see in the end. And so,

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Speaker 1: you know, it was a little bit of a risk

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Speaker 1: also of having some think so emotional in the beginning

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Speaker 1: of the film would people be into it, But you know,

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Speaker 1: it hooked people so much that they couldn't stop watching

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Speaker 1: that film after the first ten minutes out and it's

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Speaker 1: and I got to work on the movie up as

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Speaker 1: a story person, and uh, I'm very proud of that

429
00:23:16,760 --> 00:23:20,040
Speaker 1: film as well. Yeah, I think out of every Pixar film,

430
00:23:20,119 --> 00:23:22,720
Speaker 1: that is my favorite opening. It just still gets me

431
00:23:22,800 --> 00:23:26,440
Speaker 1: every single time. It is great. The last one I

432
00:23:26,480 --> 00:23:28,200
Speaker 1: want to talk to you about is Toy Story three.

433
00:23:28,640 --> 00:23:32,280
Speaker 1: The most emotional I've ever felt watching an animated movie.

434
00:23:32,320 --> 00:23:34,400
Speaker 1: The scene where you think everybody's going to die going

435
00:23:34,480 --> 00:23:38,760
Speaker 1: into this generator. Yeah, Like, how do you get to

436
00:23:38,920 --> 00:23:41,920
Speaker 1: that level of like, Okay, we're going for it here?

437
00:23:42,240 --> 00:23:45,760
Speaker 1: I know? Well, you know, I think even in the

438
00:23:45,920 --> 00:23:49,080
Speaker 1: very beginning when we started pitching around this idea, we

439
00:23:49,200 --> 00:23:52,119
Speaker 1: knew that there needed to be this They're they're going

440
00:23:52,160 --> 00:23:55,600
Speaker 1: to be so close to death moment. But when I

441
00:23:55,720 --> 00:23:58,639
Speaker 1: got the assignment from the director of what that was

442
00:23:58,680 --> 00:24:01,960
Speaker 1: gonna look like Before we do the storyboards, we do

443
00:24:02,080 --> 00:24:04,200
Speaker 1: things called the boards, which is kind of like, what

444
00:24:04,320 --> 00:24:06,760
Speaker 1: are those t images going to be? Now? I had

445
00:24:06,840 --> 00:24:11,959
Speaker 1: never been to a garbage dump or an incinerator, and um,

446
00:24:12,119 --> 00:24:14,680
Speaker 1: I saw a few images online, but there's not a

447
00:24:14,800 --> 00:24:16,720
Speaker 1: lot of photos of what the inside of a garbage

448
00:24:16,800 --> 00:24:19,000
Speaker 1: dump looks like. So I had to make a lot

449
00:24:19,080 --> 00:24:23,640
Speaker 1: of this stuff up. And you know, I did these

450
00:24:23,840 --> 00:24:26,840
Speaker 1: key images. I put them up on on on Instagram

451
00:24:26,880 --> 00:24:30,520
Speaker 1: and Twitter just recently, but those were the images that

452
00:24:30,600 --> 00:24:34,920
Speaker 1: were the the key inspiration visuals for what that moment

453
00:24:35,040 --> 00:24:38,680
Speaker 1: is gonna look like. But I gotta tell you, the

454
00:24:38,840 --> 00:24:42,080
Speaker 1: thing that I remember in this one meeting that I

455
00:24:42,200 --> 00:24:45,200
Speaker 1: brought up that I'm so happy we stuck with, was

456
00:24:45,280 --> 00:24:47,640
Speaker 1: that when they're all ready to die in the incinerator,

457
00:24:47,960 --> 00:24:49,680
Speaker 1: there was going to be a moment where someone just

458
00:24:49,800 --> 00:24:52,000
Speaker 1: kind of finds a lever and switches it off and

459
00:24:52,080 --> 00:24:56,879
Speaker 1: it stops. But it felt so anti climatic. And in

460
00:24:57,000 --> 00:24:59,359
Speaker 1: those images I had looked at in the incinerator, there

461
00:24:59,520 --> 00:25:03,160
Speaker 1: was a those clothing, the graft metal, the garbage stops

462
00:25:03,240 --> 00:25:06,960
Speaker 1: and I was like, what if those aliens they used

463
00:25:07,000 --> 00:25:10,000
Speaker 1: that giant claw and it was reminiscent of the claw

464
00:25:10,640 --> 00:25:14,600
Speaker 1: and and it was such a you know, it's such

465
00:25:14,640 --> 00:25:16,760
Speaker 1: a good feeling when you see people near death and

466
00:25:16,840 --> 00:25:21,679
Speaker 1: then like the heavens open up and it's like they

467
00:25:21,720 --> 00:25:24,000
Speaker 1: get pulled out. It was so great. You know. So

468
00:25:24,080 --> 00:25:26,160
Speaker 1: when you're working on a scene like that and you're

469
00:25:26,520 --> 00:25:30,160
Speaker 1: spending hours days, like, how do you know that it's

470
00:25:30,160 --> 00:25:32,719
Speaker 1: still an emotional moment You're you've just been looking at

471
00:25:32,720 --> 00:25:35,080
Speaker 1: it for so longer, like is this even still good anymore?

472
00:25:35,359 --> 00:25:38,000
Speaker 1: That is a very good question. Uh. What I have

473
00:25:38,160 --> 00:25:42,119
Speaker 1: learned to do is that whenever I'm seeing current edits

474
00:25:42,440 --> 00:25:46,240
Speaker 1: or at current iterations of a sequence or the film

475
00:25:46,359 --> 00:25:50,400
Speaker 1: as a whole, I always take notes. So like today

476
00:25:51,200 --> 00:25:54,639
Speaker 1: Friday's is the day that I see the most current

477
00:25:54,760 --> 00:25:59,040
Speaker 1: path of edit of the the short film I'm directing

478
00:25:59,160 --> 00:26:03,440
Speaker 1: right now, And I take notes every Friday so I

479
00:26:03,520 --> 00:26:07,399
Speaker 1: can look back at them and always remind myself like

480
00:26:07,800 --> 00:26:10,280
Speaker 1: did I think that was a funny joke? Did I

481
00:26:10,359 --> 00:26:12,600
Speaker 1: think that was a sad moment? Because you know, you

482
00:26:12,840 --> 00:26:16,520
Speaker 1: end up after a while forgetting, um that that is

483
00:26:16,560 --> 00:26:19,520
Speaker 1: a great sad moment and then you change it. So

484
00:26:19,800 --> 00:26:22,520
Speaker 1: you need to really think about that moment, just like

485
00:26:22,640 --> 00:26:25,680
Speaker 1: you're having a filmmaking diary, and write it down so

486
00:26:25,880 --> 00:26:30,080
Speaker 1: you don't you don't trick yourself into thinking what's it's

487
00:26:30,080 --> 00:26:32,359
Speaker 1: not funny or emotional anymore, and you remove it. A

488
00:26:32,480 --> 00:26:36,920
Speaker 1: lot of people fall into that mistake. So yeah, well,

489
00:26:37,200 --> 00:26:39,600
Speaker 1: Matthew appreciate the time. Everybody listening. If you want to

490
00:26:39,600 --> 00:26:41,560
Speaker 1: go follow him on Twitter, he's a great follow at

491
00:26:41,640 --> 00:26:44,280
Speaker 1: Matthew Lan that's l u H. And I felt like

492
00:26:44,320 --> 00:26:45,920
Speaker 1: I learned so much, you know, it's just great to

493
00:26:46,040 --> 00:26:48,480
Speaker 1: learn all these movies are made. Hey, well, thanks for

494
00:26:48,600 --> 00:26:52,400
Speaker 1: loving these films and um and thanks for everybody else

495
00:26:52,440 --> 00:26:54,800
Speaker 1: out there for living those those films that I've worked on.

496
00:26:55,200 --> 00:26:58,119
Speaker 1: Thanks appreciate you. Have a good day. Okay, thank you.

497
00:26:58,840 --> 00:27:03,400
Speaker 1: At number two favorite interviews of the year, I'm going

498
00:27:03,520 --> 00:27:06,680
Speaker 1: with Billy West. Now, a lot of you probably don't

499
00:27:06,720 --> 00:27:09,520
Speaker 1: recognize that name, but to me, that name is synonymous

500
00:27:09,680 --> 00:27:13,520
Speaker 1: with voice acting. And even if you don't know his name,

501
00:27:13,560 --> 00:27:15,399
Speaker 1: you know his voice, you know his work. He has

502
00:27:15,440 --> 00:27:17,760
Speaker 1: been in so many things that I watched as a kid,

503
00:27:17,920 --> 00:27:21,920
Speaker 1: from Renn and Stimpy, Doug Futurama. The list goes on

504
00:27:22,080 --> 00:27:24,520
Speaker 1: and on, and he was on to talk about the

505
00:27:24,680 --> 00:27:29,200
Speaker 1: anniversary of Space Jam before the release of space Jam two,

506
00:27:29,520 --> 00:27:31,720
Speaker 1: because he was the voice of Bugs Bunny in the

507
00:27:31,840 --> 00:27:34,639
Speaker 1: original Space Jam. And what I loved about Billy West

508
00:27:34,760 --> 00:27:37,320
Speaker 1: is he was so generous with this time, but also

509
00:27:37,880 --> 00:27:41,399
Speaker 1: so generous with actually doing the voices we were talking about,

510
00:27:41,440 --> 00:27:43,840
Speaker 1: Like he didn't have to do that, but it makes

511
00:27:43,880 --> 00:27:47,160
Speaker 1: the interview so much better when he actually does the voices,

512
00:27:47,320 --> 00:27:48,800
Speaker 1: and it was so cool to hear. I think I

513
00:27:48,880 --> 00:27:52,040
Speaker 1: was smiling the entire time doing this interview, because once

514
00:27:52,080 --> 00:27:54,800
Speaker 1: he started doing Doug and Bugs Bunny, I just pretty

515
00:27:54,880 --> 00:27:57,840
Speaker 1: much lost it. So at number two is Billy West

516
00:27:58,359 --> 00:28:01,000
Speaker 1: all right on? Now with Billy Less, How are you doing?

517
00:28:01,800 --> 00:28:04,800
Speaker 1: I'm doing pretty good. Um, just woke up ready to

518
00:28:04,920 --> 00:28:07,480
Speaker 1: face the day. I don't want to read the headlines

519
00:28:07,680 --> 00:28:10,159
Speaker 1: because that will spoil my day. But what is the

520
00:28:10,200 --> 00:28:12,359
Speaker 1: first thing you do when you wake up? Oh? Um,

521
00:28:13,600 --> 00:28:16,800
Speaker 1: I don't know. I started stretching, I guess because because

522
00:28:16,880 --> 00:28:19,080
Speaker 1: if I just jump out of it, I'll probably you know,

523
00:28:19,240 --> 00:28:21,560
Speaker 1: bounce off the floor. What about on the day you're

524
00:28:21,600 --> 00:28:24,040
Speaker 1: going into maybe do some voice work. What's the kind

525
00:28:24,040 --> 00:28:26,320
Speaker 1: of first process to get your day started on something

526
00:28:26,400 --> 00:28:28,960
Speaker 1: like that. Um, I did up early all the time.

527
00:28:29,280 --> 00:28:32,119
Speaker 1: I mean, it's just a thing. I get up at

528
00:28:32,200 --> 00:28:36,960
Speaker 1: like six um. Sometimes. I mean I love thirty five

529
00:28:37,040 --> 00:28:41,040
Speaker 1: miles outside of l A. So um, the traffic gets

530
00:28:41,080 --> 00:28:43,920
Speaker 1: to be beastly. It takes a long time. So to

531
00:28:44,080 --> 00:28:46,720
Speaker 1: be at a gig at nine am in Los Angeles,

532
00:28:47,160 --> 00:28:49,360
Speaker 1: I have to leave my house at like, you know,

533
00:28:50,400 --> 00:28:53,000
Speaker 1: six fifty and on the way over, Like, do you

534
00:28:53,160 --> 00:28:55,160
Speaker 1: have to like warm your voice up at all at

535
00:28:55,200 --> 00:28:57,480
Speaker 1: this point or are you just so like fine tuned

536
00:28:57,520 --> 00:28:59,360
Speaker 1: and your work that you don't really have to do

537
00:28:59,440 --> 00:29:03,440
Speaker 1: that anymore. I very rarely ever did warm up. If

538
00:29:03,520 --> 00:29:06,160
Speaker 1: my throw was damaged, I would do a particular little

539
00:29:06,200 --> 00:29:10,040
Speaker 1: set of exercises that would revive it. But but I

540
00:29:10,160 --> 00:29:14,840
Speaker 1: never get exercises. I remember one time I was having

541
00:29:14,880 --> 00:29:16,720
Speaker 1: trouble with my voice and I was talking to a

542
00:29:17,320 --> 00:29:20,200
Speaker 1: vocal teacher or a speech teacher, and she gave me

543
00:29:20,320 --> 00:29:23,040
Speaker 1: these tongue twisting exercise to do. I said, I don't

544
00:29:23,120 --> 00:29:26,040
Speaker 1: need those things. You know, I always born doing that stuff.

545
00:29:26,280 --> 00:29:28,200
Speaker 1: So I want to talk about some of your your

546
00:29:28,760 --> 00:29:30,400
Speaker 1: the voices you've done in your career. And I want

547
00:29:30,440 --> 00:29:32,120
Speaker 1: to say I just first of all honored to be

548
00:29:32,160 --> 00:29:34,960
Speaker 1: talking to you that I don't think I was kind

549
00:29:35,000 --> 00:29:37,320
Speaker 1: of I have paramount plus now and I've been going

550
00:29:37,360 --> 00:29:39,640
Speaker 1: back and watching all the shows from my childhood, and

551
00:29:39,720 --> 00:29:42,920
Speaker 1: I was realizing watching these that like, it's your voice

552
00:29:42,920 --> 00:29:45,120
Speaker 1: and all these from rend and Stimpy to Doug, and

553
00:29:45,200 --> 00:29:47,920
Speaker 1: I kind of realized like how important your voice was

554
00:29:48,080 --> 00:29:50,400
Speaker 1: in creating those shows and building such an identity with

555
00:29:50,480 --> 00:29:52,480
Speaker 1: those shows. I kind of want to go back to

556
00:29:52,560 --> 00:29:55,440
Speaker 1: the beginning first of when it kind of became something

557
00:29:55,480 --> 00:29:57,040
Speaker 1: maybe you just did as a kid, like doing these

558
00:29:57,120 --> 00:29:58,800
Speaker 1: voices to something that you were actually like, hey, I

559
00:29:58,840 --> 00:30:02,280
Speaker 1: could have a career at this um That happened very late,

560
00:30:02,760 --> 00:30:04,960
Speaker 1: realizing that you could make a career out of it.

561
00:30:05,080 --> 00:30:07,560
Speaker 1: I mean I could always. I was always the same

562
00:30:07,640 --> 00:30:10,000
Speaker 1: way as I am now when I was just a

563
00:30:10,080 --> 00:30:11,800
Speaker 1: freak when I was a little kid, and I used

564
00:30:11,800 --> 00:30:14,440
Speaker 1: to go around, you know, to retting out voices and

565
00:30:14,520 --> 00:30:17,520
Speaker 1: making noises, and everybody was always like, you know, can

566
00:30:17,560 --> 00:30:19,760
Speaker 1: you not do that? Can you please not do that.

567
00:30:20,960 --> 00:30:24,000
Speaker 1: I was a neighbor lady up the street. She was

568
00:30:24,080 --> 00:30:28,160
Speaker 1: a giant, and she called me a karn, which means

569
00:30:28,280 --> 00:30:32,680
Speaker 1: talking machine, you know, because I was always chatting and

570
00:30:32,800 --> 00:30:36,520
Speaker 1: talking and blabbing and I couldn't I couldn't be contained,

571
00:30:36,640 --> 00:30:39,960
Speaker 1: you know, which was very weird because I was basically

572
00:30:40,080 --> 00:30:44,480
Speaker 1: kind of shy. Um I was, you know. I found

573
00:30:44,520 --> 00:30:47,440
Speaker 1: out late in life that I had always been on

574
00:30:47,560 --> 00:30:50,120
Speaker 1: the autism spectrum and I always had O C D

575
00:30:50,280 --> 00:30:52,360
Speaker 1: and a D h D, except that they didn't have

576
00:30:52,480 --> 00:30:55,880
Speaker 1: words for that stuff back then. So I um, you know,

577
00:30:56,000 --> 00:30:58,280
Speaker 1: I was hyper and I was an m path and

578
00:30:59,720 --> 00:31:01,640
Speaker 1: I it. I never fit in. I never felt like

579
00:31:01,720 --> 00:31:05,040
Speaker 1: I fit in. But I could just create worlds of things,

580
00:31:05,200 --> 00:31:07,640
Speaker 1: you know, just to amuse myself. And I just thought

581
00:31:07,680 --> 00:31:09,440
Speaker 1: that everybody could do that, so I didn't think it

582
00:31:09,520 --> 00:31:12,720
Speaker 1: was very special. I find a lot of myself and

583
00:31:12,840 --> 00:31:14,480
Speaker 1: what you're saying right now, I think for somebody like

584
00:31:14,600 --> 00:31:17,360
Speaker 1: me who has done stand up, who does you know?

585
00:31:17,600 --> 00:31:20,320
Speaker 1: Radio now, I feel like I've kind of been so

586
00:31:20,480 --> 00:31:22,960
Speaker 1: in my world of like I see all these things

587
00:31:23,000 --> 00:31:25,600
Speaker 1: in my head to where they make sense, and it's

588
00:31:25,640 --> 00:31:27,120
Speaker 1: like kind of a craft that I've kind of been

589
00:31:27,160 --> 00:31:30,960
Speaker 1: able to do. But when you're doing something where you're performing,

590
00:31:31,560 --> 00:31:33,240
Speaker 1: I think people people find a kind of out that

591
00:31:33,280 --> 00:31:36,280
Speaker 1: you're like quiet, or you don't really like being around people.

592
00:31:36,360 --> 00:31:39,440
Speaker 1: Sometimes it's it's kind of a thing, right. I was

593
00:31:39,560 --> 00:31:42,480
Speaker 1: targeted a lot, you know, I was picked on, and

594
00:31:42,640 --> 00:31:46,520
Speaker 1: plus I came from an abusive home life, you know.

595
00:31:46,640 --> 00:31:49,120
Speaker 1: I mean I got the tar beat out of me

596
00:31:49,240 --> 00:31:52,080
Speaker 1: all the time for nothing, for no reason at home.

597
00:31:52,400 --> 00:31:55,320
Speaker 1: And so you've got to cut through a lot of

598
00:31:55,360 --> 00:31:59,080
Speaker 1: scar tissue later on in life, try to figure out

599
00:31:59,120 --> 00:32:01,280
Speaker 1: what happened to you and I, you know, and I

600
00:32:01,400 --> 00:32:03,640
Speaker 1: was a drunk and a crazy and a druggie for

601
00:32:04,200 --> 00:32:09,840
Speaker 1: good twenty years. You know. I stopped everything, like everything

602
00:32:09,920 --> 00:32:14,400
Speaker 1: back in and started figuring out what I was gonna do.

603
00:32:14,560 --> 00:32:17,280
Speaker 1: I played music. I was in bands for years, and

604
00:32:17,840 --> 00:32:20,719
Speaker 1: whenever I was on stage and an amplifier blew up

605
00:32:20,880 --> 00:32:23,040
Speaker 1: or broke a string or something, I would just start

606
00:32:23,160 --> 00:32:25,800
Speaker 1: screwing around and the air would become electric. You know,

607
00:32:26,360 --> 00:32:29,920
Speaker 1: I couldn't understand what was happening. Like the crowd just

608
00:32:30,040 --> 00:32:32,280
Speaker 1: stopped dead and they would just looking and I thought,

609
00:32:32,320 --> 00:32:35,280
Speaker 1: oh my god, I'm dying dying up here. But it

610
00:32:35,440 --> 00:32:39,080
Speaker 1: wasn't that they were like they were like almost fatally fashionated.

611
00:32:39,800 --> 00:32:41,920
Speaker 1: So just talking to you now, I can kind of

612
00:32:42,040 --> 00:32:44,680
Speaker 1: hear I think the voices that you say you kind

613
00:32:44,680 --> 00:32:47,320
Speaker 1: of pulled more from like your voice of like the

614
00:32:47,400 --> 00:32:51,800
Speaker 1: red Eminem and Fry from Futurama. And how do you

615
00:32:51,920 --> 00:32:54,320
Speaker 1: go about like kind of taking your voice and inviting

616
00:32:54,400 --> 00:32:56,920
Speaker 1: a little bit of yourself and creating those characters voices.

617
00:32:57,800 --> 00:33:01,640
Speaker 1: One of them was purely intentional wan Futurama. When I

618
00:33:01,680 --> 00:33:05,400
Speaker 1: had auditioned for Fry, Um, I said, you know, I'm

619
00:33:05,440 --> 00:33:07,600
Speaker 1: going to do something I've never done before. I'm going

620
00:33:07,640 --> 00:33:09,680
Speaker 1: to just do my voice only when I was like

621
00:33:09,760 --> 00:33:12,160
Speaker 1: twenty five years old, because I remember what I sounded like.

622
00:33:12,440 --> 00:33:15,120
Speaker 1: You know, I was whiny and nasally and complaining, and

623
00:33:15,480 --> 00:33:17,560
Speaker 1: you know, man, I just spoke a string, now what

624
00:33:17,640 --> 00:33:19,640
Speaker 1: I mean to do? You know that's the way I

625
00:33:19,720 --> 00:33:24,200
Speaker 1: really sounded channeling myself at twenty five years old. Um,

626
00:33:24,640 --> 00:33:28,200
Speaker 1: the Doug voice was just something delicate, and I imagined

627
00:33:28,280 --> 00:33:31,160
Speaker 1: myself being a tweener long before they called it that

628
00:33:31,440 --> 00:33:34,760
Speaker 1: eleven and a half, and I, you know, I hadn't

629
00:33:34,800 --> 00:33:37,360
Speaker 1: gone through puberty, so the voice would be kind of

630
00:33:37,520 --> 00:33:40,840
Speaker 1: like in the in the mid somewhere between you know,

631
00:33:41,040 --> 00:33:44,360
Speaker 1: young adult and kid. So I made it like this,

632
00:33:45,080 --> 00:33:49,040
Speaker 1: you know, like p Chap is my dog, and it

633
00:33:49,240 --> 00:33:52,200
Speaker 1: was something realistic about it. I mean like millions of

634
00:33:52,280 --> 00:33:55,040
Speaker 1: people and lots of people would say to me that,

635
00:33:55,600 --> 00:33:57,880
Speaker 1: you know, they thought it was like some young person

636
00:33:58,040 --> 00:34:00,240
Speaker 1: or maybe a woman or something. Didn't picture that it

637
00:34:00,240 --> 00:34:03,880
Speaker 1: would be some guy, you know. And I also did Roger,

638
00:34:04,240 --> 00:34:07,680
Speaker 1: and that was based on a real antagonist in my life.

639
00:34:08,040 --> 00:34:10,000
Speaker 1: The kid was a bugger. He was like he would

640
00:34:10,040 --> 00:34:12,640
Speaker 1: be double me, Like his hair came to a point,

641
00:34:12,719 --> 00:34:15,000
Speaker 1: and his nose came to a point, and his pointing

642
00:34:15,040 --> 00:34:19,960
Speaker 1: in my shoulder, you know. And uh, and he had

643
00:34:20,000 --> 00:34:22,640
Speaker 1: pointing shooting. I mean this this kid was a son

644
00:34:22,719 --> 00:34:27,120
Speaker 1: of a bit and uh. And so I pictured this

645
00:34:27,440 --> 00:34:30,000
Speaker 1: Roger to be like that, Like, you know, he couldn't

646
00:34:30,040 --> 00:34:33,480
Speaker 1: pass up the opportunity to rankle Doug funny. You know.

647
00:34:33,640 --> 00:34:38,560
Speaker 1: He was like he's funny, you know, for no reason,

648
00:34:38,920 --> 00:34:45,879
Speaker 1: no reason at all. So when you're so when you're

649
00:34:45,920 --> 00:34:48,560
Speaker 1: creating these voices, you have these characters in your head,

650
00:34:48,640 --> 00:34:50,960
Speaker 1: Like do you have to see them first to match

651
00:34:51,080 --> 00:34:53,960
Speaker 1: the voice? Um? Yeah, Well, they show you what the

652
00:34:54,080 --> 00:34:56,400
Speaker 1: character looks like and then they give you an idea

653
00:34:56,440 --> 00:34:59,360
Speaker 1: of what it is that they're looking for, and you

654
00:34:59,480 --> 00:35:02,200
Speaker 1: have to you have to go off that you know,

655
00:35:02,280 --> 00:35:04,120
Speaker 1: you've got to try to give them exactly what they're

656
00:35:04,160 --> 00:35:06,560
Speaker 1: looking for. I think one of my other two favorite

657
00:35:06,640 --> 00:35:08,520
Speaker 1: voices are one that you kind of used the Three

658
00:35:08,600 --> 00:35:13,239
Speaker 1: Stooges to kind of channel and oh yeah, Larry from

659
00:35:13,360 --> 00:35:16,120
Speaker 1: Three Stooges, What was it about the Three Stooges Because

660
00:35:16,360 --> 00:35:18,560
Speaker 1: for me, I think growing up that was like the

661
00:35:18,680 --> 00:35:20,600
Speaker 1: only show that I could watch with my dad and

662
00:35:20,719 --> 00:35:22,719
Speaker 1: we would both laugh at because it was so kind

663
00:35:22,719 --> 00:35:26,040
Speaker 1: of simple and yeah, well, but the thing is is

664
00:35:26,120 --> 00:35:28,919
Speaker 1: it's a guy thing. Oh is that what it is? Yeah,

665
00:35:29,040 --> 00:35:31,479
Speaker 1: it is. It's truly, it's a guy thing. And told

666
00:35:31,520 --> 00:35:35,680
Speaker 1: maybe recently where I'm watching women on YouTube, young women

667
00:35:35,760 --> 00:35:38,960
Speaker 1: watching The Stooges and dying laughing, and that was not

668
00:35:39,400 --> 00:35:42,320
Speaker 1: that was not like that. Years ago. Women could couldn't

669
00:35:42,480 --> 00:35:44,680
Speaker 1: stand them. You know. My mother used to come in

670
00:35:44,800 --> 00:35:48,120
Speaker 1: and go, how can you watch those awful men? Yeah,

671
00:35:48,239 --> 00:35:52,680
Speaker 1: but mom, that's funny, you know. But um, I think

672
00:35:52,760 --> 00:35:55,600
Speaker 1: I stopped going to church when I discovered The Three

673
00:35:55,600 --> 00:35:58,040
Speaker 1: Stooges because I found my saints, you know what I mean.

674
00:35:58,200 --> 00:36:01,040
Speaker 1: It's like every morning before they showed him. So I

675
00:36:01,080 --> 00:36:03,080
Speaker 1: went to school with a head full of that, and

676
00:36:03,200 --> 00:36:07,640
Speaker 1: I hated school. I just hated it. And and I

677
00:36:08,040 --> 00:36:09,840
Speaker 1: was learning how to act. I was learning how to

678
00:36:09,920 --> 00:36:12,879
Speaker 1: do comedy just from watching The Three Stooges. And that's

679
00:36:12,920 --> 00:36:14,520
Speaker 1: what I wound up to do in life. I should

680
00:36:14,560 --> 00:36:17,920
Speaker 1: have never even bothered walking to school, just stayed home

681
00:36:17,960 --> 00:36:19,440
Speaker 1: and watch The Three Stooges. I would have got you

682
00:36:19,480 --> 00:36:21,879
Speaker 1: so much for well, you know what it is. Back

683
00:36:21,920 --> 00:36:25,040
Speaker 1: in those days, you know, there was no such thing

684
00:36:25,320 --> 00:36:28,960
Speaker 1: as show business. I mean, yes, everyone knew it existed,

685
00:36:29,520 --> 00:36:33,880
Speaker 1: but the bridge from like Detroit, Michigan to Hollywood doesn't exist.

686
00:36:34,239 --> 00:36:37,359
Speaker 1: And and no one back in those days would encourage you. Hey,

687
00:36:37,480 --> 00:36:39,560
Speaker 1: you know what, that's pretty cool. You know you want

688
00:36:39,600 --> 00:36:42,919
Speaker 1: to keep practicing that will you know, make a tape

689
00:36:42,960 --> 00:36:45,800
Speaker 1: re view or something of will film you. You know,

690
00:36:45,880 --> 00:36:48,120
Speaker 1: they didn't think like that back then. They was I

691
00:36:48,239 --> 00:36:50,319
Speaker 1: was just a pain in the ass. So I want

692
00:36:50,360 --> 00:36:52,560
Speaker 1: to talk about Space Jam now, which is going to

693
00:36:52,640 --> 00:36:55,520
Speaker 1: be available now on four K Ultra HD Digital for

694
00:36:55,560 --> 00:36:58,239
Speaker 1: the first time. Now we were kind of getting into

695
00:36:58,400 --> 00:37:01,680
Speaker 1: the voices. You created original voices, but now you're going

696
00:37:02,400 --> 00:37:05,960
Speaker 1: and doing a legendary character bugs Bunny, Like, how do

697
00:37:06,080 --> 00:37:08,360
Speaker 1: you approach that of like keeping the same kind of

698
00:37:09,080 --> 00:37:12,279
Speaker 1: iconic voice that everybody knows with Bugs Bunny, but also

699
00:37:12,360 --> 00:37:15,640
Speaker 1: kind of giving it your own spin. Um, I just

700
00:37:16,520 --> 00:37:18,600
Speaker 1: gave it everything I had. I knew that I've been

701
00:37:18,680 --> 00:37:21,440
Speaker 1: right and had you hired me to do it, and

702
00:37:21,520 --> 00:37:24,600
Speaker 1: I and I just didn't want to let them down.

703
00:37:24,719 --> 00:37:26,560
Speaker 1: I mean I wanted to, like, you know, go in

704
00:37:26,800 --> 00:37:31,040
Speaker 1: like Gangbusters and pretty much what I did. Um. The

705
00:37:31,160 --> 00:37:35,080
Speaker 1: thing about imitating work that's already been done is the

706
00:37:35,200 --> 00:37:37,880
Speaker 1: template was set. You gotta stick pretty much by what

707
00:37:38,160 --> 00:37:39,640
Speaker 1: was done, and you have to try to be as

708
00:37:39,719 --> 00:37:42,520
Speaker 1: faithful as you can be. There's other people that do

709
00:37:42,680 --> 00:37:47,400
Speaker 1: the characters, and there's people who prefer like one person's

710
00:37:47,520 --> 00:37:51,920
Speaker 1: version of Bugs over another's, and vice versa, you know,

711
00:37:52,040 --> 00:37:54,200
Speaker 1: and same with the other characters. But I mean I

712
00:37:54,320 --> 00:37:56,520
Speaker 1: did it for like ten years or so, and I

713
00:37:56,640 --> 00:37:58,800
Speaker 1: was I was grateful. I was honored, you know. I

714
00:37:58,840 --> 00:38:01,600
Speaker 1: mean that was mel Plank was my idol. But the

715
00:38:01,760 --> 00:38:03,920
Speaker 1: thing is is, um, you know, people are like, hey,

716
00:38:04,040 --> 00:38:05,719
Speaker 1: you're the next Mel blank. Well, I don't want to

717
00:38:05,760 --> 00:38:07,560
Speaker 1: be the next Mel blank. You know, I want to

718
00:38:07,600 --> 00:38:10,399
Speaker 1: be the next meet. You can't be the next Mel

719
00:38:10,480 --> 00:38:13,000
Speaker 1: blank by doing Mel blank voices. You know, you could

720
00:38:13,000 --> 00:38:17,000
Speaker 1: be the guy they hire. But but in actuality, UM,

721
00:38:17,520 --> 00:38:20,800
Speaker 1: it's much better to be an originator. And that's what

722
00:38:20,960 --> 00:38:24,520
Speaker 1: he prided himself on. He claims that he never did impressions,

723
00:38:24,560 --> 00:38:27,360
Speaker 1: but he he did a few impressions in those cartoons.

724
00:38:27,600 --> 00:38:30,480
Speaker 1: So when you're doing like Bugs Bunny having an argument

725
00:38:30,560 --> 00:38:32,840
Speaker 1: with Elmer Fudd in your brain, is there like a

726
00:38:33,000 --> 00:38:35,440
Speaker 1: gearshift that you can go between the two voices or

727
00:38:35,520 --> 00:38:37,360
Speaker 1: is it just the thing you kind of automatically have

728
00:38:37,440 --> 00:38:39,480
Speaker 1: been able to do to go from one character to

729
00:38:39,600 --> 00:38:43,120
Speaker 1: the other. Well, there's like phrases that ke you in, um,

730
00:38:43,320 --> 00:38:45,799
Speaker 1: and you're talking about two different actors. You're not talking

731
00:38:45,840 --> 00:38:48,840
Speaker 1: about the same actor doing both those voices. So you

732
00:38:48,960 --> 00:38:53,120
Speaker 1: have to imagine the person doing it and try to

733
00:38:53,200 --> 00:38:57,120
Speaker 1: get into their countenance and you know how much they

734
00:38:57,200 --> 00:39:00,920
Speaker 1: weigh and how energetic are they? And I do I

735
00:39:01,040 --> 00:39:03,760
Speaker 1: do like really, but this happens in a split second

736
00:39:03,840 --> 00:39:07,400
Speaker 1: with me, It's not like I deliberate but almost Fudd

737
00:39:07,560 --> 00:39:12,480
Speaker 1: was was very quiet, you know, and uh and almost childlike,

738
00:39:12,760 --> 00:39:15,239
Speaker 1: and then when when he got mad, he'd go from

739
00:39:15,400 --> 00:39:21,080
Speaker 1: zero to five in a split second into you know, mania.

740
00:39:21,680 --> 00:39:28,520
Speaker 1: He's like the really quiet I'm hunting webbits Uh, it's

741
00:39:28,560 --> 00:39:32,160
Speaker 1: like and then oh, I webbits say it. Boys come

742
00:39:32,200 --> 00:39:36,239
Speaker 1: out of there. You have lebit so in your mind.

743
00:39:36,320 --> 00:39:39,600
Speaker 1: That's not it's not voices to you. It's literally getting

744
00:39:39,640 --> 00:39:42,080
Speaker 1: into the mindset of two different characters, like just like

745
00:39:42,160 --> 00:39:44,719
Speaker 1: an actor would yes, and and and I'm familiar with

746
00:39:45,400 --> 00:39:48,520
Speaker 1: mel blank and what he did and uh and that

747
00:39:48,800 --> 00:39:54,320
Speaker 1: was just um the original voice was like what ship doc,

748
00:39:54,640 --> 00:39:58,840
Speaker 1: you know, but they sped it up ever so slightly.

749
00:39:58,880 --> 00:40:04,040
Speaker 1: Bugs was sped up and there's a final boyd goodbye

750
00:40:05,160 --> 00:40:07,200
Speaker 1: that I find that fascinating. That is amazing that you

751
00:40:07,239 --> 00:40:09,640
Speaker 1: can do that just just by kind of feeling that

752
00:40:09,719 --> 00:40:12,040
Speaker 1: in your head. Oh well, there's guys that can do it, though,

753
00:40:12,280 --> 00:40:14,040
Speaker 1: I mean there's not a whole lot of them. There's

754
00:40:14,160 --> 00:40:18,680
Speaker 1: probably about two, two or three. But but that's you know, again,

755
00:40:18,880 --> 00:40:22,520
Speaker 1: that's like imitating something that's been done. The hard stuff

756
00:40:22,640 --> 00:40:25,520
Speaker 1: is to try to create something classic that hasn't been

757
00:40:25,560 --> 00:40:28,120
Speaker 1: done until you did it, which I think you've done

758
00:40:28,320 --> 00:40:31,000
Speaker 1: with all the characters here, I think you've completely done

759
00:40:31,080 --> 00:40:33,600
Speaker 1: that and kind of made I kind of associate you

760
00:40:33,800 --> 00:40:36,280
Speaker 1: with one of the greatest void actors of our lifetime.

761
00:40:36,400 --> 00:40:41,000
Speaker 1: So with all the voices, you've created. Is it possible

762
00:40:41,080 --> 00:40:43,759
Speaker 1: to like copyright like one of your characters like that?

763
00:40:43,840 --> 00:40:46,640
Speaker 1: Nobody can really take that and kind of maybe spin

764
00:40:46,719 --> 00:40:48,600
Speaker 1: off a character or imitate you in a way. Can

765
00:40:48,600 --> 00:40:52,120
Speaker 1: you like copyright a voice? Um? No, you can't. You

766
00:40:52,239 --> 00:40:55,759
Speaker 1: can't really and um like you can't copy right a joke?

767
00:40:56,200 --> 00:40:58,799
Speaker 1: You know. I don't know exactly why that is. I mean,

768
00:40:59,080 --> 00:41:02,720
Speaker 1: but I don't think that they It's not on anybody's radar,

769
00:41:03,239 --> 00:41:06,640
Speaker 1: you know, like who who stole a voice from somebody else?

770
00:41:06,719 --> 00:41:08,879
Speaker 1: I mean, it's almost like in the in the world view,

771
00:41:08,960 --> 00:41:12,120
Speaker 1: it seems pretty picky you And if he has me, well,

772
00:41:12,160 --> 00:41:14,600
Speaker 1: I appreciate the time, Billy, Like this has been amazing

773
00:41:14,640 --> 00:41:16,440
Speaker 1: to get to talk to you and here kind of

774
00:41:16,560 --> 00:41:19,960
Speaker 1: the process behind these voices and kind of just being

775
00:41:20,000 --> 00:41:21,800
Speaker 1: able to pick your brain. So I really enjoyed this.

776
00:41:22,120 --> 00:41:24,560
Speaker 1: Oh me too, Thank you so much. I appreciate it.

777
00:41:24,600 --> 00:41:32,479
Speaker 1: Have a good day, you too, man. And at number one,

778
00:41:32,960 --> 00:41:37,520
Speaker 1: my favorite interview of goes to lou Diamond Phillips because

779
00:41:37,600 --> 00:41:40,440
Speaker 1: La Bamba is another one of my favorite movies of

780
00:41:40,520 --> 00:41:43,560
Speaker 1: all time. He plays Richie Vallens in that movie, and

781
00:41:43,640 --> 00:41:46,040
Speaker 1: I just had to ask him questions about that movie.

782
00:41:46,120 --> 00:41:48,920
Speaker 1: That I've had forever, and you know, by listening to

783
00:41:49,000 --> 00:41:51,399
Speaker 1: this podcast, I bring up and reference that movie a lot.

784
00:41:51,520 --> 00:41:53,719
Speaker 1: So finally being able to sit down and talk to

785
00:41:53,840 --> 00:41:56,440
Speaker 1: him was truly an honor. And also I had a

786
00:41:56,520 --> 00:41:58,680
Speaker 1: lot of message leading up to the release of this

787
00:41:58,800 --> 00:42:01,200
Speaker 1: interview and then after it aired. I think you guys

788
00:42:01,320 --> 00:42:03,960
Speaker 1: enjoyed it as well. So at number one, What's out

789
00:42:04,000 --> 00:42:07,760
Speaker 1: a doubt my favorite interview of one Lou Diamond Phillips

790
00:42:08,560 --> 00:42:10,799
Speaker 1: On Now with Lou Diamond Phillips, I gotta say, it's

791
00:42:10,800 --> 00:42:12,320
Speaker 1: a pleasure to be talking to you. I feel like

792
00:42:12,360 --> 00:42:14,279
Speaker 1: you're an actor. I've been looking up for a long

793
00:42:14,400 --> 00:42:20,359
Speaker 1: time now. I've been around my friend. So you grew

794
00:42:20,440 --> 00:42:23,520
Speaker 1: up in Corpus Christie, Texas, right, Yes? I did? Yeah?

795
00:42:23,800 --> 00:42:26,239
Speaker 1: Did you actually work at water Burger? That was one

796
00:42:26,280 --> 00:42:28,400
Speaker 1: of my first jobs. My very first job was that

797
00:42:28,520 --> 00:42:31,239
Speaker 1: the cook's assistant on the Navy base. My dad was

798
00:42:31,280 --> 00:42:34,279
Speaker 1: in the Navy. Uh and uh gutton the job and

799
00:42:34,320 --> 00:42:37,200
Speaker 1: I was like sixteen there. But yeah, shortly there after

800
00:42:37,920 --> 00:42:40,600
Speaker 1: I looked at water Burger for quite a while. I

801
00:42:40,719 --> 00:42:43,279
Speaker 1: was like the crew chief and employee of the month

802
00:42:43,320 --> 00:42:45,400
Speaker 1: and all that mean I I slipped some burgers. Man,

803
00:42:46,040 --> 00:42:47,879
Speaker 1: I love water Burger. I grew up in Texas too,

804
00:42:48,239 --> 00:42:50,439
Speaker 1: and I was wondering, like, if while you're working there,

805
00:42:51,200 --> 00:42:52,920
Speaker 1: is it a thing that you tell your co workers

806
00:42:53,000 --> 00:42:54,759
Speaker 1: that you wanted to be an actor? Was that like

807
00:42:54,920 --> 00:42:58,640
Speaker 1: not in your plans at that time? Oh? No, no, no, no, no, no,

808
00:43:00,120 --> 00:43:02,720
Speaker 1: it was. It was fairly well built throughout high school

809
00:43:02,840 --> 00:43:06,600
Speaker 1: that you know, I I wanted to become an actor.

810
00:43:06,719 --> 00:43:10,080
Speaker 1: I mean I was doing high school theater. Uh. You know,

811
00:43:10,120 --> 00:43:12,120
Speaker 1: in Texas we have the u y L, the University

812
00:43:12,160 --> 00:43:14,520
Speaker 1: inter Scholastic League, and so I was part of the

813
00:43:14,600 --> 00:43:17,480
Speaker 1: drama club, and I was, you know, competing a lot

814
00:43:17,560 --> 00:43:21,920
Speaker 1: and unfortunately winning awards and so a lot of positive reinforcement. Uh.

815
00:43:22,239 --> 00:43:24,759
Speaker 1: I think everybody knew, but my aspirations were at that time.

816
00:43:25,520 --> 00:43:27,920
Speaker 1: So you've been in movies since the eighties. I just

817
00:43:28,000 --> 00:43:30,440
Speaker 1: wonder at this point does acting kind of comes second

818
00:43:30,520 --> 00:43:32,360
Speaker 1: nature to you? Or this feel like a like a

819
00:43:32,480 --> 00:43:35,000
Speaker 1: muscle that you have to flex. I mean, if you're

820
00:43:35,040 --> 00:43:38,000
Speaker 1: chronology yourself, it's always a muscle you have to FLEs

821
00:43:38,040 --> 00:43:40,640
Speaker 1: you always have to work out. I mean, you know, uh,

822
00:43:41,440 --> 00:43:43,840
Speaker 1: if you start floating it in man, it shows you know,

823
00:43:44,320 --> 00:43:47,080
Speaker 1: people can see if you're uninspired. Uh. And I try

824
00:43:47,160 --> 00:43:49,840
Speaker 1: not to do roles that don't matter to me, you

825
00:43:49,880 --> 00:43:51,720
Speaker 1: know what I mean. I I have to be excited

826
00:43:51,719 --> 00:43:54,200
Speaker 1: about something anytime I'm going to do it. Um the

827
00:43:54,280 --> 00:43:57,440
Speaker 1: work is too hard otherwise, you know. Uh. And and

828
00:43:57,560 --> 00:43:59,600
Speaker 1: even when I'm you know, doing something that would be

829
00:43:59,680 --> 00:44:02,640
Speaker 1: a manly a is uh you know, familiar as there's

830
00:44:02,680 --> 00:44:05,520
Speaker 1: the role I'm playing on Prodigal Sun. There's you know,

831
00:44:05,640 --> 00:44:07,880
Speaker 1: there's there's new stuff to it all the time. I

832
00:44:07,960 --> 00:44:12,160
Speaker 1: mean the layers of you know, relationship and history and

833
00:44:12,280 --> 00:44:14,759
Speaker 1: bag and it's it's it's always a blast and it's

834
00:44:14,800 --> 00:44:18,440
Speaker 1: always fun. And the you know, the the other actors

835
00:44:18,520 --> 00:44:21,520
Speaker 1: that you work with, Man, they really inspire you to

836
00:44:21,600 --> 00:44:24,799
Speaker 1: bring your best game all the time, you know. Um.

837
00:44:24,920 --> 00:44:26,359
Speaker 1: And I also try to ship it up. I mean,

838
00:44:26,400 --> 00:44:28,600
Speaker 1: like this movie Adverse that I have out that is

839
00:44:28,719 --> 00:44:31,480
Speaker 1: a little independent film you know that Thomas, you and

840
00:44:31,560 --> 00:44:34,680
Speaker 1: Nichols put together. I said yes, because well, first of all,

841
00:44:34,719 --> 00:44:37,759
Speaker 1: Thomas is a friend, and so is Sean Atton was

842
00:44:37,800 --> 00:44:39,880
Speaker 1: already a part of the cast. Uh you know, but

843
00:44:39,960 --> 00:44:42,320
Speaker 1: then Mickey you are joined and you ban Miller, and

844
00:44:42,400 --> 00:44:44,239
Speaker 1: so I let's do something a little different. Let's you know,

845
00:44:44,400 --> 00:44:47,560
Speaker 1: let's edge, let's not get too comfortable with it. And uh,

846
00:44:47,640 --> 00:44:49,440
Speaker 1: you know, it's always it's always fun to join a

847
00:44:50,600 --> 00:44:53,000
Speaker 1: an ensemble like that where you know it's not about

848
00:44:53,040 --> 00:44:55,040
Speaker 1: the money, it's not about the luxury, but it's about

849
00:44:55,080 --> 00:44:57,560
Speaker 1: you know, independent film and an up and coming director

850
00:44:57,680 --> 00:44:59,759
Speaker 1: like Bryan metcass And and you know you keep it

851
00:45:00,040 --> 00:45:02,080
Speaker 1: sure you still yeah, And I want to talk about

852
00:45:02,080 --> 00:45:03,719
Speaker 1: that movie. You played Dr Cruise in it, and you

853
00:45:03,880 --> 00:45:05,920
Speaker 1: mentioned how it had to be something that you wanted

854
00:45:05,960 --> 00:45:08,239
Speaker 1: to kind of still test yourself in. So when you

855
00:45:08,360 --> 00:45:11,240
Speaker 1: get that script for that movie, what's your like creative

856
00:45:11,320 --> 00:45:14,320
Speaker 1: process to kind of find your character in that? Like,

857
00:45:14,360 --> 00:45:16,440
Speaker 1: do you have a creative process to know like who

858
00:45:16,520 --> 00:45:18,800
Speaker 1: you're going to be going into set from when you

859
00:45:18,880 --> 00:45:21,640
Speaker 1: get the script to when you show up Actually the film, Uh, well,

860
00:45:21,719 --> 00:45:23,960
Speaker 1: it was funny because it kind of came about because

861
00:45:24,880 --> 00:45:26,920
Speaker 1: uh I was doing a lot of conventions, you know,

862
00:45:27,000 --> 00:45:30,160
Speaker 1: before the pandemic hit, and uh I was running into

863
00:45:30,239 --> 00:45:33,040
Speaker 1: Thomas a lot and you know I had you known him,

864
00:45:33,560 --> 00:45:36,080
Speaker 1: uh you know uh in and around Hollywood for a while,

865
00:45:36,440 --> 00:45:39,040
Speaker 1: and he said, hey, I'm doing this, uh independent film.

866
00:45:39,160 --> 00:45:40,839
Speaker 1: You know, you want to see the script and yeah, sure,

867
00:45:40,880 --> 00:45:42,440
Speaker 1: you know, and like I said, Sean was already a

868
00:45:42,480 --> 00:45:46,040
Speaker 1: buddy and he was already attached. And you know when

869
00:45:46,080 --> 00:45:47,440
Speaker 1: you look at the role and you know, can is

870
00:45:47,480 --> 00:45:49,040
Speaker 1: there something that I can break through this is or

871
00:45:49,120 --> 00:45:52,880
Speaker 1: something that you know I can uh illuminate you know

872
00:45:53,200 --> 00:45:55,200
Speaker 1: if you will, you know, as part of the character.

873
00:45:55,719 --> 00:45:58,720
Speaker 1: And at this point in my my life and career,

874
00:45:58,840 --> 00:46:00,680
Speaker 1: there's a couple of reasons why I do something, you know,

875
00:46:00,680 --> 00:46:03,759
Speaker 1: and I'm excited about the role, I'm excited about who

876
00:46:03,800 --> 00:46:06,200
Speaker 1: I'm working with, and this this was both you know,

877
00:46:06,560 --> 00:46:11,080
Speaker 1: um uh be the end of a certain age, you know,

878
00:46:11,160 --> 00:46:14,759
Speaker 1: playing a role it is you know, uh supportive or

879
00:46:15,080 --> 00:46:19,400
Speaker 1: is authoritative, you know that that tries to keep somebody

880
00:46:19,480 --> 00:46:21,600
Speaker 1: on the on the straight and narrow. You know, I

881
00:46:21,760 --> 00:46:24,160
Speaker 1: felt like, you know, being a father you know as well,

882
00:46:24,360 --> 00:46:26,800
Speaker 1: there there was a lot about this role that I

883
00:46:26,880 --> 00:46:30,120
Speaker 1: could tap into, um, you know, just just what comes

884
00:46:30,160 --> 00:46:32,399
Speaker 1: to me, you know, naturally. Uh kind of the same

885
00:46:32,440 --> 00:46:35,160
Speaker 1: thing with the Gila Royal on on prodible Son. You know,

886
00:46:35,280 --> 00:46:38,560
Speaker 1: he's the boss, but he's very you know, fatherly towards

887
00:46:38,560 --> 00:46:40,680
Speaker 1: not only his team, but you know, Malcolm Bright, who

888
00:46:40,760 --> 00:46:45,279
Speaker 1: was the lead profiler. So there there's something about you know,

889
00:46:45,440 --> 00:46:48,560
Speaker 1: my history, about the life that I've lived that that

890
00:46:48,760 --> 00:46:52,800
Speaker 1: lends itself to, you know, to to bringing some some

891
00:46:52,960 --> 00:46:55,319
Speaker 1: experience to the role without having to you know, hit

892
00:46:55,400 --> 00:46:56,960
Speaker 1: it over the head. It's just part of who you

893
00:46:57,040 --> 00:47:00,640
Speaker 1: are now. So you know that that that speaks to

894
00:47:00,719 --> 00:47:02,680
Speaker 1: me and most of the things that I've done recently.

895
00:47:02,800 --> 00:47:05,400
Speaker 1: And I was recently talking to Michael Benion and we

896
00:47:05,520 --> 00:47:07,680
Speaker 1: were talking about some of the actors who inspired us

897
00:47:07,680 --> 00:47:10,800
Speaker 1: because I'm Mexican American and he is as well, and

898
00:47:11,120 --> 00:47:13,799
Speaker 1: what two of the actors he named were Edward James

899
00:47:13,840 --> 00:47:17,200
Speaker 1: almost in you and I'm sure you kind of get

900
00:47:17,239 --> 00:47:19,000
Speaker 1: that a lot now of like people who are like,

901
00:47:19,080 --> 00:47:21,040
Speaker 1: oh it was kind of seeing you on screen for

902
00:47:21,080 --> 00:47:22,879
Speaker 1: the first time. I was like, hey, there's somebody who

903
00:47:22,920 --> 00:47:24,839
Speaker 1: actually kind of looks like me for the first time.

904
00:47:25,000 --> 00:47:27,640
Speaker 1: But you know, it's it's interesting, man, because you know,

905
00:47:27,719 --> 00:47:29,400
Speaker 1: you just kind of you do what you do and

906
00:47:29,640 --> 00:47:33,280
Speaker 1: you're following your old path and then eventually you start going, wow,

907
00:47:33,719 --> 00:47:36,359
Speaker 1: I guess I am carrying the flag here. I guess

908
00:47:36,440 --> 00:47:41,160
Speaker 1: I am representative of you know, people who need to

909
00:47:41,200 --> 00:47:43,400
Speaker 1: be represented. Um And one of the first times I

910
00:47:43,520 --> 00:47:47,320
Speaker 1: remember experiencing that was I spoke at U n y U,

911
00:47:47,800 --> 00:47:50,040
Speaker 1: you know, at the film school here in New York,

912
00:47:50,680 --> 00:47:54,040
Speaker 1: and a young Platonican actress you know, said, you know

913
00:47:54,160 --> 00:47:57,080
Speaker 1: about standing Deliver, that she finally looked up and saw

914
00:47:57,160 --> 00:48:00,160
Speaker 1: people that looked like her on screen and that's why

915
00:48:00,200 --> 00:48:03,399
Speaker 1: she decided to pursue acting, you know. Uh. And it's

916
00:48:03,440 --> 00:48:06,920
Speaker 1: and it's interesting when I looked back a lot of

917
00:48:06,960 --> 00:48:09,200
Speaker 1: the guys that were inspirational to me in the seventies,

918
00:48:09,760 --> 00:48:12,480
Speaker 1: you know, with the swarthy guys you know, uh, de

919
00:48:12,600 --> 00:48:15,360
Speaker 1: Niro and Puccino and Austin. It's like, Okay, not everybody

920
00:48:15,440 --> 00:48:17,719
Speaker 1: has to be Robert Redford. You know, maybe I can

921
00:48:17,760 --> 00:48:20,440
Speaker 1: actually you know, have a have a career at this um.

922
00:48:20,880 --> 00:48:23,239
Speaker 1: And then I wrote a film you know, in the

923
00:48:23,440 --> 00:48:26,440
Speaker 1: early nineties called That Fish or actually played Filipino American

924
00:48:27,000 --> 00:48:29,440
Speaker 1: and Sosuit Attack was my leading lady. And I got

925
00:48:29,520 --> 00:48:32,400
Speaker 1: to have dinner with her father greatly text at a

926
00:48:32,480 --> 00:48:35,279
Speaker 1: certain point and he said, uh, you know who you

927
00:48:35,360 --> 00:48:38,960
Speaker 1: remind me of my old friend Tony. I thought he

928
00:48:39,120 --> 00:48:41,440
Speaker 1: was great, that I was kind of on his path man,

929
00:48:41,520 --> 00:48:44,480
Speaker 1: that I was kind of carrying the porch if he started, uh,

930
00:48:44,640 --> 00:48:47,800
Speaker 1: that is, you know, representing so many different communities, you know,

931
00:48:47,960 --> 00:48:50,160
Speaker 1: not just what I am, you know, blood wise, but

932
00:48:50,280 --> 00:48:53,320
Speaker 1: you know, the Latino community, in the Native American community,

933
00:48:53,360 --> 00:48:55,120
Speaker 1: and just you know, I mean I've played in you

934
00:48:55,200 --> 00:48:57,480
Speaker 1: what I've played Asian, you know, like in the team

935
00:48:57,840 --> 00:49:01,080
Speaker 1: on Broadway, and and that's what it's about. It's it's

936
00:49:01,160 --> 00:49:03,840
Speaker 1: representing each of these communities with you know, vitty and

937
00:49:03,920 --> 00:49:06,880
Speaker 1: with respect. And that's really become kind of a you know,

938
00:49:07,239 --> 00:49:09,880
Speaker 1: a Touchshoone of my career and your breakout role was

939
00:49:09,960 --> 00:49:11,880
Speaker 1: La Bamba, which is one of my favorite movies of

940
00:49:11,920 --> 00:49:14,520
Speaker 1: all time. And I think because it's not only the

941
00:49:14,560 --> 00:49:17,200
Speaker 1: story of Richie Vallens, but ultimately it's like the story

942
00:49:17,239 --> 00:49:19,480
Speaker 1: about brothers, which I think why it still resonates now.

943
00:49:19,640 --> 00:49:23,680
Speaker 1: But I feel like it's hard to find any kind

944
00:49:23,719 --> 00:49:26,480
Speaker 1: of footage of Richie Valens and the way his kind

945
00:49:26,480 --> 00:49:29,320
Speaker 1: of memory lives on is because of your portrayal in

946
00:49:29,400 --> 00:49:31,600
Speaker 1: that movie. Like, at what point did you realize that

947
00:49:31,760 --> 00:49:33,600
Speaker 1: you weren't just taking on another role when you were

948
00:49:33,640 --> 00:49:36,320
Speaker 1: doing that? Um, from the second I read the scripts,

949
00:49:36,719 --> 00:49:40,279
Speaker 1: you know, I mean, I I got cast out of Dallas, Texas. Uh,

950
00:49:40,520 --> 00:49:44,000
Speaker 1: And um, you know, I had no idea why this

951
00:49:44,120 --> 00:49:47,080
Speaker 1: Hollywood film company was doing this national you know, talent search.

952
00:49:47,160 --> 00:49:50,040
Speaker 1: It was. It was ridiculous. I I really could not

953
00:49:50,280 --> 00:49:52,960
Speaker 1: believe that I even had the opportunity to audition for

954
00:49:53,040 --> 00:49:55,759
Speaker 1: this um. And I read the script and I just

955
00:49:55,840 --> 00:49:59,319
Speaker 1: want I knew it was the chance of a lifetime. Um.

956
00:50:00,040 --> 00:50:02,160
Speaker 1: And even my acting coach said, you're never going to

957
00:50:02,239 --> 00:50:04,319
Speaker 1: get this role, but hopefully you're gonna do a great job,

958
00:50:04,360 --> 00:50:06,719
Speaker 1: and they'll give you something smaller, you know, like the

959
00:50:06,840 --> 00:50:10,560
Speaker 1: drummer or something, you know. Um. Uh And so it was,

960
00:50:10,640 --> 00:50:12,520
Speaker 1: it was really lighting in the bottle when I got

961
00:50:12,600 --> 00:50:15,479
Speaker 1: the role. And and and you know, working with Louis

962
00:50:15,560 --> 00:50:18,279
Speaker 1: Valdez and becoming close with the family, which was you know,

963
00:50:18,360 --> 00:50:20,000
Speaker 1: I did growing into the deep end of the pool.

964
00:50:20,480 --> 00:50:23,080
Speaker 1: You know. I I met Bob Morales at at this

965
00:50:23,280 --> 00:50:25,640
Speaker 1: at the screen test, you know, on the on the

966
00:50:25,880 --> 00:50:27,680
Speaker 1: on on the Warner Brothers lot. I mean, it was

967
00:50:28,480 --> 00:50:30,880
Speaker 1: it was crazy. Uh. So I knew, I knew it

968
00:50:30,920 --> 00:50:33,839
Speaker 1: was a big deal from the beginning. Uh. And and uh,

969
00:50:34,320 --> 00:50:36,960
Speaker 1: you know, even even beyond that, So I I felt,

970
00:50:37,040 --> 00:50:39,880
Speaker 1: you know, very fortunate. Uh. And it's funny because you're right,

971
00:50:39,920 --> 00:50:44,120
Speaker 1: I mean, there There literally is only a two I

972
00:50:44,239 --> 00:50:47,839
Speaker 1: think film cuts of Ritchie. One uh from American dand

973
00:50:47,920 --> 00:50:50,279
Speaker 1: Stand and one from a movie called Go, Johnny Go,

974
00:50:51,120 --> 00:50:53,759
Speaker 1: where he seems to come on, Let's go. So, you know,

975
00:50:53,840 --> 00:50:56,200
Speaker 1: there wasn't a whole lot to hang my head on

976
00:50:56,360 --> 00:50:59,880
Speaker 1: performance wise. I really relied, you know, on the family

977
00:51:00,040 --> 00:51:02,120
Speaker 1: to kind of fell in the blanks for me. What

978
00:51:02,320 --> 00:51:04,560
Speaker 1: is that like talking to the real life Bob when

979
00:51:04,600 --> 00:51:06,279
Speaker 1: you're going to play his brother? Like did he start

980
00:51:06,360 --> 00:51:09,000
Speaker 1: to like see his brother and you like, how does

981
00:51:09,040 --> 00:51:12,200
Speaker 1: that relationship work? Uh? You know, I mean they were

982
00:51:12,239 --> 00:51:13,960
Speaker 1: They were so kind to me from the beginning. I

983
00:51:14,000 --> 00:51:18,480
Speaker 1: mean literally, Bob said later, you know, the when he

984
00:51:18,560 --> 00:51:20,640
Speaker 1: laid eyes on me and then saw the audition, he goes,

985
00:51:20,960 --> 00:51:22,399
Speaker 1: he knew that I was going to get the job,

986
00:51:22,880 --> 00:51:26,200
Speaker 1: which was really sweet. But you know Connie and Irma,

987
00:51:26,320 --> 00:51:28,640
Speaker 1: I mean all of the siblings, a little Mario who

988
00:51:28,680 --> 00:51:31,080
Speaker 1: was only a baby at the time. Uh, and his mom,

989
00:51:31,239 --> 00:51:33,879
Speaker 1: you know Connie, she was around, so they were there

990
00:51:33,920 --> 00:51:37,920
Speaker 1: every single day, and Uh it would always be like,

991
00:51:37,960 --> 00:51:40,120
Speaker 1: well would Richie do this or what would Richie do

992
00:51:40,160 --> 00:51:42,640
Speaker 1: in this situation? You know, they were able to tell

993
00:51:42,680 --> 00:51:46,000
Speaker 1: me these things and it wasn't just about Richie the

994
00:51:46,080 --> 00:51:48,239
Speaker 1: rock Star, was about Richie the human being, you know,

995
00:51:48,360 --> 00:51:51,680
Speaker 1: the seventeen year old kid. Uh and and so uh

996
00:51:52,000 --> 00:51:55,080
Speaker 1: that you know that was really uh. I think was

997
00:51:55,200 --> 00:51:57,440
Speaker 1: fleshed out the character and and helped him, you know,

998
00:51:57,560 --> 00:52:00,200
Speaker 1: be be more than just an image, if you will.

999
00:52:00,600 --> 00:52:02,600
Speaker 1: I wonder now, if you're ever out in public and

1000
00:52:02,640 --> 00:52:05,120
Speaker 1: you hear the song Sleepwalk by Santo and Johnny, do

1001
00:52:05,239 --> 00:52:09,640
Speaker 1: you immediately have like flashbacks to filming that movie? Always? Man, always,

1002
00:52:09,719 --> 00:52:12,320
Speaker 1: and what I always go to because it's what what

1003
00:52:12,520 --> 00:52:15,680
Speaker 1: is playing over the in the film is that that

1004
00:52:15,800 --> 00:52:19,120
Speaker 1: hillside Lois made me so I run up that in

1005
00:52:19,239 --> 00:52:21,680
Speaker 1: my twelve times. Man. By the time I was over,

1006
00:52:21,719 --> 00:52:23,000
Speaker 1: I thought I was going to drop dead. I mean,

1007
00:52:23,120 --> 00:52:25,360
Speaker 1: my my legs were on fire. I don't know what

1008
00:52:25,520 --> 00:52:27,160
Speaker 1: he was looking for when we ran up that hill

1009
00:52:27,280 --> 00:52:29,719
Speaker 1: so many times. Man, after that movie came out where

1010
00:52:29,760 --> 00:52:32,240
Speaker 1: people just yelling Richie at you all the time in public?

1011
00:52:33,239 --> 00:52:36,759
Speaker 1: Uh they still they still? Did you get to keep

1012
00:52:36,800 --> 00:52:39,520
Speaker 1: anything cool from the movie. I still have the green guitar,

1013
00:52:40,040 --> 00:52:41,800
Speaker 1: but it's in It's in California right now in my

1014
00:52:41,840 --> 00:52:43,960
Speaker 1: house there. I'm in New York City where I'm filming

1015
00:52:44,040 --> 00:52:46,920
Speaker 1: Prodigal Son, and when the pandemic hit, you know, the

1016
00:52:47,520 --> 00:52:49,000
Speaker 1: ruck got kind of pulled off from under it. So

1017
00:52:49,080 --> 00:52:51,920
Speaker 1: I was not not able to go home. Uh And

1018
00:52:52,040 --> 00:52:54,520
Speaker 1: so we uh my family, uh Vane and my thirteen

1019
00:52:54,600 --> 00:52:56,040
Speaker 1: year old thought us been looking here in New York

1020
00:52:56,080 --> 00:52:58,279
Speaker 1: City for you know, for a year and a half.

1021
00:52:58,320 --> 00:53:00,920
Speaker 1: I mean, uh know, but it is what it is.

1022
00:53:01,320 --> 00:53:04,000
Speaker 1: But yeah, I kept the green guitar. And what was

1023
00:53:04,080 --> 00:53:06,160
Speaker 1: the technique you learned? Because you didn't learn to play

1024
00:53:06,200 --> 00:53:07,920
Speaker 1: guitar for the movie. You just kind of learned, like

1025
00:53:08,000 --> 00:53:10,200
Speaker 1: the fingering style. Is that what it was? Yeah, I

1026
00:53:10,239 --> 00:53:12,560
Speaker 1: know I learned. I still don't play the guitar. I

1027
00:53:12,640 --> 00:53:16,120
Speaker 1: had to learn all of the singing just for you know,

1028
00:53:16,320 --> 00:53:18,800
Speaker 1: just for the for the film. Uh. And it was

1029
00:53:18,840 --> 00:53:20,319
Speaker 1: stip in me. I didn't I didn't pick it up.

1030
00:53:20,320 --> 00:53:22,040
Speaker 1: I should have picked it up that, but I didn't

1031
00:53:22,360 --> 00:53:26,200
Speaker 1: move on other things. So the following year in Standing

1032
00:53:26,280 --> 00:53:28,600
Speaker 1: Deliver comes out, and that movie has just such a

1033
00:53:28,719 --> 00:53:31,600
Speaker 1: large cast. I wonder, like when you're filming that, how

1034
00:53:31,680 --> 00:53:33,480
Speaker 1: hard is it to kind of wrangle everybody in to

1035
00:53:33,600 --> 00:53:35,800
Speaker 1: do a scene? Not typical, man, I mean it's like

1036
00:53:35,920 --> 00:53:39,680
Speaker 1: we've got a pretty massive ensemble cash for Prodigal Son

1037
00:53:39,800 --> 00:53:43,000
Speaker 1: as well. Um uh and for the movie Adverse that

1038
00:53:43,040 --> 00:53:45,200
Speaker 1: I just did. It was literally just one day of

1039
00:53:45,200 --> 00:53:47,719
Speaker 1: shooting all my scenes with Thomas, You and Nichols, So

1040
00:53:48,040 --> 00:53:50,440
Speaker 1: that becomes easy. I mean, that's that's it's It's not

1041
00:53:50,640 --> 00:53:54,160
Speaker 1: like you know, putting together ay an amateur show in

1042
00:53:54,440 --> 00:53:57,239
Speaker 1: the Amco's barn. Uh. There there's an entire army of

1043
00:53:57,360 --> 00:54:02,040
Speaker 1: people who are doing scheduling and doing uh uh rangling

1044
00:54:02,080 --> 00:54:05,880
Speaker 1: of the actors and whatnot. So it's as a professional,

1045
00:54:05,960 --> 00:54:08,120
Speaker 1: you're there when you're supposed to be there, and you know,

1046
00:54:08,320 --> 00:54:10,640
Speaker 1: you do what's what's what's required to do that day.

1047
00:54:11,440 --> 00:54:13,480
Speaker 1: I wonder when you're doing that movie. The line that

1048
00:54:13,480 --> 00:54:15,359
Speaker 1: always sticks out to me is your line when you're

1049
00:54:15,360 --> 00:54:17,320
Speaker 1: like I strangled him in his body is decomposing you

1050
00:54:17,400 --> 00:54:19,480
Speaker 1: my locker? Like, how hard is that to say with

1051
00:54:19,560 --> 00:54:21,960
Speaker 1: a straight face with everybody there? No, you look forward

1052
00:54:22,000 --> 00:54:25,120
Speaker 1: to it, man, I mean, but that's what's again, that's

1053
00:54:25,120 --> 00:54:27,400
Speaker 1: just part of the acting. I mean, it's uh, you

1054
00:54:27,520 --> 00:54:29,759
Speaker 1: know there there there were lines in Longmire, and there

1055
00:54:29,800 --> 00:54:32,960
Speaker 1: were lines uh continue to be in lines in Prodigal Son,

1056
00:54:33,080 --> 00:54:36,360
Speaker 1: especially when I'm working the kick AGAINA uh where you know,

1057
00:54:36,680 --> 00:54:40,720
Speaker 1: you get tickled, you just get you know and think, goodness,

1058
00:54:40,719 --> 00:54:42,719
Speaker 1: there's always take two if you if you crack up,

1059
00:54:42,800 --> 00:54:45,719
Speaker 1: you know. But uh yeah, that particular line I knew

1060
00:54:45,800 --> 00:54:48,680
Speaker 1: was going to go down in history. Was that a

1061
00:54:48,760 --> 00:54:51,840
Speaker 1: genuine reaction in the movie, Like the laughter seems just

1062
00:54:51,920 --> 00:54:54,320
Speaker 1: so genuine after that. Yeah, it was. It was you know,

1063
00:54:54,360 --> 00:54:56,239
Speaker 1: I mean the entire and you know, the entirecast and

1064
00:54:56,280 --> 00:54:59,960
Speaker 1: who got into it so especially focal. It was so wonderful,

1065
00:55:00,040 --> 00:55:03,279
Speaker 1: wonderful guy. Uh so yeah, I mean I think quite

1066
00:55:03,320 --> 00:55:07,279
Speaker 1: often the uh, the warmth and the chemistry and the

1067
00:55:07,320 --> 00:55:10,080
Speaker 1: happiness that you see on screen is the real deal.

1068
00:55:10,160 --> 00:55:12,480
Speaker 1: You know, it's hard to hard to manufacture that. Well,

1069
00:55:12,560 --> 00:55:14,560
Speaker 1: really appreciate the time. Everybody. Go check out the new

1070
00:55:14,600 --> 00:55:19,480
Speaker 1: movie Adverse, check out Lou and prodigal Son. And it's

1071
00:55:19,480 --> 00:55:20,960
Speaker 1: been really great getting to talk to you. I just

1072
00:55:21,000 --> 00:55:23,960
Speaker 1: want to really let you know like how much your

1073
00:55:24,040 --> 00:55:26,000
Speaker 1: work is kind of affected my life. And you know,

1074
00:55:26,160 --> 00:55:28,560
Speaker 1: just being able to see somebody like looks different and

1075
00:55:28,719 --> 00:55:31,840
Speaker 1: kind of represents the story from me to the flat bro.

1076
00:55:32,040 --> 00:55:34,040
Speaker 1: You know, you got to represent that, right, Yeah, I

1077
00:55:34,120 --> 00:55:37,319
Speaker 1: appreciate that, and uh, I'll send you a nice water

1078
00:55:37,440 --> 00:55:39,960
Speaker 1: Burger care package wherever you are right now. I mean,

1079
00:55:40,080 --> 00:55:42,040
Speaker 1: I what's your favorite thing to get from there? Do

1080
00:55:42,080 --> 00:55:43,560
Speaker 1: you get sick? Did you get sick of that food

1081
00:55:43,560 --> 00:55:46,200
Speaker 1: while you're working there? No? Not at all. I mean, man,

1082
00:55:46,320 --> 00:55:49,000
Speaker 1: you you know you because the h an employee you got,

1083
00:55:49,080 --> 00:55:52,040
Speaker 1: you know, you've got the employee uh employee meals and

1084
00:55:52,280 --> 00:55:54,959
Speaker 1: they kind of had like Google coupons that you would

1085
00:55:54,960 --> 00:55:57,520
Speaker 1: turn in. But yeah, man, I think I eat water

1086
00:55:57,560 --> 00:55:59,719
Speaker 1: Burger every day. It was it was fanta and not

1087
00:55:59,840 --> 00:56:01,160
Speaker 1: only to day. I got to make it myself, so

1088
00:56:01,680 --> 00:56:04,640
Speaker 1: it's just like I wanted it. We'll appreciate the time.

1089
00:56:04,680 --> 00:56:09,439
Speaker 1: I'll talk to you later. Thanks, Mike one. So that's

1090
00:56:09,520 --> 00:56:14,200
Speaker 1: the list my top five favorite interviews of One. Make

1091
00:56:14,239 --> 00:56:16,520
Speaker 1: sure you're subscribed to the podcast to get brand new

1092
00:56:16,600 --> 00:56:20,680
Speaker 1: episodes starting in two. And I will say this, I've

1093
00:56:20,719 --> 00:56:25,720
Speaker 1: already booked my first big interview of and it's probably

1094
00:56:25,760 --> 00:56:28,240
Speaker 1: gonna be the biggest person I've ever had on this podcast.

1095
00:56:28,280 --> 00:56:30,360
Speaker 1: I'll just leave it at that. I'll give some clues

1096
00:56:30,480 --> 00:56:32,799
Speaker 1: later on social media, So if you're not following me there,

1097
00:56:33,239 --> 00:56:36,040
Speaker 1: go do that. I'm at Mike destro on every single

1098
00:56:36,120 --> 00:56:39,000
Speaker 1: social media platform that's Mike d e s t r

1099
00:56:39,040 --> 00:56:42,640
Speaker 1: OH links are also in the episode description. And just

1100
00:56:42,920 --> 00:56:45,680
Speaker 1: thank you to everybody for listening for another year, for

1101
00:56:45,840 --> 00:56:49,640
Speaker 1: sharing the podcast on social media, and mainly for allowing

1102
00:56:49,719 --> 00:56:51,959
Speaker 1: me to share my passion and movies with you every

1103
00:56:52,040 --> 00:56:55,680
Speaker 1: single week. I look forward to another year of doing interviews,

1104
00:56:56,360 --> 00:56:59,560
Speaker 1: of doing movie reviews, and breaking down other movie topics.

1105
00:56:59,600 --> 00:57:01,840
Speaker 1: So I hope you joined me another year here on

1106
00:57:01,880 --> 00:57:05,840
Speaker 1: the podcast, and until next time Later, m