1 00:00:00,040 --> 00:00:04,720 Speaker 1: Hey Christy, Oh hi Will, how are you? I feel 2 00:00:04,920 --> 00:00:09,320 Speaker 1: like a hot pile of garbage. Oh that's great, Well, 3 00:00:09,480 --> 00:00:11,959 Speaker 1: if it makes you feel any better. You look like 4 00:00:12,000 --> 00:00:14,760 Speaker 1: a hot pile of garbage. I mean kidding you. Look, 5 00:00:15,000 --> 00:00:17,599 Speaker 1: I've never seen you not look amazing. You look awesome 6 00:00:17,680 --> 00:00:20,560 Speaker 1: even now you're sick, aren't you? I am? I am 7 00:00:20,640 --> 00:00:24,759 Speaker 1: so basically I had you know, I stayed behind, which 8 00:00:24,800 --> 00:00:26,880 Speaker 1: we should definitely talk about because we haven't touched base 9 00:00:26,920 --> 00:00:30,319 Speaker 1: on how San Francisco went um, and we're such a 10 00:00:30,320 --> 00:00:32,720 Speaker 1: tag team that I don't know how do you survive 11 00:00:32,800 --> 00:00:36,320 Speaker 1: without me? I barely did? Everyone used you so much? No, really, 12 00:00:36,360 --> 00:00:38,960 Speaker 1: you have no idea how. The fans were really bummed 13 00:00:39,000 --> 00:00:41,960 Speaker 1: you weren't there, and we're so looking forward to it 14 00:00:42,080 --> 00:00:43,920 Speaker 1: and really wanted to see you. So, not to make 15 00:00:44,000 --> 00:00:46,840 Speaker 1: you feel guilty, but you ruined lots of people's lives 16 00:00:47,040 --> 00:00:49,879 Speaker 1: more garbage on top of garbage, just throwing garbage on 17 00:00:49,920 --> 00:00:54,040 Speaker 1: a dumpster fire. Everybody understood. Everybody, of course understood. That's 18 00:00:54,040 --> 00:00:55,640 Speaker 1: what you do when you have, you know, little kids 19 00:00:55,640 --> 00:00:57,560 Speaker 1: and family and everything going on around you. I totally 20 00:00:57,640 --> 00:00:59,720 Speaker 1: understand that. But there were people were bummed. You couldn't 21 00:00:59,760 --> 00:01:02,040 Speaker 1: be there. Yeah, people were bumping, but tell so, tell me. 22 00:01:02,120 --> 00:01:04,600 Speaker 1: Let's review. So you went to San Francisco. I went 23 00:01:04,640 --> 00:01:07,839 Speaker 1: to fan Expo San Francisco, which was the first year convention. 24 00:01:07,880 --> 00:01:10,040 Speaker 1: And sometimes first year conventions are hit or miss. You know, 25 00:01:10,080 --> 00:01:12,800 Speaker 1: they're trying to find their audience. Sometimes it was great. 26 00:01:13,920 --> 00:01:16,920 Speaker 1: The people were so I mean, like every convention we've 27 00:01:16,920 --> 00:01:21,000 Speaker 1: been to, the people were incredibly friendly, um so accepting 28 00:01:21,000 --> 00:01:23,160 Speaker 1: and loving. I've always said I wish the entire world 29 00:01:23,200 --> 00:01:25,920 Speaker 1: could be like a convention. I recorded an episode with 30 00:01:25,920 --> 00:01:31,000 Speaker 1: Steeve Blue. It was so much fun. We had the live, 31 00:01:31,080 --> 00:01:34,039 Speaker 1: a giant live podcast room. It was, i would say, 32 00:01:34,120 --> 00:01:39,119 Speaker 1: by the end full once again, the audience stepped up, 33 00:01:39,240 --> 00:01:43,000 Speaker 1: Joe Wos drawing for us live, everybody doing the voices. 34 00:01:43,800 --> 00:01:46,200 Speaker 1: It was We had I'm not gonna say who, but 35 00:01:46,280 --> 00:01:48,480 Speaker 1: a very special voice over guest who popped in in 36 00:01:48,520 --> 00:01:52,080 Speaker 1: the audience who then jumped in line. Uh, we had. 37 00:01:52,240 --> 00:01:55,840 Speaker 1: It was a ridiculous amount of fun. Not to make 38 00:01:55,960 --> 00:01:58,520 Speaker 1: pile even more hot garbage on top of your hot garbage, 39 00:01:58,520 --> 00:02:00,880 Speaker 1: but I'm just happy for the It was great, No, 40 00:02:01,000 --> 00:02:03,120 Speaker 1: it was great. It went and we we we gave 41 00:02:03,160 --> 00:02:05,280 Speaker 1: you several shoutouts in that we were mean to you 42 00:02:05,320 --> 00:02:08,160 Speaker 1: saying we were glad you weren't there. I'm sure I 43 00:02:08,160 --> 00:02:10,120 Speaker 1: can't expect that that's what happens if you don't know, 44 00:02:10,919 --> 00:02:13,239 Speaker 1: we missed you a ton, but it was, it was 45 00:02:14,040 --> 00:02:17,280 Speaker 1: don't we'll figure we'll figure out. We always do your 46 00:02:17,360 --> 00:02:19,440 Speaker 1: you know, it's it's it's not a problem, but we 47 00:02:19,639 --> 00:02:22,200 Speaker 1: um it was. It was really a lot of fun. 48 00:02:22,200 --> 00:02:24,560 Speaker 1: It really, that's really but that's seriously, that's so good. 49 00:02:24,760 --> 00:02:26,960 Speaker 1: It's it's really like we're in this place right now 50 00:02:26,960 --> 00:02:28,600 Speaker 1: with our podcast here that we're trying to get the 51 00:02:28,639 --> 00:02:30,880 Speaker 1: word out. And so you know, I don't know if 52 00:02:30,880 --> 00:02:35,520 Speaker 1: you've been an avid listener. If you have, you are, yes, 53 00:02:36,040 --> 00:02:39,680 Speaker 1: you're ting. And if they're avid listeners out there that 54 00:02:39,800 --> 00:02:43,400 Speaker 1: do want to like you know, promoted and throw up 55 00:02:43,400 --> 00:02:46,440 Speaker 1: a hashtag and at and get the word out. I mean, 56 00:02:46,480 --> 00:02:49,240 Speaker 1: we really appreciate that. I appreciate a good review right 57 00:02:49,360 --> 00:02:52,160 Speaker 1: like on Apple or wherever. But it was no, I mean, 58 00:02:52,160 --> 00:02:54,560 Speaker 1: the whole thing was nuts. For instance, and you'll hear 59 00:02:54,600 --> 00:02:57,640 Speaker 1: this in the interview, but Steve Bloom holds four Guinness 60 00:02:57,639 --> 00:03:01,720 Speaker 1: Book of World Records when it comes to sober what. Yeah, 61 00:03:02,080 --> 00:03:05,119 Speaker 1: and he didn't know three of them really. Oh yeah, 62 00:03:06,400 --> 00:03:08,320 Speaker 1: because his man, no, I did my work. But then 63 00:03:08,480 --> 00:03:09,880 Speaker 1: his manager also came up was like, you know he 64 00:03:09,880 --> 00:03:12,760 Speaker 1: holds it was like most times ever playing Wolverine in 65 00:03:12,760 --> 00:03:15,760 Speaker 1: in video games and blah blah blah. Most prolific voice actor. 66 00:03:15,880 --> 00:03:19,000 Speaker 1: He's done something like six voiceover roles. I mean it's 67 00:03:19,040 --> 00:03:22,160 Speaker 1: it's insane. Yeah, So he held all these kinds he 68 00:03:22,240 --> 00:03:24,520 Speaker 1: was And of course I've also known him for fifteen 69 00:03:24,600 --> 00:03:27,399 Speaker 1: twenty years and he's my D and D buddy. So um. 70 00:03:27,440 --> 00:03:32,320 Speaker 1: And his real life wife is my D and D wife. 71 00:03:31,280 --> 00:03:38,000 Speaker 1: But our characters on Critical Role are married and have kids. 72 00:03:38,080 --> 00:03:41,920 Speaker 1: Um so uh. But he married her in real life 73 00:03:42,440 --> 00:03:45,280 Speaker 1: as a as a woman, a beautiful woman. I married 74 00:03:45,280 --> 00:03:48,160 Speaker 1: her on D n D as a tie fling um, 75 00:03:48,320 --> 00:03:58,720 Speaker 1: which is a lf for something Christine. Okay, I don't know. 76 00:03:59,080 --> 00:04:01,880 Speaker 1: You have to do when you see that, look, you 77 00:04:01,880 --> 00:04:03,920 Speaker 1: know what? I am in love with Critical Role and 78 00:04:03,960 --> 00:04:07,600 Speaker 1: what they're doing. I actually, um, I've known Sam Recal 79 00:04:07,720 --> 00:04:11,520 Speaker 1: like my whole life, and his sister Eden that we 80 00:04:11,800 --> 00:04:14,800 Speaker 1: she was my Spanish tutor and Sam was like always 81 00:04:14,840 --> 00:04:18,919 Speaker 1: this like really cool older brother type. And Sam Recal 82 00:04:18,960 --> 00:04:21,960 Speaker 1: doesn't have that. He totally does. I mean, he went 83 00:04:22,000 --> 00:04:24,200 Speaker 1: to Harvard and he was such a smart guy and 84 00:04:24,279 --> 00:04:27,960 Speaker 1: just such a good person, always always, always, always, and 85 00:04:28,000 --> 00:04:30,760 Speaker 1: it's so great to see him. Like literally we're talking 86 00:04:30,760 --> 00:04:33,360 Speaker 1: about a guy who was like I went to Harvard, 87 00:04:33,400 --> 00:04:37,039 Speaker 1: like I said, really wonderful son, really wonderful brother. And 88 00:04:37,080 --> 00:04:39,560 Speaker 1: then on top of that, he was like in the 89 00:04:39,600 --> 00:04:42,880 Speaker 1: Acapella cup like group at Harvard and they were like 90 00:04:43,040 --> 00:04:45,200 Speaker 1: really they were like almost famous, they were so good. 91 00:04:45,600 --> 00:04:47,640 Speaker 1: So it's so weird to me that Sam's got this 92 00:04:48,000 --> 00:04:51,200 Speaker 1: whole new life as not that, but he's not just 93 00:04:51,560 --> 00:04:54,840 Speaker 1: the role, but he's an incredible voiceover director. That's I 94 00:04:54,880 --> 00:04:57,040 Speaker 1: was saying, like it's that was what was really strange 95 00:04:57,080 --> 00:04:58,839 Speaker 1: to me that I just bumped into him and I'm like, 96 00:04:58,880 --> 00:05:01,760 Speaker 1: this is really weird. He's a director. I saw him 97 00:05:01,920 --> 00:05:05,560 Speaker 1: at the studios, not l A studios, but those other 98 00:05:05,600 --> 00:05:11,360 Speaker 1: studios that they're using now Magnolia. Which ones are the 99 00:05:11,600 --> 00:05:14,360 Speaker 1: that is it called Magnolia. There's some that are Magnolia Studios, 100 00:05:14,360 --> 00:05:16,160 Speaker 1: there's some that are Bang Zoom, there's some that Outlook. 101 00:05:16,800 --> 00:05:19,800 Speaker 1: But there's there's you know, there's probably seven or eight 102 00:05:19,800 --> 00:05:23,280 Speaker 1: that you go to mostly ye know, it's usually you'll 103 00:05:23,320 --> 00:05:25,520 Speaker 1: get it's like you're going to Out Loud or you're 104 00:05:25,520 --> 00:05:27,719 Speaker 1: going to Magnolia, or you're going to Bang Zoom or 105 00:05:27,720 --> 00:05:31,000 Speaker 1: you're going and it's like, um, yeah, after a while, 106 00:05:31,080 --> 00:05:33,119 Speaker 1: you're kind of like at the same five or six. 107 00:05:33,680 --> 00:05:35,960 Speaker 1: But there's hundreds, you know, there's it's always and then 108 00:05:36,080 --> 00:05:38,080 Speaker 1: you'll always hear you'll do some project that you don't 109 00:05:38,080 --> 00:05:39,320 Speaker 1: know about it, and it's like you end up in 110 00:05:39,360 --> 00:05:44,080 Speaker 1: somebody's kind of garage and you're like, this is certainly interesting. 111 00:05:44,839 --> 00:05:47,840 Speaker 1: Um but no, it's yeah, the whole thing they're doing 112 00:05:47,839 --> 00:05:50,320 Speaker 1: over there, critical role and and everything that's going on. 113 00:05:50,920 --> 00:05:54,200 Speaker 1: Um but no, we're it was fun. It was fun. 114 00:05:54,240 --> 00:05:57,839 Speaker 1: We miss We certainly missed you. The fans certainly missed you. Um, 115 00:05:57,880 --> 00:06:00,000 Speaker 1: but we had a blast. But so here's the thing 116 00:06:00,120 --> 00:06:01,680 Speaker 1: we wanted to talk about a little bit on this 117 00:06:01,880 --> 00:06:04,800 Speaker 1: very special episode of I Hear Voices, not like a 118 00:06:04,880 --> 00:06:07,719 Speaker 1: very special episode of Different Strokes, but a very special 119 00:06:07,720 --> 00:06:10,280 Speaker 1: episode of I Hear Voices, um where for the first 120 00:06:10,279 --> 00:06:13,039 Speaker 1: time we realized Christine and I have never really talked 121 00:06:13,040 --> 00:06:17,080 Speaker 1: to each other about our voiceover gigs. If you don't mind, 122 00:06:17,120 --> 00:06:21,080 Speaker 1: I'd like to start Christie with the spotlight pointed at you. 123 00:06:21,279 --> 00:06:25,760 Speaker 1: Oh man, Okay, sure, that's cool. We'll do we'll we'll 124 00:06:25,800 --> 00:06:27,680 Speaker 1: be we know each other well, enough will be brief 125 00:06:27,760 --> 00:06:30,480 Speaker 1: for both of us. This will be well, those are plants. 126 00:06:30,480 --> 00:06:32,960 Speaker 1: Your plants are going well, he made he makes fun 127 00:06:32,960 --> 00:06:35,479 Speaker 1: of me because we do zooms as well here and 128 00:06:35,560 --> 00:06:38,400 Speaker 1: so I I usually I've moved into a new house, 129 00:06:38,400 --> 00:06:40,120 Speaker 1: and I didn't have any pictures on the wall, and 130 00:06:40,160 --> 00:06:42,000 Speaker 1: then I put pictures on the wall one week and 131 00:06:42,000 --> 00:06:44,599 Speaker 1: then I literally put this tree behind me. It's this 132 00:06:44,680 --> 00:06:49,080 Speaker 1: fake ficus tree and um hashtag fake ficus and now 133 00:06:49,080 --> 00:06:51,919 Speaker 1: I'm getting my head caught in it as an attempt 134 00:06:52,040 --> 00:06:54,280 Speaker 1: to make it home. It's good because when you first 135 00:06:54,440 --> 00:06:56,200 Speaker 1: the first time you recorded in there, it looked like 136 00:06:56,240 --> 00:06:58,159 Speaker 1: you're being held against your will. So this is and 137 00:06:58,200 --> 00:07:01,440 Speaker 1: I don't even have the light on anymore. Got anyway, 138 00:07:01,480 --> 00:07:04,760 Speaker 1: we're good. I think we're good. So Christy Carlson Romano, 139 00:07:05,520 --> 00:07:09,400 Speaker 1: I'm very curious what was the first voiceover gig you 140 00:07:09,480 --> 00:07:11,440 Speaker 1: ever did, and how did you get into the world 141 00:07:11,440 --> 00:07:15,400 Speaker 1: a voice over? Interestingly enough, I started doing voice acting 142 00:07:15,480 --> 00:07:18,800 Speaker 1: when I was very young. Um, I have still to 143 00:07:18,880 --> 00:07:21,160 Speaker 1: this day, I have a recording of me doing my 144 00:07:21,240 --> 00:07:26,000 Speaker 1: first audio book when I was about twelve. Wow, do 145 00:07:26,080 --> 00:07:28,440 Speaker 1: you remember the book? What was the book? M I 146 00:07:28,520 --> 00:07:33,560 Speaker 1: think it was Junie B. Jones Um And I think 147 00:07:33,560 --> 00:07:37,040 Speaker 1: it's like, I think it's like a children's like it 148 00:07:37,160 --> 00:07:39,960 Speaker 1: was some sort of a children's history anthology. And I 149 00:07:40,000 --> 00:07:43,760 Speaker 1: remember a lot about that experience because I had done 150 00:07:43,800 --> 00:07:45,480 Speaker 1: a lot of theater, and I had done a lot 151 00:07:45,520 --> 00:07:49,480 Speaker 1: of even some independent films and stuff like that, twelve thirteen, 152 00:07:50,080 --> 00:07:53,960 Speaker 1: but being caught in sort of this little room, this 153 00:07:54,120 --> 00:07:58,880 Speaker 1: padded room, where it's so quiet and it's so calm. Yeah, 154 00:07:59,000 --> 00:08:04,080 Speaker 1: isn't it wonderful? It was a really interesting experience and introduction. 155 00:08:04,720 --> 00:08:07,000 Speaker 1: And then like you you're very you know, when you're 156 00:08:07,040 --> 00:08:08,720 Speaker 1: a little performer, like you've got a lot of energy, 157 00:08:08,720 --> 00:08:10,680 Speaker 1: you've got a lot of thoughts, and then, like you said, 158 00:08:10,720 --> 00:08:14,360 Speaker 1: you're put into a room and your task with reading 159 00:08:14,680 --> 00:08:17,040 Speaker 1: an entire book. Now, mind you. I guess I was 160 00:08:17,080 --> 00:08:19,280 Speaker 1: a pretty good reader to be like twelve and doing 161 00:08:19,360 --> 00:08:21,680 Speaker 1: like you know, sure, but it was I don't think 162 00:08:21,680 --> 00:08:24,440 Speaker 1: it was advanced enough. And I had been reading scripts 163 00:08:24,480 --> 00:08:26,760 Speaker 1: my whole life since you know, I was like seven 164 00:08:26,840 --> 00:08:29,840 Speaker 1: or so. So I think that I think about my 165 00:08:29,920 --> 00:08:32,080 Speaker 1: kids and she's just about to turn six, and I'm like, 166 00:08:32,120 --> 00:08:36,800 Speaker 1: we're not there yet. She couldn't possibly she's not reading really, Um, 167 00:08:36,840 --> 00:08:39,120 Speaker 1: so yeah, I think, um, you know, twelve is a 168 00:08:39,160 --> 00:08:41,080 Speaker 1: really good age. I think as a as an early 169 00:08:41,120 --> 00:08:46,200 Speaker 1: introduction to even something as simple as, you know, some 170 00:08:46,320 --> 00:08:51,199 Speaker 1: sort of small book reading experience or I here's the thing. 171 00:08:51,400 --> 00:08:53,920 Speaker 1: So when people ask me about like, okay on camera, 172 00:08:53,920 --> 00:08:55,280 Speaker 1: are you gonna put your kids in the business and 173 00:08:55,280 --> 00:08:58,080 Speaker 1: all that stuff, obviously it's a complex issue. But at 174 00:08:58,120 --> 00:09:00,600 Speaker 1: the same time, I think when it comes to voice acting, 175 00:09:00,640 --> 00:09:03,240 Speaker 1: and we've talked about this in the past, the voiceover 176 00:09:03,280 --> 00:09:09,720 Speaker 1: community is so positive and it's very very sweet. Like 177 00:09:09,800 --> 00:09:12,880 Speaker 1: I remember Tim Ditlow, I'm going to say a specific name. 178 00:09:13,360 --> 00:09:18,240 Speaker 1: He was the head of Random House Books on tape 179 00:09:18,720 --> 00:09:23,080 Speaker 1: and they had just started to emerge as a sort 180 00:09:23,120 --> 00:09:27,439 Speaker 1: of force for audio books. Audiobooks started to become something real. 181 00:09:28,080 --> 00:09:30,440 Speaker 1: And so you know, we're going back how many years, 182 00:09:30,440 --> 00:09:34,240 Speaker 1: I'm thirty eight, you know, Um, And so this was new, 183 00:09:34,600 --> 00:09:37,560 Speaker 1: you know, this was kind of a new technology. The 184 00:09:37,640 --> 00:09:41,640 Speaker 1: voice recording was not, but for the purposes and the 185 00:09:41,679 --> 00:09:44,560 Speaker 1: protocols of sitting down and reading a book that was 186 00:09:44,800 --> 00:09:47,520 Speaker 1: sort of becoming a booming business at that point. So anyway, 187 00:09:47,559 --> 00:09:50,760 Speaker 1: I just remember sitting there and drinking tea because I 188 00:09:50,880 --> 00:09:53,360 Speaker 1: drank a lot of tea even from a young age, 189 00:09:53,440 --> 00:09:56,440 Speaker 1: from being like a singer and doing theater, and I 190 00:09:56,520 --> 00:09:59,040 Speaker 1: just remember, I think somebody got me a croissant. So 191 00:09:59,160 --> 00:10:03,439 Speaker 1: here's the interesting thing, right, Like I think there's this 192 00:10:03,559 --> 00:10:06,120 Speaker 1: saying of like I think a therapist on me this 193 00:10:06,200 --> 00:10:09,640 Speaker 1: once up at a time, when you go into a 194 00:10:09,720 --> 00:10:13,080 Speaker 1: room and you sit in a certain chair, you're more 195 00:10:13,120 --> 00:10:16,240 Speaker 1: than likely when you re enter that room, even if 196 00:10:16,240 --> 00:10:18,880 Speaker 1: it's a different day, to sit back in that chair, 197 00:10:19,320 --> 00:10:24,040 Speaker 1: that same chair, you tend to like repeat. I've noticed 198 00:10:24,080 --> 00:10:27,079 Speaker 1: that that that you know, people are creatures have have it. 199 00:10:27,240 --> 00:10:30,880 Speaker 1: So for me, the tea and like a croissant, if 200 00:10:30,920 --> 00:10:34,280 Speaker 1: it's like a long record, there's certain things that actually 201 00:10:34,360 --> 00:10:38,720 Speaker 1: help that may not help say your voice, um, but 202 00:10:38,840 --> 00:10:43,000 Speaker 1: they help sort of activate my abilities to like focus 203 00:10:43,000 --> 00:10:45,720 Speaker 1: on the work. So it's almost Pavlovian for you, where 204 00:10:45,760 --> 00:10:47,679 Speaker 1: it's like you sit down, you're in the chair, you've 205 00:10:47,679 --> 00:10:51,840 Speaker 1: got the tea, you've got the questal as they say it, 206 00:10:51,960 --> 00:10:54,480 Speaker 1: and with the perfect lamination because the butter has been 207 00:10:54,480 --> 00:10:57,760 Speaker 1: folded in just right or right or something hells to pay, 208 00:10:57,960 --> 00:11:00,880 Speaker 1: you know exactly, and so that brings you right into 209 00:11:01,000 --> 00:11:04,280 Speaker 1: like like like voice over mind. I think so. I 210 00:11:04,320 --> 00:11:07,000 Speaker 1: think that like when I'm in the booth, which we 211 00:11:07,040 --> 00:11:10,680 Speaker 1: really have never talked about, UM, I feel very safe. 212 00:11:11,600 --> 00:11:16,679 Speaker 1: I feel very almost like um, I'm in in Uteroe. No, 213 00:11:16,840 --> 00:11:18,920 Speaker 1: that makes sense, it kind of. It kind of makes 214 00:11:18,920 --> 00:11:23,280 Speaker 1: sense because it is in a way, it's almost like 215 00:11:23,360 --> 00:11:28,480 Speaker 1: a working sensory deprivation tank because it's it's you know, 216 00:11:28,600 --> 00:11:31,640 Speaker 1: usually not really bright. Sometimes it is, but usually not 217 00:11:31,679 --> 00:11:35,840 Speaker 1: really bright, especially now after the pandemic, when I'm one 218 00:11:35,840 --> 00:11:37,640 Speaker 1: of those people were even during the pandemic, I went 219 00:11:37,679 --> 00:11:40,480 Speaker 1: to the studio. I observe all the protocols, but I 220 00:11:40,520 --> 00:11:42,400 Speaker 1: do not like recording from my house. I like recording 221 00:11:42,400 --> 00:11:45,920 Speaker 1: podcasts from my house because there's a homey, comfy feeling 222 00:11:45,920 --> 00:11:49,319 Speaker 1: about being in my room in my booth here and recording. 223 00:11:49,679 --> 00:11:52,240 Speaker 1: But when I'm working, I want to feel like I'm working, 224 00:11:52,240 --> 00:11:53,720 Speaker 1: and I don't feel like I'm working when I'm working 225 00:11:53,720 --> 00:11:56,040 Speaker 1: from home. That's what I like about the podcast because 226 00:11:56,040 --> 00:11:57,520 Speaker 1: I don't want a podcast to feel like work. I 227 00:11:57,559 --> 00:12:01,240 Speaker 1: wanted to feel like a conversation when I'm getting I 228 00:12:01,320 --> 00:12:04,680 Speaker 1: want to work, and so I want to put on pants, 229 00:12:04,679 --> 00:12:07,160 Speaker 1: I want to put on shoes, I want to get 230 00:12:07,160 --> 00:12:09,240 Speaker 1: in my car, I want to drive to a place. 231 00:12:09,320 --> 00:12:10,840 Speaker 1: I want to get out. I want to put on 232 00:12:10,880 --> 00:12:13,720 Speaker 1: my headphones. I want to work. I think that do 233 00:12:13,720 --> 00:12:18,280 Speaker 1: you think that Kevin um conroy, who has since passed, 234 00:12:18,480 --> 00:12:21,480 Speaker 1: do you think that that sort of protocol and sort 235 00:12:21,520 --> 00:12:24,640 Speaker 1: of do you think that that influenced you in terms 236 00:12:24,679 --> 00:12:28,040 Speaker 1: of very much? I think not only that, but it's 237 00:12:28,080 --> 00:12:32,080 Speaker 1: also it was before I even met Kevin, who was 238 00:12:32,160 --> 00:12:36,360 Speaker 1: obviously my my my voiceover guru. Um. I've been working 239 00:12:36,360 --> 00:12:39,400 Speaker 1: with William Daniels, Mr Feeney on on Boyd's World, and 240 00:12:39,400 --> 00:12:43,960 Speaker 1: and he he taught us professionalism, Like you are a professional. 241 00:12:44,360 --> 00:12:47,720 Speaker 1: You are there early, you are prepared to go. You 242 00:12:47,840 --> 00:12:50,600 Speaker 1: do not keep other actors waiting. It does not matter 243 00:12:50,640 --> 00:12:52,840 Speaker 1: if you are twelve. This this is what you do. 244 00:12:52,880 --> 00:12:55,280 Speaker 1: This is you are a professional. So I took that 245 00:12:55,360 --> 00:12:58,800 Speaker 1: to every aspect of the industry. So voiceover, I mean 246 00:12:59,360 --> 00:13:01,160 Speaker 1: voiceover so of the greatest actors in the world, but 247 00:13:01,200 --> 00:13:03,520 Speaker 1: you do meet some that can show up a little late. 248 00:13:04,000 --> 00:13:07,240 Speaker 1: I haven't read the script um that kind of stuff, 249 00:13:07,240 --> 00:13:09,480 Speaker 1: and it's like, okay, that's one way to look at it. 250 00:13:09,480 --> 00:13:11,760 Speaker 1: It's just not how I look at it. Um so 251 00:13:12,040 --> 00:13:15,319 Speaker 1: I But I get what you're saying exactly about that feeling, 252 00:13:15,400 --> 00:13:18,840 Speaker 1: especially now, as I was saying with the pandemic. I'm 253 00:13:18,960 --> 00:13:21,120 Speaker 1: still going to the studio, but you're no longer in 254 00:13:21,160 --> 00:13:24,760 Speaker 1: the giant studios that they're used to house fifteen actors. 255 00:13:25,320 --> 00:13:27,480 Speaker 1: Now you're in a much smaller studio and they shut 256 00:13:27,520 --> 00:13:29,880 Speaker 1: that door behind you, and there's like it's like part 257 00:13:29,960 --> 00:13:31,920 Speaker 1: of the air gets sucked into the room and you're 258 00:13:31,920 --> 00:13:35,920 Speaker 1: like and you're like, oh, I'm here to work now, 259 00:13:36,040 --> 00:13:38,440 Speaker 1: I'm here in the door shuts and all the sound 260 00:13:38,440 --> 00:13:42,040 Speaker 1: goes away. You're focused on the screen in front of you, 261 00:13:42,160 --> 00:13:44,320 Speaker 1: or the pages in front of you, the microphones in 262 00:13:44,360 --> 00:13:46,800 Speaker 1: front of you. The only voice you hear comes through 263 00:13:46,800 --> 00:13:50,559 Speaker 1: your headphones. It's like a distant kind of echo. And 264 00:13:50,760 --> 00:13:53,280 Speaker 1: I get exactly what you're saying. If you are in utero, 265 00:13:53,480 --> 00:13:55,800 Speaker 1: it's the doctor. You hear the doctor through you know, 266 00:13:55,880 --> 00:13:58,480 Speaker 1: as you're being born, going like all right, get ready 267 00:13:58,520 --> 00:14:01,480 Speaker 1: to push, Like that's the voice and your head um. 268 00:14:01,520 --> 00:14:03,600 Speaker 1: But the joy is when it's all done. You don't 269 00:14:03,600 --> 00:14:06,840 Speaker 1: have a stupid kid. You've got a great car um. 270 00:14:06,880 --> 00:14:11,000 Speaker 1: So that's the that's the awesomeness. So yeah, I was 271 00:14:11,160 --> 00:14:13,280 Speaker 1: very young when when we think back to it, and 272 00:14:13,360 --> 00:14:18,160 Speaker 1: it's like I just have a very visceral memory of 273 00:14:18,360 --> 00:14:20,800 Speaker 1: what that felt like because and and then and and 274 00:14:21,000 --> 00:14:24,960 Speaker 1: honoring my love of that experience, I was, I felt 275 00:14:25,000 --> 00:14:28,360 Speaker 1: even more and more blessed to be in rooms in 276 00:14:28,520 --> 00:14:30,560 Speaker 1: l A. Because where I was doing this was all 277 00:14:30,560 --> 00:14:32,200 Speaker 1: in New York. I was doing a lot of my 278 00:14:32,240 --> 00:14:34,600 Speaker 1: recording and yeah, where I was living, well, where we 279 00:14:34,600 --> 00:14:36,880 Speaker 1: were Connecticut kids. So that's that's where you went. That's 280 00:14:36,880 --> 00:14:38,680 Speaker 1: where you went to work. You went to New York. Well, 281 00:14:38,680 --> 00:14:40,320 Speaker 1: and I also went to performing arts school, so I 282 00:14:40,360 --> 00:14:43,480 Speaker 1: was already in New York. So it would be like, Okay, 283 00:14:43,520 --> 00:14:46,120 Speaker 1: I'm going to cut school or I leave early and 284 00:14:46,160 --> 00:14:49,280 Speaker 1: I go to my recording session, um, you know, down 285 00:14:49,320 --> 00:14:52,080 Speaker 1: on ninth or tenth or wherever the because like the 286 00:14:52,160 --> 00:14:56,640 Speaker 1: recording area is in the valley in Los Angeles, but 287 00:14:56,720 --> 00:15:01,000 Speaker 1: it's very different where they'll record in New York City. Yeah, 288 00:15:01,160 --> 00:15:05,320 Speaker 1: Like soho had a lot of voice kitchen did too, 289 00:15:05,320 --> 00:15:10,120 Speaker 1: write like around like that whole kind of area. Yeah, yeah, 290 00:15:10,160 --> 00:15:12,280 Speaker 1: that unitel video around there, all that kind of stuff. 291 00:15:12,360 --> 00:15:14,160 Speaker 1: You did a lot of stuff around there too. Yeah 292 00:15:14,160 --> 00:15:17,320 Speaker 1: it got a bit more scattered, but yeah, absolutely, yeah, 293 00:15:17,360 --> 00:15:19,160 Speaker 1: you know, and and also to in New York, it's 294 00:15:19,200 --> 00:15:23,880 Speaker 1: more like ad mad Men kind of add stuff. I 295 00:15:23,920 --> 00:15:28,720 Speaker 1: remember going on voice acting auditions which were mostly not jingles, 296 00:15:28,720 --> 00:15:31,040 Speaker 1: but they were mostly commercials and stuff like that for 297 00:15:31,080 --> 00:15:33,400 Speaker 1: a long time. I think that's what my introduction to 298 00:15:33,480 --> 00:15:35,760 Speaker 1: voice acting was. But we've talked about it a lot 299 00:15:35,800 --> 00:15:39,800 Speaker 1: on the podcast, and I think that my initial way 300 00:15:40,080 --> 00:15:46,960 Speaker 1: in two turning a phrase or trying to get a job, 301 00:15:47,040 --> 00:15:50,240 Speaker 1: which I started to get pretty good at UM, even 302 00:15:50,320 --> 00:15:54,240 Speaker 1: in my younger years before going to l a UM. 303 00:15:54,280 --> 00:15:56,760 Speaker 1: I think it it's just a matter of being a 304 00:15:56,800 --> 00:16:02,280 Speaker 1: singer and knowing that intonation is helpful. It's like a 305 00:16:02,360 --> 00:16:06,040 Speaker 1: one for one. It's a song and it's and there's 306 00:16:06,040 --> 00:16:08,840 Speaker 1: another thing that when I started acting, they say, well, 307 00:16:08,840 --> 00:16:11,720 Speaker 1: reach your script as many times as possible, right like 308 00:16:11,760 --> 00:16:16,840 Speaker 1: at least ten times before you even start trying to 309 00:16:17,400 --> 00:16:20,480 Speaker 1: memorize the lines or perform it. And I'm sure that's 310 00:16:20,520 --> 00:16:22,560 Speaker 1: some method, but I don't know which one it is, 311 00:16:22,960 --> 00:16:26,160 Speaker 1: And so I didn't necessarily read a ton of times, 312 00:16:26,160 --> 00:16:29,560 Speaker 1: but I think I had a natural inclination to sort 313 00:16:29,560 --> 00:16:33,720 Speaker 1: of honor the sing song nous of a script. So 314 00:16:33,800 --> 00:16:35,800 Speaker 1: I think even if you don't have a ton of training, 315 00:16:36,640 --> 00:16:39,320 Speaker 1: you can in your singer. I think you can probably approach, 316 00:16:40,240 --> 00:16:43,720 Speaker 1: you know, points acting easier. Yeah, that's yeah, I didn't 317 00:16:43,760 --> 00:16:45,800 Speaker 1: that whole read your script ten times that I read 318 00:16:45,800 --> 00:16:49,040 Speaker 1: my script obviously every time. But I don't want to overread. 319 00:16:49,160 --> 00:16:51,160 Speaker 1: I don't want to over rehearse. I don't want to 320 00:16:51,160 --> 00:16:52,680 Speaker 1: read a script ten times. I want to read it 321 00:16:52,760 --> 00:16:54,600 Speaker 1: once and then I want to keep it fresh. I 322 00:16:54,680 --> 00:16:56,800 Speaker 1: was gonna say, do you stop? Do you stop at 323 00:16:56,800 --> 00:16:58,880 Speaker 1: a certain point, and you're saying, I'm doing this too much. 324 00:16:59,400 --> 00:17:01,920 Speaker 1: Oh yeah. There's times where some of the worst auditions 325 00:17:01,920 --> 00:17:03,720 Speaker 1: I've ever had in my life were things that I 326 00:17:03,920 --> 00:17:07,240 Speaker 1: over rehearsed. It's just, oh my god, I want this 327 00:17:07,320 --> 00:17:09,960 Speaker 1: so bad, so I'm gonna I'm gonna rehearse fifteen times. 328 00:17:09,960 --> 00:17:12,240 Speaker 1: And then you get in there and your mind is like, wait, 329 00:17:12,280 --> 00:17:14,040 Speaker 1: I didn't do that in the rehearsal I wanted to do. 330 00:17:14,080 --> 00:17:16,159 Speaker 1: Why did I Why is that beat different? Why? And 331 00:17:16,320 --> 00:17:18,640 Speaker 1: then you start second guessing yourself. For is if it's 332 00:17:18,640 --> 00:17:21,320 Speaker 1: still fresh, you're still finding the beats and you know, 333 00:17:21,359 --> 00:17:25,439 Speaker 1: that's like one of the the first um pieces of 334 00:17:25,480 --> 00:17:27,199 Speaker 1: advice I was given as an on camera actor as 335 00:17:27,200 --> 00:17:29,040 Speaker 1: a kid. I was, you know, eleven, whatever it was was. 336 00:17:29,520 --> 00:17:31,600 Speaker 1: I don't care how many times your audition for something. 337 00:17:31,680 --> 00:17:35,679 Speaker 1: Always hold your script because in the mind of the 338 00:17:35,720 --> 00:17:38,400 Speaker 1: people watching your audition, it means you are not yet 339 00:17:38,480 --> 00:17:41,119 Speaker 1: off book. So there's more places to go with the 340 00:17:41,160 --> 00:17:44,320 Speaker 1: performance than just what you see in the room, as 341 00:17:44,400 --> 00:17:46,840 Speaker 1: opposed to you walk in your off book. Hey, this 342 00:17:46,920 --> 00:17:48,879 Speaker 1: is what I got there. In their minds, they're like, 343 00:17:48,920 --> 00:17:50,639 Speaker 1: this is all we're ever going to get because this 344 00:17:50,680 --> 00:17:53,600 Speaker 1: is as rehearsed as we're gonna get with this kid. Um. 345 00:17:53,640 --> 00:17:56,280 Speaker 1: So that kind of always hold your script always resonated 346 00:17:56,320 --> 00:17:58,720 Speaker 1: with me because it is it's that psychological like, oh, 347 00:17:58,840 --> 00:18:01,400 Speaker 1: there's still more to come from this actor because they 348 00:18:01,440 --> 00:18:04,439 Speaker 1: have yet to reach the potential of this character. You 349 00:18:04,440 --> 00:18:06,840 Speaker 1: can tell they're still on book. Wait, so but are 350 00:18:06,880 --> 00:18:09,760 Speaker 1: you actually off book holding the paper? It would depend 351 00:18:09,760 --> 00:18:12,240 Speaker 1: on the role. It would get anxiety when I hold 352 00:18:12,280 --> 00:18:15,040 Speaker 1: the paper. Oh really, I love holding something. I love 353 00:18:15,080 --> 00:18:17,920 Speaker 1: not having to think about my hands. So having something 354 00:18:17,920 --> 00:18:21,040 Speaker 1: to occupy my I'm a I'm a big fan of 355 00:18:21,040 --> 00:18:32,840 Speaker 1: that too. You know what, I'm actually interested. What is 356 00:18:32,880 --> 00:18:36,520 Speaker 1: one of your worst auditions? I know my exact worst 357 00:18:36,520 --> 00:18:39,159 Speaker 1: audition ever. It wasn't it was for on camera though, 358 00:18:39,200 --> 00:18:42,240 Speaker 1: it wasn't for mine was for theater, and okay, I 359 00:18:42,280 --> 00:18:44,560 Speaker 1: have I have to one that was funny, one that 360 00:18:44,600 --> 00:18:49,600 Speaker 1: was horrifying, so funny, okay, good. So the funny one was. 361 00:18:50,280 --> 00:18:53,080 Speaker 1: I was a huge Family Ties fan, like I love 362 00:18:53,160 --> 00:18:55,280 Speaker 1: my Michael J. Foxon Family Ties was all I ever 363 00:18:55,320 --> 00:18:57,840 Speaker 1: wanted to be. Michael J. Foxon Family Ties and and 364 00:18:58,080 --> 00:19:01,119 Speaker 1: Alan Alda and mac in Mash were like the reasons 365 00:19:01,160 --> 00:19:05,280 Speaker 1: I became an actor. So Gary David Goldberg, who created 366 00:19:05,800 --> 00:19:09,320 Speaker 1: um uh Family Ties, was creating a new show called 367 00:19:09,359 --> 00:19:13,280 Speaker 1: Brooklyn Bridge, and I was going to New York to 368 00:19:13,320 --> 00:19:18,240 Speaker 1: audition for Gary David Goldberg himself. And I was mortified, excited, 369 00:19:18,359 --> 00:19:22,560 Speaker 1: every superlative you could think of. And in my audition piece, 370 00:19:22,640 --> 00:19:26,439 Speaker 1: I had to walk downstairs and the character playing my 371 00:19:26,480 --> 00:19:28,840 Speaker 1: mom said, Hey, what do you want for dinner? And 372 00:19:28,880 --> 00:19:31,359 Speaker 1: I was supposed to say, come on, it's eight o'clock 373 00:19:31,359 --> 00:19:33,040 Speaker 1: in the morning. It's a little hard to get excited 374 00:19:33,040 --> 00:19:37,960 Speaker 1: about dinner. So I'm rehearsing and rehearsing and rehearsing, and 375 00:19:38,000 --> 00:19:40,719 Speaker 1: I get walked out, you know, get into the room 376 00:19:40,800 --> 00:19:43,439 Speaker 1: and they say action and the woman reading from my 377 00:19:43,480 --> 00:19:45,159 Speaker 1: mom says, hey, what do you want for dinner? And 378 00:19:45,200 --> 00:19:47,360 Speaker 1: I say, it's eight o'clock in the morning. I can't 379 00:19:47,400 --> 00:19:52,520 Speaker 1: get hard about dinner. And the room was dead, silent, 380 00:19:52,920 --> 00:19:55,760 Speaker 1: and it was thank you very much, and I walked out. 381 00:19:56,840 --> 00:19:58,679 Speaker 1: That was it. And I was like, that was my 382 00:19:58,800 --> 00:20:01,879 Speaker 1: one shot in front of Gary David Goldberg, and that's 383 00:20:01,920 --> 00:20:05,200 Speaker 1: the line that came out of my mouth. I can't 384 00:20:05,200 --> 00:20:08,680 Speaker 1: get hard about dinner. Oh no. And it was because 385 00:20:08,680 --> 00:20:10,960 Speaker 1: of that that they did it well, no, I don't know, 386 00:20:11,000 --> 00:20:12,640 Speaker 1: it was just but it was just it was so 387 00:20:12,720 --> 00:20:15,040 Speaker 1: out of left field, and so like, what the hell 388 00:20:15,200 --> 00:20:19,879 Speaker 1: was that rehearsed? No. I went through the rest of 389 00:20:19,920 --> 00:20:21,560 Speaker 1: the scene, but by that point it was the room 390 00:20:21,640 --> 00:20:25,120 Speaker 1: was dead. Um, there was no air left in the room. Um. 391 00:20:25,200 --> 00:20:27,800 Speaker 1: So that was my worst funny one worst as a kid, 392 00:20:27,840 --> 00:20:30,960 Speaker 1: but my worst audition ever. And it was strictly and 393 00:20:30,960 --> 00:20:33,320 Speaker 1: it didn't even want this role all that badly, if 394 00:20:33,320 --> 00:20:37,600 Speaker 1: I'm honest. Um, it was strictly from over rehearsing. It 395 00:20:37,640 --> 00:20:40,400 Speaker 1: was I rehearsed and rehearsed and rehearsed because I wanted 396 00:20:40,440 --> 00:20:42,320 Speaker 1: to walk in and nail it. I didn't care about 397 00:20:42,359 --> 00:20:44,560 Speaker 1: the role. It was more about me wanting to nail it. 398 00:20:44,760 --> 00:20:47,639 Speaker 1: And it was for a role in that really turned 399 00:20:47,680 --> 00:20:51,600 Speaker 1: out to be not great. UM disaster movie The Core 400 00:20:52,400 --> 00:20:54,600 Speaker 1: o the where the Earth, the core of the Earth 401 00:20:54,680 --> 00:20:56,800 Speaker 1: stopped spinning so they have to go to like the 402 00:20:56,840 --> 00:20:59,199 Speaker 1: center of the Earth. Stanley Tucci was brilliant, but you know, 403 00:20:59,320 --> 00:21:01,920 Speaker 1: it wasn't the best movie in the world. Um. And 404 00:21:02,040 --> 00:21:04,399 Speaker 1: I read for the part of a rat who was 405 00:21:04,440 --> 00:21:06,520 Speaker 1: the computer hacker guy. And the guy they ended up 406 00:21:06,560 --> 00:21:09,120 Speaker 1: casting has always played the computer hacker and is brilliant, 407 00:21:09,119 --> 00:21:11,040 Speaker 1: so they would have cast him anyway even if I 408 00:21:11,080 --> 00:21:14,320 Speaker 1: went in and nailed this thing. This was obviously the 409 00:21:14,320 --> 00:21:16,679 Speaker 1: guy that was supposed to play the role. UM. But 410 00:21:17,560 --> 00:21:21,320 Speaker 1: I just I couldn't get through it. I kept stopping 411 00:21:21,359 --> 00:21:23,679 Speaker 1: and starting myself to the point where the woman, the 412 00:21:23,720 --> 00:21:26,320 Speaker 1: casting director, stopped the recording and walked up to me 413 00:21:26,320 --> 00:21:28,920 Speaker 1: and was like, are you okay, Like you need to relax, 414 00:21:28,960 --> 00:21:31,240 Speaker 1: and I and this, but I had already done Boy 415 00:21:31,240 --> 00:21:33,560 Speaker 1: Meets World, Like I've been an actor for years by this, 416 00:21:34,440 --> 00:21:38,280 Speaker 1: But I had so overrehearsed it that I just I 417 00:21:38,280 --> 00:21:40,119 Speaker 1: couldn't get through that, and I remember going kind of 418 00:21:40,160 --> 00:21:42,040 Speaker 1: like thank you, and like, I'm not sure I ever 419 00:21:42,040 --> 00:21:45,919 Speaker 1: even finished the audition. UM, it was just harsh. So 420 00:21:46,000 --> 00:21:48,840 Speaker 1: those are my two. What do you got? Cool? So yeah, 421 00:21:48,880 --> 00:21:50,760 Speaker 1: I mean I'm trying to think of if I've ever 422 00:21:50,880 --> 00:21:56,600 Speaker 1: had a bad voice over audition, and I can't say 423 00:21:56,640 --> 00:21:59,760 Speaker 1: that I have because I really feel like when you 424 00:21:59,840 --> 00:22:04,080 Speaker 1: go in UM, especially if you go into a studio 425 00:22:04,480 --> 00:22:08,520 Speaker 1: and they have a director there and they really are 426 00:22:08,600 --> 00:22:11,520 Speaker 1: rooting for you to do a good audition, Whereas I 427 00:22:11,560 --> 00:22:14,919 Speaker 1: feel like when you go into a theater audition or 428 00:22:14,960 --> 00:22:19,400 Speaker 1: a in person camera whatever audition, I feel like you're 429 00:22:19,400 --> 00:22:21,480 Speaker 1: wasting their time, you know. And it's like I can 430 00:22:21,480 --> 00:22:23,520 Speaker 1: see that that's kind of an interesting way to look 431 00:22:23,520 --> 00:22:26,360 Speaker 1: at it. Yeah, you do get that vibe sometimes totally. 432 00:22:26,920 --> 00:22:29,120 Speaker 1: I mean it's like they've got a problem. And then 433 00:22:29,119 --> 00:22:31,000 Speaker 1: I say, in an acting class, they're always like cool, 434 00:22:31,200 --> 00:22:33,080 Speaker 1: just act as if you're there to solve their problem. 435 00:22:33,080 --> 00:22:35,200 Speaker 1: It's like I can't do the mental gymnastics. It's hard. 436 00:22:35,600 --> 00:22:37,760 Speaker 1: So that's why voice acting is so freeing even in 437 00:22:37,800 --> 00:22:42,560 Speaker 1: the it's it's also so validating even in the process, 438 00:22:42,600 --> 00:22:45,000 Speaker 1: the audition process, it's it's like, you know what, I 439 00:22:45,000 --> 00:22:47,439 Speaker 1: did my best work, And I think when you take 440 00:22:47,520 --> 00:22:51,520 Speaker 1: out the stress of all that for me in particular, 441 00:22:52,080 --> 00:22:56,000 Speaker 1: I can give my best performance or a better performance 442 00:22:56,040 --> 00:22:59,520 Speaker 1: more consistently, or at least that's what I think. Um, oh, 443 00:22:59,640 --> 00:23:03,040 Speaker 1: you know what I think. Okay, trying to think. There 444 00:23:03,080 --> 00:23:05,400 Speaker 1: was only one time I did a voice acting audition 445 00:23:05,840 --> 00:23:09,200 Speaker 1: with the lady who is a big she casts for 446 00:23:09,280 --> 00:23:14,280 Speaker 1: all like the McFarland shows. Anyway, she she was very um, 447 00:23:14,320 --> 00:23:17,600 Speaker 1: she was very specific about me coming in and auditioning 448 00:23:17,640 --> 00:23:20,560 Speaker 1: for something, and she was really trying to help me, 449 00:23:21,040 --> 00:23:22,879 Speaker 1: but it almost seemed like she was almost trying to 450 00:23:22,920 --> 00:23:26,240 Speaker 1: reinvent my voice talent, and she was trying to kind 451 00:23:26,240 --> 00:23:30,080 Speaker 1: of really quote unquote dig deep into me becoming a 452 00:23:30,160 --> 00:23:32,840 Speaker 1: sort of a different voice or finding a voice inside 453 00:23:32,840 --> 00:23:36,439 Speaker 1: me bringing out. Now that being said, I appreciate that 454 00:23:36,480 --> 00:23:38,400 Speaker 1: she took the time to do that on a casting level, 455 00:23:38,440 --> 00:23:40,520 Speaker 1: But when you think about somebody who's trying to cast 456 00:23:40,640 --> 00:23:45,200 Speaker 1: versus somebody like Andrea Romano who's literally able to pull 457 00:23:45,320 --> 00:23:50,680 Speaker 1: something out of you, Because I don't know if it's 458 00:23:50,680 --> 00:23:53,639 Speaker 1: her philosophy about life. It's a different style. It's just 459 00:23:53,640 --> 00:23:55,600 Speaker 1: a different You get that with on camera actors too. 460 00:23:55,600 --> 00:23:58,000 Speaker 1: I mean you get some on camera directors, you know, 461 00:23:58,320 --> 00:24:02,240 Speaker 1: they just have different styles. And know George Lucas, who 462 00:24:02,280 --> 00:24:04,240 Speaker 1: does all the Star Wars movies and everything else, famously 463 00:24:04,320 --> 00:24:07,560 Speaker 1: does not like actors, has said if I could replace 464 00:24:07,640 --> 00:24:10,480 Speaker 1: all actors with robots, I would. So there's some people 465 00:24:10,520 --> 00:24:15,000 Speaker 1: that just they don't have the It's not even a talent, 466 00:24:15,040 --> 00:24:19,119 Speaker 1: it's just the the capacity to pull that out of 467 00:24:19,119 --> 00:24:23,239 Speaker 1: an actor. I mean there's certain I always use it is, 468 00:24:25,280 --> 00:24:26,840 Speaker 1: but it's also how you have to work with him. 469 00:24:26,840 --> 00:24:29,639 Speaker 1: I I use Arnold Schwartzenegger as an example. Like Arnold Schwartzenegger, 470 00:24:29,680 --> 00:24:31,879 Speaker 1: people are like, God, he's really not that great an actor. 471 00:24:31,920 --> 00:24:34,640 Speaker 1: But if you watch Arnold Schwartzenegger in a James Cameron movie, 472 00:24:34,680 --> 00:24:38,080 Speaker 1: he's awesome. So it's like, for some reason, James Cameron 473 00:24:38,119 --> 00:24:41,640 Speaker 1: can pull a performance out of Arnold Schwarzenegger. So there's 474 00:24:41,680 --> 00:24:44,320 Speaker 1: certain directors and certain actors that when they work together, 475 00:24:44,400 --> 00:24:47,320 Speaker 1: you're like, that's that's great chemistry, that works really well. 476 00:24:47,800 --> 00:24:51,960 Speaker 1: And Andrea has that, you know, Lisa Lisa Shaefer has that. 477 00:24:52,440 --> 00:24:55,960 Speaker 1: So I would argue Sam Regal has that Collette Sunderman 478 00:24:56,000 --> 00:24:58,080 Speaker 1: has that there are some people that you just when 479 00:24:58,119 --> 00:25:01,960 Speaker 1: you when you work with them, they are supportive and 480 00:25:02,080 --> 00:25:05,119 Speaker 1: they know you as an actor well enough to maybe 481 00:25:05,119 --> 00:25:07,280 Speaker 1: say what you need to hear, maybe say what you 482 00:25:07,320 --> 00:25:09,399 Speaker 1: don't need to hear, but need to hear, if that 483 00:25:09,480 --> 00:25:12,680 Speaker 1: makes any sense. Um, and they can they can get 484 00:25:12,720 --> 00:25:15,920 Speaker 1: what they need from you. Yeah, I'm still I'm still 485 00:25:16,000 --> 00:25:19,480 Speaker 1: dying to know, though, what you're bad. Show audition was 486 00:25:20,080 --> 00:25:23,679 Speaker 1: to have one, and actually both of them were theater. Okay, 487 00:25:23,760 --> 00:25:29,640 Speaker 1: so that's interesting. The first one was Westport Playhouse, right, 488 00:25:30,240 --> 00:25:33,840 Speaker 1: They in Connecticut where we're from. They have Shakespeare there 489 00:25:33,960 --> 00:25:36,040 Speaker 1: and they have they had Romeo and Juliet, and I 490 00:25:36,119 --> 00:25:39,720 Speaker 1: was so excited and I really tried to understand. I've 491 00:25:39,760 --> 00:25:43,960 Speaker 1: never done Shakespeare. I wasn't trained in this whole different beast, dude, 492 00:25:44,280 --> 00:25:47,960 Speaker 1: so hard to remember those lines. Oh yeah, Shakespeare. Yeah, 493 00:25:48,040 --> 00:25:49,719 Speaker 1: and I've been doing and I had done you know, 494 00:25:49,840 --> 00:25:52,760 Speaker 1: Broadway productions and theaters and stuff like I've done a 495 00:25:52,880 --> 00:25:55,800 Speaker 1: different thing. Yeah, I go, and I try so hard, 496 00:25:55,840 --> 00:25:57,800 Speaker 1: and just like you said about that one audition, I 497 00:25:57,880 --> 00:26:02,280 Speaker 1: stumbled through the entire Juliet. You know a balcony scene 498 00:26:02,320 --> 00:26:06,280 Speaker 1: and I literally light through window breaks. No, I can 499 00:26:06,320 --> 00:26:09,560 Speaker 1: see that's not English, that's not the East. And Juliet 500 00:26:09,600 --> 00:26:14,080 Speaker 1: has the sun arise fair Son, and you can do Shakespeare. 501 00:26:14,600 --> 00:26:16,639 Speaker 1: I can do that scene. I mean that's it. I 502 00:26:16,680 --> 00:26:19,440 Speaker 1: can't do Shakespeare at all. No, I can't. I cannot 503 00:26:19,480 --> 00:26:21,760 Speaker 1: do Shakespeare at all. And it is it is a 504 00:26:21,800 --> 00:26:24,960 Speaker 1: different language. I mean it's quite it's a different language. Yeah. 505 00:26:24,960 --> 00:26:27,520 Speaker 1: That I basically walked into another country and tried to 506 00:26:27,520 --> 00:26:30,480 Speaker 1: speak the language like I've been speaking it osionally. That's 507 00:26:30,480 --> 00:26:34,080 Speaker 1: a perfect way to that's a perfect analogy for Shakespeare. 508 00:26:34,119 --> 00:26:36,920 Speaker 1: It was devastating and also humbling. I think it was 509 00:26:37,000 --> 00:26:39,840 Speaker 1: really humbling, and it gave me so much more respect 510 00:26:39,880 --> 00:26:42,520 Speaker 1: for people because I think that I had thought as 511 00:26:42,560 --> 00:26:45,440 Speaker 1: a young performer, I must have been like sixteen seventeen. 512 00:26:45,680 --> 00:26:49,399 Speaker 1: It was before Disney, though, so maybe what's it before Disney? 513 00:26:49,560 --> 00:26:51,359 Speaker 1: I think it was about sixteen, and I was just 514 00:26:51,400 --> 00:26:53,320 Speaker 1: cocky and I was like, you know, I've done theater, 515 00:26:53,560 --> 00:26:55,480 Speaker 1: and then you go and you try and do the 516 00:26:55,520 --> 00:26:58,120 Speaker 1: Shakespeare thing and they're like, oh no, this is not 517 00:26:58,359 --> 00:27:01,640 Speaker 1: this is not the same. Totally different, totally different things. 518 00:27:01,960 --> 00:27:04,640 Speaker 1: And then I also was super humbled on my birthday 519 00:27:04,640 --> 00:27:08,639 Speaker 1: of all days, I know, happy birthday. There was this 520 00:27:08,720 --> 00:27:11,680 Speaker 1: play called Vanityes that was really popular and ended up 521 00:27:11,680 --> 00:27:15,040 Speaker 1: going I think, like the Broadway something like years ago. 522 00:27:15,119 --> 00:27:18,119 Speaker 1: I think I was turning like twenty four and it 523 00:27:18,200 --> 00:27:20,080 Speaker 1: was my birthday, and I hadn't really gone out for 524 00:27:20,119 --> 00:27:24,480 Speaker 1: a lot of musical theater auditions. Like just being in 525 00:27:24,600 --> 00:27:26,320 Speaker 1: l A, you don't get a ton of them, and 526 00:27:26,359 --> 00:27:28,359 Speaker 1: so I was like, Okay, this is a big deal. 527 00:27:28,440 --> 00:27:30,439 Speaker 1: They're out here in l A. I'm gonna go ahead 528 00:27:30,480 --> 00:27:33,480 Speaker 1: and I'm gonna I'm gonna go to the juice bar 529 00:27:33,560 --> 00:27:36,160 Speaker 1: and I'm gonna get like a special drink or whatever 530 00:27:36,200 --> 00:27:37,679 Speaker 1: and make sure my voice is all good while I 531 00:27:37,720 --> 00:27:41,520 Speaker 1: get this special drink. And it's my birthday, right, So 532 00:27:41,560 --> 00:27:44,000 Speaker 1: I'm like, okay, I'll get this drink. It'll just put 533 00:27:44,040 --> 00:27:45,840 Speaker 1: me in the mood to really like have energy and 534 00:27:45,840 --> 00:27:48,879 Speaker 1: I'll feel like clean. Well, it has cayenne pepper in it, 535 00:27:49,240 --> 00:27:53,080 Speaker 1: oh no, and some people, I think in terms of 536 00:27:53,119 --> 00:27:58,159 Speaker 1: their vocal like working, some people do really well with 537 00:27:58,240 --> 00:27:59,800 Speaker 1: kyenne pepper. But it has to be I think a 538 00:28:00,000 --> 00:28:02,240 Speaker 1: certain amount, and I think it has to be counterbalanced 539 00:28:02,560 --> 00:28:04,879 Speaker 1: in terms of the acidity or the you know, like 540 00:28:04,920 --> 00:28:07,879 Speaker 1: you have to have slippery elm mixed in with you know, 541 00:28:07,960 --> 00:28:10,560 Speaker 1: a throat coat or whatever with a little kayenne pepper. 542 00:28:10,600 --> 00:28:13,919 Speaker 1: Maybe because I think I had remembered there was a 543 00:28:14,040 --> 00:28:17,600 Speaker 1: really amazing singer on a show I did called Parade 544 00:28:17,760 --> 00:28:20,119 Speaker 1: on Broadway, and he had this throat coat that he 545 00:28:20,160 --> 00:28:22,160 Speaker 1: would mix with some kay and pepper, and I was like, oh, 546 00:28:22,320 --> 00:28:25,359 Speaker 1: kay and pepper will help. And it turns out that 547 00:28:25,400 --> 00:28:29,959 Speaker 1: it took my voice like completely away from me. I 548 00:28:30,000 --> 00:28:33,080 Speaker 1: tried to do my best and I just botched that 549 00:28:33,119 --> 00:28:36,440 Speaker 1: whole audition. I botched the music. I botched music I prepared, 550 00:28:36,800 --> 00:28:39,280 Speaker 1: I forgot the words. It was like just such a 551 00:28:39,320 --> 00:28:43,080 Speaker 1: cluster f and um. And I think, I don't know. 552 00:28:43,160 --> 00:28:48,440 Speaker 1: I think maybe in retrospect it humbles you and in 553 00:28:48,560 --> 00:28:51,920 Speaker 1: terms of being an artist, and I think there's something 554 00:28:52,000 --> 00:28:56,960 Speaker 1: to be said for you know, being an artist is 555 00:28:57,000 --> 00:29:02,720 Speaker 1: a very like um, it's not the best. You are 556 00:29:02,800 --> 00:29:05,920 Speaker 1: tortured in one way or another. Yeah, again, it depends. 557 00:29:07,760 --> 00:29:09,960 Speaker 1: There's obviously certain things in my career that I look 558 00:29:10,000 --> 00:29:12,040 Speaker 1: back at and would do differently and everything, But to me, 559 00:29:12,120 --> 00:29:14,800 Speaker 1: being an artist is the best. I love it. Um, 560 00:29:14,880 --> 00:29:17,360 Speaker 1: even the horrible parts of it I love, but I 561 00:29:17,400 --> 00:29:20,560 Speaker 1: have to imagine that's life, you know, it's it's there's 562 00:29:20,760 --> 00:29:23,440 Speaker 1: there's good and bad and everything you do. Um. I 563 00:29:23,480 --> 00:29:27,560 Speaker 1: always joked about never wanting children. I'm guessing since so 564 00:29:27,600 --> 00:29:29,640 Speaker 1: many people are doing it, there's good parts in that 565 00:29:29,680 --> 00:29:33,239 Speaker 1: as well. UM. I don't know what they are, but 566 00:29:33,280 --> 00:29:36,840 Speaker 1: they're they're they're probably there. Uh So, I mean I 567 00:29:36,880 --> 00:29:39,360 Speaker 1: think you know, it's one of those things where I 568 00:29:39,880 --> 00:29:42,800 Speaker 1: was never see It's so funny because I never considered 569 00:29:42,840 --> 00:29:45,920 Speaker 1: myself an actor, if that sounds strange, but I didn't. 570 00:29:45,920 --> 00:29:49,760 Speaker 1: I always consider myself an entertainer because I like to 571 00:29:49,920 --> 00:29:52,920 Speaker 1: entertain people. The idea that I'm going to go off 572 00:29:52,960 --> 00:29:55,320 Speaker 1: and my goal is to go star in some movie 573 00:29:55,320 --> 00:29:57,360 Speaker 1: to try to win an Academy Award. That ain't never 574 00:29:57,400 --> 00:29:59,720 Speaker 1: gonna happen, nor was it ever gonna happen, nor was 575 00:29:59,760 --> 00:30:02,960 Speaker 1: that every my goal. I don't have those skills to 576 00:30:03,040 --> 00:30:05,320 Speaker 1: go in Wow, like you say Shakespeare, I don't have 577 00:30:05,480 --> 00:30:09,400 Speaker 1: I can do Shakespeare. That's not your calling. It's a 578 00:30:09,520 --> 00:30:13,600 Speaker 1: whole different interesting um. And I can't wait for you 579 00:30:13,640 --> 00:30:16,440 Speaker 1: to hear the Steve Steve Bloom interview about how he 580 00:30:16,520 --> 00:30:20,480 Speaker 1: got started and his first job he literally worked went 581 00:30:20,560 --> 00:30:23,360 Speaker 1: from a mail room and he worked did this voiceover 582 00:30:23,440 --> 00:30:27,320 Speaker 1: job for a friend of his, making sounds for pizza. 583 00:30:27,640 --> 00:30:30,280 Speaker 1: That's what he got paid. He got paid pizza to 584 00:30:30,360 --> 00:30:34,800 Speaker 1: go to go to do his first job ever. Yeah, 585 00:30:34,880 --> 00:30:37,320 Speaker 1: so it's uh, you know, it's in some good pizza. 586 00:30:37,600 --> 00:30:40,920 Speaker 1: You don't know where where people can start or what 587 00:30:40,960 --> 00:30:43,760 Speaker 1: they can do. But but then it's interesting, like when 588 00:30:43,760 --> 00:30:46,320 Speaker 1: you say, like, in terms of what your goal was, 589 00:30:46,400 --> 00:30:49,720 Speaker 1: your calling, so to speak, like you knew you had 590 00:30:49,760 --> 00:30:54,440 Speaker 1: a relationship to your art form in a very intimate way. 591 00:30:55,320 --> 00:30:59,120 Speaker 1: My art form consisted of until I really learned how 592 00:30:59,160 --> 00:31:03,240 Speaker 1: to how to make people laugh the right way. My 593 00:31:03,480 --> 00:31:05,800 Speaker 1: art form as a kid consisted of walking to a 594 00:31:05,880 --> 00:31:09,760 Speaker 1: room and essentially yelling everyone look at me. That was 595 00:31:09,840 --> 00:31:11,440 Speaker 1: that was my art form. I wanted to be the 596 00:31:11,440 --> 00:31:13,760 Speaker 1: center of attention. I wanted to make people laugh. I 597 00:31:13,760 --> 00:31:15,600 Speaker 1: wanted to use the comedy I saw on TV and 598 00:31:15,600 --> 00:31:18,320 Speaker 1: the Michael J. Fox's timing and al and all this timing. 599 00:31:18,640 --> 00:31:20,760 Speaker 1: That was until I until I really got on the 600 00:31:20,760 --> 00:31:23,720 Speaker 1: set of Boy Means World and had an opportunity to 601 00:31:23,800 --> 00:31:27,840 Speaker 1: work at the craft every week, and to find out 602 00:31:27,920 --> 00:31:30,360 Speaker 1: that it was a you know, it was comedy as 603 00:31:30,360 --> 00:31:33,280 Speaker 1: a song, and and so the second I started to 604 00:31:33,320 --> 00:31:35,240 Speaker 1: hear it and not only could play on beat, but 605 00:31:35,360 --> 00:31:37,920 Speaker 1: play off beat, that's when I was like, oh, I 606 00:31:37,960 --> 00:31:40,680 Speaker 1: get this now, But that took me years. I was 607 00:31:41,080 --> 00:31:44,200 Speaker 1: twenty by the time I figured that out. Um so, 608 00:31:44,480 --> 00:31:46,520 Speaker 1: uh yeah, it's and then and then there's a whole 609 00:31:46,520 --> 00:31:48,280 Speaker 1: different song with voiceover to bring it back to video, 610 00:31:48,320 --> 00:31:50,760 Speaker 1: there's a whole different song with vo And you see 611 00:31:50,760 --> 00:31:53,520 Speaker 1: people you stand next to, men and women that hear 612 00:31:53,640 --> 00:31:57,520 Speaker 1: the song louder than you do, can interpret it better 613 00:31:57,560 --> 00:31:59,960 Speaker 1: than you do, can play it better than you I mean, 614 00:32:00,040 --> 00:32:04,160 Speaker 1: it's just if you're in any talent business, talent related business, 615 00:32:04,520 --> 00:32:06,760 Speaker 1: there will always come a time where you're standing between 616 00:32:06,800 --> 00:32:08,720 Speaker 1: two people who are better at whatever you're doing the 617 00:32:10,280 --> 00:32:13,040 Speaker 1: way it is. But I guess that's what you do 618 00:32:13,160 --> 00:32:16,320 Speaker 1: with that humility, Like it seems like you had the 619 00:32:16,400 --> 00:32:19,800 Speaker 1: stick tutiveness, especially having been contracted to continue to show 620 00:32:19,880 --> 00:32:21,560 Speaker 1: up and be on that show that you had to 621 00:32:21,600 --> 00:32:24,600 Speaker 1: fill upwards. Oh yeah, well, I'm I just loved it. 622 00:32:25,040 --> 00:32:27,800 Speaker 1: And it's to me, I never saw it as failing, 623 00:32:27,920 --> 00:32:30,440 Speaker 1: even though it was. I mean, you know, you you 624 00:32:30,800 --> 00:32:33,000 Speaker 1: every we always talk about how in this industry you're 625 00:32:33,120 --> 00:32:35,520 Speaker 1: you're you say no with everyone says no a thousand 626 00:32:35,520 --> 00:32:38,840 Speaker 1: times before you hear yes. Um it was you know, 627 00:32:38,880 --> 00:32:40,520 Speaker 1: there was a I've talked about this kid. His name 628 00:32:40,520 --> 00:32:44,600 Speaker 1: was Mike Moran. He was like my my commercial nemesis 629 00:32:44,680 --> 00:32:46,880 Speaker 1: when I was growing up, because he booked every single 630 00:32:46,880 --> 00:32:49,120 Speaker 1: commercial in New York named it, and this kid booked it. 631 00:32:49,320 --> 00:32:51,320 Speaker 1: And I'd walk in and I'd see Mike Moran and 632 00:32:51,320 --> 00:32:52,920 Speaker 1: I'd be like, well, there's no point in me staying 633 00:32:52,920 --> 00:32:56,560 Speaker 1: here anymore. He's gonna be I have not. Oh my god, 634 00:32:56,640 --> 00:32:58,800 Speaker 1: I love doing that sometimes where I'm like, where are 635 00:32:58,840 --> 00:33:01,800 Speaker 1: they now? Where are the people that I grew up now? 636 00:33:01,840 --> 00:33:04,160 Speaker 1: I want to look at Mike Moran? What what what 637 00:33:04,320 --> 00:33:06,680 Speaker 1: state was he in? Well? This was in New York 638 00:33:06,720 --> 00:33:08,120 Speaker 1: at the time. I don't know where he was from, 639 00:33:08,120 --> 00:33:10,719 Speaker 1: but he booked Were you guys like friendly? Did you 640 00:33:10,800 --> 00:33:12,400 Speaker 1: just have ye? It was always kind of like the hey, 641 00:33:12,400 --> 00:33:15,120 Speaker 1: how you doing thing? But he was always booking like 642 00:33:15,200 --> 00:33:19,200 Speaker 1: he got the big Michael Jordan's coke commercials, Like Mike 643 00:33:19,440 --> 00:33:22,240 Speaker 1: signed in on the chart. Yes, You'd see the signing 644 00:33:22,280 --> 00:33:27,000 Speaker 1: sheet and be like, oh, Mike Moran, I'm twelve years old. 645 00:33:27,040 --> 00:33:30,120 Speaker 1: How do I have a nemesis already? But it was 646 00:33:30,480 --> 00:33:33,360 Speaker 1: so funny. A sheet or not a signing sheet is 647 00:33:33,400 --> 00:33:35,400 Speaker 1: what you do when you walk in and I was 648 00:33:35,480 --> 00:33:37,440 Speaker 1: just a sheet that you have to sign in your 649 00:33:37,520 --> 00:33:43,600 Speaker 1: name agent, and you look at you do you look 650 00:33:43,640 --> 00:33:45,280 Speaker 1: at everybody else, and you have to keep in mind 651 00:33:45,280 --> 00:33:46,720 Speaker 1: for a lot of the stuff I was auditioning for 652 00:33:46,840 --> 00:33:49,600 Speaker 1: back in the late eighties early nineties in New York. 653 00:33:49,640 --> 00:33:53,920 Speaker 1: The names on the list were Leonardo DiCaprio, maybe McGuire. 654 00:33:54,520 --> 00:33:57,600 Speaker 1: It was that whole crew really, so you saw them 655 00:33:57,640 --> 00:34:01,280 Speaker 1: in the I didn't know that. Of course, these were 656 00:34:01,280 --> 00:34:03,360 Speaker 1: all you know, we were all auditioning for all the 657 00:34:03,400 --> 00:34:06,800 Speaker 1: same thing, the same age. Yeah, I don't know. I 658 00:34:06,800 --> 00:34:08,480 Speaker 1: don't know Leo at all. I'm not sure I've ever 659 00:34:08,960 --> 00:34:11,279 Speaker 1: other than hey, what's up. I don't never shook the 660 00:34:11,320 --> 00:34:14,200 Speaker 1: man's hand or set, you know, been in the same 661 00:34:14,280 --> 00:34:18,120 Speaker 1: room with you know, oh, sure of that same kind 662 00:34:18,120 --> 00:34:22,400 Speaker 1: of crew. So weird, wacky world. So we would be 663 00:34:22,440 --> 00:34:25,480 Speaker 1: remiss though, Christie if we because unfortunately we've got this. 664 00:34:25,480 --> 00:34:28,919 Speaker 1: This episode is not gonna be very long, um, but 665 00:34:29,160 --> 00:34:32,359 Speaker 1: we need to talk about some very important things. Oh yeah, 666 00:34:33,239 --> 00:34:35,680 Speaker 1: we have someday we'll have to talk about, like how 667 00:34:35,680 --> 00:34:37,480 Speaker 1: we got Kim and Ron and all we'll get. We're 668 00:34:37,480 --> 00:34:39,839 Speaker 1: gonna do an entire episode about Kim and Ron. That's 669 00:34:39,840 --> 00:34:42,600 Speaker 1: another one we're gonna do. But but when you know 670 00:34:42,680 --> 00:34:44,200 Speaker 1: we're you know when we're gonna do that. We're gonna 671 00:34:44,239 --> 00:34:46,160 Speaker 1: do that. We're gonna do an episode. We're gonna bring 672 00:34:46,200 --> 00:34:49,520 Speaker 1: on as many people from Kim Possible as possible, and 673 00:34:49,520 --> 00:34:51,879 Speaker 1: we're gonna all talk about Kim Possible, so everyone will 674 00:34:51,920 --> 00:35:03,120 Speaker 1: be here. Yeah, we'd like to talk about the super 675 00:35:03,160 --> 00:35:06,080 Speaker 1: awesome contest to become the next big voice over actor 676 00:35:06,120 --> 00:35:08,680 Speaker 1: because we're still, as you must imagine, figuring out all 677 00:35:08,719 --> 00:35:12,760 Speaker 1: the legal stuff because um, there's so many moving parts. 678 00:35:13,000 --> 00:35:15,520 Speaker 1: You say, why is it so legal, Well, it's legal 679 00:35:15,560 --> 00:35:18,640 Speaker 1: because there's so many things you're gonna win. We've talked about. 680 00:35:18,680 --> 00:35:20,760 Speaker 1: You get flown out to Los Angeles, you're having lunch 681 00:35:20,800 --> 00:35:23,520 Speaker 1: with us, you win a thousand dollars, you're recording stuff 682 00:35:23,560 --> 00:35:26,680 Speaker 1: for I hear voices, you win And this is just 683 00:35:26,840 --> 00:35:30,040 Speaker 1: the most insane thing in the world. A one year contract. 684 00:35:30,400 --> 00:35:32,400 Speaker 1: And any time I talked to another voice over actor 685 00:35:32,400 --> 00:35:33,960 Speaker 1: and I tell them that that's one of the prizes. 686 00:35:34,040 --> 00:35:40,040 Speaker 1: They freak out, are you kidding me? You are giving 687 00:35:40,080 --> 00:35:44,520 Speaker 1: away uh one year contract with a voiceover agency. Getting 688 00:35:44,520 --> 00:35:48,120 Speaker 1: an agent in Hollywood is the most difficult thing to 689 00:35:48,239 --> 00:35:51,960 Speaker 1: do in any part of the business. Look, I want 690 00:35:51,960 --> 00:35:54,120 Speaker 1: to call it a big break, but Will doesn't want 691 00:35:54,120 --> 00:35:56,399 Speaker 1: to call it a big break. It's because it's it's 692 00:35:56,440 --> 00:35:59,360 Speaker 1: a possibility of your big break, because you've got to 693 00:35:59,400 --> 00:36:01,279 Speaker 1: still make your break. We can, that's sure, but he 694 00:36:01,360 --> 00:36:03,480 Speaker 1: can't give you your big break. You've got to earn 695 00:36:03,520 --> 00:36:05,399 Speaker 1: your big break. There's no such thing as a big break. 696 00:36:05,480 --> 00:36:09,799 Speaker 1: But if there were, we are you. You're gonna earn 697 00:36:09,880 --> 00:36:11,759 Speaker 1: your your stripes. But we're going to open the door. 698 00:36:11,800 --> 00:36:13,560 Speaker 1: That's how I look, and I think I'm doing. The 699 00:36:13,560 --> 00:36:19,000 Speaker 1: contest is part part of the earning. Absolutely absolutely, it's 700 00:36:19,040 --> 00:36:23,440 Speaker 1: going to be so much fun. But until then, as 701 00:36:23,480 --> 00:36:25,359 Speaker 1: Christie was saying, first of all, I think I can 702 00:36:25,360 --> 00:36:27,399 Speaker 1: speak for everybody in the audience Christie when I say 703 00:36:27,520 --> 00:36:32,560 Speaker 1: feel better. Um, you are a super mom and super 704 00:36:32,600 --> 00:36:34,640 Speaker 1: wife and you had everything going on and so you 705 00:36:34,680 --> 00:36:36,640 Speaker 1: still you did it all while being sick. But now 706 00:36:36,680 --> 00:36:38,000 Speaker 1: you need to take care of yourself a little bit 707 00:36:38,000 --> 00:36:40,239 Speaker 1: because we've got big things happening, you know, so you 708 00:36:40,320 --> 00:36:42,960 Speaker 1: gotta you gotta take care of your health. I'm bouncing 709 00:36:43,000 --> 00:36:46,319 Speaker 1: back and we're gonna. We're gonna. We're gonna find a star. 710 00:36:46,560 --> 00:36:48,400 Speaker 1: We're gonna find we are, we are. We're going to 711 00:36:48,480 --> 00:36:51,799 Speaker 1: find the next big voice actor. We really are. We were. 712 00:36:51,880 --> 00:36:54,080 Speaker 1: We are not looking for a contest winner. We are 713 00:36:54,120 --> 00:36:56,359 Speaker 1: looking for a colleague. So that is what we are 714 00:36:56,360 --> 00:37:00,400 Speaker 1: out there trying to find and we will So until then, 715 00:37:00,960 --> 00:37:03,560 Speaker 1: if you think you have what it takes to step 716 00:37:03,640 --> 00:37:05,799 Speaker 1: up to the microphone, then put your voices where your 717 00:37:05,840 --> 00:37:09,240 Speaker 1: mouth is. It's coming people, get ready. I Hear Voices 718 00:37:09,280 --> 00:37:11,920 Speaker 1: as hosted by Wilfred l and Christy Carlson Romano. Executive 719 00:37:11,920 --> 00:37:15,200 Speaker 1: produced by Wilfredel, Brendan Rooney, Amy Sugarman and Vicky Ernst Chang. 720 00:37:15,400 --> 00:37:17,880 Speaker 1: Our executive in charge of production is Danielle Romo. Our 721 00:37:17,920 --> 00:37:20,680 Speaker 1: producer is Lorraine Vera Weez and our editor slash engineer 722 00:37:20,760 --> 00:37:24,560 Speaker 1: is Brian Burton. And that was my announcer voice. Some 723 00:37:24,560 --> 00:37:26,640 Speaker 1: side effects of listening to I Hear Voices are sore 724 00:37:26,680 --> 00:37:29,399 Speaker 1: abs from hilarity falling down the Coco melon rabbit hole, 725 00:37:29,520 --> 00:37:32,359 Speaker 1: sneezing due to mass nostalgia and hugs. Follow I Hear 726 00:37:32,440 --> 00:37:34,359 Speaker 1: Voices wherever you listen to podcasts so you don't miss 727 00:37:34,400 --> 00:37:36,640 Speaker 1: any of the amazing voices. Be sure to follow us 728 00:37:36,640 --> 00:37:39,360 Speaker 1: on Instagram and TikTok at I Hear Voices podcast. You 729 00:37:39,360 --> 00:37:41,800 Speaker 1: can also check us out on my space omeigal Vine, 730 00:37:41,880 --> 00:37:44,439 Speaker 1: lime Wire. Hey I'm a napster. Okay, well let's teach 731 00:37:44,440 --> 00:37:45,760 Speaker 1: you about the Internet, the who