WEBVTT - The Voice of…Will & Christy 0:00:00.040 --> 0:00:04.720 Hey Christy, Oh hi Will, how are you? I feel 0:00:04.920 --> 0:00:09.320 like a hot pile of garbage. Oh that's great, Well, 0:00:09.480 --> 0:00:11.959 if it makes you feel any better. You look like 0:00:12.000 --> 0:00:14.760 a hot pile of garbage. I mean kidding you. Look, 0:00:15.000 --> 0:00:17.599 I've never seen you not look amazing. You look awesome 0:00:17.680 --> 0:00:20.560 even now you're sick, aren't you? I am? I am 0:00:20.640 --> 0:00:24.759 so basically I had you know, I stayed behind, which 0:00:24.800 --> 0:00:26.880 we should definitely talk about because we haven't touched base 0:00:26.920 --> 0:00:30.319 on how San Francisco went um, and we're such a 0:00:30.320 --> 0:00:32.720 tag team that I don't know how do you survive 0:00:32.800 --> 0:00:36.320 without me? I barely did? Everyone used you so much? No, really, 0:00:36.360 --> 0:00:38.960 you have no idea how. The fans were really bummed 0:00:39.000 --> 0:00:41.960 you weren't there, and we're so looking forward to it 0:00:42.080 --> 0:00:43.920 and really wanted to see you. So, not to make 0:00:44.000 --> 0:00:46.840 you feel guilty, but you ruined lots of people's lives 0:00:47.040 --> 0:00:49.879 more garbage on top of garbage, just throwing garbage on 0:00:49.920 --> 0:00:54.040 a dumpster fire. Everybody understood. Everybody, of course understood. That's 0:00:54.040 --> 0:00:55.640 what you do when you have, you know, little kids 0:00:55.640 --> 0:00:57.560 and family and everything going on around you. I totally 0:00:57.640 --> 0:00:59.720 understand that. But there were people were bummed. You couldn't 0:00:59.760 --> 0:01:02.040 be there. Yeah, people were bumping, but tell so, tell me. 0:01:02.120 --> 0:01:04.600 Let's review. So you went to San Francisco. I went 0:01:04.640 --> 0:01:07.839 to fan Expo San Francisco, which was the first year convention. 0:01:07.880 --> 0:01:10.040 And sometimes first year conventions are hit or miss. You know, 0:01:10.080 --> 0:01:12.800 they're trying to find their audience. Sometimes it was great. 0:01:13.920 --> 0:01:16.920 The people were so I mean, like every convention we've 0:01:16.920 --> 0:01:21.000 been to, the people were incredibly friendly, um so accepting 0:01:21.000 --> 0:01:23.160 and loving. I've always said I wish the entire world 0:01:23.200 --> 0:01:25.920 could be like a convention. I recorded an episode with 0:01:25.920 --> 0:01:31.000 Steeve Blue. It was so much fun. We had the live, 0:01:31.080 --> 0:01:34.039 a giant live podcast room. It was, i would say, 0:01:34.120 --> 0:01:39.119 by the end full once again, the audience stepped up, 0:01:39.240 --> 0:01:43.000 Joe Wos drawing for us live, everybody doing the voices. 0:01:43.800 --> 0:01:46.200 It was We had I'm not gonna say who, but 0:01:46.280 --> 0:01:48.480 a very special voice over guest who popped in in 0:01:48.520 --> 0:01:52.080 the audience who then jumped in line. Uh, we had. 0:01:52.240 --> 0:01:55.840 It was a ridiculous amount of fun. Not to make 0:01:55.960 --> 0:01:58.520 pile even more hot garbage on top of your hot garbage, 0:01:58.520 --> 0:02:00.880 but I'm just happy for the It was great, No, 0:02:01.000 --> 0:02:03.120 it was great. It went and we we we gave 0:02:03.160 --> 0:02:05.280 you several shoutouts in that we were mean to you 0:02:05.320 --> 0:02:08.160 saying we were glad you weren't there. I'm sure I 0:02:08.160 --> 0:02:10.120 can't expect that that's what happens if you don't know, 0:02:10.919 --> 0:02:13.239 we missed you a ton, but it was, it was 0:02:14.040 --> 0:02:17.280 don't we'll figure we'll figure out. We always do your 0:02:17.360 --> 0:02:19.440 you know, it's it's it's not a problem, but we 0:02:19.639 --> 0:02:22.200 um it was. It was really a lot of fun. 0:02:22.200 --> 0:02:24.560 It really, that's really but that's seriously, that's so good. 0:02:24.760 --> 0:02:26.960 It's it's really like we're in this place right now 0:02:26.960 --> 0:02:28.600 with our podcast here that we're trying to get the 0:02:28.639 --> 0:02:30.880 word out. And so you know, I don't know if 0:02:30.880 --> 0:02:35.520 you've been an avid listener. If you have, you are, yes, 0:02:36.040 --> 0:02:39.680 you're ting. And if they're avid listeners out there that 0:02:39.800 --> 0:02:43.400 do want to like you know, promoted and throw up 0:02:43.400 --> 0:02:46.440 a hashtag and at and get the word out. I mean, 0:02:46.480 --> 0:02:49.240 we really appreciate that. I appreciate a good review right 0:02:49.360 --> 0:02:52.160 like on Apple or wherever. But it was no, I mean, 0:02:52.160 --> 0:02:54.560 the whole thing was nuts. For instance, and you'll hear 0:02:54.600 --> 0:02:57.640 this in the interview, but Steve Bloom holds four Guinness 0:02:57.639 --> 0:03:01.720 Book of World Records when it comes to sober what. Yeah, 0:03:02.080 --> 0:03:05.119 and he didn't know three of them really. Oh yeah, 0:03:06.400 --> 0:03:08.320 because his man, no, I did my work. But then 0:03:08.480 --> 0:03:09.880 his manager also came up was like, you know he 0:03:09.880 --> 0:03:12.760 holds it was like most times ever playing Wolverine in 0:03:12.760 --> 0:03:15.760 in video games and blah blah blah. Most prolific voice actor. 0:03:15.880 --> 0:03:19.000 He's done something like six voiceover roles. I mean it's 0:03:19.040 --> 0:03:22.160 it's insane. Yeah, So he held all these kinds he 0:03:22.240 --> 0:03:24.520 was And of course I've also known him for fifteen 0:03:24.600 --> 0:03:27.399 twenty years and he's my D and D buddy. So um. 0:03:27.440 --> 0:03:32.320 And his real life wife is my D and D wife. 0:03:31.280 --> 0:03:38.000 But our characters on Critical Role are married and have kids. 0:03:38.080 --> 0:03:41.920 Um so uh. But he married her in real life 0:03:42.440 --> 0:03:45.280 as a as a woman, a beautiful woman. I married 0:03:45.280 --> 0:03:48.160 her on D n D as a tie fling um, 0:03:48.320 --> 0:03:58.720 which is a lf for something Christine. Okay, I don't know. 0:03:59.080 --> 0:04:01.880 You have to do when you see that, look, you 0:04:01.880 --> 0:04:03.920 know what? I am in love with Critical Role and 0:04:03.960 --> 0:04:07.600 what they're doing. I actually, um, I've known Sam Recal 0:04:07.720 --> 0:04:11.520 like my whole life, and his sister Eden that we 0:04:11.800 --> 0:04:14.800 she was my Spanish tutor and Sam was like always 0:04:14.840 --> 0:04:18.919 this like really cool older brother type. And Sam Recal 0:04:18.960 --> 0:04:21.960 doesn't have that. He totally does. I mean, he went 0:04:22.000 --> 0:04:24.200 to Harvard and he was such a smart guy and 0:04:24.279 --> 0:04:27.960 just such a good person, always always, always, always, and 0:04:28.000 --> 0:04:30.760 it's so great to see him. Like literally we're talking 0:04:30.760 --> 0:04:33.360 about a guy who was like I went to Harvard, 0:04:33.400 --> 0:04:37.039 like I said, really wonderful son, really wonderful brother. And 0:04:37.080 --> 0:04:39.560 then on top of that, he was like in the 0:04:39.600 --> 0:04:42.880 Acapella cup like group at Harvard and they were like 0:04:43.040 --> 0:04:45.200 really they were like almost famous, they were so good. 0:04:45.600 --> 0:04:47.640 So it's so weird to me that Sam's got this 0:04:48.000 --> 0:04:51.200 whole new life as not that, but he's not just 0:04:51.560 --> 0:04:54.840 the role, but he's an incredible voiceover director. That's I 0:04:54.880 --> 0:04:57.040 was saying, like it's that was what was really strange 0:04:57.080 --> 0:04:58.839 to me that I just bumped into him and I'm like, 0:04:58.880 --> 0:05:01.760 this is really weird. He's a director. I saw him 0:05:01.920 --> 0:05:05.560 at the studios, not l A studios, but those other 0:05:05.600 --> 0:05:11.360 studios that they're using now Magnolia. Which ones are the 0:05:11.600 --> 0:05:14.360 that is it called Magnolia. There's some that are Magnolia Studios, 0:05:14.360 --> 0:05:16.160 there's some that are Bang Zoom, there's some that Outlook. 0:05:16.800 --> 0:05:19.800 But there's there's you know, there's probably seven or eight 0:05:19.800 --> 0:05:23.280 that you go to mostly ye know, it's usually you'll 0:05:23.320 --> 0:05:25.520 get it's like you're going to Out Loud or you're 0:05:25.520 --> 0:05:27.719 going to Magnolia, or you're going to Bang Zoom or 0:05:27.720 --> 0:05:31.000 you're going and it's like, um, yeah, after a while, 0:05:31.080 --> 0:05:33.119 you're kind of like at the same five or six. 0:05:33.680 --> 0:05:35.960 But there's hundreds, you know, there's it's always and then 0:05:36.080 --> 0:05:38.080 you'll always hear you'll do some project that you don't 0:05:38.080 --> 0:05:39.320 know about it, and it's like you end up in 0:05:39.360 --> 0:05:44.080 somebody's kind of garage and you're like, this is certainly interesting. 0:05:44.839 --> 0:05:47.840 Um but no, it's yeah, the whole thing they're doing 0:05:47.839 --> 0:05:50.320 over there, critical role and and everything that's going on. 0:05:50.920 --> 0:05:54.200 Um but no, we're it was fun. It was fun. 0:05:54.240 --> 0:05:57.839 We miss We certainly missed you. The fans certainly missed you. Um, 0:05:57.880 --> 0:06:00.000 but we had a blast. But so here's the thing 0:06:00.120 --> 0:06:01.680 we wanted to talk about a little bit on this 0:06:01.880 --> 0:06:04.800 very special episode of I Hear Voices, not like a 0:06:04.880 --> 0:06:07.719 very special episode of Different Strokes, but a very special 0:06:07.720 --> 0:06:10.280 episode of I Hear Voices, um where for the first 0:06:10.279 --> 0:06:13.039 time we realized Christine and I have never really talked 0:06:13.040 --> 0:06:17.080 to each other about our voiceover gigs. If you don't mind, 0:06:17.120 --> 0:06:21.080 I'd like to start Christie with the spotlight pointed at you. 0:06:21.279 --> 0:06:25.760 Oh man, Okay, sure, that's cool. We'll do we'll we'll 0:06:25.800 --> 0:06:27.680 be we know each other well, enough will be brief 0:06:27.760 --> 0:06:30.480 for both of us. This will be well, those are plants. 0:06:30.480 --> 0:06:32.960 Your plants are going well, he made he makes fun 0:06:32.960 --> 0:06:35.479 of me because we do zooms as well here and 0:06:35.560 --> 0:06:38.400 so I I usually I've moved into a new house, 0:06:38.400 --> 0:06:40.120 and I didn't have any pictures on the wall, and 0:06:40.160 --> 0:06:42.000 then I put pictures on the wall one week and 0:06:42.000 --> 0:06:44.599 then I literally put this tree behind me. It's this 0:06:44.680 --> 0:06:49.080 fake ficus tree and um hashtag fake ficus and now 0:06:49.080 --> 0:06:51.919 I'm getting my head caught in it as an attempt 0:06:52.040 --> 0:06:54.280 to make it home. It's good because when you first 0:06:54.440 --> 0:06:56.200 the first time you recorded in there, it looked like 0:06:56.240 --> 0:06:58.159 you're being held against your will. So this is and 0:06:58.200 --> 0:07:01.440 I don't even have the light on anymore. Got anyway, 0:07:01.480 --> 0:07:04.760 we're good. I think we're good. So Christy Carlson Romano, 0:07:05.520 --> 0:07:09.400 I'm very curious what was the first voiceover gig you 0:07:09.480 --> 0:07:11.440 ever did, and how did you get into the world 0:07:11.440 --> 0:07:15.400 a voice over? Interestingly enough, I started doing voice acting 0:07:15.480 --> 0:07:18.800 when I was very young. Um, I have still to 0:07:18.880 --> 0:07:21.160 this day, I have a recording of me doing my 0:07:21.240 --> 0:07:26.000 first audio book when I was about twelve. Wow, do 0:07:26.080 --> 0:07:28.440 you remember the book? What was the book? M I 0:07:28.520 --> 0:07:33.560 think it was Junie B. Jones Um And I think 0:07:33.560 --> 0:07:37.040 it's like, I think it's like a children's like it 0:07:37.160 --> 0:07:39.960 was some sort of a children's history anthology. And I 0:07:40.000 --> 0:07:43.760 remember a lot about that experience because I had done 0:07:43.800 --> 0:07:45.480 a lot of theater, and I had done a lot 0:07:45.520 --> 0:07:49.480 of even some independent films and stuff like that, twelve thirteen, 0:07:50.080 --> 0:07:53.960 but being caught in sort of this little room, this 0:07:54.120 --> 0:07:58.880 padded room, where it's so quiet and it's so calm. Yeah, 0:07:59.000 --> 0:08:04.080 isn't it wonderful? It was a really interesting experience and introduction. 0:08:04.720 --> 0:08:07.000 And then like you you're very you know, when you're 0:08:07.040 --> 0:08:08.720 a little performer, like you've got a lot of energy, 0:08:08.720 --> 0:08:10.680 you've got a lot of thoughts, and then, like you said, 0:08:10.720 --> 0:08:14.360 you're put into a room and your task with reading 0:08:14.680 --> 0:08:17.040 an entire book. Now, mind you. I guess I was 0:08:17.080 --> 0:08:19.280 a pretty good reader to be like twelve and doing 0:08:19.360 --> 0:08:21.680 like you know, sure, but it was I don't think 0:08:21.680 --> 0:08:24.440 it was advanced enough. And I had been reading scripts 0:08:24.480 --> 0:08:26.760 my whole life since you know, I was like seven 0:08:26.840 --> 0:08:29.840 or so. So I think that I think about my 0:08:29.920 --> 0:08:32.080 kids and she's just about to turn six, and I'm like, 0:08:32.120 --> 0:08:36.800 we're not there yet. She couldn't possibly she's not reading really, Um, 0:08:36.840 --> 0:08:39.120 so yeah, I think, um, you know, twelve is a 0:08:39.160 --> 0:08:41.080 really good age. I think as a as an early 0:08:41.120 --> 0:08:46.200 introduction to even something as simple as, you know, some 0:08:46.320 --> 0:08:51.199 sort of small book reading experience or I here's the thing. 0:08:51.400 --> 0:08:53.920 So when people ask me about like, okay on camera, 0:08:53.920 --> 0:08:55.280 are you gonna put your kids in the business and 0:08:55.280 --> 0:08:58.080 all that stuff, obviously it's a complex issue. But at 0:08:58.120 --> 0:09:00.600 the same time, I think when it comes to voice acting, 0:09:00.640 --> 0:09:03.240 and we've talked about this in the past, the voiceover 0:09:03.280 --> 0:09:09.720 community is so positive and it's very very sweet. Like 0:09:09.800 --> 0:09:12.880 I remember Tim Ditlow, I'm going to say a specific name. 0:09:13.360 --> 0:09:18.240 He was the head of Random House Books on tape 0:09:18.720 --> 0:09:23.080 and they had just started to emerge as a sort 0:09:23.120 --> 0:09:27.439 of force for audio books. Audiobooks started to become something real. 0:09:28.080 --> 0:09:30.440 And so you know, we're going back how many years, 0:09:30.440 --> 0:09:34.240 I'm thirty eight, you know, Um, And so this was new, 0:09:34.600 --> 0:09:37.560 you know, this was kind of a new technology. The 0:09:37.640 --> 0:09:41.640 voice recording was not, but for the purposes and the 0:09:41.679 --> 0:09:44.560 protocols of sitting down and reading a book that was 0:09:44.800 --> 0:09:47.520 sort of becoming a booming business at that point. So anyway, 0:09:47.559 --> 0:09:50.760 I just remember sitting there and drinking tea because I 0:09:50.880 --> 0:09:53.360 drank a lot of tea even from a young age, 0:09:53.440 --> 0:09:56.440 from being like a singer and doing theater, and I 0:09:56.520 --> 0:09:59.040 just remember, I think somebody got me a croissant. So 0:09:59.160 --> 0:10:03.439 here's the interesting thing, right, Like I think there's this 0:10:03.559 --> 0:10:06.120 saying of like I think a therapist on me this 0:10:06.200 --> 0:10:09.640 once up at a time, when you go into a 0:10:09.720 --> 0:10:13.080 room and you sit in a certain chair, you're more 0:10:13.120 --> 0:10:16.240 than likely when you re enter that room, even if 0:10:16.240 --> 0:10:18.880 it's a different day, to sit back in that chair, 0:10:19.320 --> 0:10:24.040 that same chair, you tend to like repeat. I've noticed 0:10:24.080 --> 0:10:27.079 that that that you know, people are creatures have have it. 0:10:27.240 --> 0:10:30.880 So for me, the tea and like a croissant, if 0:10:30.920 --> 0:10:34.280 it's like a long record, there's certain things that actually 0:10:34.360 --> 0:10:38.720 help that may not help say your voice, um, but 0:10:38.840 --> 0:10:43.000 they help sort of activate my abilities to like focus 0:10:43.000 --> 0:10:45.720 on the work. So it's almost Pavlovian for you, where 0:10:45.760 --> 0:10:47.679 it's like you sit down, you're in the chair, you've 0:10:47.679 --> 0:10:51.840 got the tea, you've got the questal as they say it, 0:10:51.960 --> 0:10:54.480 and with the perfect lamination because the butter has been 0:10:54.480 --> 0:10:57.760 folded in just right or right or something hells to pay, 0:10:57.960 --> 0:11:00.880 you know exactly, and so that brings you right into 0:11:01.000 --> 0:11:04.280 like like like voice over mind. I think so. I 0:11:04.320 --> 0:11:07.000 think that like when I'm in the booth, which we 0:11:07.040 --> 0:11:10.680 really have never talked about, UM, I feel very safe. 0:11:11.600 --> 0:11:16.679 I feel very almost like um, I'm in in Uteroe. No, 0:11:16.840 --> 0:11:18.920 that makes sense, it kind of. It kind of makes 0:11:18.920 --> 0:11:23.280 sense because it is in a way, it's almost like 0:11:23.360 --> 0:11:28.480 a working sensory deprivation tank because it's it's you know, 0:11:28.600 --> 0:11:31.640 usually not really bright. Sometimes it is, but usually not 0:11:31.679 --> 0:11:35.840 really bright, especially now after the pandemic, when I'm one 0:11:35.840 --> 0:11:37.640 of those people were even during the pandemic, I went 0:11:37.679 --> 0:11:40.480 to the studio. I observe all the protocols, but I 0:11:40.520 --> 0:11:42.400 do not like recording from my house. I like recording 0:11:42.400 --> 0:11:45.920 podcasts from my house because there's a homey, comfy feeling 0:11:45.920 --> 0:11:49.319 about being in my room in my booth here and recording. 0:11:49.679 --> 0:11:52.240 But when I'm working, I want to feel like I'm working, 0:11:52.240 --> 0:11:53.720 and I don't feel like I'm working when I'm working 0:11:53.720 --> 0:11:56.040 from home. That's what I like about the podcast because 0:11:56.040 --> 0:11:57.520 I don't want a podcast to feel like work. I 0:11:57.559 --> 0:12:01.240 wanted to feel like a conversation when I'm getting I 0:12:01.320 --> 0:12:04.680 want to work, and so I want to put on pants, 0:12:04.679 --> 0:12:07.160 I want to put on shoes, I want to get 0:12:07.160 --> 0:12:09.240 in my car, I want to drive to a place. 0:12:09.320 --> 0:12:10.840 I want to get out. I want to put on 0:12:10.880 --> 0:12:13.720 my headphones. I want to work. I think that do 0:12:13.720 --> 0:12:18.280 you think that Kevin um conroy, who has since passed, 0:12:18.480 --> 0:12:21.480 do you think that that sort of protocol and sort 0:12:21.520 --> 0:12:24.640 of do you think that that influenced you in terms 0:12:24.679 --> 0:12:28.040 of very much? I think not only that, but it's 0:12:28.080 --> 0:12:32.080 also it was before I even met Kevin, who was 0:12:32.160 --> 0:12:36.360 obviously my my my voiceover guru. Um. I've been working 0:12:36.360 --> 0:12:39.400 with William Daniels, Mr Feeney on on Boyd's World, and 0:12:39.400 --> 0:12:43.960 and he he taught us professionalism, Like you are a professional. 0:12:44.360 --> 0:12:47.720 You are there early, you are prepared to go. You 0:12:47.840 --> 0:12:50.600 do not keep other actors waiting. It does not matter 0:12:50.640 --> 0:12:52.840 if you are twelve. This this is what you do. 0:12:52.880 --> 0:12:55.280 This is you are a professional. So I took that 0:12:55.360 --> 0:12:58.800 to every aspect of the industry. So voiceover, I mean 0:12:59.360 --> 0:13:01.160 voiceover so of the greatest actors in the world, but 0:13:01.200 --> 0:13:03.520 you do meet some that can show up a little late. 0:13:04.000 --> 0:13:07.240 I haven't read the script um that kind of stuff, 0:13:07.240 --> 0:13:09.480 and it's like, okay, that's one way to look at it. 0:13:09.480 --> 0:13:11.760 It's just not how I look at it. Um so 0:13:12.040 --> 0:13:15.319 I But I get what you're saying exactly about that feeling, 0:13:15.400 --> 0:13:18.840 especially now, as I was saying with the pandemic. I'm 0:13:18.960 --> 0:13:21.120 still going to the studio, but you're no longer in 0:13:21.160 --> 0:13:24.760 the giant studios that they're used to house fifteen actors. 0:13:25.320 --> 0:13:27.480 Now you're in a much smaller studio and they shut 0:13:27.520 --> 0:13:29.880 that door behind you, and there's like it's like part 0:13:29.960 --> 0:13:31.920 of the air gets sucked into the room and you're 0:13:31.920 --> 0:13:35.920 like and you're like, oh, I'm here to work now, 0:13:36.040 --> 0:13:38.440 I'm here in the door shuts and all the sound 0:13:38.440 --> 0:13:42.040 goes away. You're focused on the screen in front of you, 0:13:42.160 --> 0:13:44.320 or the pages in front of you, the microphones in 0:13:44.360 --> 0:13:46.800 front of you. The only voice you hear comes through 0:13:46.800 --> 0:13:50.559 your headphones. It's like a distant kind of echo. And 0:13:50.760 --> 0:13:53.280 I get exactly what you're saying. If you are in utero, 0:13:53.480 --> 0:13:55.800 it's the doctor. You hear the doctor through you know, 0:13:55.880 --> 0:13:58.480 as you're being born, going like all right, get ready 0:13:58.520 --> 0:14:01.480 to push, Like that's the voice and your head um. 0:14:01.520 --> 0:14:03.600 But the joy is when it's all done. You don't 0:14:03.600 --> 0:14:06.840 have a stupid kid. You've got a great car um. 0:14:06.880 --> 0:14:11.000 So that's the that's the awesomeness. So yeah, I was 0:14:11.160 --> 0:14:13.280 very young when when we think back to it, and 0:14:13.360 --> 0:14:18.160 it's like I just have a very visceral memory of 0:14:18.360 --> 0:14:20.800 what that felt like because and and then and and 0:14:21.000 --> 0:14:24.960 honoring my love of that experience, I was, I felt 0:14:25.000 --> 0:14:28.360 even more and more blessed to be in rooms in 0:14:28.520 --> 0:14:30.560 l A. Because where I was doing this was all 0:14:30.560 --> 0:14:32.200 in New York. I was doing a lot of my 0:14:32.240 --> 0:14:34.600 recording and yeah, where I was living, well, where we 0:14:34.600 --> 0:14:36.880 were Connecticut kids. So that's that's where you went. That's 0:14:36.880 --> 0:14:38.680 where you went to work. You went to New York. Well, 0:14:38.680 --> 0:14:40.320 and I also went to performing arts school, so I 0:14:40.360 --> 0:14:43.480 was already in New York. So it would be like, Okay, 0:14:43.520 --> 0:14:46.120 I'm going to cut school or I leave early and 0:14:46.160 --> 0:14:49.280 I go to my recording session, um, you know, down 0:14:49.320 --> 0:14:52.080 on ninth or tenth or wherever the because like the 0:14:52.160 --> 0:14:56.640 recording area is in the valley in Los Angeles, but 0:14:56.720 --> 0:15:01.000 it's very different where they'll record in New York City. Yeah, 0:15:01.160 --> 0:15:05.320 Like soho had a lot of voice kitchen did too, 0:15:05.320 --> 0:15:10.120 write like around like that whole kind of area. Yeah, yeah, 0:15:10.160 --> 0:15:12.280 that unitel video around there, all that kind of stuff. 0:15:12.360 --> 0:15:14.160 You did a lot of stuff around there too. Yeah 0:15:14.160 --> 0:15:17.320 it got a bit more scattered, but yeah, absolutely, yeah, 0:15:17.360 --> 0:15:19.160 you know, and and also to in New York, it's 0:15:19.200 --> 0:15:23.880 more like ad mad Men kind of add stuff. I 0:15:23.920 --> 0:15:28.720 remember going on voice acting auditions which were mostly not jingles, 0:15:28.720 --> 0:15:31.040 but they were mostly commercials and stuff like that for 0:15:31.080 --> 0:15:33.400 a long time. I think that's what my introduction to 0:15:33.480 --> 0:15:35.760 voice acting was. But we've talked about it a lot 0:15:35.800 --> 0:15:39.800 on the podcast, and I think that my initial way 0:15:40.080 --> 0:15:46.960 in two turning a phrase or trying to get a job, 0:15:47.040 --> 0:15:50.240 which I started to get pretty good at UM, even 0:15:50.320 --> 0:15:54.240 in my younger years before going to l a UM. 0:15:54.280 --> 0:15:56.760 I think it it's just a matter of being a 0:15:56.800 --> 0:16:02.280 singer and knowing that intonation is helpful. It's like a 0:16:02.360 --> 0:16:06.040 one for one. It's a song and it's and there's 0:16:06.040 --> 0:16:08.840 another thing that when I started acting, they say, well, 0:16:08.840 --> 0:16:11.720 reach your script as many times as possible, right like 0:16:11.760 --> 0:16:16.840 at least ten times before you even start trying to 0:16:17.400 --> 0:16:20.480 memorize the lines or perform it. And I'm sure that's 0:16:20.520 --> 0:16:22.560 some method, but I don't know which one it is, 0:16:22.960 --> 0:16:26.160 And so I didn't necessarily read a ton of times, 0:16:26.160 --> 0:16:29.560 but I think I had a natural inclination to sort 0:16:29.560 --> 0:16:33.720 of honor the sing song nous of a script. So 0:16:33.800 --> 0:16:35.800 I think even if you don't have a ton of training, 0:16:36.640 --> 0:16:39.320 you can in your singer. I think you can probably approach, 0:16:40.240 --> 0:16:43.720 you know, points acting easier. Yeah, that's yeah, I didn't 0:16:43.760 --> 0:16:45.800 that whole read your script ten times that I read 0:16:45.800 --> 0:16:49.040 my script obviously every time. But I don't want to overread. 0:16:49.160 --> 0:16:51.160 I don't want to over rehearse. I don't want to 0:16:51.160 --> 0:16:52.680 read a script ten times. I want to read it 0:16:52.760 --> 0:16:54.600 once and then I want to keep it fresh. I 0:16:54.680 --> 0:16:56.800 was gonna say, do you stop? Do you stop at 0:16:56.800 --> 0:16:58.880 a certain point, and you're saying, I'm doing this too much. 0:16:59.400 --> 0:17:01.920 Oh yeah. There's times where some of the worst auditions 0:17:01.920 --> 0:17:03.720 I've ever had in my life were things that I 0:17:03.920 --> 0:17:07.240 over rehearsed. It's just, oh my god, I want this 0:17:07.320 --> 0:17:09.960 so bad, so I'm gonna I'm gonna rehearse fifteen times. 0:17:09.960 --> 0:17:12.240 And then you get in there and your mind is like, wait, 0:17:12.280 --> 0:17:14.040 I didn't do that in the rehearsal I wanted to do. 0:17:14.080 --> 0:17:16.159 Why did I Why is that beat different? Why? And 0:17:16.320 --> 0:17:18.640 then you start second guessing yourself. For is if it's 0:17:18.640 --> 0:17:21.320 still fresh, you're still finding the beats and you know, 0:17:21.359 --> 0:17:25.439 that's like one of the the first um pieces of 0:17:25.480 --> 0:17:27.199 advice I was given as an on camera actor as 0:17:27.200 --> 0:17:29.040 a kid. I was, you know, eleven, whatever it was was. 0:17:29.520 --> 0:17:31.600 I don't care how many times your audition for something. 0:17:31.680 --> 0:17:35.679 Always hold your script because in the mind of the 0:17:35.720 --> 0:17:38.400 people watching your audition, it means you are not yet 0:17:38.480 --> 0:17:41.119 off book. So there's more places to go with the 0:17:41.160 --> 0:17:44.320 performance than just what you see in the room, as 0:17:44.400 --> 0:17:46.840 opposed to you walk in your off book. Hey, this 0:17:46.920 --> 0:17:48.879 is what I got there. In their minds, they're like, 0:17:48.920 --> 0:17:50.639 this is all we're ever going to get because this 0:17:50.680 --> 0:17:53.600 is as rehearsed as we're gonna get with this kid. Um. 0:17:53.640 --> 0:17:56.280 So that kind of always hold your script always resonated 0:17:56.320 --> 0:17:58.720 with me because it is it's that psychological like, oh, 0:17:58.840 --> 0:18:01.400 there's still more to come from this actor because they 0:18:01.440 --> 0:18:04.439 have yet to reach the potential of this character. You 0:18:04.440 --> 0:18:06.840 can tell they're still on book. Wait, so but are 0:18:06.880 --> 0:18:09.760 you actually off book holding the paper? It would depend 0:18:09.760 --> 0:18:12.240 on the role. It would get anxiety when I hold 0:18:12.280 --> 0:18:15.040 the paper. Oh really, I love holding something. I love 0:18:15.080 --> 0:18:17.920 not having to think about my hands. So having something 0:18:17.920 --> 0:18:21.040 to occupy my I'm a I'm a big fan of 0:18:21.040 --> 0:18:32.840 that too. You know what, I'm actually interested. What is 0:18:32.880 --> 0:18:36.520 one of your worst auditions? I know my exact worst 0:18:36.520 --> 0:18:39.159 audition ever. It wasn't it was for on camera though, 0:18:39.200 --> 0:18:42.240 it wasn't for mine was for theater, and okay, I 0:18:42.280 --> 0:18:44.560 have I have to one that was funny, one that 0:18:44.600 --> 0:18:49.600 was horrifying, so funny, okay, good. So the funny one was. 0:18:50.280 --> 0:18:53.080 I was a huge Family Ties fan, like I love 0:18:53.160 --> 0:18:55.280 my Michael J. Foxon Family Ties was all I ever 0:18:55.320 --> 0:18:57.840 wanted to be. Michael J. Foxon Family Ties and and 0:18:58.080 --> 0:19:01.119 Alan Alda and mac in Mash were like the reasons 0:19:01.160 --> 0:19:05.280 I became an actor. So Gary David Goldberg, who created 0:19:05.800 --> 0:19:09.320 um uh Family Ties, was creating a new show called 0:19:09.359 --> 0:19:13.280 Brooklyn Bridge, and I was going to New York to 0:19:13.320 --> 0:19:18.240 audition for Gary David Goldberg himself. And I was mortified, excited, 0:19:18.359 --> 0:19:22.560 every superlative you could think of. And in my audition piece, 0:19:22.640 --> 0:19:26.439 I had to walk downstairs and the character playing my 0:19:26.480 --> 0:19:28.840 mom said, Hey, what do you want for dinner? And 0:19:28.880 --> 0:19:31.359 I was supposed to say, come on, it's eight o'clock 0:19:31.359 --> 0:19:33.040 in the morning. It's a little hard to get excited 0:19:33.040 --> 0:19:37.960 about dinner. So I'm rehearsing and rehearsing and rehearsing, and 0:19:38.000 --> 0:19:40.719 I get walked out, you know, get into the room 0:19:40.800 --> 0:19:43.439 and they say action and the woman reading from my 0:19:43.480 --> 0:19:45.159 mom says, hey, what do you want for dinner? And 0:19:45.200 --> 0:19:47.360 I say, it's eight o'clock in the morning. I can't 0:19:47.400 --> 0:19:52.520 get hard about dinner. And the room was dead, silent, 0:19:52.920 --> 0:19:55.760 and it was thank you very much, and I walked out. 0:19:56.840 --> 0:19:58.679 That was it. And I was like, that was my 0:19:58.800 --> 0:20:01.879 one shot in front of Gary David Goldberg, and that's 0:20:01.920 --> 0:20:05.200 the line that came out of my mouth. I can't 0:20:05.200 --> 0:20:08.680 get hard about dinner. Oh no. And it was because 0:20:08.680 --> 0:20:10.960 of that that they did it well, no, I don't know, 0:20:11.000 --> 0:20:12.640 it was just but it was just it was so 0:20:12.720 --> 0:20:15.040 out of left field, and so like, what the hell 0:20:15.200 --> 0:20:19.879 was that rehearsed? No. I went through the rest of 0:20:19.920 --> 0:20:21.560 the scene, but by that point it was the room 0:20:21.640 --> 0:20:25.120 was dead. Um, there was no air left in the room. Um. 0:20:25.200 --> 0:20:27.800 So that was my worst funny one worst as a kid, 0:20:27.840 --> 0:20:30.960 but my worst audition ever. And it was strictly and 0:20:30.960 --> 0:20:33.320 it didn't even want this role all that badly, if 0:20:33.320 --> 0:20:37.600 I'm honest. Um, it was strictly from over rehearsing. It 0:20:37.640 --> 0:20:40.400 was I rehearsed and rehearsed and rehearsed because I wanted 0:20:40.440 --> 0:20:42.320 to walk in and nail it. I didn't care about 0:20:42.359 --> 0:20:44.560 the role. It was more about me wanting to nail it. 0:20:44.760 --> 0:20:47.639 And it was for a role in that really turned 0:20:47.680 --> 0:20:51.600 out to be not great. UM disaster movie The Core 0:20:52.400 --> 0:20:54.600 o the where the Earth, the core of the Earth 0:20:54.680 --> 0:20:56.800