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Speaker 1: Hey, Christy, Hi Will, how are you. I'm fine. I

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Speaker 1: am really excited for today's episode, aren't you. I'm so

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Speaker 1: excited you are You're crying excited right now. You want

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Speaker 1: to know why I guess who's on our show? Well,

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Speaker 1: you don't have to guess, because you were there. I

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Speaker 1: was there. You want to let the audience know who's

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Speaker 1: on our show? It's Phil Lamar, Yes, the Phil Lamar,

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Speaker 1: the man who has done every cartoon ever in the

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Speaker 1: history of voiceover, as well as some of the coolest

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Speaker 1: movies and television shows and everything you have seen you've

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Speaker 1: heard him. He's been on everything pulp fiction, Samurai Jack, Futurama.

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Speaker 1: This guy is just so epic legend. Let's get into it.

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Speaker 1: So we are here with Phil Lamar. I can't even

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Speaker 1: believe that we're talking with you. Phil. Yeah, this is

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Speaker 1: a big win. There's a big win for the podcast.

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Speaker 1: Thank you. That's so sweet. Um was reading your resume,

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Speaker 1: as I tend to do when we have guests on.

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Speaker 1: It's like, all right, let's see. It's like I've worked

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Speaker 1: with you on a bunch of things, but let's see

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Speaker 1: how many things he's actually done from beginning to end

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Speaker 1: and my computer, rant think as I was trying to

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Speaker 1: print it out. So, I, I mean, you've done so

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Speaker 1: many voices, we can obviously hop into that. But you

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Speaker 1: started on camera, right, Well, yes, and no it's weird

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Speaker 1: because okay, we like weird. Act first, you know, started

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Speaker 1: pursuing my career. I went down the traditional actor route

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Speaker 1: and started out doing theater and on camera and television

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Speaker 1: and movies, and then after you know, establishing a little

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Speaker 1: bit of a career, I then decided I'm going to

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Speaker 1: pursue voice acting. But the truth of the matter is

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Speaker 1: my very first professional job, the job that got me

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Speaker 1: my union card, was a cartoon my junior Yeeling high school. Wow,

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Speaker 1: in high school, you booked your first cartoon with the union,

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Speaker 1: a union thing known less. Yeah, okay, which cartoon? What? What? What?

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Speaker 1: Which one was it? This was the Mr T cartoon? No, yeah, wow,

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Speaker 1: I remember that back in three I think we started.

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Speaker 1: I was never mind, but I feel like I've seen

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Speaker 1: that Mr. T cartoon And this is the way he said,

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Speaker 1: I pity, I pity the fool, like nineteen times right,

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Speaker 1: it was I pity the fool. Yeah, that was his catchphrase.

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Speaker 1: Oh yeah, it was a cat. I mean basically the

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Speaker 1: cartoon existed only because somebody at NBC said, well, we

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Speaker 1: got action figures and cereal, what money did we leave

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Speaker 1: on the table? Yep, I remember them, Mr t How

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Speaker 1: long did it run for? How? And how did you

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Speaker 1: get that job? Being so young? Um, let's say, I

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Speaker 1: think we did three seasons. Yeah, three seasons. And a

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Speaker 1: friend of my mother's was an executive at NBC. Actually,

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Speaker 1: it's interesting because she was the highest ranking black woman

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Speaker 1: in television history. She was the head of children Phillis

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Speaker 1: Phyllis Tucker Vincent. She was the head of children's programming

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Speaker 1: at NBC. Wow. And I think my mother had probably

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Speaker 1: dragged her to a couple of my plays, you know,

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Speaker 1: in high school. And then when they had this cartoon

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Speaker 1: where they were going to use actual kids for the

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Speaker 1: kids voices, which back in the eighties was very unheard of. Yeah,

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Speaker 1: you know, she said, oh, why don't you come in

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Speaker 1: audition for this? And like, okay, And you booked your

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Speaker 1: first thing right out the gate like you always do

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Speaker 1: in the business, which is the easiest business when you're

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Speaker 1: friends with the head of the network. But still, I mean,

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Speaker 1: right out the gate. You're working. Now, did you get

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Speaker 1: to record with with Mr T. Oh, actually no, and

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Speaker 1: for for three season and I never to this day,

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Speaker 1: I've still never met Mr T. Yeah, the first season,

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Speaker 1: he's the first season said sorry, kids, um, Mr Ts

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Speaker 1: a little nervous about his reading skills. He doesn't want

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Speaker 1: to do it in front of the kids. And then

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Speaker 1: the second season they said, he's so busy, we have

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Speaker 1: the time, we have to go to Chicago to record him.

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Speaker 1: We just can't get him in here. And by third season,

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Speaker 1: nobody was asking anymore. It was it didn't even bother

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Speaker 1: to ask. I cannot believe that you never even got

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Speaker 1: a chance to meet him. Now have you since worked

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Speaker 1: with any of the cast or is it are you

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Speaker 1: the only one from the Mr T Show that has

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Speaker 1: kind of gone on to a career. Well, actually, it's

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Speaker 1: interesting because one of the girls who played, you know,

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Speaker 1: one of the leads, Amy Linker, actually she was the

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Speaker 1: star that she was one of the stars of Square Pegs,

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Speaker 1: the show that's um, Sarah Jessica Parker started out on

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Speaker 1: yeah and uh and like Amy was the name, the

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Speaker 1: rest of us were just like standing there. Um. But yeah,

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Speaker 1: I've still to this day not cross paths with anybody

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Speaker 1: else from that show, and that might have had something

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Speaker 1: to do with the quality of the show. Yeah. Well

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Speaker 1: eighties cartoons. You go back and you watch kind of

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Speaker 1: the G. I. Joe's The Mask, you know, the Mr.

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Speaker 1: T Show. They were pumping them out as fast as possible. Um.

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Speaker 1: We were actually talked about that at one time, where

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Speaker 1: it's like the Mask Show. You would watch certain episodes

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Speaker 1: and the wrong voice would come out of the character

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Speaker 1: and they just went, that's fine, Like the mouth flaps

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Speaker 1: would move it all they got run, it doesn't matter.

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Speaker 1: It was they were just pumping them out and well,

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Speaker 1: and the people who made the cartoons back then, I

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Speaker 1: didn't care about cartoons. Nope, the cartoons were lost leaders

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Speaker 1: to sell the toys. Absolutely. It was was Deak and

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Speaker 1: all these companies that were just pumping them out as

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Speaker 1: fast as is humanly possible. I remember our director would

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Speaker 1: tell us kids, remember in every line up, that gives

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Speaker 1: it energy. It's like acting I'm sorry you dog died. No, no,

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Speaker 1: ended up, I'm sorry your dog died. There you go.

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Speaker 1: They would They just built these companies for these cartoons.

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Speaker 1: I think the one that the G. I. Joe was

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Speaker 1: literally just called F H G. And that was just

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Speaker 1: Family Home entertained. It was like it was basically a

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Speaker 1: shell corporation where they're sending the money somewhere, but you'd

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Speaker 1: see it was ah, but of course behind the American

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Speaker 1: flag h Family Home Entertainment. I know. And it's so funny.

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Speaker 1: It's so hard for people nowadays to really get their

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Speaker 1: heads around the mentality back then. It's like, because nowadays

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Speaker 1: people I grew up watching cartoons, I love it. Animation

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Speaker 1: is art. It's like, no, this is just something we're

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Speaker 1: trying to use to, you know, get some MATEL money exactly.

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Speaker 1: But then that's it's interesting because that then brings you

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Speaker 1: into another world where you were in. We'll jump into

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Speaker 1: that a little later. But because Batman the animated series

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Speaker 1: came out, which kind of then changed everything nine, which

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Speaker 1: then gets into Batman Beyond, then gets into a little

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Speaker 1: show called Justice League Unlimited. So we'll get into that

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Speaker 1: in a second. Because there is a very specific memory

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Speaker 1: I have of Justice League Unlimited. It was standing near

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Speaker 1: you and it made me realize how terrible an actor

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Speaker 1: I actually was. But we'll get to that in a second.

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Speaker 1: Another connection we have and I want to talk about

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Speaker 1: very briefly is Connecticut because you went to ye so

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Speaker 1: Christie and I are both from Yeah, you've been a

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Speaker 1: Toads place. Toads basic, Christie, I know, right, I know totally.

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Speaker 1: And by the way, also, all the best some people.

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Speaker 1: If you're in the world, you know this. If you're not,

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Speaker 1: you don't. The best pizza in the country is in

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Speaker 1: New had in Connecticut. Yea, so pep Pepe's and everything

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Speaker 1: else over there. So you you you're studying it, Yale.

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Speaker 1: You you started, they're one of the biggest sketch comedy groups.

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Speaker 1: You started, helped to start Purple Crayon. Yeah, well, I

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Speaker 1: mean I was just part of the initial group. It

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Speaker 1: was my friend Eric Berg, who was from Chicago. He

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Speaker 1: spent a summer doing Second City and improv Olympic and

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Speaker 1: then he came back in a bunch of us who

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Speaker 1: had done plays with him and saying, hey, guys, you

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Speaker 1: want to start an improv group. We're like, what's that? Wow?

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Speaker 1: And yeah it's funny because we had no idea what

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Speaker 1: we're doing. We were doing something called the Herald, this

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Speaker 1: long form improv thing which we had never seen anybody do.

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Speaker 1: He just described it to us like, all right, let's

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Speaker 1: try it and that group still exists, like d five

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Speaker 1: years later, Now do you ever go back? Do you

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Speaker 1: ever go back and like, are either watch them or

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Speaker 1: join them or any of that kind of stuff anymore?

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Speaker 1: Actually there was was it the twenty five anniversary? We

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Speaker 1: I got to go back and and see the group,

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Speaker 1: and yeah, it was really wild. Although when you get

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Speaker 1: to be this age, there are a lot of things

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Speaker 1: that are very old. Hey man, we're starting to feel

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Speaker 1: that that's it does. But it's also really great because

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Speaker 1: you have that legacy and and improv. Really, I think

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Speaker 1: it really did help the voiceover arts over time, and

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Speaker 1: I saw Will and even myself, like I grew up

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Speaker 1: in the theater, but improv was not big for me

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Speaker 1: because it was more about hitting my marks as like

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Speaker 1: a little kid, so improv was discouraged. I had to be,

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Speaker 1: you know, off book but saying the right lines and

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Speaker 1: and and all that stuff. So improv for me, I

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Speaker 1: was a late starter for that. But I remember distinctly

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Speaker 1: watching the way that Will would sort of really find

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Speaker 1: the nuances in his character and compossible and it was

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Speaker 1: very inspiring. I always give him props because why not,

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Speaker 1: you know, I like the guy I was just watching

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Speaker 1: DiMaggio and going, I want to do that, and he

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Speaker 1: had a lot more. He probably had a lot more

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Speaker 1: exposure to that, But for me, improv was was rare.

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Speaker 1: And it's interesting to hear you talk about improv. I'm

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Speaker 1: curious how much improv has helped you find your voice

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Speaker 1: as a voice actor. Well, it's it's helped a lot.

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Speaker 1: I mean, although obviously there were pe Bowl voice acting,

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Speaker 1: you know, I don't. I don't think Mel Blank ever,

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Speaker 1: did you know improv or freeze tag um, So it's

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Speaker 1: not needed, but it definitely helps. I mean, over the years,

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Speaker 1: I've seen there are certain people who are able to

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Speaker 1: move into voiceover more easily. Singers Christie, Yeah, you know,

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Speaker 1: just the fact that you're able, you're used to, you know,

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Speaker 1: being conscious of how you sound. That helps. And improv

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Speaker 1: helps with voice over because it's about making choices right away.

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Speaker 1: And I think one of the problems that a lot

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Speaker 1: of you know, on camera stage actors have transitioning into

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Speaker 1: voiceover is I'm used to spending two weeks of rehearsal,

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Speaker 1: learning my blocking, memorizing my lines, internalizing everything, and then

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Speaker 1: having it have a feeling yeah, as opposed to here

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Speaker 1: are some words on a page. Give those a feeling,

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Speaker 1: now go it is it's instead yeah, yeah, I don't

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Speaker 1: have my my pathology, my back. I remember constantly turning

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Speaker 1: off Mike to talk to the actor next to me,

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Speaker 1: because you're because you're on camera, you're acting with the

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Speaker 1: idea that you're not talking to somebody, not looking at

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Speaker 1: in the eyes. So I'm sitting next to somebody doing

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Speaker 1: my first v O and I keep hearing Andrea going

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Speaker 1: into the microphone. I'm like, I'm sorry, I'm trying to

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Speaker 1: act with the person next to me. So that was

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Speaker 1: another big thing, but so so moving forward then, because

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Speaker 1: your improv skills lead you into a tiny little show

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Speaker 1: called mad TV, which was huge at the time it

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Speaker 1: came out. I mean nothing, nothing, well, but let's put

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Speaker 1: it this way, huge in that only a couple of

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Speaker 1: shows came out that ever had the chance of even

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Speaker 1: rivaling SNL because SNL was like sketch comedy and that's

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Speaker 1: all that did it. And then Living Color and Mad

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Speaker 1: TV gave it a run for its money. It really

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Speaker 1: a different voice. Well, eventually mad TV established. Although it's

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Speaker 1: it's funny because I mean, for me, I started doing improv,

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Speaker 1: you know, in college with these amazing people. It's funny

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Speaker 1: because most of the people in my group didn't go

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Speaker 1: on into show business, like one you know, was presenting

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Speaker 1: cases to the Supreme Court, you know, you know, just

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Speaker 1: I mean, they were all just brilliant, brilliant people. And

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Speaker 1: then and then there was right then I just went

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Speaker 1: and I and so when I graduated and came home

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Speaker 1: to l A, I started taking classes at the Groundlings

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Speaker 1: just because I missed doing improv. I didn't even it

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Speaker 1: wasn't even a career move back in the nineties. And

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Speaker 1: but then I started writing sketches and that prepared me

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Speaker 1: for Mad TV and so you know that whole sketch comedy,

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Speaker 1: you know, multiple characters and you know, and actually on

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Speaker 1: Mad TV, we were doing animated claymation stuff, and that's

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Speaker 1: where I really got my Mike time, you know, and

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Speaker 1: that's that's amazing. I'm pretty good at this because obviously

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Speaker 1: did not prove that it's the Mr T. Didn't even

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Speaker 1: prove it to Mr T. But that's great. So then yeah,

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Speaker 1: you can, I guess kind of credit improv with really

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Speaker 1: bringing you into the voiceover world. That's very cool. Yeah,

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Speaker 1: So yeah, well I think we if if memory serves. Uh,

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Speaker 1: fellow Kim Possible cast member Nicole Sullivan was also on

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Speaker 1: Mad TV, So there's another connection. Who who of course

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Speaker 1: played she Go And Uh, that's who I got to.

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Speaker 1: You know, I only recorded with We always talked about

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Speaker 1: Kim Possible because you had said to us, I think

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Speaker 1: kind of before we started the interview, like I did.

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Speaker 1: I did it in an episode of Kim Possible. And

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Speaker 1: we never worked together because we never worked with anybody sea.

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Speaker 1: So we we had Lisa Shaffer who was Yeah, that's

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Speaker 1: the thing that we had Lisa Schaefer, who was our

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Speaker 1: director on and she's listing all of the actors that

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Speaker 1: were on Kim Possible and it is the most amazing

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Speaker 1: list in the world. And there's Christie and I like

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Speaker 1: with our heads in our hands, like how do we

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Speaker 1: not get to work with any Ricardo Montalbond, Jean Smart,

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Speaker 1: I mean, just one after another, and it was just like,

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Speaker 1: how do we not get a chance to work with

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Speaker 1: any of these people? Um, so yeah, well no, it's

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Speaker 1: because they just everybody was so busy. Apparently we were

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Speaker 1: like I was recording every week with John and with Nicole.

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Speaker 1: So I would have loved to have had them there,

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Speaker 1: Christie was getting educated in New York. I would say, though,

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Speaker 1: that when I found really endearing about that process, at least,

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Speaker 1: was any time I would be in studio, Lisa would

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Speaker 1: anchor the fact that, Hey, you know who we have

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Speaker 1: playing such and such? Do you know who we have

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Speaker 1: playing such and such? And she was so excited about

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Speaker 1: the choices in the casting that it got me excited

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Speaker 1: because even though I was new to understanding where what

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Speaker 1: people would be doing with that, I eventually understand like, Wow, um,

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Speaker 1: Dakota Fanning is playing baby Kim Possible in the movie.

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Speaker 1: That's going to be amazing, But not she's going to

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Speaker 1: be what's up? Debbie Reynolds was was I mean, it's

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Speaker 1: like name after where she's just mentioning these people and

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Speaker 1: we're going, wait, what Like That's how I think we

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Speaker 1: all knew the show was great when we had people

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Speaker 1: like yourself and and we would hear just the name

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Speaker 1: after name, we would be like, I think this show

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Speaker 1: is doing well for Disney. I don't know why they

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Speaker 1: don't bring it back. Well, that's a whole different thing.

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Speaker 1: So then I started so then getting into back to

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Speaker 1: the v O world, we talked about how cartoons were

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Speaker 1: very much one thing. Um, I call it p B

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Speaker 1: pre Batman, p B A pre Batman the animated herea

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Speaker 1: where we're very much like you said. They were cheaply

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Speaker 1: put together commercials for the toys you were buying. And

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Speaker 1: don't we all loved them. We have a special place

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Speaker 1: in your heart. But watching the original ThunderCats at eight

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Speaker 1: and watching it at twenty eight was two very different experiences.

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Speaker 1: So it holds up in your heart, not so much

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Speaker 1: with any other sense. Um, so you Batman the Animated

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Speaker 1: series comes out, It then spins off to Batman Beyond,

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Speaker 1: and the last episode ever of Batman Beyond was an

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Speaker 1: episode called The Call. And the reason why the Call

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Speaker 1: was so important. It was a two part episode where

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Speaker 1: uh my, my character Terry joins the Justice League and

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Speaker 1: it's Justice League of the Future. And it was years

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Speaker 1: later that Bruce Tim told the story where he said, essentially,

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Speaker 1: the only reason we did that is because we knew

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Speaker 1: we were doing Justice League and we wanted to make

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Speaker 1: sure we could hold that many stories, that many characters

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Speaker 1: in one episode. So all of a sudden outcomes and

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Speaker 1: I'm a huge fan of all this stuff. Christie knows

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Speaker 1: I like their nerd out on this stuff. Yeah, I

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Speaker 1: love it to outcomes Justice League, which is one of

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Speaker 1: the greatest superhero animated series ever with arguably one of

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Speaker 1: the best ensemble casts ever put together. So directed by

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Speaker 1: Andrea Romano and you know, amazing. And then we have

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Speaker 1: Phil Lamar as John Stewart Green Lantern. Now, they could

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Speaker 1: have gone any Green Lantern they wanted to go by

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Speaker 1: this point. It could have been because I played Kyle

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Speaker 1: Rayner on that show, so it could have been Kyle.

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Speaker 1: It could have been anybody, and they said, no, we

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Speaker 1: want John Stewart. And incomes Phil. Can you talk a

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Speaker 1: little bit about maybe the first time you heard about

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Speaker 1: the project and if you knew who you were reading for,

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Speaker 1: did they keep it a secret? I mean, do you

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Speaker 1: remember being cast in the show? Yes, I remember auditioning

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Speaker 1: over at Salami Studios and and we knew what it

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Speaker 1: was this because this was back in the days when

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Speaker 1: show business didn't treat itself like the Pentagon, right, Yeah, exactly.

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Speaker 1: I remember that week well because there was no N

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Speaker 1: D A S. Because there was no internet, you know,

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Speaker 1: or camera phones. So you know, what are you gonna do? Like, Oh,

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Speaker 1: I'm gonna walk out with my script pages and yellow

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Speaker 1: the street day. Look, it's a justice plague. I'm going

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Speaker 1: to write a letter to the newspaper and let them

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Speaker 1: know what I'm doing. Right, Nobody cared. Nobody cares. So

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Speaker 1: I remember being in there, and I'm an old school

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Speaker 1: comic book head, so i was excited. And we've been

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Speaker 1: working on Static Shock already, so I'm like, okay, you know,

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Speaker 1: I'm in this world. But there was no no direct

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Speaker 1: connection because it was not Batman the animated series, it

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Speaker 1: was not Batman Beyond. I'm like, oh my god, now

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Speaker 1: I'm now I've moved up to the top floor. Let's

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Speaker 1: get let's get this. And the hilarious thing was the

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Speaker 1: person who went in to read for Jon Stewart ahead

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Speaker 1: of me was an actor named Dennis Haysbert. Of course

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Speaker 1: you know Dennis, you know, of course. Now he's the

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Speaker 1: he's the guy on those All State commercials. You're in

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Speaker 1: good hands. Yeah, And Dennis basically looks like Bruce's drawing.

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Speaker 1: I mean, he's like six four and he's buffing like

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Speaker 1: the square John. I'm like, he's the guy put on

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Speaker 1: a green suit. He They would have hired him right

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Speaker 1: now for the live action. Yeah, and I'm just like,

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Speaker 1: I can't imagine. And also the way Bruce draws. Everybody's

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Speaker 1: got the very gigantic chests. Yep, the triangle people, right,

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Speaker 1: they kind they come out, come out like this and

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Speaker 1: come in. Yeah. Well I couldn't imagine having anything except this,

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Speaker 1: like a voice like Dennis's. You this big yo man

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Speaker 1: resonating chamber voice. So I'm like, well, I'm just I

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Speaker 1: couldn't get Dennis's voice out of my head. So I

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Speaker 1: went into audition. I'm John Stewart Green Lantern of Sector

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Speaker 1: two eight one four, you know, And they started talking

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Speaker 1: about the character. Yeah, he's a marine from Detroit, and like,

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Speaker 1: all right, well let me my dad's from Detroit. Let

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Speaker 1: me add a little texture that my dad had his voice. No,

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Speaker 1: listen to me flash, you know. And it turned out

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Speaker 1: they out there nerding out again, nerding out again, so

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Speaker 1: we could go back to static shock. But here's what

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Speaker 1: I what I wanted to do. Here's here's when I

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Speaker 1: knew I was a bad actor. This is the story

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Speaker 1: I was telling. So that we did an episode of

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Speaker 1: Justice League, I think it was jail. He was Justice

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Speaker 1: League Unlimited called Once in Future Things where we go

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Speaker 1: into the future and Batman Beyond is there and gets

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Speaker 1: to meet kind of it's so the story is Jon

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Speaker 1: Stewart and Batman get trapped in a time bubble and

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Speaker 1: they get sent forward. At first they get sent to

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Speaker 1: the past, and it's all you get to meet Jonah

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Speaker 1: Hex and all these great people from the past, and

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Speaker 1: then they get sent to the future and there's there's

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Speaker 1: Terry McGinnis and all this other and we're doing a

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Speaker 1: scene and the scene is I'm there and Phil is

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Speaker 1: now playing Young Static, Old Static and Jon Stewart and

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Speaker 1: he has a scene where it's the three of them talking,

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Speaker 1: and so for about twenty minutes, you just sat back

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Speaker 1: and let Phil play everybody all the parts. Will be

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Speaker 1: paying all the parts, literally, the young kid talking to

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Speaker 1: the old guy, who's then answering John who's talking to

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Speaker 1: the two And I remember just sitting there just kind

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Speaker 1: of going, I'm not good at this. There are people

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Speaker 1: that are on such a different level. And that was

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Speaker 1: one of those moments where you do where it's like

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Speaker 1: I remember Andrea saying to you at for Andrea Romano,

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Speaker 1: the director saying to you, at first, do you want

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Speaker 1: to take them one at a time, and you're like, no,

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Speaker 1: let's just run through them, and and that was it.

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Speaker 1: You did. It was like a page and a half

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Speaker 1: a dialogue of three different characters, three different ages from

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Speaker 1: three It was the the most crazy thing. And I did.

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Speaker 1: I just it's a bit of gushing, but I remember

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Speaker 1: just sitting there, just having these two moments of I'm

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Speaker 1: so excited to be here and I'm gonna go quit

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Speaker 1: this job and go do something I'm better at because

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Speaker 1: I'm not. I can't do this. Do you remember that recording?

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Speaker 1: I do? I do? And it's funny because that was

389
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Speaker 1: the mark, the high water mark for me because I

390
00:22:07,240 --> 00:22:12,520
Speaker 1: started working on Futurama and in the first episode, Billy West,

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00:22:12,800 --> 00:22:16,639
Speaker 1: who played three different characters, there's a scene where his

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Speaker 1: character the Professor, introduces his character Fry to his character Zoidberg.

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Speaker 1: And I remember sitting in there and had the exact

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Speaker 1: same you know, like watching him like, oh my god,

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Speaker 1: it's like, I mean right, like I was like that. No. No, Basically,

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Speaker 1: it's like if you're a little leaguer and all of

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Speaker 1: a sudden you're sitting in the stands at the All

398
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Speaker 1: Star game. That's how it's done. Yeah, And I remember

399
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Speaker 1: thinking like, Okay, that's gonna be my my bar someday, someday,

400
00:22:52,880 --> 00:22:55,359
Speaker 1: I'm gonna work. Because there were episodes when we did

401
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Speaker 1: on Static Shock where I had to play Static Shock

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Speaker 1: and Green Lantern and I didn't record them together. Okay, okay,

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Speaker 1: because you know, the static voice is a fourteen year

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Speaker 1: old boy and John Stewart is my deep register, and

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Speaker 1: I'm like, okay, I don't want to static to like

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Speaker 1: static dude, get up to here, right, No, Andreia, Let's

407
00:23:16,359 --> 00:23:18,920
Speaker 1: just do them separately. But by the time we got

408
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Speaker 1: to jail you, I mean you you know this experience

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Speaker 1: when you sit in a room with Kevin Conroy for

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Speaker 1: a few years, Uh yeah, you get good. Yeah you

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Speaker 1: have to you don't you don't have a choice, you

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Speaker 1: don't have a choice, or else you just or else

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Speaker 1: how bad you are really shines through when you're sitting

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Speaker 1: in between Conroy and Mark Hamill for two weeks like

415
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Speaker 1: I was, I was like, I don't have a choice.

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Speaker 1: I don't have a choice. I canna ask you guys.

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Speaker 1: A lot of a lot of the people that listen

418
00:23:45,680 --> 00:23:48,520
Speaker 1: to the podcast are just so enthusiastic about voice acting,

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Speaker 1: and some of them even want to be voice actors.

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Speaker 1: That and myself too included in terms of just improving

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Speaker 1: on the craft and understanding those leaps and bounds that

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00:23:57,359 --> 00:24:01,200
Speaker 1: you guys have both kind of our vocal rising. Not

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00:24:01,400 --> 00:24:04,160
Speaker 1: to make a pun, but just like how you get better.

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Speaker 1: Is it really just like fear and shame of of

425
00:24:07,400 --> 00:24:11,359
Speaker 1: of impos syndrome or is it just that you're looking

426
00:24:11,440 --> 00:24:13,440
Speaker 1: at those people and you're like, Wow, I am so

427
00:24:13,600 --> 00:24:16,280
Speaker 1: passionate about the art of this, the art form of this.

428
00:24:16,400 --> 00:24:18,440
Speaker 1: It's not just selling toys. It's not just getting my

429
00:24:18,560 --> 00:24:22,280
Speaker 1: Union card. This is about the art form of vocalizing

430
00:24:22,600 --> 00:24:26,680
Speaker 1: or the vocalization of it. So yeah, I mean, yeah,

431
00:24:26,720 --> 00:24:29,440
Speaker 1: how does it? How what's the journey there? Well, I

432
00:24:29,480 --> 00:24:34,280
Speaker 1: mean I think it's similar to any form of acting,

433
00:24:34,320 --> 00:24:37,600
Speaker 1: any form of our actually, any skill set. You get

434
00:24:37,760 --> 00:24:41,720
Speaker 1: better by seeing people better than you, you know, playing

435
00:24:41,760 --> 00:24:44,200
Speaker 1: against them, playing you know, like in sports you're playing

436
00:24:44,200 --> 00:24:47,200
Speaker 1: against people that makes you better, but in acting you're

437
00:24:47,200 --> 00:24:50,520
Speaker 1: playing with people. I mean, I remember being on set

438
00:24:51,359 --> 00:24:56,560
Speaker 1: during pulp fiction and watching Samuel L. Jackson just play

439
00:24:56,600 --> 00:24:58,840
Speaker 1: a character in a room and I'm just like, oh

440
00:24:58,920 --> 00:25:01,240
Speaker 1: my god. Five minutes ago, i was talking to a

441
00:25:01,320 --> 00:25:04,600
Speaker 1: guy He's not here anymore. There's somebody else in his

442
00:25:04,720 --> 00:25:09,520
Speaker 1: body now, and so that sets the bar mentally. I mean,

443
00:25:10,040 --> 00:25:12,080
Speaker 1: I think it's the same thing in music, like when

444
00:25:12,119 --> 00:25:15,159
Speaker 1: you you start out, you maybe have some talent. You know,

445
00:25:15,240 --> 00:25:17,480
Speaker 1: you're pretty good, but then you see somebody so much

446
00:25:17,520 --> 00:25:21,399
Speaker 1: better than you're like I can get there, m and

447
00:25:21,480 --> 00:25:24,199
Speaker 1: then you just you know, you learn yourself and then

448
00:25:24,240 --> 00:25:27,560
Speaker 1: you learn the craft and you just keep moving up.

449
00:25:28,119 --> 00:25:30,800
Speaker 1: You know. I think since you mentioned it, and since

450
00:25:30,800 --> 00:25:32,159
Speaker 1: you're sitting in front of a poster of it, I

451
00:25:32,200 --> 00:25:34,639
Speaker 1: think we have to talk a little bit about pulp fiction.

452
00:25:34,760 --> 00:25:41,040
Speaker 1: I mean, I know, yes, yes, I'm thirty eight, I

453
00:25:41,119 --> 00:25:47,240
Speaker 1: am grown phil. I know. I know we're v O

454
00:25:47,520 --> 00:25:49,480
Speaker 1: and we want to stay v O and VO is

455
00:25:49,520 --> 00:25:52,280
Speaker 1: the greatest thing in the world. But I mean, it's

456
00:25:52,400 --> 00:25:56,359
Speaker 1: arguably one of the greatest films ever made. UM. So

457
00:25:57,359 --> 00:26:01,280
Speaker 1: you know, what is your experience like working with now

458
00:26:01,320 --> 00:26:03,560
Speaker 1: did you know Tarantino? Do you know the crew beforehand?

459
00:26:03,840 --> 00:26:06,480
Speaker 1: Or um? Was this a straight up audition like anything

460
00:26:06,520 --> 00:26:10,520
Speaker 1: else and you just hit gold? No? Actually, weirdly back

461
00:26:10,560 --> 00:26:14,960
Speaker 1: to improv, Quentin Tarantino was friends with Julius Sweeney and

462
00:26:15,080 --> 00:26:18,600
Speaker 1: she invited him to come do a groundling show. And

463
00:26:18,680 --> 00:26:20,600
Speaker 1: so the first time I met Quentin, we did an

464
00:26:20,640 --> 00:26:24,800
Speaker 1: improv comedy show together on stage. He was actually really funny.

465
00:26:26,160 --> 00:26:29,040
Speaker 1: And then when he was casting the movie, he brought

466
00:26:29,119 --> 00:26:34,360
Speaker 1: me into audition. So thank you, Julia. But what's interesting

467
00:26:34,520 --> 00:26:37,760
Speaker 1: is that I believe there is to some degree a

468
00:26:37,880 --> 00:26:40,880
Speaker 1: correlation because it's funny because people will say, oh, you've

469
00:26:40,960 --> 00:26:45,400
Speaker 1: done you know, stage and film and voice over, which

470
00:26:45,520 --> 00:26:49,760
Speaker 1: is your favorite? Yeah? And I can say, honestly, my

471
00:26:49,880 --> 00:26:53,600
Speaker 1: favorite is not any one genre. My favorite is the

472
00:26:53,720 --> 00:26:58,600
Speaker 1: stuff that's really well written. Because to me, pulp fiction

473
00:26:59,200 --> 00:27:03,680
Speaker 1: has more in common with Justice League then it has

474
00:27:03,800 --> 00:27:07,040
Speaker 1: with many of the other films I was saying, right,

475
00:27:07,320 --> 00:27:09,840
Speaker 1: just because of the quality, just because of the Yeah,

476
00:27:10,520 --> 00:27:12,879
Speaker 1: something like when you get a great script and a

477
00:27:12,960 --> 00:27:16,280
Speaker 1: fantastic character to play, it elevates you. It makes you

478
00:27:16,600 --> 00:27:19,800
Speaker 1: a better actor. And when I read the script for

479
00:27:19,840 --> 00:27:23,440
Speaker 1: pulp fiction, I was like, WHOA, Like you nuverize it

480
00:27:23,480 --> 00:27:26,840
Speaker 1: almost instantly just because it it flows, It clicks. Yeah,

481
00:27:27,359 --> 00:27:30,320
Speaker 1: And when you work on a great animated show, it

482
00:27:30,600 --> 00:27:34,120
Speaker 1: feeds you, you know, impulses, like you're able to make

483
00:27:34,240 --> 00:27:37,840
Speaker 1: choices that you wouldn't like. That's the thing. Great material

484
00:27:39,000 --> 00:27:43,440
Speaker 1: makes great performances regardless of the medium. That's honestly true.

485
00:27:43,720 --> 00:27:47,320
Speaker 1: Fantastic answer. We get this question all the time at

486
00:27:47,359 --> 00:27:49,679
Speaker 1: comic cons with people. But you know, Will and Christie,

487
00:27:49,680 --> 00:27:51,359
Speaker 1: you guys have done so many things which your favorite

488
00:27:51,640 --> 00:27:56,280
Speaker 1: and to Will's credit, he's always said it's about good story. Um,

489
00:27:56,400 --> 00:27:58,879
Speaker 1: and I agree, like we've been so blessed to be

490
00:27:58,960 --> 00:28:00,960
Speaker 1: a part of like with bat Man or Kim possible,

491
00:28:02,000 --> 00:28:04,960
Speaker 1: great quality stuff that I feel like stands the test

492
00:28:05,040 --> 00:28:09,399
Speaker 1: of time, and there's that legacy. That's a wonderful, wonderful

493
00:28:09,800 --> 00:28:13,680
Speaker 1: answer that I had never thought about before. Um. Now,

494
00:28:13,960 --> 00:28:15,760
Speaker 1: this this being the case right as you want to

495
00:28:15,800 --> 00:28:19,760
Speaker 1: work as much as possible, So then how do you

496
00:28:19,920 --> 00:28:23,679
Speaker 1: will yourself to find value in things that don't necessarily

497
00:28:23,760 --> 00:28:27,280
Speaker 1: click right away? Now you're just giving me a masterclass

498
00:28:27,280 --> 00:28:30,920
Speaker 1: and booking, so just tell me we're giving Phil's giving

499
00:28:30,960 --> 00:28:34,479
Speaker 1: everyone a master class. Why we're here on I hear voices. Well,

500
00:28:34,640 --> 00:28:36,720
Speaker 1: that's funny because I don't know about you guys, but

501
00:28:36,800 --> 00:28:39,560
Speaker 1: do do you find that it's easier to do the

502
00:28:40,160 --> 00:28:43,880
Speaker 1: weaker material in voice over than it is on camera?

503
00:28:44,320 --> 00:28:45,480
Speaker 1: And I don't know if it's because you don't have

504
00:28:45,520 --> 00:28:49,560
Speaker 1: to put your face on it. Yeah, I think, But

505
00:28:49,640 --> 00:28:52,360
Speaker 1: I also think there's a when you're doing kind of

506
00:28:53,480 --> 00:28:55,560
Speaker 1: it's it's such a small it's it's changing now, and

507
00:28:55,640 --> 00:28:57,560
Speaker 1: thankfully it's changing now because it needs to open up.

508
00:28:57,600 --> 00:29:00,200
Speaker 1: But it was such a small community of voice silver

509
00:29:00,320 --> 00:29:03,600
Speaker 1: actors that even when you're doing something that isn't great,

510
00:29:03,680 --> 00:29:06,880
Speaker 1: you're usually surrounded by people you know, love and respect.

511
00:29:07,400 --> 00:29:09,320
Speaker 1: So there's five or six of you in the room

512
00:29:09,360 --> 00:29:11,760
Speaker 1: that no, it isn't great, and it's more about entertaining

513
00:29:11,840 --> 00:29:15,720
Speaker 1: each other. So that becomes kind of a thing like

514
00:29:15,840 --> 00:29:18,880
Speaker 1: you finished doing something, and you know you finished something

515
00:29:18,960 --> 00:29:20,480
Speaker 1: that you know isn't going to be great, but you

516
00:29:20,560 --> 00:29:22,840
Speaker 1: walk out going like, man, Dietrich Beder and I had fun,

517
00:29:22,960 --> 00:29:25,320
Speaker 1: or or Jeff Bennett and I had fun, or man,

518
00:29:25,400 --> 00:29:27,760
Speaker 1: Tara Strong was great today and we're never gonna do

519
00:29:27,880 --> 00:29:29,800
Speaker 1: this again because it ain't ever going to be a show.

520
00:29:29,920 --> 00:29:33,520
Speaker 1: But man, did they have me laughing. So there's something

521
00:29:33,640 --> 00:29:37,880
Speaker 1: too that side of the community where it was you're

522
00:29:38,000 --> 00:29:39,880
Speaker 1: just you know, when you're on camera, you never know

523
00:29:39,960 --> 00:29:43,280
Speaker 1: who you're gonna be with. So it's more like, oh, now,

524
00:29:43,560 --> 00:29:45,640
Speaker 1: not only is the material not great, but you can

525
00:29:45,680 --> 00:29:47,360
Speaker 1: tell my heart's not in it, and I'm gonna give

526
00:29:47,360 --> 00:29:49,520
Speaker 1: it my best, because you know, your best performance is

527
00:29:49,520 --> 00:29:53,840
Speaker 1: always the one you're in. But uh, it's very strange. Yeah, Mike,

528
00:29:53,920 --> 00:29:55,880
Speaker 1: Mike Can, I have the strangest connection to pulp fiction

529
00:29:55,920 --> 00:29:58,360
Speaker 1: and that I know and have worked with two people

530
00:29:59,080 --> 00:30:01,680
Speaker 1: that have played our arguably some of the smallest roles,

531
00:30:01,760 --> 00:30:04,200
Speaker 1: but most two of the most famous roles in the film.

532
00:30:04,360 --> 00:30:10,280
Speaker 1: You and Steve Hibbert, who was the Gift. So Steve

533
00:30:10,360 --> 00:30:13,520
Speaker 1: Hibbert was actually a producer and writer on Boy Meats World.

534
00:30:16,040 --> 00:30:19,040
Speaker 1: So yeah, so there's the two smaller roles, but two

535
00:30:19,160 --> 00:30:21,800
Speaker 1: roles that when you think of pulp fiction, right, you're

536
00:30:21,840 --> 00:30:24,040
Speaker 1: two of the people that instantly pop into your head.

537
00:30:24,640 --> 00:30:26,480
Speaker 1: So it's I always say that I have this weird

538
00:30:26,520 --> 00:30:28,960
Speaker 1: connection to two of the coolest characters in all of

539
00:30:29,000 --> 00:30:32,040
Speaker 1: pulp fiction. You know, Steve was one of my teachers

540
00:30:32,080 --> 00:30:34,000
Speaker 1: at the Growlings when I first started. Was he really

541
00:30:34,200 --> 00:30:38,840
Speaker 1: He's a great, absolutely great guy. Um, and I gotta

542
00:30:38,880 --> 00:30:41,640
Speaker 1: call him. Yeah, Hey, you know you guys mentioned mentioned

543
00:30:41,680 --> 00:30:46,120
Speaker 1: something really interesting about how Justice League and like Batman

544
00:30:46,200 --> 00:30:50,040
Speaker 1: beyond and it's it's interesting because before there was fan

545
00:30:50,240 --> 00:30:52,960
Speaker 1: fiction and maybe Phil you can speak to this being

546
00:30:53,040 --> 00:30:57,080
Speaker 1: sort of a comic book O G H. Yeah, I

547
00:30:57,240 --> 00:30:59,160
Speaker 1: know that within the comic book structure there was a

548
00:30:59,200 --> 00:31:02,400
Speaker 1: lot of overlap up, But did Batman beyond and that

549
00:31:02,640 --> 00:31:06,280
Speaker 1: world that y'all created and that those people were creating,

550
00:31:07,360 --> 00:31:10,920
Speaker 1: was it sort of the gateway to the fan fiction

551
00:31:11,040 --> 00:31:13,320
Speaker 1: world in a way to like pair this person with

552
00:31:13,440 --> 00:31:18,160
Speaker 1: that person that you wouldn't necessarily see animated together. Oh interesting. Um,

553
00:31:19,520 --> 00:31:21,480
Speaker 1: I don't know. I think the Internet was really the

554
00:31:21,520 --> 00:31:25,040
Speaker 1: thing that really made fan fiction explode. But original comic

555
00:31:25,080 --> 00:31:26,640
Speaker 1: book nerds like Philip check me if I'm wrong. But

556
00:31:26,720 --> 00:31:30,200
Speaker 1: you're You've got like hundreds and thousands of comic book

557
00:31:30,400 --> 00:31:33,280
Speaker 1: Like you're like a big comic book collector, right, Well,

558
00:31:33,640 --> 00:31:35,800
Speaker 1: I'm a bit comic book reader, so I have a

559
00:31:35,960 --> 00:31:38,160
Speaker 1: lot of them, but I only keep the good ones.

560
00:31:38,400 --> 00:31:41,840
Speaker 1: Oh interesting, Okay, so you're not a comic book horder, horder.

561
00:31:42,280 --> 00:31:43,640
Speaker 1: You're not going to see you on A and E

562
00:31:43,800 --> 00:31:46,320
Speaker 1: where we've got to go in and like, oh my god,

563
00:31:46,440 --> 00:31:50,240
Speaker 1: Phil Lamar is actually surrounded by thousands of old Silverhawks

564
00:31:50,280 --> 00:31:54,080
Speaker 1: comics or something exactly. But but I know I'm the guy.

565
00:31:54,320 --> 00:31:56,360
Speaker 1: That's funny because when we go to cons with the

566
00:31:56,440 --> 00:31:59,720
Speaker 1: Justice league folks. Everybody always say yeah, we would come

567
00:31:59,760 --> 00:32:02,040
Speaker 1: in of sessions and if there was like some you know,

568
00:32:02,880 --> 00:32:05,360
Speaker 1: B level comic book character I've never heard of, Phil

569
00:32:05,360 --> 00:32:07,360
Speaker 1: would go hold on and he'd open up his bag.

570
00:32:07,440 --> 00:32:10,640
Speaker 1: He's like, I've got him here. So how many do

571
00:32:10,680 --> 00:32:13,560
Speaker 1: you have? I don't know. I don't count them. I

572
00:32:13,640 --> 00:32:17,719
Speaker 1: just have because you know, it's hard to throw away books.

573
00:32:20,240 --> 00:32:24,400
Speaker 1: But but Christie, that's an interesting question because comic books

574
00:32:24,480 --> 00:32:30,360
Speaker 1: do have a history of crossing things over. Although for

575
00:32:30,440 --> 00:32:33,959
Speaker 1: a while they would just change a story Okay, now

576
00:32:34,080 --> 00:32:37,360
Speaker 1: this is a new green lantern. And because it was

577
00:32:37,400 --> 00:32:39,840
Speaker 1: a bunch of old guys writing things for kids, they

578
00:32:39,880 --> 00:32:42,240
Speaker 1: didn't care. But then later when those kids became it

579
00:32:42,440 --> 00:32:46,080
Speaker 1: was like, well where's the other one? Yeah, and so

580
00:32:46,200 --> 00:32:50,040
Speaker 1: they would create you know, storylines like well he's on

581
00:32:50,200 --> 00:32:58,040
Speaker 1: Earth too, that's where that Yeah, that's like improv though, Phil,

582
00:32:58,120 --> 00:33:01,120
Speaker 1: that's like yes and yeah, you know it's like it's

583
00:33:01,320 --> 00:33:05,160
Speaker 1: because when you think about it, no, really is such

584
00:33:05,240 --> 00:33:11,080
Speaker 1: a block for creative creativity, and um, the yes and

585
00:33:12,240 --> 00:33:17,640
Speaker 1: is what birth's new ideas and imagine the word. So

586
00:33:17,800 --> 00:33:21,080
Speaker 1: essentially what happened was all the kids that Cared grew

587
00:33:21,200 --> 00:33:23,520
Speaker 1: up to be Kathy Bates and misery going. He got

588
00:33:23,560 --> 00:33:27,280
Speaker 1: out of a cockat duty car. So that's pretty much

589
00:33:27,360 --> 00:33:29,920
Speaker 1: what ended up happening. And then the story's got well,

590
00:33:29,920 --> 00:33:32,440
Speaker 1: I mean, there we see it now with Marvel. Everybody's

591
00:33:32,440 --> 00:33:35,120
Speaker 1: doing the multiverse things and this is stuff that they

592
00:33:35,160 --> 00:33:37,680
Speaker 1: did in comic books for forever. And when I was

593
00:33:37,760 --> 00:33:40,720
Speaker 1: trying to get a handle on that, um, I would

594
00:33:40,720 --> 00:33:43,520
Speaker 1: ask people like, Okay, I want to read X Men.

595
00:33:44,320 --> 00:33:46,520
Speaker 1: Where do I start and what we're and they and

596
00:33:46,600 --> 00:33:49,040
Speaker 1: they go, you can't. I can't answer that question. Start

597
00:33:49,080 --> 00:33:51,720
Speaker 1: at one, all right, but which one of the one? Well,

598
00:33:51,760 --> 00:33:53,640
Speaker 1: you gotta go here, And then that's you're talking about

599
00:33:53,680 --> 00:33:55,680
Speaker 1: this kind of version and that kind and it gets

600
00:33:55,960 --> 00:33:59,760
Speaker 1: so confusing that That's one of the reasons why I

601
00:34:00,000 --> 00:34:03,680
Speaker 1: of animation is because I love take you know, somebody

602
00:34:03,720 --> 00:34:07,320
Speaker 1: like Bruce tim and Paul Deny and uh, you know

603
00:34:07,360 --> 00:34:10,239
Speaker 1: Alan Burnett, the way they would take certain stories and

604
00:34:10,840 --> 00:34:12,400
Speaker 1: take a little bit from this comic book and a

605
00:34:12,480 --> 00:34:14,279
Speaker 1: little bit from this storyline, and a little bit from

606
00:34:14,280 --> 00:34:18,160
Speaker 1: the storyline and create something completely new, right, which was

607
00:34:18,320 --> 00:34:22,600
Speaker 1: you know, the Batman and Superman could be against each

608
00:34:22,600 --> 00:34:25,520
Speaker 1: other but didn't fully hate each other yet and then

609
00:34:25,719 --> 00:34:28,280
Speaker 1: they have to fight, but their tongue in cheek about

610
00:34:28,520 --> 00:34:30,719
Speaker 1: so they could kind of skirt the line of all

611
00:34:30,800 --> 00:34:33,239
Speaker 1: the different versions, which I thought was very very cool. Well,

612
00:34:33,440 --> 00:34:38,040
Speaker 1: do you have difference between you know, honoring continuity and

613
00:34:38,160 --> 00:34:41,560
Speaker 1: fan fiction because fan fix, like, you can't change anything

614
00:34:41,640 --> 00:34:43,560
Speaker 1: that I watched when I was a kid. Everything has

615
00:34:43,640 --> 00:34:46,680
Speaker 1: to be exactly the same. But for Bruce and Allen

616
00:34:46,719 --> 00:34:50,400
Speaker 1: and those guys, know, this is source material, yeah, right,

617
00:34:50,960 --> 00:34:53,960
Speaker 1: the things that make it great and throw out the

618
00:34:54,000 --> 00:34:59,040
Speaker 1: crappy stuff that somebody is stuck in. That's yeah, which

619
00:34:59,120 --> 00:35:02,120
Speaker 1: is brilliant. Now do you Christie you were you were

620
00:35:02,120 --> 00:35:04,920
Speaker 1: talking before about about the difference between we always talked

621
00:35:04,920 --> 00:35:09,000
Speaker 1: about the difference between recording video games and recording animation.

622
00:35:09,280 --> 00:35:10,880
Speaker 1: Do you do a lot of video games film? I

623
00:35:11,000 --> 00:35:13,960
Speaker 1: do a fair amount, not not a super big ton,

624
00:35:14,120 --> 00:35:17,240
Speaker 1: but uh but yeah. It's It's funny because in the beginning,

625
00:35:17,719 --> 00:35:21,680
Speaker 1: when they first started using actors for video games, because

626
00:35:21,840 --> 00:35:24,560
Speaker 1: as we all know, in the very very beginning, there

627
00:35:24,680 --> 00:35:29,120
Speaker 1: wasn't enough bandwidth to have, you know, performances. But then

628
00:35:29,200 --> 00:35:31,560
Speaker 1: as the technology moved up and they had, oh we've

629
00:35:31,560 --> 00:35:34,400
Speaker 1: got all these cinematics. Okay, we can't have the guy

630
00:35:34,440 --> 00:35:39,000
Speaker 1: in rendering do that voice anymore. Exactly, Somebody get fifty

631
00:35:39,040 --> 00:35:43,080
Speaker 1: bucks and find us an actor. Man. And when the

632
00:35:43,160 --> 00:35:45,200
Speaker 1: characters stopped having to run in one direction with a

633
00:35:45,239 --> 00:35:48,440
Speaker 1: background that kept being the same the entire time, yeah, exactly,

634
00:35:48,520 --> 00:35:51,719
Speaker 1: it was no longer contra you were fine. But it's

635
00:35:51,760 --> 00:35:55,960
Speaker 1: funny because coming out of animation half hour, you know,

636
00:35:56,520 --> 00:36:02,000
Speaker 1: cartoons into video games like okay, it's you alone for

637
00:36:02,239 --> 00:36:08,239
Speaker 1: four hours straight and the last hour will be you dying. Yeah,

638
00:36:08,320 --> 00:36:12,680
Speaker 1: like fronting and yeah, yeah, they save all the action

639
00:36:12,960 --> 00:36:15,360
Speaker 1: sounds for the last part of your works, like okay,

640
00:36:15,440 --> 00:36:22,920
Speaker 1: now give me computed, short, medium and long always al right.

641
00:36:23,000 --> 00:36:25,160
Speaker 1: So I have a couple of questions that I always

642
00:36:25,160 --> 00:36:28,880
Speaker 1: ask here. One of them is is there a character

643
00:36:29,040 --> 00:36:33,600
Speaker 1: you haven't voiced that you would love to? Oh, that's

644
00:36:33,680 --> 00:36:36,680
Speaker 1: interesting because, like I said, I'm an old school comic

645
00:36:36,719 --> 00:36:41,600
Speaker 1: book guy, and Batman is my totem animal. Batman is

646
00:36:41,719 --> 00:36:48,640
Speaker 1: my hero. But I've heard Kevin Conroy there in lies

647
00:36:48,680 --> 00:36:53,000
Speaker 1: the rub, right, It's like, you know, I don't know.

648
00:36:53,080 --> 00:36:56,960
Speaker 1: I guess being a spear carrier and watching uh Laurence

649
00:36:57,000 --> 00:37:00,160
Speaker 1: Olivier play Hamlet, like yeah, no, I don't want to

650
00:37:00,200 --> 00:37:05,040
Speaker 1: play Hamlet no moment, but don't you think Hamlet? Ever,

651
00:37:05,880 --> 00:37:07,640
Speaker 1: it's true, but don't you think. And here's one of

652
00:37:07,680 --> 00:37:09,960
Speaker 1: the reasons why Kevin is such an amazing and generous actor.

653
00:37:10,520 --> 00:37:12,680
Speaker 1: He also this is also the joy of being in

654
00:37:12,719 --> 00:37:15,160
Speaker 1: Batman beyond is that I didn't have to play Bruce.

655
00:37:15,719 --> 00:37:18,000
Speaker 1: I was a whole new thing. I could work with Kevin.

656
00:37:18,000 --> 00:37:21,120
Speaker 1: I didn't have to follow in anybody's footsteps. But one

657
00:37:21,120 --> 00:37:23,040
Speaker 1: of the things Kevin always says is he likes how

658
00:37:23,640 --> 00:37:27,680
Speaker 1: different actors bring a different take to Batman. So I mean,

659
00:37:28,680 --> 00:37:32,080
Speaker 1: couldn't you see yourself saying, like, Okay, Kevin's Kevin. He's

660
00:37:32,080 --> 00:37:34,600
Speaker 1: always going to be Kevin. There's no Kevin is. People

661
00:37:34,600 --> 00:37:36,719
Speaker 1: always say, who's your Batman? Is it? You know? Is

662
00:37:36,800 --> 00:37:38,759
Speaker 1: it the Tim Burton Batman's is a Christian Bale. I'm like, no,

663
00:37:38,840 --> 00:37:41,120
Speaker 1: you're missing Batman. Batman is Kevin Conroy and always will be.

664
00:37:41,640 --> 00:37:44,440
Speaker 1: So he does stand by and I will till the

665
00:37:44,520 --> 00:37:49,640
Speaker 1: day I died. Kevin Conroy is Batman. So if he

666
00:37:49,760 --> 00:37:51,640
Speaker 1: gave you his blessing, which he would, you know, you

667
00:37:51,719 --> 00:37:54,120
Speaker 1: know he would because he'd be like, I want to

668
00:37:54,200 --> 00:37:57,160
Speaker 1: hear your take. I think what would you do? How

669
00:37:57,200 --> 00:38:00,320
Speaker 1: would I how would you approach Bruce Wayne? We'll see this.

670
00:38:00,560 --> 00:38:03,319
Speaker 1: This is one of those things because I mean, as

671
00:38:03,400 --> 00:38:07,440
Speaker 1: an artist like Kevin, you know, everybody plays King Lee,

672
00:38:07,480 --> 00:38:10,759
Speaker 1: everybody does their own version of the character. You know

673
00:38:10,920 --> 00:38:15,719
Speaker 1: that nobody owns it, right. But I've also got the

674
00:38:15,760 --> 00:38:17,960
Speaker 1: fanboy in my head being will We're gonna be kp

675
00:38:18,080 --> 00:38:23,320
Speaker 1: and Roun forever? Damn it? That's okay, So can you

676
00:38:23,400 --> 00:38:25,239
Speaker 1: take can you shut down the fanboy? I've got the

677
00:38:25,320 --> 00:38:28,680
Speaker 1: fanboy thing in my head. And it's funny because I

678
00:38:28,760 --> 00:38:32,240
Speaker 1: have the same problem, you know, voicing Batman that I've

679
00:38:32,280 --> 00:38:34,879
Speaker 1: had because a couple of times over my career they've

680
00:38:35,000 --> 00:38:40,120
Speaker 1: recast the Looney Tunes characters and Buds Bunny is like

681
00:38:40,840 --> 00:38:42,279
Speaker 1: what I used to say. I was like, who are

682
00:38:42,280 --> 00:38:49,520
Speaker 1: your favorite actors like Um, Sidney Potier, Tom Hanks, Bugs Bunny? Yeah?

683
00:38:49,560 --> 00:38:53,239
Speaker 1: Because I love but whenever I would audition, because they

684
00:38:53,320 --> 00:38:55,160
Speaker 1: send you the c D of mail blanks, you know

685
00:38:55,440 --> 00:39:01,080
Speaker 1: reference and you know when I do Budds Bunny, I

686
00:39:01,200 --> 00:39:02,920
Speaker 1: still hear a little bit of my voice in it,

687
00:39:02,960 --> 00:39:06,279
Speaker 1: and I go, Nope, that's not it. Now, what are

688
00:39:06,280 --> 00:39:09,719
Speaker 1: you talking about? Doc? It's Bugs bunny, you know, And

689
00:39:09,840 --> 00:39:12,319
Speaker 1: I know a couple of bugs bunnies, Eric Bow's Billy

690
00:39:12,440 --> 00:39:16,359
Speaker 1: West and I love your cares because I don't hear

691
00:39:16,400 --> 00:39:19,360
Speaker 1: me in it, that's the thing. So are you one

692
00:39:19,400 --> 00:39:21,399
Speaker 1: of those? So then there was times where people would

693
00:39:21,400 --> 00:39:23,120
Speaker 1: send me, especially for on camera, They would send me

694
00:39:23,160 --> 00:39:25,080
Speaker 1: stuff and in my head, I would look at it

695
00:39:25,080 --> 00:39:27,719
Speaker 1: and I would go, I wouldn't cast me in this.

696
00:39:29,440 --> 00:39:32,120
Speaker 1: So if I wouldn't cast me in this, why would

697
00:39:32,200 --> 00:39:33,880
Speaker 1: I go, Which, of course is the worst thing in

698
00:39:33,920 --> 00:39:35,840
Speaker 1: the world as for an actor you want to get on,

699
00:39:37,040 --> 00:39:38,320
Speaker 1: but it is it's like, you know, they'd be like,

700
00:39:38,360 --> 00:39:40,759
Speaker 1: all right, you're you know, you're the quarterback jock and

701
00:39:40,800 --> 00:39:42,560
Speaker 1: you've got And I remember thinking like I didn't have

702
00:39:42,600 --> 00:39:46,640
Speaker 1: a date for my problem, so I'm not gonna go

703
00:39:46,920 --> 00:39:49,680
Speaker 1: try to audition for quarterback jocks. Like, I'm just not

704
00:39:49,800 --> 00:39:52,760
Speaker 1: going to do that. Oh man, no, will do your best. Brad,

705
00:39:53,040 --> 00:39:57,520
Speaker 1: come on, my best my best Brad was his name

706
00:39:57,600 --> 00:40:00,560
Speaker 1: is Brad. He's a quarterback. Oh there you go, my best. Hi,

707
00:40:00,640 --> 00:40:02,719
Speaker 1: I'm Brad, and I'm sorry that I'm picking your daughter

708
00:40:02,840 --> 00:40:05,680
Speaker 1: up for a prom. Um that's my best crop. Uh

709
00:40:06,239 --> 00:40:08,719
Speaker 1: So yeah, no, I get what you're saying, but isn't

710
00:40:08,719 --> 00:40:13,160
Speaker 1: there is? Now? Here's my question is the desire to

711
00:40:13,360 --> 00:40:18,320
Speaker 1: play Batman? Would that be more compelling than the fanboy

712
00:40:18,400 --> 00:40:20,879
Speaker 1: voice in your head? Not yet? No? Okay, So even

713
00:40:20,920 --> 00:40:22,799
Speaker 1: if you're what if you're offered, You're straight up offered,

714
00:40:22,840 --> 00:40:24,400
Speaker 1: you're the new Batman. You don't even have to audition,

715
00:40:24,480 --> 00:40:26,879
Speaker 1: You're the new Batman. Are you going to turn it down?

716
00:40:27,280 --> 00:40:29,239
Speaker 1: Oh my god? That would be well. No. First I

717
00:40:29,280 --> 00:40:31,200
Speaker 1: would call Kevin. I'm like, did they offer this to you?

718
00:40:32,239 --> 00:40:37,839
Speaker 1: And he go, who? Who is this? Speaking of of Kevin,

719
00:40:38,000 --> 00:40:41,600
Speaker 1: did you get a chance to see him play your

720
00:40:41,719 --> 00:40:46,280
Speaker 1: Bruce in live action? During? It? Was amazing? W crisis?

721
00:40:46,600 --> 00:40:49,880
Speaker 1: It was? It was amazing and he was so nervous.

722
00:40:51,120 --> 00:40:52,840
Speaker 1: That's the thing that I love. It's not that he

723
00:40:52,920 --> 00:40:54,359
Speaker 1: walks in and he steps up and he goes, I've

724
00:40:54,360 --> 00:40:55,759
Speaker 1: been playing this part for thirty years. Now I get

725
00:40:55,800 --> 00:40:57,239
Speaker 1: to play it on camera. It's that he looked at

726
00:40:57,239 --> 00:40:59,200
Speaker 1: me at one point and he's like, I'm afraid with

727
00:40:59,320 --> 00:41:01,400
Speaker 1: my stage since I'm just gonna be too big. I

728
00:41:01,520 --> 00:41:03,719
Speaker 1: was like, I think you're gonna be all right. I

729
00:41:04,000 --> 00:41:06,960
Speaker 1: think the fans are gonna be okay with you. Playing

730
00:41:07,000 --> 00:41:11,000
Speaker 1: Bruce Wayne live action. But I just look like, after

731
00:41:11,080 --> 00:41:14,600
Speaker 1: playing Batman for so long, he played bat you know,

732
00:41:14,719 --> 00:41:17,520
Speaker 1: the Bruce Wayne from Batman Beyond came and he's and

733
00:41:17,600 --> 00:41:19,239
Speaker 1: he's bad, and the thing he hated was that he

734
00:41:19,360 --> 00:41:21,320
Speaker 1: was bad. He's like, I've gotten the fans they didn't

735
00:41:21,360 --> 00:41:23,640
Speaker 1: like that. How it was. It's so because he cares

736
00:41:23,680 --> 00:41:27,200
Speaker 1: so much about the character. But again, you can't even

737
00:41:27,239 --> 00:41:29,440
Speaker 1: you can't even answer the question without taking Kevin out

738
00:41:29,480 --> 00:41:31,680
Speaker 1: of your head. So Kevin calls you and says, Phil,

739
00:41:32,080 --> 00:41:35,080
Speaker 1: I don't want to play Batman new series. I want

740
00:41:35,160 --> 00:41:37,520
Speaker 1: you to to to pick up and wear the cowl.

741
00:41:37,920 --> 00:41:40,560
Speaker 1: What do you do if? Yes, if it's people that

742
00:41:40,680 --> 00:41:43,800
Speaker 1: I trust, yeah, there you go. Okay. Like if it

743
00:41:43,880 --> 00:41:47,319
Speaker 1: were you know, Bruce or Ellen Burnett and Kevin doing

744
00:41:47,400 --> 00:41:50,800
Speaker 1: like I would, I would take a swing at that, definitely, okay,

745
00:41:50,840 --> 00:41:53,040
Speaker 1: because that because I now have a Batman of course,

746
00:41:53,719 --> 00:41:55,960
Speaker 1: I'm sure the session would go alright, alright, hold on

747
00:41:56,040 --> 00:42:04,520
Speaker 1: a second, Phil, stop doing, Kevin stopped doing. Kevin Conroy, um, hey,

748
00:42:05,520 --> 00:42:12,879
Speaker 1: bail it um, so we could talk Futurama. We could talk.

749
00:42:12,880 --> 00:42:15,160
Speaker 1: I gotta go to Justice League very quickly. Again. I'm

750
00:42:15,200 --> 00:42:17,360
Speaker 1: sorry because we're talking about doing the multiple characters, and

751
00:42:17,400 --> 00:42:23,839
Speaker 1: you just we're reminding me because you also did Steel. Yes, um,

752
00:42:24,080 --> 00:42:28,000
Speaker 1: which you told me in the room was your who was?

753
00:42:28,080 --> 00:42:30,960
Speaker 1: It is Samuel Jackson? Who who was Steel? Somebody? You didn't?

754
00:42:32,560 --> 00:42:35,360
Speaker 1: I put a little Morgan Freeman. Morgan Freeman, That's what

755
00:42:35,560 --> 00:42:37,400
Speaker 1: was he did. Can we hear a little Steel? A

756
00:42:37,440 --> 00:42:41,320
Speaker 1: little Morgan Freeman. Well, the thing about Steel was he

757
00:42:41,520 --> 00:42:48,520
Speaker 1: was a professor who became a superhero. It's so the

758
00:42:48,600 --> 00:42:50,719
Speaker 1: best you know. Well, And the funny thing was I

759
00:42:50,840 --> 00:42:53,320
Speaker 1: needed him to sound I needed him to sound different

760
00:42:53,360 --> 00:42:56,719
Speaker 1: than John's Stewart. So he was someone who sounded like this.

761
00:42:57,239 --> 00:42:59,160
Speaker 1: But then in that episode you were talking about before,

762
00:42:59,280 --> 00:43:03,160
Speaker 1: when they brought the older Static, I was like, oh, dang,

763
00:43:03,400 --> 00:43:08,239
Speaker 1: do I have an you did though you did? What

764
00:43:08,360 --> 00:43:12,440
Speaker 1: I did was I went, I went back to you know, Virgil,

765
00:43:12,600 --> 00:43:15,439
Speaker 1: the original fourteen year old Static, and then said, well,

766
00:43:15,680 --> 00:43:18,239
Speaker 1: I mean, you know, not everybody when they grow up

767
00:43:18,320 --> 00:43:21,319
Speaker 1: gets a big, deep voice. I mean, if if your

768
00:43:21,400 --> 00:43:23,839
Speaker 1: voice is like this when you're fourteen, then you grow

769
00:43:24,000 --> 00:43:28,200
Speaker 1: up and you become you know, an adult, ye whatever,

770
00:43:28,760 --> 00:43:32,120
Speaker 1: And then that man grows up and maybe gets into

771
00:43:32,239 --> 00:43:35,080
Speaker 1: his fifties HiT's the same voice, but just a little

772
00:43:35,080 --> 00:43:39,360
Speaker 1: bit of texture to it. That's awesome. That's awesome. Taking

773
00:43:39,400 --> 00:43:44,120
Speaker 1: note everybody. It amazes me how you just walk through

774
00:43:44,160 --> 00:43:47,040
Speaker 1: the range like that is just absolutely insane to me.

775
00:43:48,200 --> 00:43:50,200
Speaker 1: So yeah, I mean, okay, Well, the other question that

776
00:43:50,239 --> 00:43:52,360
Speaker 1: we always ask everybody because it's these are the questions

777
00:43:52,440 --> 00:43:54,440
Speaker 1: that people love to hear the answers too, and some

778
00:43:54,600 --> 00:43:57,239
Speaker 1: A lot of times people are like, I can't tell

779
00:43:57,239 --> 00:43:59,879
Speaker 1: you the name, or I can't get too much into

780
00:43:59,880 --> 00:44:08,080
Speaker 1: this story, but baby daddy, yes, yes, And Brendan comes

781
00:44:08,200 --> 00:44:13,080
Speaker 1: running in from the other room. Wait what m her? Careful?

782
00:44:13,160 --> 00:44:21,600
Speaker 1: Her husband's w um? So is he? It's green exactly.

783
00:44:22,560 --> 00:44:30,600
Speaker 1: I'm a cartoon Marie. Do you have any moment, like

784
00:44:30,800 --> 00:44:35,279
Speaker 1: any sessions in your head, for good or bad, that

785
00:44:35,600 --> 00:44:38,040
Speaker 1: really stand out for you where either you were working

786
00:44:38,080 --> 00:44:40,480
Speaker 1: with somebody that was nuts, you were working with somebody

787
00:44:40,520 --> 00:44:44,080
Speaker 1: that was amazing, somebody you really looked up to. I mean,

788
00:44:44,200 --> 00:44:45,560
Speaker 1: was there ever did you walk out of a session

789
00:44:45,600 --> 00:44:50,920
Speaker 1: going like, damn, that's the story I'm going to tell. Yes, um,

790
00:44:52,560 --> 00:44:54,439
Speaker 1: and you don't need to mention any names, by the way,

791
00:44:55,560 --> 00:44:57,960
Speaker 1: you can, but you don't. And we can also bleep

792
00:44:58,160 --> 00:45:00,600
Speaker 1: if you'd like to, we've we did it in our

793
00:45:00,680 --> 00:45:03,000
Speaker 1: last episode. We did it in our last episode. But no,

794
00:45:03,120 --> 00:45:06,359
Speaker 1: just it's I said before, So Chrissy's husband doesn't does

795
00:45:07,440 --> 00:45:11,880
Speaker 1: doesn't come good sport. He isn't good sport. Actually, actually

796
00:45:11,960 --> 00:45:15,320
Speaker 1: there there's one story that I can use the names

797
00:45:15,600 --> 00:45:18,920
Speaker 1: and it blew my mind in a way. I mean,

798
00:45:18,960 --> 00:45:21,759
Speaker 1: and this is well into my career. During the the

799
00:45:21,880 --> 00:45:24,320
Speaker 1: final season of Samurai Jack, like we have done the

800
00:45:24,360 --> 00:45:27,120
Speaker 1: show on Cartoon Network back in the early two thousand's

801
00:45:27,160 --> 00:45:30,920
Speaker 1: and then fourteen years later we wrapped up the series

802
00:45:32,200 --> 00:45:35,200
Speaker 1: and during over the Bend to talk Samurai Jackiet, I'm sorry,

803
00:45:35,200 --> 00:45:38,239
Speaker 1: we didn't even talk Samuraiji. I know, I love, I love,

804
00:45:38,400 --> 00:45:39,919
Speaker 1: We'll get anything, but I want to hear the story.

805
00:45:40,080 --> 00:45:42,520
Speaker 1: It's it's it's a great show. But over the fourteen

806
00:45:42,600 --> 00:45:46,480
Speaker 1: years that the show wasn't on the air, we lost

807
00:45:47,520 --> 00:45:50,800
Speaker 1: one of our cast members. The original villain, you know,

808
00:45:50,960 --> 00:45:54,520
Speaker 1: playing the voice of the demon wizard Aku was an

809
00:45:54,560 --> 00:45:59,720
Speaker 1: actor named Mako Iwamatsu, who is incredible, like just because

810
00:45:59,760 --> 00:46:01,680
Speaker 1: most of the episodes were just me and him, and

811
00:46:01,800 --> 00:46:04,120
Speaker 1: being in the room with him was like being on

812
00:46:04,239 --> 00:46:10,000
Speaker 1: set with um. Samuel L. Jackson's like masterclass, Like, oh dang, there,

813
00:46:10,120 --> 00:46:11,960
Speaker 1: didn't he just go by Maco like he did a

814
00:46:11,960 --> 00:46:14,400
Speaker 1: whole bunch he was. He was a very much a

815
00:46:14,440 --> 00:46:16,560
Speaker 1: reoccurring person on mash, which is my favorite show of

816
00:46:16,560 --> 00:46:18,239
Speaker 1: all time. He's been on ever, I mean, he's been

817
00:46:18,280 --> 00:46:20,600
Speaker 1: on television. He started in like the fifties, I think,

818
00:46:21,400 --> 00:46:24,200
Speaker 1: I mean a legend. Remember going to a Jerry's Deli,

819
00:46:24,280 --> 00:46:28,400
Speaker 1: sitting down and there's a poster for um Stephen Sondheim's

820
00:46:28,400 --> 00:46:32,239
Speaker 1: Pacific Overtures and Maco's name is over the above the

821
00:46:32,320 --> 00:46:37,239
Speaker 1: title That's crazy, did it? Yeah? You know? And it's

822
00:46:37,440 --> 00:46:39,520
Speaker 1: it's funny because there was there was a session where

823
00:46:40,239 --> 00:46:44,840
Speaker 1: because Michael ahead a very distinctive voice, you know, he

824
00:46:44,920 --> 00:46:48,560
Speaker 1: had this heavy texture in the accent, and like when

825
00:46:48,600 --> 00:46:50,880
Speaker 1: he was talking, you knew it was him. And one

826
00:46:50,920 --> 00:46:55,600
Speaker 1: episode of Samurai Jack they cast him as another character

827
00:46:56,640 --> 00:47:02,640
Speaker 1: and I was like, really goods, you know, and I'm thinking, like,

828
00:47:03,040 --> 00:47:05,200
Speaker 1: when this is over, they're gonna have need me to

829
00:47:05,280 --> 00:47:10,600
Speaker 1: revoice it because he's got such a distinctive sound. Sure,

830
00:47:11,200 --> 00:47:13,680
Speaker 1: but then we're doing the scene and we get to

831
00:47:13,800 --> 00:47:20,520
Speaker 1: his character and he doesn't alter his voice so much

832
00:47:20,600 --> 00:47:25,680
Speaker 1: as he just plays the character completely differently than he

833
00:47:25,760 --> 00:47:28,799
Speaker 1: plays Aku, Like he plays Aku as this very high

834
00:47:28,840 --> 00:47:33,319
Speaker 1: status character and then he plays this other characters very

835
00:47:33,480 --> 00:47:37,560
Speaker 1: low status. And and then when I watched that episode,

836
00:47:37,880 --> 00:47:41,600
Speaker 1: I can't even tell it's him. Wow. And that session

837
00:47:41,719 --> 00:47:44,880
Speaker 1: is when I learned that in voice acting, it's a

838
00:47:44,920 --> 00:47:48,759
Speaker 1: misnomer because the acting comes before the voice. And he

839
00:47:48,840 --> 00:47:50,480
Speaker 1: showed it to me right then and there. It's like,

840
00:47:51,480 --> 00:47:56,120
Speaker 1: it's not about making different funny sounds, it's about bringing

841
00:47:56,200 --> 00:48:02,920
Speaker 1: the character to life. And I'm just like, oh, okay, amazing.

842
00:48:03,280 --> 00:48:04,920
Speaker 1: He was so important in my childhood, not just for

843
00:48:05,040 --> 00:48:07,480
Speaker 1: mash but for the Conan movie. Yes, I mean it

844
00:48:07,600 --> 00:48:09,520
Speaker 1: just it does matter to me so much as a

845
00:48:09,600 --> 00:48:11,600
Speaker 1: kid that it was like every time I see that,

846
00:48:11,680 --> 00:48:14,279
Speaker 1: it's just I was convinced back in the day that

847
00:48:14,360 --> 00:48:17,840
Speaker 1: they hired him as the narrator just to make Arnold's

848
00:48:17,880 --> 00:48:25,000
Speaker 1: accent easier to understand, which there is Conan barbary if

849
00:48:25,040 --> 00:48:28,560
Speaker 1: you stout hearing that, so then when this guy stops talking,

850
00:48:28,840 --> 00:48:32,560
Speaker 1: you can understand me. Right. It was so great that

851
00:48:32,719 --> 00:48:35,839
Speaker 1: just how it just ends and he became king by

852
00:48:35,920 --> 00:48:40,399
Speaker 1: his own hand. But that is another story. It was like, oh,

853
00:48:40,520 --> 00:48:43,360
Speaker 1: there's gonna be another one like you just you lost it.

854
00:48:43,480 --> 00:48:45,960
Speaker 1: You was so great and he had that voice. It's

855
00:48:46,000 --> 00:48:47,840
Speaker 1: like a James Hank kind of thing where it's just

856
00:48:48,160 --> 00:48:50,759
Speaker 1: you hear the voice and you're instantly snapped into something

857
00:48:50,800 --> 00:48:52,439
Speaker 1: where it's like, oh, that's the coolest thing in the world.

858
00:48:52,640 --> 00:48:55,080
Speaker 1: So that's a cool story. I mean that is being

859
00:48:55,160 --> 00:48:57,400
Speaker 1: able to to sit there and watch a legend like

860
00:48:57,480 --> 00:49:03,120
Speaker 1: that at work is is pretty awesome. Um now, very quickly,

861
00:49:03,120 --> 00:49:05,839
Speaker 1: and then in about about five minutes, we've got uh

862
00:49:06,160 --> 00:49:09,080
Speaker 1: I think it's Jonah, our fan is coming in. Who

863
00:49:09,160 --> 00:49:10,400
Speaker 1: is going to get to play with us? Which is

864
00:49:10,400 --> 00:49:12,320
Speaker 1: gonna be a lot of fun. One question I do

865
00:49:12,440 --> 00:49:17,200
Speaker 1: have because Futurama is obviously a juggernaut and one of

866
00:49:17,320 --> 00:49:21,360
Speaker 1: my favorite primetime cartoons ever. I am one of the

867
00:49:21,400 --> 00:49:24,080
Speaker 1: few people that would say this, but I am a

868
00:49:24,120 --> 00:49:27,360
Speaker 1: big Mac Graining fan, and I put Futurama above the Simpsons.

869
00:49:27,400 --> 00:49:33,200
Speaker 1: I'm sorry, I just say, there we go. There's so much.

870
00:49:33,560 --> 00:49:36,680
Speaker 1: I've watched many Simpsons episodes that are phenomenal. The cast

871
00:49:36,800 --> 00:49:41,440
Speaker 1: is incredible, the writing and sane. I can think of

872
00:49:41,840 --> 00:49:45,520
Speaker 1: several Futurama episodes that I can't watch because I will ball.

873
00:49:45,880 --> 00:49:52,320
Speaker 1: Like like every time Luck of the Fry Irish or

874
00:49:52,520 --> 00:49:55,840
Speaker 1: fries Dog, which is the fries Dog episode comes around,

875
00:49:56,200 --> 00:49:57,880
Speaker 1: I'm like, and I can't do it again. I can't,

876
00:49:58,080 --> 00:50:00,840
Speaker 1: I can't do it again. It's this at Christie. Have

877
00:50:00,920 --> 00:50:04,280
Speaker 1: you seen this episode? I feel like I haven't. I've

878
00:50:04,320 --> 00:50:06,640
Speaker 1: cried once or twice with Futurama, but I can't. I

879
00:50:06,719 --> 00:50:10,520
Speaker 1: can't remember these ones. What was one? Yeah? Really, I

880
00:50:10,560 --> 00:50:15,080
Speaker 1: gotta watch them. Five finds his dog has been petrified

881
00:50:15,160 --> 00:50:17,840
Speaker 1: back in the day, and he's carrying around the petrified

882
00:50:17,920 --> 00:50:21,600
Speaker 1: dog and and and Professor Farnsworth essentially says, you know, Fry,

883
00:50:21,840 --> 00:50:24,360
Speaker 1: we can bring it back. At my that's my awesome, professor.

884
00:50:25,560 --> 00:50:28,279
Speaker 1: That's pretty well, it's really not, which is why I've

885
00:50:28,320 --> 00:50:32,560
Speaker 1: never been on. But they're cutting back to the dog

886
00:50:32,760 --> 00:50:39,319
Speaker 1: living his life, and it's from the dog's perspective. But so, yeah,

887
00:50:39,960 --> 00:50:43,200
Speaker 1: I remember this. Yeah, I'm not gonna he he had

888
00:50:43,239 --> 00:50:46,239
Speaker 1: this whole long life without me. That's not fair. I'm

889
00:50:46,280 --> 00:50:48,000
Speaker 1: not going to bring him back. But when they show

890
00:50:48,080 --> 00:50:51,120
Speaker 1: him back, the dogs just sitting there waiting for Fry

891
00:50:51,480 --> 00:50:55,200
Speaker 1: for years until he dies. He's in front of the

892
00:50:55,320 --> 00:50:58,160
Speaker 1: damn pizza parts. Oh my god. Yes, why are you

893
00:50:58,280 --> 00:51:03,440
Speaker 1: doing this to me? I listen with Futurama. Okay, I

894
00:51:03,680 --> 00:51:07,960
Speaker 1: know I like a show. If I would buy, if

895
00:51:08,000 --> 00:51:11,160
Speaker 1: I would actually out of pocket try to locate or

896
00:51:11,280 --> 00:51:13,920
Speaker 1: even do like some sort of an eBay or something,

897
00:51:14,719 --> 00:51:17,560
Speaker 1: um sell, if I would buy a cell from something,

898
00:51:17,719 --> 00:51:20,160
Speaker 1: then I know that I that I'm a huge fan

899
00:51:20,239 --> 00:51:22,239
Speaker 1: of that. Futurama is one of those that I would

900
00:51:22,239 --> 00:51:27,520
Speaker 1: absolutely it is unfreaking real. There's so much heart in

901
00:51:27,640 --> 00:51:30,680
Speaker 1: the show that should be well, the absurdity is there

902
00:51:30,760 --> 00:51:34,440
Speaker 1: and it's beautifully done, but the heart is ridiculous. So

903
00:51:35,480 --> 00:51:37,840
Speaker 1: you're you're doing more right. We're a lot, it's been announced.

904
00:51:37,880 --> 00:51:40,440
Speaker 1: You're a lot to talk about. I did not know.

905
00:51:41,640 --> 00:51:47,480
Speaker 1: My gosh, the zombie of animation is back again. Just

906
00:51:47,880 --> 00:51:51,480
Speaker 1: keeps coming back and coming because because fans of this

907
00:51:51,640 --> 00:51:56,480
Speaker 1: show are die hard fans of this show. So I mean,

908
00:51:56,719 --> 00:51:59,520
Speaker 1: it's also the joy of animation is it can always

909
00:51:59,560 --> 00:52:03,239
Speaker 1: come back. Nobody's aging. It can always come back. So

910
00:52:04,840 --> 00:52:06,040
Speaker 1: have you got you guys? I mean, I don't know

911
00:52:06,040 --> 00:52:07,239
Speaker 1: how much of it you're allowed to talk about if

912
00:52:07,239 --> 00:52:09,880
Speaker 1: you guys started recording. Yes, yes, we're you know, we're all.

913
00:52:10,239 --> 00:52:13,640
Speaker 1: Everything's official. We're all back. We're all back in the studio,

914
00:52:14,160 --> 00:52:17,560
Speaker 1: and it's so much fun I mean, it's funny because

915
00:52:17,640 --> 00:52:21,440
Speaker 1: I wonder. I don't think they did it on purpose,

916
00:52:21,800 --> 00:52:25,879
Speaker 1: but had they from a business standpoint, thought it through.

917
00:52:25,880 --> 00:52:30,399
Speaker 1: It's like, hmm. Animation fans are deep and heavy into

918
00:52:30,440 --> 00:52:34,399
Speaker 1: an engagement, and science fiction fans are deep and heavy.

919
00:52:35,120 --> 00:52:40,040
Speaker 1: Let's marry them, yeah, you know, and then give the

920
00:52:40,160 --> 00:52:44,239
Speaker 1: Simpsons you know, level of love to them. But the

921
00:52:44,560 --> 00:52:48,279
Speaker 1: thing that that I love most about Futurama is what

922
00:52:48,400 --> 00:52:51,239
Speaker 1: you're talking about. There's that heart to it. But then

923
00:52:51,280 --> 00:52:54,759
Speaker 1: there's also just like the brilliance. I mean, a show

924
00:52:54,840 --> 00:52:59,520
Speaker 1: where they create its own alien language and every like

925
00:52:59,719 --> 00:53:03,040
Speaker 1: four meola you see on a board in the background

926
00:53:03,320 --> 00:53:08,040
Speaker 1: is an actual mathematical formula. Yeah, that show makes you

927
00:53:08,239 --> 00:53:10,239
Speaker 1: feel like every time there's one of those you know,

928
00:53:10,400 --> 00:53:14,000
Speaker 1: unrequited love episodes where Fries trying in Leland and something

929
00:53:14,040 --> 00:53:17,239
Speaker 1: comes between them, it always just like, I, well up,

930
00:53:17,840 --> 00:53:19,680
Speaker 1: you know, I feel the same way. I mean again,

931
00:53:19,680 --> 00:53:21,279
Speaker 1: I could gush about this the whole time where he

932
00:53:21,400 --> 00:53:23,960
Speaker 1: where he gives he finally learns how to play the

933
00:53:24,040 --> 00:53:26,640
Speaker 1: Hall of Fauns and the Devil takes his ears in

934
00:53:26,719 --> 00:53:29,040
Speaker 1: the hands, and it's an entire musical episode. That's the thing.

935
00:53:29,160 --> 00:53:32,400
Speaker 1: Is everybody on that cast, aside from being terrible actors,

936
00:53:32,440 --> 00:53:35,440
Speaker 1: it's not a single good actor on the entire It

937
00:53:35,640 --> 00:53:37,880
Speaker 1: is one of the greatest casts ever put together. But

938
00:53:38,280 --> 00:53:43,960
Speaker 1: aren't all of you singers? Um? Well, I mean actually,

939
00:53:44,360 --> 00:53:49,360
Speaker 1: essentially we can all sing. But you've got Katie Segal

940
00:53:49,480 --> 00:53:53,200
Speaker 1: and Billy West who are you know? Right? Wait, wait,

941
00:53:55,000 --> 00:53:59,600
Speaker 1: Johnny DiMaggio is a pretty slouch singing either, you know. Actually,

942
00:53:59,680 --> 00:54:04,440
Speaker 1: I mean everybody on the show can, Maurice Tress you

943
00:54:04,520 --> 00:54:08,880
Speaker 1: know there, Yeah, everybody's hotels. Now do you do you

944
00:54:08,920 --> 00:54:10,920
Speaker 1: all record together? Do you record separately? We always have

945
00:54:11,000 --> 00:54:12,799
Speaker 1: this conversation about which is better. We all know it's

946
00:54:12,840 --> 00:54:14,279
Speaker 1: better to record with a bunch of other people, but

947
00:54:14,360 --> 00:54:17,680
Speaker 1: we don't know, especially pandemic wise. Now, what's going on?

948
00:54:17,840 --> 00:54:20,480
Speaker 1: So you guys all recording together? Actually, yes, I mean

949
00:54:20,560 --> 00:54:24,520
Speaker 1: they're still it's they're putting everybody into a different room

950
00:54:25,200 --> 00:54:27,319
Speaker 1: at the at the studio, you know, so like you're

951
00:54:27,360 --> 00:54:29,080
Speaker 1: in this little booth, you're in that little booth. Well,

952
00:54:29,120 --> 00:54:34,480
Speaker 1: the studio is happy, exactly what we need to to

953
00:54:34,800 --> 00:54:38,080
Speaker 1: hear everybody in real time, you know, it's funny because

954
00:54:38,440 --> 00:54:40,160
Speaker 1: you were talking Grissy about the fact that you guys

955
00:54:40,280 --> 00:54:42,200
Speaker 1: never got to work with anybody, And I feel like

956
00:54:43,160 --> 00:54:46,160
Speaker 1: back then was the beginning of what is now the

957
00:54:46,320 --> 00:54:52,360
Speaker 1: norm where nobody really does records anymore. But it's for me.

958
00:54:52,520 --> 00:54:55,160
Speaker 1: It's started back with those Disney shows with you guys

959
00:54:55,360 --> 00:54:58,720
Speaker 1: and Phineas and ferb. You know, it's like these great shows,

960
00:54:58,800 --> 00:55:02,719
Speaker 1: but I've never met any of the other people on them. Yeah,

961
00:55:03,280 --> 00:55:06,879
Speaker 1: not anymore. So we so animation for the folks out there,

962
00:55:07,200 --> 00:55:10,920
Speaker 1: it happens very very quickly. So you record three days later,

963
00:55:10,960 --> 00:55:13,759
Speaker 1: you've got an episode and it is on Hulu about

964
00:55:13,760 --> 00:55:15,640
Speaker 1: a day and a half after that. And of course,

965
00:55:15,719 --> 00:55:20,080
Speaker 1: joking with with Phil announcing, some come and say, well,

966
00:55:20,160 --> 00:55:21,960
Speaker 1: this is what I deal with. He's too funny for

967
00:55:22,080 --> 00:55:28,600
Speaker 1: his own good. My favorite is telling her that that

968
00:55:28,719 --> 00:55:32,120
Speaker 1: being gullible was actually an inherited trait. She went, really,

969
00:55:32,920 --> 00:55:38,239
Speaker 1: um um no, it's it's forever. So as as as

970
00:55:38,440 --> 00:55:40,319
Speaker 1: excited as we are when we hear like, hey, they're

971
00:55:40,320 --> 00:55:42,360
Speaker 1: recording more fu dramas, we know you're a year and

972
00:55:42,360 --> 00:55:44,640
Speaker 1: a half, two years before you get to see anything. Well,

973
00:55:44,760 --> 00:55:47,280
Speaker 1: it's funny because you know when on interviews or conventions

974
00:55:47,360 --> 00:55:49,400
Speaker 1: or something, people say, so, what are you working on?

975
00:55:50,680 --> 00:55:52,759
Speaker 1: When they asked that, I go in my head and

976
00:55:52,800 --> 00:55:54,640
Speaker 1: go they don't really want to know what I'm working

977
00:55:54,680 --> 00:55:56,520
Speaker 1: on now. They want to know what I was working

978
00:55:56,560 --> 00:56:00,960
Speaker 1: on a year ago that they see now. Yeah, which

979
00:56:01,040 --> 00:56:03,680
Speaker 1: is which is true. So, um, that being said, what

980
00:56:03,719 --> 00:56:07,560
Speaker 1: are you working on now? Well, actually, I've found a

981
00:56:07,640 --> 00:56:12,839
Speaker 1: way around the time problem with animation, because, especially when

982
00:56:12,880 --> 00:56:14,719
Speaker 1: you get to be my age, you work on something

983
00:56:14,800 --> 00:56:17,879
Speaker 1: a year ago and then you don't remember what you did.

984
00:56:18,920 --> 00:56:23,960
Speaker 1: It actually comes on. Wait am I in this? But

985
00:56:24,560 --> 00:56:27,879
Speaker 1: I have. I have found a weird little side biz.

986
00:56:28,560 --> 00:56:33,000
Speaker 1: I've been doing voice voiceover jobs on live action shows

987
00:56:34,320 --> 00:56:37,399
Speaker 1: because the technology has gotten to a level now where

988
00:56:37,640 --> 00:56:42,960
Speaker 1: TV shows have c G characters or you know, um,

989
00:56:43,239 --> 00:56:46,640
Speaker 1: like there's the show on the CW, The Flash, which

990
00:56:47,560 --> 00:56:51,920
Speaker 1: has so many characters that are either completely c G

991
00:56:52,120 --> 00:56:57,279
Speaker 1: I or they have full face masks. Like my friend

992
00:56:57,360 --> 00:57:01,520
Speaker 1: Tony Todd, you did an entire season as Professor Zoom

993
00:57:02,080 --> 00:57:04,200
Speaker 1: and it was all in post. It was all him

994
00:57:04,280 --> 00:57:09,319
Speaker 1: recording in a booth. My friend David Sobolov did Flash Yeah,

995
00:57:09,520 --> 00:57:13,560
Speaker 1: David Day's Garde Yeah, And I played a villain on

996
00:57:13,640 --> 00:57:16,760
Speaker 1: that who was rag doll whose face was a doll mask.

997
00:57:18,080 --> 00:57:21,440
Speaker 1: So there's this amazing actor on set who's contorting himself

998
00:57:21,480 --> 00:57:24,360
Speaker 1: and then like I come in and like take half

999
00:57:24,400 --> 00:57:27,560
Speaker 1: the credit for his character. So is that what you do?

1000
00:57:27,680 --> 00:57:29,320
Speaker 1: Do you? So then they've shot it, you go in

1001
00:57:29,400 --> 00:57:32,440
Speaker 1: and you record it like you you you essentially voice

1002
00:57:32,480 --> 00:57:35,120
Speaker 1: match like you would, uh, you know, anime or something

1003
00:57:35,160 --> 00:57:36,800
Speaker 1: like that. You're not on set while they're doing this,

1004
00:57:37,000 --> 00:57:39,880
Speaker 1: right exactly, Yeah, you're doing it later. Although it's funny

1005
00:57:39,880 --> 00:57:41,760
Speaker 1: because on the Flash didn't even have to match lips

1006
00:57:41,800 --> 00:57:45,520
Speaker 1: because the masket mo yeah. Right. But on the Book

1007
00:57:45,560 --> 00:57:48,840
Speaker 1: of Boba Fette, I did a couple of characters and

1008
00:57:48,960 --> 00:57:51,120
Speaker 1: they all had moving mouths. I was like, oh, this

1009
00:57:51,240 --> 00:57:55,120
Speaker 1: is hard. Oh that's so cool though, So yeah, now

1010
00:57:55,160 --> 00:57:57,120
Speaker 1: it's it's so weird. So now voice over actors and

1011
00:57:57,160 --> 00:57:58,760
Speaker 1: I don't even say voice over actor. You're an actor,

1012
00:57:58,760 --> 00:58:00,479
Speaker 1: but you're an actor who's huge in the voice over world.

1013
00:58:00,760 --> 00:58:04,480
Speaker 1: You now get to write do voice over in live

1014
00:58:04,640 --> 00:58:08,000
Speaker 1: action stuff, which is kind of really cool. We're all crossing.

1015
00:58:08,040 --> 00:58:11,760
Speaker 1: It's everything's crossing. It's everything because of the technology is

1016
00:58:11,840 --> 00:58:15,920
Speaker 1: blurring the lines between everything, and there's so much to

1017
00:58:16,040 --> 00:58:19,080
Speaker 1: be a fan for these days, like whatever you want,

1018
00:58:19,200 --> 00:58:22,640
Speaker 1: whatever niche you you want, it's it's it's represented in something,

1019
00:58:23,080 --> 00:58:26,080
Speaker 1: and nowadays you can find it. You know. It's funny

1020
00:58:26,120 --> 00:58:28,160
Speaker 1: you were talking about wanting to learn about you know,

1021
00:58:28,600 --> 00:58:30,760
Speaker 1: X Men or whatever, and Pat and Oswald has a

1022
00:58:30,840 --> 00:58:33,160
Speaker 1: bit about, you know, in the old days, being a

1023
00:58:33,200 --> 00:58:38,680
Speaker 1: geek required work. You have somebody mail you a video

1024
00:58:38,800 --> 00:58:44,760
Speaker 1: tape from Japan. There's no algorithm telling you everything you

1025
00:58:44,840 --> 00:58:48,200
Speaker 1: need to know. Where you can just in two minutes

1026
00:58:48,280 --> 00:58:52,040
Speaker 1: know everything ever about the X Men. That's true. You

1027
00:58:52,120 --> 00:58:55,520
Speaker 1: gott you don't work being a nerd anymore. That's so true. Well,

1028
00:58:56,080 --> 00:58:58,480
Speaker 1: we are going to bring in our our special guests.

1029
00:58:58,640 --> 00:59:04,720
Speaker 1: John is coming on us here. Guys, John, how are

1030
00:59:04,760 --> 00:59:08,200
Speaker 1: you good? It's so nice to see everybody and meet

1031
00:59:08,280 --> 00:59:12,840
Speaker 1: Christie and Meat Will not Will, but Phil Johanna has

1032
00:59:13,000 --> 00:59:17,000
Speaker 1: met Will Ferdel have a picture? Where did you guys meet?

1033
00:59:17,280 --> 00:59:20,840
Speaker 1: We met on set of Girl Meets World. Amazing. Okay,

1034
00:59:21,240 --> 00:59:23,960
Speaker 1: so we're playing a game called Across the Garden where

1035
00:59:24,000 --> 00:59:26,640
Speaker 1: me and Will play little mice in the garden. Um

1036
00:59:26,680 --> 00:59:28,960
Speaker 1: we're brother and sister mice. And then we have this

1037
00:59:29,040 --> 00:59:32,440
Speaker 1: amazing character that Phil just created called what was his name?

1038
00:59:32,560 --> 00:59:38,240
Speaker 1: Was a hummingbird name from how okay? So Johnnah, what

1039
00:59:38,320 --> 00:59:39,880
Speaker 1: do you want to be in the garden while we're

1040
00:59:40,000 --> 00:59:43,200
Speaker 1: walking past you? Um? I think I'll be a bunny,

1041
00:59:43,520 --> 00:59:47,520
Speaker 1: just like a really cute funny I love that perfect.

1042
00:59:47,600 --> 00:59:49,160
Speaker 1: I don't know if I have a name. Well, that

1043
00:59:49,200 --> 00:59:50,920
Speaker 1: could be part of your character is that you're trying

1044
00:59:50,960 --> 00:59:53,880
Speaker 1: to find your name. That's great, that's a great idea.

1045
00:59:53,920 --> 00:59:58,440
Speaker 1: I don't have a name. Where you're looking for your name?

1046
00:59:58,720 --> 01:00:02,160
Speaker 1: Got it all right? Here we go and we're crossing

1047
01:00:02,200 --> 01:00:07,880
Speaker 1: the garden. Christie, take it away. Oh gosh, my feet

1048
01:00:07,960 --> 01:00:11,760
Speaker 1: hurt so annoying. I feel just like a like a

1049
01:00:11,920 --> 01:00:14,800
Speaker 1: mouse on a wheel, and it's just like we can't

1050
01:00:14,880 --> 01:00:17,000
Speaker 1: get to where we need to go. Yeah, we're not

1051
01:00:17,040 --> 01:00:19,200
Speaker 1: in a wheel though, because we'll scare me. But um,

1052
01:00:19,480 --> 01:00:21,320
Speaker 1: we are just kind of walking through the garden and

1053
01:00:21,440 --> 01:00:27,680
Speaker 1: like that bunny rabbit like she's hopping so fast, bunny,

1054
01:00:28,320 --> 01:00:34,040
Speaker 1: bunny rabbit, Hello, Hello, Hello, Yes it is me, Hi bunny, Like,

1055
01:00:34,760 --> 01:00:37,040
Speaker 1: could you like teach us how to hop or something like?

1056
01:00:37,120 --> 01:00:39,760
Speaker 1: We need to go really fast? I don't want to hop.

1057
01:00:39,920 --> 01:00:42,400
Speaker 1: Oh I wish I could, but I can't hop because

1058
01:00:42,400 --> 01:00:44,480
Speaker 1: I don't know my name. I don't really see what

1059
01:00:44,600 --> 01:00:46,400
Speaker 1: one thing has to do with another. But that's a

1060
01:00:46,440 --> 01:00:49,440
Speaker 1: whole different story. Can we just call you, I don't know,

1061
01:00:49,560 --> 01:00:56,640
Speaker 1: like Copper the bunny, Hopper, Bunny, honey hop. Queen snaps,

1062
01:00:57,200 --> 01:01:00,280
Speaker 1: we're going to call you bunny hop. She just that's

1063
01:01:00,280 --> 01:01:11,400
Speaker 1: her uncle's I can't have the same name because my uncle. Hey, sorry, guys,

1064
01:01:12,200 --> 01:01:13,760
Speaker 1: I was in sort of a bad mood before, but

1065
01:01:13,840 --> 01:01:20,120
Speaker 1: now I am full of that day. Do you happen

1066
01:01:20,200 --> 01:01:22,520
Speaker 1: to know, like I don't know, like a good name

1067
01:01:22,640 --> 01:01:26,400
Speaker 1: for this bunny? She needs to know her name. I'm

1068
01:01:26,480 --> 01:01:31,760
Speaker 1: gonna call you Ears. Oh that's a good name. It's perfect.

1069
01:01:32,520 --> 01:01:41,000
Speaker 1: Here's the things closest to me. Oh sorry, Howard, listen, buddy,

1070
01:01:41,200 --> 01:01:43,720
Speaker 1: I just need your help, Like my boyfriend the rat

1071
01:01:43,880 --> 01:01:45,920
Speaker 1: is at the mall and we really need to get there,

1072
01:01:46,000 --> 01:01:51,440
Speaker 1: like super So you're headed to a mom go around

1073
01:01:51,560 --> 01:01:56,960
Speaker 1: that tree and you'll be right there. Okay, Bunny. Can

1074
01:01:57,040 --> 01:01:59,360
Speaker 1: we hop on you and you could just like hop

1075
01:01:59,800 --> 01:02:04,240
Speaker 1: us to the trees? How for I thought, alright, ears,

1076
01:02:05,240 --> 01:02:08,800
Speaker 1: topping scares me. Hey make sure they tip? Oh yes,

1077
01:02:10,040 --> 01:02:14,120
Speaker 1: Howard is not as helpful as I had hoped. He

1078
01:02:14,160 --> 01:02:17,440
Speaker 1: would be, but he's very handsome. Nobody's helpful. As you

1079
01:02:17,600 --> 01:02:20,520
Speaker 1: come on, Ricky, hop on the rabbit. Let's go, o

1080
01:02:21,720 --> 01:02:23,440
Speaker 1: is it okay? I by just flying circles around you

1081
01:02:23,480 --> 01:02:26,880
Speaker 1: while you go, oh no, no, we're good. You just yeah.

1082
01:02:27,320 --> 01:02:28,960
Speaker 1: I hope he's going to do it anyway. All right,

1083
01:02:29,040 --> 01:02:32,960
Speaker 1: let's go come on ears Hop Hop we go. You're

1084
01:02:32,960 --> 01:02:35,160
Speaker 1: happy with the name ears? It seems like maybe we

1085
01:02:35,280 --> 01:02:36,840
Speaker 1: just kind of threw that at you and you're like

1086
01:02:36,960 --> 01:02:40,680
Speaker 1: accepting or whatever. Yes, I think it's perfectly in capsulate

1087
01:02:41,160 --> 01:02:50,600
Speaker 1: my body. Well, off to the tree we go. Then seen. Okay, good, Yes,

1088
01:02:52,520 --> 01:02:55,200
Speaker 1: see that was cool. We talk a lot about being

1089
01:02:55,240 --> 01:02:57,880
Speaker 1: in the same room with each other, so that was fun.

1090
01:02:58,600 --> 01:03:02,000
Speaker 1: This is gonna be a phenomenal cartoon. I'm telling you,

1091
01:03:02,240 --> 01:03:04,880
Speaker 1: this is wonderful. I have so much background. I hope

1092
01:03:04,920 --> 01:03:07,320
Speaker 1: you had a good time. Did you have any questions

1093
01:03:07,400 --> 01:03:10,960
Speaker 1: for for us or Phil? Yeah? Honestly, Phil, I'm just

1094
01:03:11,080 --> 01:03:13,040
Speaker 1: a big fan of your work. Um, I know you

1095
01:03:13,120 --> 01:03:17,080
Speaker 1: were Boldy and Jimmy Neutron and slap slap, slap, clap

1096
01:03:17,200 --> 01:03:21,560
Speaker 1: clap clap lives in my head. A look at is

1097
01:03:21,680 --> 01:03:24,400
Speaker 1: the joy song? Maybe we could do it together for

1098
01:03:24,640 --> 01:03:28,640
Speaker 1: t talk you book. It is so good. He would

1099
01:03:28,680 --> 01:03:36,560
Speaker 1: just go slap slap, slap, slap, slap, slap, clap, clap, Yes, amazing.

1100
01:03:38,360 --> 01:03:42,480
Speaker 1: Thank you Phil, Thank you, Johonna, thank you. It was

1101
01:03:42,520 --> 01:03:44,320
Speaker 1: good seeing you again. Johnna. I think last time I

1102
01:03:44,360 --> 01:03:48,600
Speaker 1: saw you had very short hair, didn't you. Yes, I did, Yes, Quarantine,

1103
01:03:50,360 --> 01:03:53,560
Speaker 1: It's wonderful to speak to you again, you too, and

1104
01:03:53,920 --> 01:03:56,200
Speaker 1: good luck with everything. We'll talk again soon. Yes, thank you,

1105
01:03:56,360 --> 01:04:03,760
Speaker 1: bye everybody. Bye. So there we go. Phil. First of all,

1106
01:04:03,880 --> 01:04:05,880
Speaker 1: it's always nice when it's not just the two of

1107
01:04:06,000 --> 01:04:08,080
Speaker 1: us gushing over you, but when we get a random

1108
01:04:08,120 --> 01:04:11,240
Speaker 1: fan to come over and just start throwing your lines

1109
01:04:11,320 --> 01:04:14,480
Speaker 1: back at you from some of the because this is, again, folks,

1110
01:04:15,960 --> 01:04:18,200
Speaker 1: is what's going on out there, and when you deal

1111
01:04:18,240 --> 01:04:19,880
Speaker 1: with people like Phil Lamar. Where we've sat here and

1112
01:04:19,880 --> 01:04:21,640
Speaker 1: we've talked for well over an hour now, it'll be

1113
01:04:21,680 --> 01:04:23,120
Speaker 1: cut down in an hour, I'm sure, but well over

1114
01:04:23,120 --> 01:04:25,560
Speaker 1: an hour now, and we still didn't get into three

1115
01:04:25,720 --> 01:04:32,520
Speaker 1: quarters of his resume coming in talking about Jimmy Neutron again.

1116
01:04:32,600 --> 01:04:35,760
Speaker 1: We still haven't talked Dark Sider's final fantasy, Dead Island,

1117
01:04:35,880 --> 01:04:41,680
Speaker 1: Kingdom Hearts Metal Gear Jackson Den Hearts to Oh yeah,

1118
01:04:42,320 --> 01:04:45,760
Speaker 1: we all were. I just yeah, you were in Hearts?

1119
01:04:46,760 --> 01:04:51,280
Speaker 1: Are you will? I was Cipher in Kingdom Hearts too. Yeah,

1120
01:04:51,320 --> 01:04:52,880
Speaker 1: I had to. I had to do a voice match

1121
01:04:53,000 --> 01:04:57,280
Speaker 1: Kevin Klein, which was not easy. Like you do like

1122
01:04:57,400 --> 01:04:59,400
Speaker 1: you do on a Wednesday, Well, yeah, I do. I

1123
01:04:59,480 --> 01:05:02,000
Speaker 1: do a lot of matching, although the oscars have put

1124
01:05:02,040 --> 01:05:05,520
Speaker 1: a dent in some of my voice matching because who

1125
01:05:05,560 --> 01:05:08,560
Speaker 1: do your voice match? Over the years, I have voice

1126
01:05:08,600 --> 01:05:15,080
Speaker 1: matched both Will Smith and Chris Rock Well that's I'm like, oh,

1127
01:05:15,600 --> 01:05:19,880
Speaker 1: I just lost at least one paycheck for one. Know.

1128
01:05:20,040 --> 01:05:23,800
Speaker 1: The joy is you could do the slap, getting the

1129
01:05:23,880 --> 01:05:31,960
Speaker 1: slap and then the the effect keep my wife's very

1130
01:05:31,960 --> 01:05:39,720
Speaker 1: amount to mow and there's the TikTok no um that

1131
01:05:39,800 --> 01:05:43,880
Speaker 1: would be. So it's funny that you say, now very

1132
01:05:43,960 --> 01:05:47,200
Speaker 1: quickly before we wrap up, we will. But when you're

1133
01:05:47,200 --> 01:05:49,040
Speaker 1: in the voice over world and you do voice matching,

1134
01:05:49,080 --> 01:05:51,480
Speaker 1: nobody calls them impressions because they're not You're not doing

1135
01:05:51,520 --> 01:05:55,160
Speaker 1: an impression of a of another actor. You're voice matching them.

1136
01:05:55,160 --> 01:05:57,280
Speaker 1: You're not sitting there and doing it for a comedy

1137
01:05:57,360 --> 01:05:59,600
Speaker 1: bid or something like that. You are just voice matching.

1138
01:05:59,680 --> 01:06:01,840
Speaker 1: So if somebody came up to you and said, who

1139
01:06:01,920 --> 01:06:04,040
Speaker 1: do you voice match better than anybody else? If I

1140
01:06:04,120 --> 01:06:06,959
Speaker 1: shut my eyes and I hear the actor, who would

1141
01:06:06,960 --> 01:06:10,120
Speaker 1: you say it was? Um? I think my Chris Rock

1142
01:06:10,240 --> 01:06:13,480
Speaker 1: is probably because that was pretty good. Because look, man,

1143
01:06:13,560 --> 01:06:16,720
Speaker 1: the thing about it is every man's got to make

1144
01:06:16,800 --> 01:06:21,160
Speaker 1: a decision, commitment. Well, I'm not going on to that,

1145
01:06:22,600 --> 01:06:25,960
Speaker 1: but the thing about it is you do commented for

1146
01:06:26,080 --> 01:06:29,880
Speaker 1: a reason, and that reason is to get slapped in

1147
01:06:30,000 --> 01:06:36,240
Speaker 1: the face. Well, I can't think of a better way

1148
01:06:36,320 --> 01:06:38,360
Speaker 1: to wrap it up than right there. I love you,

1149
01:06:38,440 --> 01:06:41,720
Speaker 1: Phil Lamar, Thank you for gracing us with your iconic presence.

1150
01:06:41,760 --> 01:06:43,560
Speaker 1: I can't wait to see you in person to give

1151
01:06:43,560 --> 01:06:49,320
Speaker 1: you a big hug and yeah, and congratulations you guys

1152
01:06:49,360 --> 01:06:52,080
Speaker 1: on everything you're building here, I mean with this show

1153
01:06:52,200 --> 01:06:55,640
Speaker 1: and Christie with all of your stuff. It's amazing. I mean,

1154
01:06:56,160 --> 01:07:02,800
Speaker 1: thank you. Uses of a career twice the length of yours.

1155
01:07:06,280 --> 01:07:08,680
Speaker 1: I'm just trying to help, trying to catch up with

1156
01:07:12,520 --> 01:07:24,800
Speaker 1: to doing anything, do anything. He could do anything. Seriously,

1157
01:07:25,360 --> 01:07:27,720
Speaker 1: I'm telling you, it's nuts. Where where can people Now

1158
01:07:27,960 --> 01:07:29,600
Speaker 1: We've talked about this, but where can people find you

1159
01:07:29,600 --> 01:07:31,640
Speaker 1: if they want to come see what? What? What projects

1160
01:07:31,680 --> 01:07:33,160
Speaker 1: you want to yell out that aren't going to take

1161
01:07:33,200 --> 01:07:35,680
Speaker 1: three years for us to see? And uh and what

1162
01:07:35,880 --> 01:07:38,600
Speaker 1: socials can people come and can follow you on? Well?

1163
01:07:39,040 --> 01:07:42,880
Speaker 1: On the socials, UM, I'm at Phil Lamar. That's two

1164
01:07:43,040 --> 01:07:45,000
Speaker 1: ls in the middle, two hours on the end. Um

1165
01:07:45,320 --> 01:07:49,520
Speaker 1: on Twitter and Instagram, and there's where I post, you know,

1166
01:07:50,640 --> 01:07:54,080
Speaker 1: appearances at conventions because I'm finally going back to in

1167
01:07:54,200 --> 01:07:59,800
Speaker 1: person cons and UM. And then for people in southern California,

1168
01:08:00,240 --> 01:08:05,080
Speaker 1: I've been doing an improv show monthly called The Black Version,

1169
01:08:05,720 --> 01:08:08,080
Speaker 1: and we've been doing the show at the Groundlings. It's

1170
01:08:08,240 --> 01:08:10,720
Speaker 1: h it's an all black cast. We take a suggestion

1171
01:08:10,800 --> 01:08:14,240
Speaker 1: from the audience of a classic or iconic movie and

1172
01:08:14,320 --> 01:08:18,559
Speaker 1: then we improvised the quote unquote black version of that movie.

1173
01:08:20,320 --> 01:08:23,360
Speaker 1: To take the black version of Jaws, which was Catfish

1174
01:08:25,400 --> 01:08:27,720
Speaker 1: we did. We did the black version of My Fair Lady,

1175
01:08:27,760 --> 01:08:32,479
Speaker 1: which was she I Oh no No. Phil is the

1176
01:08:32,600 --> 01:08:35,759
Speaker 1: audience mostly white people trying not to laugh and feeling

1177
01:08:35,800 --> 01:08:38,960
Speaker 1: shameful about themselves that they're all canceled at the door

1178
01:08:39,080 --> 01:08:41,479
Speaker 1: on the way out there just giving the tickets. It's

1179
01:08:41,520 --> 01:08:44,559
Speaker 1: not validation when they go get their cards, it's canceled. Cards,

1180
01:08:44,600 --> 01:08:48,280
Speaker 1: they're like your car has been It's funny. The premise

1181
01:08:48,360 --> 01:08:50,799
Speaker 1: of the show plays on stereotypes. So at the beginning,

1182
01:08:51,040 --> 01:08:53,320
Speaker 1: when we first started, it was hilarious because you could

1183
01:08:53,320 --> 01:08:56,120
Speaker 1: see folks in the audience. We would do something on

1184
01:08:56,240 --> 01:08:58,880
Speaker 1: stage and they would stop and look at a black

1185
01:08:58,960 --> 01:09:02,920
Speaker 1: person in the audience. Is that okay? The laughing? Yeah,

1186
01:09:03,240 --> 01:09:05,240
Speaker 1: the white were it's white permission. You need to look

1187
01:09:05,320 --> 01:09:07,320
Speaker 1: over to make sure that it's okay to laugh black

1188
01:09:07,360 --> 01:09:09,639
Speaker 1: guys laughing that. I can laugh that now, I can laugh.

1189
01:09:10,000 --> 01:09:12,080
Speaker 1: Now When is this? Because I am certainly coming, so

1190
01:09:12,200 --> 01:09:14,880
Speaker 1: I want to know when this is happening. Usually the

1191
01:09:14,960 --> 01:09:18,360
Speaker 1: last Monday of every month at the Groundlings Theater, although

1192
01:09:19,040 --> 01:09:21,479
Speaker 1: this month we actually won't be at the Groundlings because

1193
01:09:21,520 --> 01:09:24,360
Speaker 1: we're doing the show as part of the Netflix is

1194
01:09:24,400 --> 01:09:29,880
Speaker 1: a Joke Comedy Festival. That's amazing. Yeah, so that that's huge.

1195
01:09:30,040 --> 01:09:31,920
Speaker 1: That's gonna be fun and yeah, people can find out

1196
01:09:31,920 --> 01:09:35,320
Speaker 1: about that at the Black Version dot com. And it's

1197
01:09:35,560 --> 01:09:38,920
Speaker 1: it's just we've been doing it for going on ten

1198
01:09:39,000 --> 01:09:42,000
Speaker 1: years now and it's just some of the most amazing

1199
01:09:42,280 --> 01:09:45,559
Speaker 1: improvisers and the most fun you can have it if

1200
01:09:45,600 --> 01:09:48,120
Speaker 1: you can't wait, Oh, I can't wait. I can't start

1201
01:09:48,160 --> 01:09:50,000
Speaker 1: thinking of suggestions. I want to yell out louder than

1202
01:09:50,040 --> 01:09:54,120
Speaker 1: anybody else. Well, thank you so much for joining us.

1203
01:09:54,200 --> 01:09:55,840
Speaker 1: Thank you guys so much for having me the show

1204
01:09:56,000 --> 01:09:58,760
Speaker 1: is absolute privilege. Thank you. This is the coolest thing

1205
01:09:58,800 --> 01:10:00,360
Speaker 1: in the world. To meet all these well, to to

1206
01:10:00,479 --> 01:10:03,639
Speaker 1: to get have everybody else meet the people that we've

1207
01:10:03,720 --> 01:10:05,160
Speaker 1: known and how to get a chance to work with

1208
01:10:05,760 --> 01:10:07,320
Speaker 1: is just the coolest thing in the world. And honestly

1209
01:10:07,360 --> 01:10:09,920
Speaker 1: feel because we haven't scratched your career, if we happen

1210
01:10:09,960 --> 01:10:11,760
Speaker 1: to be at a con together, maybe we could do

1211
01:10:11,840 --> 01:10:15,000
Speaker 1: a live version with you, because we're looking to do

1212
01:10:15,120 --> 01:10:17,760
Speaker 1: more like live. We're gonna be doing these live at

1213
01:10:17,840 --> 01:10:20,360
Speaker 1: some conventions, so it could be really fun to actually

1214
01:10:20,439 --> 01:10:22,599
Speaker 1: sit next to you and chat. Please come back, because

1215
01:10:22,600 --> 01:10:26,360
Speaker 1: again Christie's right, we've barely touched the surfaces. There's a

1216
01:10:26,439 --> 01:10:28,840
Speaker 1: part two in the here I know, and part three

1217
01:10:29,040 --> 01:10:31,000
Speaker 1: and part four and by that point we'll be up

1218
01:10:31,040 --> 01:10:34,840
Speaker 1: to which will be great. I'm there, let's do it.

1219
01:10:35,040 --> 01:10:37,519
Speaker 1: So thank you so much. Everybody, go follow uh and

1220
01:10:37,680 --> 01:10:39,840
Speaker 1: like everything that Phil does, because man, you are going

1221
01:10:39,880 --> 01:10:42,439
Speaker 1: to be digging into quite the career. It is insane.

1222
01:10:42,840 --> 01:10:45,160
Speaker 1: So thank you so much for joining us, and we're

1223
01:10:45,160 --> 01:10:47,599
Speaker 1: going to see you next time on I Hear Voices.

1224
01:10:48,320 --> 01:10:56,280
Speaker 1: Phil Lamar, thanks everybody, Thank you guys so much. I

1225
01:10:56,400 --> 01:10:59,000
Speaker 1: Hear Voices asposted by Wilfred Ell and Christie Garls and Romano,

1226
01:10:59,240 --> 01:11:01,880
Speaker 1: produced by Liz Joy Windom and executive produced by Brendan

1227
01:11:01,960 --> 01:11:05,160
Speaker 1: Rooney and Willfordell. Our sound engineer and editor is Elizabeth

1228
01:11:05,200 --> 01:11:07,639
Speaker 1: Joy Windham and our video editor is at Guardo Gamba

1229
01:11:07,960 --> 01:11:11,360
Speaker 1: and that was my announcer voice. Some side effects of

1230
01:11:11,439 --> 01:11:14,439
Speaker 1: listening to I Hear Voices are sore abs from larity

1231
01:11:14,680 --> 01:11:17,240
Speaker 1: falling down the coco melon rabbit hole, sneezing due to

1232
01:11:17,280 --> 01:11:20,320
Speaker 1: mass nostalgia, and hugs follow I Hear Voices where ever

1233
01:11:20,360 --> 01:11:22,200
Speaker 1: you listen to podcasts, you don't miss any of the

1234
01:11:22,280 --> 01:11:25,160
Speaker 1: amazing voices. Be sure to follow us on Instagram and

1235
01:11:25,320 --> 01:11:28,519
Speaker 1: TikTok at I Hear Voices podcast to see the video stream,

1236
01:11:28,560 --> 01:11:30,720
Speaker 1: subscribe to my YouTube channel. You can also check us

1237
01:11:30,760 --> 01:11:33,840
Speaker 1: out on my Space. O'meegal Vine, Lime Wire, a m

1238
01:11:33,880 --> 01:11:36,439
Speaker 1: the Napster. Okay, well let's teach you about the Internet.

1239
01:11:36,800 --> 01:11:36,840
Speaker 1: What