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Speaker 1: Jensen has said to me that fan is in my

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Speaker 1: top five favorite purchases of anything I've ever purchased in

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Speaker 1: my life.

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Speaker 2: Wow.

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Speaker 1: It is a remarkable fan and it's very quiet. So

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Speaker 1: I highly recommend that both of you and it will

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Speaker 1: keep you cool. I will send you a link.

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Speaker 3: This is so funny. Alex and I had a huge

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Speaker 3: thing about a fan on our road trip.

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Speaker 4: So she got Instagram scammed, like you know how like

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Speaker 4: Instagram sent you know you and I've totally been scammed.

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Speaker 3: I can talk about that, yes, yes.

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Speaker 4: But she was like, I was like, did you spend

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Speaker 4: like one hundred and forty dollars on fans? She's like, yeah,

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Speaker 4: I got two of these fans. They were like seventy

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Speaker 4: five bucks each. I'm like, what do what do you?

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Speaker 4: Why did you why there's a trust They're amazing And

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Speaker 4: I was like, this is the dumbest thing, Like you

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Speaker 4: can buy a fan for ten dollars, why did you

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Speaker 4: buy a seventy You know?

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Speaker 3: These are these are.

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Speaker 4: The most remarkable fans I've ever seen in my life.

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Speaker 4: They're like battery charged. They fold down into a little

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Speaker 4: circle and then they can become a floor fan. They

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Speaker 4: can become a small fan. They oscillate, they have a

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Speaker 4: remote control, they hold a charge for like forty eight

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Speaker 4: hours so you can have them on.

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Speaker 3: It was and it saved our life in the in

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Speaker 3: the van.

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Speaker 1: Why have you not already thought about putting one of

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Speaker 1: these fans in your off?

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Speaker 5: And now I'm gonna need you to send me the

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Speaker 5: link because I need to get one for mine too.

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Speaker 3: Yeah, they're amazed. I guess, I guess. I don't know.

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Speaker 4: I didn't even think about that. I was just like,

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Speaker 4: it's going to be too hot, I'll just have to record.

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Speaker 4: But I guess it's just a.

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Speaker 3: Regular fan and it's one hundred and four like it

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Speaker 3: is today. Is that gonna make a different funny?

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Speaker 5: So Danielle, Danielle and I we both walked down from

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Speaker 5: I forget what hotel it was, and Jensen looked pretty

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Speaker 5: well rested, and Danielle and I looked like we hadn't

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Speaker 5: slept all night. And we looked at each other and

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Speaker 5: she was like she sleep.

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Speaker 3: She's like nope.

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Speaker 5: She's like did I sleep? Like nope, And she's like why,

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Speaker 5: I said, well, there was avent. She's like right over

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Speaker 5: the bed that was pointing right at your face while

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Speaker 5: we were trying to sleep, and so you're like under

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Speaker 5: the covers trying to block the air.

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Speaker 3: It was horrifying. It was awful.

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Speaker 1: And the option of do of sleeping like that or

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Speaker 1: sleeping with it hot, well, there's no doubt I'm choosing

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Speaker 1: freezing cold air blasting on my face.

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Speaker 3: But it did not help.

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Speaker 1: It was literally the air conditioning vent was maybe at

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Speaker 1: five five and a half yeah, five feet maybe five

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Speaker 1: and a half feet maybe put on the wall and

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Speaker 1: then just directly in front of the bed, angled right

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Speaker 1: down right at.

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Speaker 3: Your face the whole time.

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Speaker 5: So we do, Sue and I do not only the

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Speaker 5: air conditioning at sixty five at night, but also a fan. Yeah,

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Speaker 5: that's what we because we need the air. We can't

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Speaker 5: it can't just be cold. It has to be moving,

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Speaker 5: has to be circulating. So we have the cold and

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Speaker 5: the fan going. You also require a fan to be

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Speaker 5: standing at the edge of the applauding.

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Speaker 2: Yeah.

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Speaker 1: And when he says a fan, you mean an actual

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Speaker 1: person who.

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Speaker 3: Lovest I love that.

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Speaker 5: Just halfway through the night, as I roll over, they

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Speaker 5: just they whisper like that was the funniest rollover I've ever.

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Speaker 3: So good doing are great? God have you lost weight

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Speaker 3: in the middle of the night. Yeah, okay, so can

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Speaker 3: we go back to be an Instagram scam for I?

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Speaker 4: For whatever reason, they have nailed me of course, because

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Speaker 4: the algorithm has figured us all out. And I get

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Speaker 4: advertised movie props constantly, like like Reenac movie Jurassic Park one. No,

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Speaker 4: I wanted to buy the draft of the drafts Park

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Speaker 4: one for one. I thought you bought the Indiana Jones one,

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Speaker 4: but it was already being marketed to me, like crazy, Yeah,

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Speaker 4: I got the the Indiana Jones Grail Diary, which is

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Speaker 4: like this video and it shows this guy who like

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Speaker 4: handmade it and like and I was like, oh my god,

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Speaker 4: I need this because I actually dressed as doctor Jones

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Speaker 4: his father for Halloween last year, as like an in

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Speaker 4: joke with because my kid's name is Indy. So I

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Speaker 4: was like, and when I was walking around as this

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Speaker 4: old man, everybody kept just thinking I was dressed as

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Speaker 4: an old man, like nobody got the eye was who

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Speaker 4: I was. And I was talking to a friend, He's like, well,

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Speaker 4: you needed the Grail Diary. So I saw this ad

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Speaker 4: and I bought it, and of course, like what I

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Speaker 4: get is like a magazine like it's the cheapest, it's

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Speaker 4: a complete scam. And if i'd read the comments, because

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Speaker 4: you know, Instagram users actually comment on those times they

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Speaker 4: say like, don't buy this, that's total bull And I

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Speaker 4: was like, oh, I should have read the comments.

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Speaker 3: But anyway, yeah, I get movie profits. Do you guys

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Speaker 3: what targeted ads?

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Speaker 2: I know?

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Speaker 4: Will you're a lurker now you don't actually use social media,

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Speaker 4: but what I do?

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Speaker 5: I do still get ads. I get video So I bought.

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Speaker 5: The one thing I did buy from Instagram, which I

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Speaker 5: thought was a scam because it took like thirty eight

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Speaker 5: weeks to get to me, was the small video game

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Speaker 5: console that holds one hundred thousand of your classic games

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Speaker 5: that you have. So I bought that for like one

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Speaker 5: hundred and nine bucks, and by like the eighth week,

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Speaker 5: I just emailed them as is this a scam?

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Speaker 3: I was like, you can just tell me at this

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Speaker 3: point you won. Yeah, yeah, I've let it go.

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Speaker 1: At this point, I just want to know if I

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Speaker 1: should still be excited about my games exactly.

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Speaker 3: And finally they're like, no, no, no, it's real. And it

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Speaker 3: showed up.

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Speaker 5: I did exactly what Sue said I was going to do,

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Speaker 5: played it for half an hour and then I've never

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Speaker 5: played it again.

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Speaker 3: Yep, never touched you played like the three games that

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Speaker 3: you remember.

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Speaker 5: I played Street Fighter two, there you go, and couldn't

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Speaker 5: even get the guy that get a contract code? Did

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Speaker 5: you ever play Contrary? Down down, left, right, left right,

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Speaker 5: BA start? Yeah, let's start, well select start is for

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Speaker 5: two players, but the yeah, that's so yeah. No, I'm

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Speaker 5: what I want is my old and Tendo sixty four

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Speaker 5: to work.

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Speaker 3: That's what I want.

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Speaker 5: And I just found I we cleaned out a big

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Speaker 5: portion of our home and I found all this stuff.

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Speaker 5: But I doubt it a work. But that's what I want.

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Speaker 5: I don't these console things like it's just like old school.

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Speaker 3: No, it's not at all.

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Speaker 5: I'm miss blowing on the game and it's not working

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Speaker 5: and me yelling at the screen and all that kind

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Speaker 5: of stuff.

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Speaker 1: I once bought a pair of shoes on Instagram, and

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Speaker 1: I've bought I mean, let's be honest, I shop.

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Speaker 3: I liked a shop. That's the shopping shoulders. It's the

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Speaker 3: it's the same dance I do me too, it's awful.

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Speaker 1: Oh well, you know what I think my shopping habit

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Speaker 1: become such that now I even enjoy shopping in person.

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Speaker 1: There's a whole I'm becoming a new person. Let me

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Speaker 1: say this. I'm transforming, I don't know, having fun, and

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Speaker 1: I'm doing.

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Speaker 3: Things a sweet sleep of death.

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Speaker 1: Are you listen. I'm constantly resisting it. I'm not asking

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Speaker 1: for it. I'm just saying, as we could argue that

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Speaker 1: I might be the happiest person ever, because even the

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Speaker 1: idea of death just sounds nice.

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Speaker 3: I'll be happy. I'm happy alive. I'll be happy dead.

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Speaker 3: I will be happy.

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Speaker 1: But I didn't used to like to shop at all

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Speaker 1: outside of my house. I was like, a real let's

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Speaker 1: just stay home.

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Speaker 3: And I do you know.

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Speaker 1: I use Instacart, I use Amazon, I use the Nordstrom app.

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Speaker 1: I shop at Anthropology online like I shop online, and

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Speaker 1: anything I have to go out and get I don't

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Speaker 1: want to do. But recently I wanted a lipliner. I

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Speaker 1: was like, I don't wear lipstick, but I've been doing

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Speaker 1: my makeup for our live shows that we've been doing,

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Speaker 1: and I was like, I need some sort of lip color.

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Speaker 1: I wanted to be a lip liner. And randomly I thought.

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Speaker 6: I'm just gonna go to the mall, but go to

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Speaker 6: s arml yeah, arm go to hootgog on a stick,

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Speaker 6: well pandamic.

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Speaker 1: So, actually, writer, it's funny you say that we were

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Speaker 1: in a movie and we were watching Teenage Mutant Ninja

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Speaker 1: Turtles Mutant Mayhem, and Keaton can only watch for about

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Speaker 1: he watches all the previews and then he watches the

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Speaker 1: first thirty minutes of a movie, and then he's like done, done.

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Speaker 1: I'm really announces to everybody done done, And I go, okay,

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Speaker 1: all right.

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Speaker 2: Let's go.

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Speaker 1: So I get him up and we walked the mall

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Speaker 1: and I was like, wow, I have this moment. I'm

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Speaker 1: just gonna pop into Sephora. Let me tell you, even

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Speaker 1: with a two year old who you know, doesn't understand

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Speaker 1: what shopping is and so therefore is making my life

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Speaker 1: miserable while running around trying to rip everything off the counter,

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Speaker 1: sticking his finger in the makeup samples. I thoroughly enjoyed

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Speaker 1: picking out a lipliner.

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Speaker 3: It was wonderful.

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Speaker 5: But anyway, going back to you, just you just described

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Speaker 5: me shopping with Sue by the way, yeah, literally just

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Speaker 5: sticking my finger in the samples Like I'm like, I

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Speaker 5: don't want.

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Speaker 3: To be You're done, We're done. I am you done

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Speaker 3: with this?

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Speaker 5: Literally just described me with Sue, so she just doesn't

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Speaker 5: take me shopping anymore.

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Speaker 3: It's the worst.

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Speaker 1: I love thinking of you as another little two year old.

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Speaker 1: But the one thing I say I definitely got scammed

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Speaker 1: with was Instagram shoes. I ordered a pair of shoes

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Speaker 1: and they they also took thirty eight weeks to arrive,

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Speaker 1: and I thought, I'm just never going to see these.

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Speaker 1: Then they arrived and they were beautiful, and I was like, wow,

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Speaker 1: worth the weight.

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Speaker 3: Wore them once.

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Speaker 1: Thankfully they lasted the length of my event, and on

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Speaker 1: the drive home, stepping into the car, the snaps, the snaps.

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Speaker 1: The straps just snapped and ripped off, broken, and I

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Speaker 1: immediately threw them in the trash. All right, I waited

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Speaker 1: thirty eight weeks for a one wear pair of shoes,

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Speaker 1: and now I feel very wasteful.

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Speaker 5: But speaking of shoes, very quickly, I thought you'd be

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Speaker 5: impressed with this, Danielle. So Susan took it upon herself

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Speaker 5: for my birthday this year, and they just happened to

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Speaker 5: be next to me to buy me my first ever

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Speaker 5: pair of dunks.

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Speaker 3: Ooh wow.

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Speaker 5: So she got me the green ones and I had

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Speaker 5: to I don't know if he told you, but I

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Speaker 5: had to text producer Jensen Karr, husband of this podcast,

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Speaker 5: to ask how to tie them properly? Oh, if I

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Speaker 5: was just supposed to tie them, if I was supposed

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Speaker 5: to slip them on, And he sent me a YouTube

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Speaker 5: video about how I was supposed to do it.

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Speaker 1: Yeah, I need I actually need help with lacing. Lacing too.

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Speaker 1: There is an art to lacing. And my feet are

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Speaker 1: pretty small, and so I have to like if I

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Speaker 1: if I can't most of my laces, I have to

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Speaker 1: tie in a bow because if I let them dangle,

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Speaker 1: I step on them. But there is like a time

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Speaker 1: I know there's there's also there's an art to lacing.

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Speaker 1: I recently did a video about my shoes because I

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Speaker 1: love shoes, and one of the very sweet comments and

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Speaker 1: there was, all right, now, let's teach my good sis

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Speaker 1: how to lace, and I was like, you know, I

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Speaker 1: don't have I don't have that much time. I'm really

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Speaker 1: just grabbing a pair of shoes, sliding them all my

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Speaker 1: feet and running out the door.

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Speaker 5: That's what Jensen at the end of the day kind

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Speaker 5: of said. He's like, just tie them and go Okay,

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Speaker 5: that's probably the best.

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Speaker 1: Time, But those are great. Writer, you are not super

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Speaker 1: into tennis shoes. You're a boot guy.

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Speaker 3: But you did recently comment on a pair of my dunks.

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Speaker 1: Remember the shoes I was wearing on tour once where

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Speaker 1: you recently said, I like those, those were dunks.

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Speaker 3: I like most of your shoes. I'm always impressed.

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Speaker 5: We should go all go shopping together at them all.

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Speaker 5: I think that'd be a ton of fun.

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Speaker 3: Yeah, that's a good idea. I'll bring Keaton, you'll need too,

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Speaker 3: I'll be there. That's right. We have our two year old,

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Speaker 3: the Pod Meets World two old quickly. Welcome to Pod

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Speaker 3: Meets World. I'm Daniel Fischel, I'm right strong, and I'm WILFORDE.

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Speaker 1: Hey everybody, we are going on the road and we

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Speaker 1: want you to join us for Pod Meets World Live.

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Speaker 1: Will Ryder and myself are taking the show to over

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Speaker 1: a dozen cities in twenty twenty three, and we have stories, games,

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Speaker 1: and a costume contest where your outfit can and when

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Speaker 1: you a legit nineties shooting script signed by us. Let's

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Speaker 1: start with Philadelphia, where we just announced three guests that

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Speaker 1: will be joining us on September thirtieth at the Met

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Speaker 1: in the city the Matthews family called home. We will

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Speaker 1: be joined by Tony Quinn, Trina McGhee and Matthew Lawrence

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Speaker 1: talk about a trio of unforgettable guest stars. There are

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Speaker 1: tickets still available, Phillies, so go to Pod Meets Worldshow

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Speaker 1: dot com now. Also, we are in Orlando this Sunday

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Speaker 1: at the hard Rock Live with just a handful of

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Speaker 1: tickets left. And let's break down where else you can

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Speaker 1: see us soon Cleveland, Toronto, Pittsburgh, Washington, DC, New York, Boston,

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Speaker 1: Los Angeles, Chicago, New Orleans, Atlanta and Durham.

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Speaker 3: Whoo. You can go to Pod Meets Worldshow.

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Speaker 1: Dot com right now for more info and acclaim yourself

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Speaker 1: a ticket to the coolest party since The Exits played

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Speaker 1: John Adams High. When Sarah Markowitz first came up with

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Speaker 1: the idea for Pod Meets World, who one thing that

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Speaker 1: we wanted to do on the show was shine a

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Speaker 1: spotlight on some of the crew members and production jobs

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Speaker 1: that helped Boy Meets World become the show it was,

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Speaker 1: but rarely get kudos week in and week out. We

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Speaker 1: may have gotten most of the attention, but we were

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Speaker 1: just the script reading cogs in a much larger and

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Speaker 1: smarter machine. There were dozens and dozens of hard working

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Speaker 1: and lovely professionals who did most of the work, and

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Speaker 1: we knew that if we could introduce you to really

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Speaker 1: any of them in between our episode recaps, well we

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Speaker 1: could finally give them the credit they deserve. And this

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Speaker 1: week we're honored to do just that. Sound mixer Tomara

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Speaker 1: Johnson has just under get ready for this three hundred

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Speaker 1: and fifty credits to her name. She's It is a

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Speaker 1: resume that includes work on Fresh, Prince of bel Air,

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Speaker 1: Married with Children, Who's the Boss, Sister, Sister, the Nanny,

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Speaker 1: the Parkers, Everybody Loves Raymond, Zoe won On One, and

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Speaker 1: Wizards of Waverley Place, Oh, and also every single episode

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Speaker 1: of Boy Meets World and then later Girl Meets World.

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Speaker 3: She's now.

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Speaker 1: There are really only a handful of people who worked

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Speaker 1: on every episode of both shows. We're looking at you,

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Speaker 1: Jeff Manel and Tamara is part of that exclusive club.

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Speaker 1: And she was an Emmy nominee for Outstanding Sound Mixing

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Speaker 1: for a Variety Series, Music Series or Special for David

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Speaker 1: Copperfield's nineteen ninety five show Unexplained Forces. Maybe she can

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Speaker 1: explain David Blaine's plane trick for us. So today we

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Speaker 1: get to ask her many questions about her extensive time

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Speaker 1: on the show, including what is a sound mixer. Let's

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Speaker 1: welcome with what I can only guess will be impeccable

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Speaker 1: sound prolific to Maria Johnson.

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Speaker 2: There, I am wow, nice to see.

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Speaker 4: You again, Nice to see you care And you're in

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Speaker 4: a professional boot in my studio at home.

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Speaker 5: That's fair in my happy place right in a booth.

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Speaker 3: Perfect. I love it. Love that is so cool.

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Speaker 2: Yes, I fortunately I have this. I can do projects

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Speaker 2: during the strike, which is good. Yes, that does help. Yeah,

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Speaker 2: So this is so exciting to be with all of you.

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Speaker 2: It really is.

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Speaker 1: We are so excited to have you, and you are

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Speaker 1: truthfully our first guest with the type of resume where

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Speaker 1: we could say that you have worked on like the

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Speaker 1: entire history of television.

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Speaker 2: Not really but okay.

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Speaker 1: So we wanted to ask you this and you have

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Speaker 1: to answer very quickly without thinking it over.

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Speaker 3: What was your favorite show you ever worked on?

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Speaker 2: I'm not saying when it's World.

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Speaker 3: No, No, you don't have to say that, but really.

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Speaker 2: I don't have to. But there's so many elements of

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Speaker 2: the show besides the show. That just made it a

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Speaker 2: wonderful experience. All the writers, Michael, the cast, the stories,

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Speaker 2: the scripts. It's just it was a wonderful, wonderful show.

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Speaker 3: Wow. I love that. I know, that's so cool.

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Speaker 1: Anytime somebody says that, I'm always like, yeah, yeah, yeah,

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Speaker 1: it was.

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Speaker 3: Well, you were there for the whole time, right, and the.

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Speaker 2: Whole time pilot, first pilot, first show pilot, all the

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Speaker 2: way through the end, and then all the way through

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Speaker 2: the end girl, which was very sad.

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Speaker 3: Yeah yeah, yeah.

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Speaker 5: Only one meaning none of us were on all the

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Speaker 5: boy Metroll episodes and all the Girl Meetroll episodes. So

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Speaker 5: the only one of the four of us here who's

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Speaker 5: done them all.

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Speaker 3: Was yeah, wow, so cool, so cool.

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Speaker 1: Now, we know many of our listeners and most of

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Speaker 1: our hosts probably uh don't really know exactly what goes

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Speaker 1: into sound mixing and re recording. So let's start with that.

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Speaker 1: What is it exactly? What is the process.

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Speaker 2: Well, when when they shoot the show, then the editor

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Speaker 2: picture editor gets all the all the takes, everything puts

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Speaker 2: together the show and includes the sound that goes with

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Speaker 2: each one of those takes. Then I get that and

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Speaker 2: my editor's dialogue editor will go through and clean everything up.

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Speaker 2: Sound effects editor goes in and adds all the sounds

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Speaker 2: that we need. I get the music from the composer,

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Speaker 2: and then I mix all those elements, including a laugh track.

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Speaker 2: The laugh guy comes in and there is a laugh guy,

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Speaker 2: I believe it or not. He comes in and laughs,

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Speaker 2: and that's how we that's how we do the show.

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Speaker 2: And then Michael and and everybody would come in and

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Speaker 2: we play it back and he gives notes and then

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Speaker 2: they leave.

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Speaker 1: Hold on a minute, there's a laugh guy.

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Speaker 2: There is a laugh guy.

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Speaker 1: Okay, okay, they pay they pay a guy to laugh,

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Speaker 1: and does he come in and do different laughs?

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Speaker 2: Well, he has a machine that has laughs. Okay himself.

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Speaker 3: I thought there was a guy just sitting in front

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Speaker 3: of the microphone. Thought different.

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Speaker 2: More than it's way more than sixty laughs. He has

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Speaker 2: libraries from many different stages, very many different shows, because

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Speaker 2: you know, like Boy Meets World would have a younger

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Speaker 2: sounding audience, you know, older audiences, African American audiences, you know,

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Speaker 2: just all sorts of different choices. So yeah, wow, that's

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Speaker 2: a whole that's a whole thing into itself.

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Speaker 5: That will and then probably combinations of that. So we

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Speaker 5: need young African American, we need older Wow, that's crazy.

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Speaker 2: Michael would often say, oh, I want to hear I

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Speaker 2: want to hear a woman laugh there.

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Speaker 3: You know, or like different oos like this should be

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Speaker 3: this should be a playful.

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Speaker 1: So did they add some of the audience.

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Speaker 2: No, Actually, Michael is too fond of the woze. If

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Speaker 2: it was real and they really you really earned it,

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Speaker 2: then yes, but he wouldn't necessarily add to it. But

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Speaker 2: this is my favorite laugh note of all time. Do

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Speaker 2: you have a sad laugh? A sad lad from Michael

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Speaker 2: from another show? But it was like no, I don't.

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Speaker 3: Oh wow.

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Speaker 5: There was the one ask for that never happened was

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Speaker 5: the sad laugh.

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Speaker 3: And here's I think, will could you do a sad level?

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Speaker 5: Here?

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Speaker 3: I was just gonna say, well, could do it from

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Speaker 3: a Will cool? A sad laugh would be like, you know, yes,

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Speaker 3: pretty pretty darn good.

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Speaker 1: The trailing off is what gives it away where I'm

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Speaker 1: actually bummed about this.

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Speaker 2: And the other best laugh note, second best was h

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Speaker 2: It was the scene was in sort of mid Middle

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Speaker 2: Ages medieval and they said the laugh didn't match the wardrobe.

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Speaker 1: Oh my hand, we need that laugh to sound like

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Speaker 1: it's behind more tin.

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Speaker 2: It's a laugh.

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Speaker 4: This is old school, this is laugh doesn't match the

404
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Speaker 4: we want abonic plaguey.

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Speaker 3: It doesn't sound like that. Cele it needs English, that

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Speaker 3: British right exactly.

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Speaker 5: I think the British laugh in the thirteen hundreds, just

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Speaker 5: halfway through became a cough.

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Speaker 1: So I think that it would be perfect going back

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Speaker 1: to this laugh guy. Where do we think he gathered

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Speaker 1: the laughs? Did he have to travel the world and

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Speaker 1: then the cord people laughing? Where did they get him.

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Speaker 2: All the shows that have a live audience. If they

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Speaker 2: want their own library, then they give him all the

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Speaker 2: shows and then he goes through. It's a very painful

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Speaker 2: process go through. I've done this. I've built libraries, and

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Speaker 2: it's just ough. You just have to Yeah, you know,

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Speaker 2: you have a great start, but then you know, not

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Speaker 2: a good ending, or somebody talks in the middle, or

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Speaker 2: there's something, so you know, out have probably a thousand

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Speaker 2: takes of laughs. I will maybe be able to get

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Speaker 2: a hundred. Maybe it's very very very tea perfect.

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Speaker 5: Yeah, we do that. We do that with voiceover too.

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Speaker 5: We do oof and egg libraries where it's just small,

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Speaker 5: small impacts, large impacts, medium impacts, getting hit in the leg,

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Speaker 5: getting hit in the shoulder, and you just build your

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Speaker 5: own personal library the whole time. So they just have

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Speaker 5: it for a show.

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Speaker 1: Yeah, it's crazy, so that not every episode you're having

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Speaker 1: to go right.

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Speaker 3: Not a laugh person.

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Speaker 1: Oh man, how did you first get into sound mixing?

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Speaker 1: And this is a this is an honest question. Do

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Speaker 1: you have better he than us?

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Speaker 2: I think I have different hearing than you do. Okay,

436
00:20:05,119 --> 00:20:08,159
Speaker 2: you know I will pick up like, oh there's a

437
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Speaker 2: problem here. I hear this, I hear that. So I

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Speaker 2: wouldn't say I necessarily have better hearing. It's just my

439
00:20:13,000 --> 00:20:16,440
Speaker 2: ears more trained to listen to stuff. And the way

440
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Speaker 2: I got into it is my parents bought me a

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Speaker 2: little real real tape recorder when I was ten years

442
00:20:21,840 --> 00:20:26,280
Speaker 2: old for Christmas, and I just started recording, you know, dinner,

443
00:20:26,640 --> 00:20:29,439
Speaker 2: you know, talk at dinner. I hold the speaker up

444
00:20:29,480 --> 00:20:33,159
Speaker 2: to the microphone up to the speaker and record a

445
00:20:33,200 --> 00:20:36,280
Speaker 2: show that I'd take scissors and scotch tape and I edited.

446
00:20:37,160 --> 00:20:39,200
Speaker 3: And I didn't love your own stuff.

447
00:20:39,280 --> 00:20:42,520
Speaker 2: Yeah, I was a little quarter inch step just really

448
00:20:42,640 --> 00:20:45,920
Speaker 2: really really primitive. But that's how that's how I got

449
00:20:45,960 --> 00:20:49,040
Speaker 2: into it. I just love sound. I always have, And

450
00:20:49,200 --> 00:20:51,840
Speaker 2: originally I wanted to be in music, you know, and

451
00:20:51,880 --> 00:20:54,720
Speaker 2: then I then I realized I needed to make money, so.

452
00:20:54,640 --> 00:20:58,120
Speaker 3: That I would switch to post you excited.

453
00:20:58,200 --> 00:21:00,680
Speaker 1: Yeah, being being an artist, which is not the way

454
00:21:00,720 --> 00:21:01,440
Speaker 1: to make a living.

455
00:21:01,640 --> 00:21:03,719
Speaker 2: No, that's what I did. That's what I do in

456
00:21:03,760 --> 00:21:08,439
Speaker 2: my studio. My studio gives me the creative exactly, but

457
00:21:08,520 --> 00:21:12,119
Speaker 2: not the monetary flow. And then I have my my

458
00:21:12,359 --> 00:21:15,480
Speaker 2: union job that you know, pays the bills and you know,

459
00:21:15,520 --> 00:21:17,880
Speaker 2: but I have like four hours to do an episode,

460
00:21:17,960 --> 00:21:19,960
Speaker 2: so I don't have the time to like here at home,

461
00:21:20,000 --> 00:21:21,960
Speaker 2: I could spend an hour listening to for the right

462
00:21:22,200 --> 00:21:26,359
Speaker 2: gun shot, you know. I did that just Sunday. Actually nope, nope, all, okay,

463
00:21:26,400 --> 00:21:28,680
Speaker 2: I'll take that one. Can't do that when you're under

464
00:21:29,000 --> 00:21:30,800
Speaker 2: You got four hours to do your job.

465
00:21:30,960 --> 00:21:35,000
Speaker 3: So so where were you physically? Like, did you move

466
00:21:35,080 --> 00:21:37,439
Speaker 3: with us from studio to studio or no.

467
00:21:37,600 --> 00:21:41,439
Speaker 2: I I usually work at a studio. So we started

468
00:21:41,840 --> 00:21:45,919
Speaker 2: boy at what was the thing of that place? It

469
00:21:45,960 --> 00:21:49,000
Speaker 2: was Compact Video and then it became four MC, and

470
00:21:49,040 --> 00:21:54,320
Speaker 2: then I moved to another facility and they, uh, that's

471
00:21:54,400 --> 00:21:57,000
Speaker 2: just everyone just followed over and they just usually come wherever,

472
00:21:57,160 --> 00:22:00,399
Speaker 2: whoever the person like a colorist, let's say, you know,

473
00:22:00,720 --> 00:22:03,640
Speaker 2: or somebody you know post people that kind of set

474
00:22:03,720 --> 00:22:08,080
Speaker 2: up home in one place and then clients follow you

475
00:22:08,119 --> 00:22:10,160
Speaker 2: to that. So that's what happened. And I've actually done

476
00:22:10,680 --> 00:22:14,080
Speaker 2: I've actually done an episode a girl in this studio

477
00:22:14,200 --> 00:22:17,040
Speaker 2: because I had in twenty fifteen, I had back surgery

478
00:22:17,720 --> 00:22:20,560
Speaker 2: and I couldn't drive and I couldn't get There's the

479
00:22:20,720 --> 00:22:24,600
Speaker 2: place where we mixed was in Burbank. So the Brenda

480
00:22:24,640 --> 00:22:28,199
Speaker 2: tegu which I'm sure you all Brenda, came to my

481
00:22:28,320 --> 00:22:32,600
Speaker 2: studio and so did the laugh guy, and then we

482
00:22:32,640 --> 00:22:35,280
Speaker 2: shipped off the mix so Michael and everybody could hear it.

483
00:22:35,320 --> 00:22:37,040
Speaker 2: But that's only one time that happened.

484
00:22:37,359 --> 00:22:38,960
Speaker 3: So how much were you on set?

485
00:22:39,040 --> 00:22:39,440
Speaker 1: If ever?

486
00:22:39,840 --> 00:22:43,240
Speaker 2: Never? Wow, I don't think I ever ever came.

487
00:22:43,880 --> 00:22:44,080
Speaker 5: You did?

488
00:22:44,200 --> 00:22:46,880
Speaker 3: You never came to like a tape night? Believe I did.

489
00:22:46,960 --> 00:22:48,080
Speaker 2: I don't believe I ever did.

490
00:22:48,240 --> 00:22:51,159
Speaker 5: Your most favorite show ever? You come to a televie

491
00:22:51,520 --> 00:22:52,879
Speaker 5: she said, favorite show to work on.

492
00:22:55,640 --> 00:22:56,919
Speaker 3: We don't need to clarify that.

493
00:22:57,320 --> 00:22:59,400
Speaker 2: I just called you Eric. And that's the point I'm

494
00:22:59,400 --> 00:23:02,560
Speaker 2: going to make here, is that when you're in post,

495
00:23:04,240 --> 00:23:07,360
Speaker 2: I don't know you as Danielle and Will and right,

496
00:23:07,400 --> 00:23:10,200
Speaker 2: I don't know you. I know you as Tapanga and Eric,

497
00:23:10,720 --> 00:23:13,399
Speaker 2: you know, and it's like, uh, in a way, I

498
00:23:13,400 --> 00:23:16,439
Speaker 2: don't want to break the fourth wall, sure, you know.

499
00:23:17,880 --> 00:23:20,960
Speaker 2: I Like one time, Will, you came in in the

500
00:23:20,960 --> 00:23:25,480
Speaker 2: Burbank studio to loop a line and it was after

501
00:23:25,560 --> 00:23:27,840
Speaker 2: you had you had you had a beard, and you'd

502
00:23:27,880 --> 00:23:29,720
Speaker 2: been gone for a while and you came back with

503
00:23:29,800 --> 00:23:34,440
Speaker 2: this large book that you'd written, you finished your manifesto,

504
00:23:34,880 --> 00:23:37,600
Speaker 2: and you take a pod I mean a cane that

505
00:23:38,280 --> 00:23:42,200
Speaker 2: and he opened it up. One page had something written

506
00:23:42,200 --> 00:23:45,679
Speaker 2: on it and then you go, dun dund done, I'm done. Well,

507
00:23:46,359 --> 00:23:49,439
Speaker 2: all of us in post just grabbed onto that. So

508
00:23:49,520 --> 00:23:52,600
Speaker 2: whenever we'd be working, dun dundune, I'm done. So you

509
00:23:53,320 --> 00:23:55,800
Speaker 2: came into the studio and like three of us said

510
00:23:55,800 --> 00:23:57,960
Speaker 2: it to you, and you looked at us like we, hut,

511
00:23:59,720 --> 00:24:05,840
Speaker 2: what God, Eric's coming in. Oh, this is so fun, Okay,

512
00:24:05,840 --> 00:24:08,320
Speaker 2: we'll do this and yeah, so that's why.

513
00:24:08,720 --> 00:24:13,440
Speaker 3: And you had no idea that it had become a catchphrase, Will, Yeah,

514
00:24:13,480 --> 00:24:14,880
Speaker 3: that's so funny.

515
00:24:15,160 --> 00:24:15,440
Speaker 2: Yeah.

516
00:24:15,480 --> 00:24:17,200
Speaker 3: And so was that from boy or Girl?

517
00:24:17,320 --> 00:24:19,560
Speaker 2: No, that was from Boy. That was like the last

518
00:24:19,600 --> 00:24:20,520
Speaker 2: season of Boy made me.

519
00:24:20,560 --> 00:24:20,760
Speaker 3: Yeah.

520
00:24:20,760 --> 00:24:23,879
Speaker 5: I think Plays with Squirrels was the last season of World, So,

521
00:24:24,000 --> 00:24:25,880
Speaker 5: oh my god, that's so funny.

522
00:24:26,200 --> 00:24:28,119
Speaker 2: But the look on your face was like, who are

523
00:24:28,119 --> 00:24:30,960
Speaker 2: these people and what are they doing? I'm sure you

524
00:24:30,960 --> 00:24:31,920
Speaker 2: didn't even remember.

525
00:24:32,400 --> 00:24:36,679
Speaker 1: No context, done, done, done, I'm done.

526
00:24:36,119 --> 00:24:39,800
Speaker 3: Yeah, exact Wait what yeah? Okay, So here's a question.

527
00:24:39,880 --> 00:24:41,639
Speaker 5: If you don't like to break the fourth wall with

528
00:24:41,680 --> 00:24:43,880
Speaker 5: your actors, with all the shows you've done, are there

529
00:24:44,520 --> 00:24:48,439
Speaker 5: characters other than actors? Are their characters that are better

530
00:24:48,520 --> 00:24:51,199
Speaker 5: at sound than others? I don't know how else to

531
00:24:51,200 --> 00:24:51,439
Speaker 5: say it.

532
00:24:52,240 --> 00:24:54,720
Speaker 2: No, I wouldn't say that, but there are, there are,

533
00:24:55,119 --> 00:24:56,960
Speaker 2: and I'm not going to name names, but there are

534
00:24:57,040 --> 00:25:01,359
Speaker 2: some actors that are very very, very very good at adr.

535
00:25:02,200 --> 00:25:03,639
Speaker 2: I can say the positive ones.

536
00:25:04,080 --> 00:25:08,560
Speaker 5: Gary Coleman from Awesome, one of my idols of all time,

537
00:25:08,600 --> 00:25:10,520
Speaker 5: from Different Strokes, Different strokes.

538
00:25:11,000 --> 00:25:13,400
Speaker 2: He would come in, I'd play the line for him

539
00:25:13,480 --> 00:25:15,520
Speaker 2: and he'd do it one take.

540
00:25:15,359 --> 00:25:17,760
Speaker 3: Out, amazing.

541
00:25:17,920 --> 00:25:21,520
Speaker 2: And then I have had other actors who I don't care.

542
00:25:21,560 --> 00:25:23,720
Speaker 2: I've made a mistake. No, you can't fix it. That's

543
00:25:23,720 --> 00:25:27,000
Speaker 2: too bad. That's too bad. That's what it is, and

544
00:25:27,040 --> 00:25:29,040
Speaker 2: it is a real art to be able to.

545
00:25:29,000 --> 00:25:33,399
Speaker 5: Do it is ADR, and voiceover is a whole different game.

546
00:25:33,640 --> 00:25:36,480
Speaker 5: It's just an absolutely different game, and you have to

547
00:25:36,520 --> 00:25:38,840
Speaker 5: be able to dissect yourself from it and listen to

548
00:25:38,880 --> 00:25:40,960
Speaker 5: the line as a separate person and try to mimic

549
00:25:41,000 --> 00:25:41,280
Speaker 5: it back.

550
00:25:41,320 --> 00:25:42,640
Speaker 3: It's a whole different thing.

551
00:25:42,720 --> 00:25:44,639
Speaker 2: Right, And you have to hear the line before in

552
00:25:44,680 --> 00:25:48,080
Speaker 2: the line after so that you blend into it, and

553
00:25:48,119 --> 00:25:49,960
Speaker 2: then the mic has to be in the right place.

554
00:25:49,960 --> 00:25:54,320
Speaker 2: So some ADR can be perfect, and if I get

555
00:25:54,359 --> 00:25:57,560
Speaker 2: ADR that someone else's shot not so much most of

556
00:25:57,560 --> 00:25:57,920
Speaker 2: the time.

557
00:25:58,080 --> 00:25:59,800
Speaker 5: Can you tell us what ADR stands for, just for

558
00:25:59,840 --> 00:26:01,120
Speaker 5: all our dear listeners out there.

559
00:26:01,280 --> 00:26:07,080
Speaker 2: I believe it stands for automatic dialogue replacement. And it's

560
00:26:07,119 --> 00:26:10,160
Speaker 2: also referred to as looping. And how that came into

561
00:26:10,200 --> 00:26:13,240
Speaker 2: being was way back in the day before pro tools

562
00:26:13,359 --> 00:26:16,520
Speaker 2: or anything like that. They would take the line on film.

563
00:26:16,600 --> 00:26:18,359
Speaker 2: They would take the line that you have to say,

564
00:26:19,119 --> 00:26:22,600
Speaker 2: and then they would loop it over and over and

565
00:26:22,640 --> 00:26:24,800
Speaker 2: over for the actor to listen to and then okay,

566
00:26:24,880 --> 00:26:26,800
Speaker 2: got it. Then they go into record record it and

567
00:26:26,800 --> 00:26:28,359
Speaker 2: that's how they would do that. So that's how it

568
00:26:28,400 --> 00:26:33,000
Speaker 2: was known as looping. Yeah, but ADR is very interchangeable,

569
00:26:33,160 --> 00:26:33,440
Speaker 2: you know.

570
00:26:34,040 --> 00:26:36,359
Speaker 3: An additional dialogue recording could be that.

571
00:26:36,680 --> 00:26:38,920
Speaker 2: It could be that too, I don't know really well.

572
00:26:39,040 --> 00:26:40,320
Speaker 3: It's also interesting like.

573
00:26:41,880 --> 00:26:44,159
Speaker 4: The way they have to so if you have to

574
00:26:44,200 --> 00:26:46,840
Speaker 4: replace the line, they have to put the beeps.

575
00:26:47,680 --> 00:26:49,920
Speaker 3: And then they also do visuals because it depends on

576
00:26:49,960 --> 00:26:52,560
Speaker 3: who the actor like. Sometimes actors need it to be visual.

577
00:26:52,640 --> 00:26:55,879
Speaker 4: The lines cross the screen right at the moment when

578
00:26:55,920 --> 00:26:58,000
Speaker 4: you're supposed to start the line right, and then other

579
00:26:58,000 --> 00:27:00,520
Speaker 4: people are audio and you need the be to know

580
00:27:00,560 --> 00:27:02,080
Speaker 4: when to start, and then you have to.

581
00:27:01,960 --> 00:27:02,879
Speaker 3: Like watch your lips.

582
00:27:02,920 --> 00:27:07,320
Speaker 4: Sometimes it is such a weird art form. I'm a

583
00:27:07,320 --> 00:27:10,400
Speaker 4: complete audio person, so I need to like basically, if

584
00:27:10,440 --> 00:27:13,040
Speaker 4: I hear it, I can repeat it exactly the way

585
00:27:13,040 --> 00:27:15,520
Speaker 4: I did it. But if I try and watch and match,

586
00:27:15,720 --> 00:27:17,800
Speaker 4: I get all screwed up and I get out of

587
00:27:17,840 --> 00:27:19,560
Speaker 4: my head. But if I'm like, if I'm just close

588
00:27:19,640 --> 00:27:21,680
Speaker 4: my eyes listen to it, I can repeat a line

589
00:27:21,680 --> 00:27:22,640
Speaker 4: exactly the way I said.

590
00:27:22,800 --> 00:27:26,040
Speaker 5: Yeah you'll There's times like for the visual people out there,

591
00:27:26,160 --> 00:27:28,880
Speaker 5: it literally looks like Luke Skywalker is making the run

592
00:27:28,920 --> 00:27:30,359
Speaker 5: to blow up the Death Star, and he's looking at

593
00:27:30,400 --> 00:27:32,399
Speaker 5: a screen and those two lines are coming, and then

594
00:27:32,400 --> 00:27:33,959
Speaker 5: he when it hits the middle, he's got to hit

595
00:27:34,000 --> 00:27:36,400
Speaker 5: the button for the photon torpedoes, and everyone just went.

596
00:27:36,359 --> 00:27:39,360
Speaker 3: They're not photon torpedoes. But that's what it is.

597
00:27:39,480 --> 00:27:42,000
Speaker 5: And what makes it even more difficult is when you're

598
00:27:42,040 --> 00:27:45,080
Speaker 5: doing ADR and you have to eight R project that,

599
00:27:45,160 --> 00:27:48,280
Speaker 5: for instance, has already been animated. So we'll do things

600
00:27:48,280 --> 00:27:50,640
Speaker 5: where it's like it's a you know, when I did

601
00:27:50,800 --> 00:27:54,160
Speaker 5: Howl's Moving castle there, the lip flaps are already done

602
00:27:54,200 --> 00:27:57,040
Speaker 5: for the Japanese animation, so you have to go in

603
00:27:57,080 --> 00:28:00,800
Speaker 5: and try to fit the English dialogue into these mouthflaps.

604
00:28:00,800 --> 00:28:04,199
Speaker 3: Still clean it up somewhat, but they're mouth flaps.

605
00:28:04,200 --> 00:28:04,440
Speaker 5: Again.

606
00:28:04,560 --> 00:28:08,119
Speaker 1: I don't don't ever say lip flaps or mouth.

607
00:28:08,240 --> 00:28:13,240
Speaker 3: You've got to again. I never want to hear it again.

608
00:28:14,000 --> 00:28:15,800
Speaker 5: Just on the beep, put it in the mouth flaps.

609
00:28:16,359 --> 00:28:17,479
Speaker 5: That's just the way it is.

610
00:28:18,040 --> 00:28:20,080
Speaker 1: Please, I beg of you. I never want to hear

611
00:28:20,119 --> 00:28:22,639
Speaker 1: it again. You said, you said it twice. You changed

612
00:28:22,800 --> 00:28:26,199
Speaker 1: lip flaps, which is the worst to mouth. It's what

613
00:28:26,359 --> 00:28:29,919
Speaker 1: it's called. It's what it's called. It's them literally literally

614
00:28:30,080 --> 00:28:31,120
Speaker 1: shivering every time.

615
00:28:31,160 --> 00:28:34,520
Speaker 5: It's just if I just keep saying moist moist mouth,

616
00:28:34,600 --> 00:28:36,840
Speaker 5: moist mouth flaps, most moist mouthflow.

617
00:28:37,240 --> 00:28:38,800
Speaker 1: I'm one of the only people in the world who

618
00:28:38,800 --> 00:28:40,000
Speaker 1: doesn't get bothered by moist.

619
00:28:40,040 --> 00:28:43,640
Speaker 5: But yeah, I'm getting Danielle a shirt that just says

620
00:28:43,640 --> 00:28:46,680
Speaker 5: mouth flaps is the worst Number one.

621
00:28:49,680 --> 00:28:49,960
Speaker 3: Merch.

622
00:28:51,200 --> 00:28:53,440
Speaker 5: Have another question for you, because a lot of people,

623
00:28:53,440 --> 00:28:55,480
Speaker 5: I think when they go on like the Universal Tour

624
00:28:55,600 --> 00:28:56,800
Speaker 5: or one of these kind of things, one of the

625
00:28:56,800 --> 00:29:00,080
Speaker 5: things they will learn about is fully and so can

626
00:29:00,120 --> 00:29:01,760
Speaker 5: you explain to us a little bit what folly is

627
00:29:01,800 --> 00:29:03,240
Speaker 5: and how that's different than what you do?

628
00:29:03,960 --> 00:29:08,240
Speaker 2: Well, actually, I will get it depends on the show

629
00:29:08,280 --> 00:29:12,320
Speaker 2: and the show's budget. Like a single camera show will

630
00:29:12,360 --> 00:29:17,080
Speaker 2: always have a fully fully department walk it and do

631
00:29:17,200 --> 00:29:21,040
Speaker 2: it something like for Boy. You know, multicams don't really

632
00:29:21,120 --> 00:29:24,120
Speaker 2: have that kind of budget. So if we needed something

633
00:29:24,480 --> 00:29:27,600
Speaker 2: that wasn't footsteps, then that's something I just do on

634
00:29:27,640 --> 00:29:29,920
Speaker 2: the stage And I do my own folly here in

635
00:29:29,960 --> 00:29:32,880
Speaker 2: my studium. Except footsteps. They are the worst. They are

636
00:29:32,920 --> 00:29:36,680
Speaker 2: so hard to get those. Oh yeah, because it has

637
00:29:36,720 --> 00:29:40,680
Speaker 2: to be matched the environment it's in so with. As

638
00:29:40,720 --> 00:29:43,840
Speaker 2: a matter of fact, I have a library of Boy

639
00:29:43,920 --> 00:29:47,520
Speaker 2: and Girl Meets World footsteps that I've pulled from all

640
00:29:47,560 --> 00:29:51,360
Speaker 2: of the episodes that because it's on a sound stage.

641
00:29:51,440 --> 00:29:53,520
Speaker 2: I can those will blend in on an interior shot

642
00:29:53,600 --> 00:29:56,280
Speaker 2: really well. I use them all the time, but exterior

643
00:29:56,440 --> 00:29:59,960
Speaker 2: footsteps is a whole other story. That's just my nightmare.

644
00:30:00,160 --> 00:30:06,480
Speaker 2: But anyway, So but what fully is I'm trying to

645
00:30:06,480 --> 00:30:09,400
Speaker 2: see the best way to say this. Sometimes it's faster

646
00:30:10,160 --> 00:30:13,720
Speaker 2: to fully something, so you're recreating a sound in sync

647
00:30:13,840 --> 00:30:17,640
Speaker 2: with the picture. And if there's a lot of like like,

648
00:30:17,720 --> 00:30:20,040
Speaker 2: for instance, I just finished a show that had somebody

649
00:30:20,080 --> 00:30:22,760
Speaker 2: had a pistol and they were moving it around a lot.

650
00:30:23,400 --> 00:30:27,040
Speaker 2: So rather than get my pistol sound effects out, I say, oh,

651
00:30:27,240 --> 00:30:29,200
Speaker 2: this one goes here, blah blah, I just folly it.

652
00:30:29,360 --> 00:30:32,920
Speaker 2: I just got a pistol from a prop shop, came

653
00:30:32,960 --> 00:30:36,120
Speaker 2: home and just I just emulated the action and it

654
00:30:36,160 --> 00:30:38,680
Speaker 2: was like ten minutes versus probably an hour and a half,

655
00:30:39,560 --> 00:30:43,719
Speaker 2: so you know. And then there's also another point of folly,

656
00:30:43,760 --> 00:30:46,520
Speaker 2: which kind of goes into matching lips a little bit,

657
00:30:46,840 --> 00:30:52,479
Speaker 2: is international distribution. So every show, every show that Disney

658
00:30:52,480 --> 00:30:55,920
Speaker 2: puts out, goes out into the world in those languages.

659
00:30:56,920 --> 00:30:59,480
Speaker 2: So that's a whole again, that's a whole nother world.

660
00:30:59,680 --> 00:31:01,640
Speaker 2: Oh oh my god, is it? Ever, it's more work

661
00:31:01,720 --> 00:31:03,200
Speaker 2: to do a foreign mix than it is to do

662
00:31:03,240 --> 00:31:06,960
Speaker 2: a domestic one, because if you're sitting here talking and

663
00:31:07,560 --> 00:31:11,320
Speaker 2: you hear this while I'm talking, well, we're going to

664
00:31:11,360 --> 00:31:13,760
Speaker 2: replace that voice, but now we have to also match.

665
00:31:14,560 --> 00:31:17,320
Speaker 2: I have the sounds every time, and then also when

666
00:31:17,360 --> 00:31:20,480
Speaker 2: people are moving and in English, in a regular one,

667
00:31:20,640 --> 00:31:22,760
Speaker 2: it's like, Danielle, if you moved back in your chair,

668
00:31:23,000 --> 00:31:25,880
Speaker 2: we wouldn't expect to hear that, But if it's completely

669
00:31:25,920 --> 00:31:29,280
Speaker 2: being rebuilt and you move back, it's like you miss

670
00:31:29,360 --> 00:31:31,240
Speaker 2: the sound that there. I should hear a little creek

671
00:31:31,320 --> 00:31:32,080
Speaker 2: or something there.

672
00:31:32,000 --> 00:31:32,480
Speaker 3: Right, you know.

673
00:31:33,160 --> 00:31:36,240
Speaker 2: And yeah, and then the worst part of all is

674
00:31:36,240 --> 00:31:38,600
Speaker 2: what you finished with it. Then it goes to QC

675
00:31:38,840 --> 00:31:42,160
Speaker 2: Quality Control and they are just like have microscopes trying

676
00:31:42,160 --> 00:31:46,680
Speaker 2: to find mistakes, and it's just I would rather get

677
00:31:46,680 --> 00:31:53,280
Speaker 2: a root canal than do em. Andy. Seriously, Wow, I

678
00:31:53,280 --> 00:31:53,720
Speaker 2: have a friend.

679
00:31:54,000 --> 00:31:55,640
Speaker 4: I have a friend who's in quality control, who's one

680
00:31:55,680 --> 00:31:57,440
Speaker 4: of my CLI and he's been in it for at

681
00:31:57,440 --> 00:31:59,720
Speaker 4: this point, like fifteen years, and it's you know, he's

682
00:31:59,760 --> 00:32:02,360
Speaker 4: a position, you know, so I think he has one

683
00:32:02,360 --> 00:32:04,600
Speaker 4: of those ears too, like but yeah, it seems like

684
00:32:04,640 --> 00:32:06,560
Speaker 4: a nightmare. I mean, and when when he first started,

685
00:32:06,560 --> 00:32:09,440
Speaker 4: he would just always be at home watching DVDs in

686
00:32:09,560 --> 00:32:11,400
Speaker 4: like three languages, Like he would have to watch a

687
00:32:11,400 --> 00:32:13,680
Speaker 4: movie in every language with different.

688
00:32:13,440 --> 00:32:14,880
Speaker 3: Subtitles just to be quality.

689
00:32:15,040 --> 00:32:17,800
Speaker 4: From now he runs the company, but he started just

690
00:32:17,840 --> 00:32:19,960
Speaker 4: being a watcher, like that was his job. I'm like,

691
00:32:19,960 --> 00:32:21,680
Speaker 4: oh my god, he'd have to watch Die Hard like

692
00:32:21,720 --> 00:32:24,960
Speaker 4: fourteen times, you know, fourteen different languages with the different stuff.

693
00:32:25,000 --> 00:32:25,680
Speaker 3: It's like, oh my.

694
00:32:26,560 --> 00:32:28,840
Speaker 4: But I think the most fun part about Foley is

695
00:32:28,880 --> 00:32:32,680
Speaker 4: when things sound better with different objects, so you're not

696
00:32:32,720 --> 00:32:35,360
Speaker 4: just recreated, but like you know, like I know, you know,

697
00:32:35,480 --> 00:32:38,680
Speaker 4: it's like punch sounds will be like hitting a wet

698
00:32:38,720 --> 00:32:42,200
Speaker 4: piece of paper, or like you know, like a bullet

699
00:32:42,320 --> 00:32:45,240
Speaker 4: going into something would be like a watermelon squishing. You know,

700
00:32:45,320 --> 00:32:47,320
Speaker 4: like all these weird sounds that they have to recreate.

701
00:32:47,360 --> 00:32:50,000
Speaker 3: That's the famous one. Find his videos that are amazing.

702
00:32:50,240 --> 00:32:52,880
Speaker 5: The famous one is the is the Psycho shower scene

703
00:32:52,880 --> 00:32:55,200
Speaker 5: where he's stabbing the water It's he's stabbing a watermelon

704
00:32:55,240 --> 00:32:57,160
Speaker 5: over and over, which gives the sound of sounding I

705
00:32:57,200 --> 00:32:59,959
Speaker 5: mean it's just like so creepy. Yeah, that's the that's

706
00:33:00,000 --> 00:33:02,960
Speaker 5: it's the famous breaking well.

707
00:33:02,840 --> 00:33:05,120
Speaker 2: That's you know, that's because they did it with an

708
00:33:05,120 --> 00:33:07,239
Speaker 2: extra first, but then the extra died so that they

709
00:33:07,280 --> 00:33:08,720
Speaker 2: got the watermelon finished.

710
00:33:10,480 --> 00:33:13,000
Speaker 3: There's a few people you only few people know that story.

711
00:33:13,360 --> 00:33:14,440
Speaker 3: That's right, that's right.

712
00:33:14,480 --> 00:33:16,600
Speaker 1: It's we talked about the perils of being a background

713
00:33:16,640 --> 00:33:18,520
Speaker 1: actor sometimes you have.

714
00:33:20,120 --> 00:33:22,120
Speaker 2: It's only one thing to be concerned about. That.

715
00:33:34,320 --> 00:33:36,560
Speaker 1: So you you mentioned will coming in for a d R.

716
00:33:36,680 --> 00:33:38,360
Speaker 1: Did we have to do a lot of ADR on

717
00:33:38,400 --> 00:33:39,800
Speaker 1: Boy Meets World In Girmeys World?

718
00:33:41,200 --> 00:33:44,440
Speaker 2: No? Uh, and Boy the year that you went to

719
00:33:44,800 --> 00:33:48,480
Speaker 2: Disney World, you and Ben had a scene out in

720
00:33:48,520 --> 00:33:49,920
Speaker 2: front of a big water fountain.

721
00:33:50,000 --> 00:33:53,440
Speaker 3: How could I forget it? So so we looped.

722
00:33:53,160 --> 00:33:54,720
Speaker 2: That whole thing and you came in. You both came

723
00:33:54,760 --> 00:33:55,160
Speaker 2: in for that.

724
00:33:55,680 --> 00:33:55,960
Speaker 3: Yeah.

725
00:33:55,960 --> 00:33:58,840
Speaker 2: But my favorite, actually my favorite Boy Meets World story

726
00:33:58,920 --> 00:34:01,320
Speaker 2: is for the pilot. We need to bend him to

727
00:34:01,400 --> 00:34:04,560
Speaker 2: loop something. And so he came in. I got him

728
00:34:04,560 --> 00:34:07,040
Speaker 2: set up in his chair and put his headphones on

729
00:34:07,120 --> 00:34:10,640
Speaker 2: him and he was just like why I, Oh my god,

730
00:34:10,719 --> 00:34:12,439
Speaker 2: this is so cool. Can I go get my mom?

731
00:34:14,400 --> 00:34:16,560
Speaker 2: You know, it's the cutest thing ever. And like you know,

732
00:34:17,080 --> 00:34:19,279
Speaker 2: he will he will always be that little I don't

733
00:34:19,280 --> 00:34:23,280
Speaker 2: know how old he wasn't ten, maybe he will always

734
00:34:23,320 --> 00:34:26,719
Speaker 2: in my mind be that little awestruck boy that he

735
00:34:26,840 --> 00:34:31,840
Speaker 2: was doing this, you know, so sweet. Yeah, it's very cute.

736
00:34:33,280 --> 00:34:37,000
Speaker 1: So how many sound techs or engineers are usually working

737
00:34:37,040 --> 00:34:39,839
Speaker 1: on a TV show at once? And then how many

738
00:34:39,880 --> 00:34:42,160
Speaker 1: shows are you usually working on it once? Like are

739
00:34:42,160 --> 00:34:44,240
Speaker 1: you working you know how many different shoes?

740
00:34:44,239 --> 00:34:46,560
Speaker 2: Do you mean, like on a weekly schedule?

741
00:34:47,360 --> 00:34:47,760
Speaker 3: Schedule?

742
00:34:47,880 --> 00:34:52,040
Speaker 2: Yeah, it really varies. I've had years that I've had

743
00:34:52,120 --> 00:34:57,000
Speaker 2: fourteen series, so I'd either do like three a day

744
00:34:57,080 --> 00:34:59,319
Speaker 2: and then two on the weekends, or you know that

745
00:34:59,800 --> 00:35:01,840
Speaker 2: four she only I haven't had that a long time.

746
00:35:03,239 --> 00:35:05,279
Speaker 2: But you know, money is only good for so much,

747
00:35:05,320 --> 00:35:06,839
Speaker 2: and then you go, you know what I will pay

748
00:35:06,920 --> 00:35:11,799
Speaker 2: you to let me not do this. As a matter

749
00:35:11,840 --> 00:35:14,720
Speaker 2: of fact, during pilot season, I usually have one hundred

750
00:35:14,760 --> 00:35:17,000
Speaker 2: dollars bill that I put hide away and then if

751
00:35:17,000 --> 00:35:19,640
Speaker 2: it's like, okay, it's four in the morning, here's one

752
00:35:19,680 --> 00:35:23,040
Speaker 2: hundred dollars, I want to go and it doesn't work,

753
00:35:23,280 --> 00:35:25,919
Speaker 2: I still have the same hundred dollars. But yeah, so

754
00:35:26,040 --> 00:35:28,480
Speaker 2: as far as as you know, again, it depends on

755
00:35:28,520 --> 00:35:31,239
Speaker 2: the type of show. So a multi kit budget, a

756
00:35:31,320 --> 00:35:35,239
Speaker 2: multi camera show will have a dialogue editor and Oftentimes

757
00:35:35,239 --> 00:35:38,760
Speaker 2: that editor also does the effects, but sometimes it's split

758
00:35:38,840 --> 00:35:43,719
Speaker 2: up depending on how involved it is. Then, so that's two.

759
00:35:43,840 --> 00:35:49,239
Speaker 2: And then there's the music composer music editor. Usually they

760
00:35:49,239 --> 00:35:51,839
Speaker 2: are not the same person. So the music the music

761
00:35:52,000 --> 00:35:57,040
Speaker 2: editor goes through and you know, the composer, I say

762
00:35:57,080 --> 00:35:59,120
Speaker 2: I want this queue here, this queue here, this queue here,

763
00:35:59,560 --> 00:36:01,959
Speaker 2: and then and he'll he or she will make it fit.

764
00:36:02,960 --> 00:36:07,359
Speaker 2: Then there's myself and the supervising editor, who is usually

765
00:36:07,520 --> 00:36:10,719
Speaker 2: the dialogue or music effects editor. He sits with in

766
00:36:10,719 --> 00:36:13,759
Speaker 2: the room with me, the laugh guy. And then there's

767
00:36:13,800 --> 00:36:17,560
Speaker 2: a tech that our pro tools tech was in another room,

768
00:36:17,560 --> 00:36:19,160
Speaker 2: but if I have any kind of problems or anything,

769
00:36:19,200 --> 00:36:22,160
Speaker 2: he's there to figure it out real quick. So that's

770
00:36:22,160 --> 00:36:24,120
Speaker 2: about EAT people.

771
00:36:24,480 --> 00:36:26,360
Speaker 3: So were you working with Ray Colecord?

772
00:36:26,800 --> 00:36:27,320
Speaker 2: Yeah?

773
00:36:27,440 --> 00:36:29,839
Speaker 5: Yeah, so you worked directly with Ray who did our

774
00:36:29,920 --> 00:36:31,320
Speaker 5: music for all of Boy.

775
00:36:31,239 --> 00:36:32,080
Speaker 3: Yeah Girl too.

776
00:36:33,360 --> 00:36:35,839
Speaker 2: Yes, until he got.

777
00:36:35,160 --> 00:36:37,280
Speaker 3: Yeah, we lost Ray, but he was a great guy.

778
00:36:37,320 --> 00:36:41,520
Speaker 2: Amazing talent, wonderful person. It was that I could. I

779
00:36:41,520 --> 00:36:44,840
Speaker 2: couldn't go to the funeral because I was working. I

780
00:36:44,960 --> 00:36:48,080
Speaker 2: was so sad, you know, it's like, oh man, yeah,

781
00:36:48,120 --> 00:36:50,080
Speaker 2: And I stay in touch with his wife. She moved

782
00:36:50,120 --> 00:36:53,200
Speaker 2: to New York. But we're friends. But that was that

783
00:36:53,400 --> 00:36:56,000
Speaker 2: was yeah. And you know, one of the fun things

784
00:36:56,400 --> 00:37:00,200
Speaker 2: is when Ray and Michael would get into a fight, which.

785
00:37:00,080 --> 00:37:03,240
Speaker 3: With the really I always thought they got along perfectly,

786
00:37:03,280 --> 00:37:08,320
Speaker 3: but but Michael's consider composer a musician.

787
00:37:08,680 --> 00:37:11,600
Speaker 2: And they would you know, well, Ray would feel strongly

788
00:37:11,640 --> 00:37:13,440
Speaker 2: it needs to be this, and he would argue and

789
00:37:13,480 --> 00:37:15,320
Speaker 2: he would stand up and blah blah blah, and I

790
00:37:15,360 --> 00:37:20,200
Speaker 2: would just get my chair and I just just like, Okay,

791
00:37:20,280 --> 00:37:21,520
Speaker 2: let me know when you're ready.

792
00:37:22,239 --> 00:37:25,840
Speaker 1: Who would usually win those fights Michael Michael, of course,

793
00:37:28,080 --> 00:37:28,480
Speaker 1: and I went.

794
00:37:29,880 --> 00:37:33,399
Speaker 4: He would get obsessed with music line readings. I can

795
00:37:33,480 --> 00:37:36,399
Speaker 4: imagine going, you.

796
00:37:36,400 --> 00:37:41,520
Speaker 1: Have a literal music genius with Ray gold Gord, and

797
00:37:41,560 --> 00:37:45,120
Speaker 1: you're gonna argue about how should be flexible.

798
00:37:45,160 --> 00:37:47,880
Speaker 3: He could do anything like and remember just like we

799
00:37:47,920 --> 00:37:48,279
Speaker 3: would be.

800
00:37:48,320 --> 00:37:51,319
Speaker 4: We would he would like throw like something would be

801
00:37:51,320 --> 00:37:53,000
Speaker 4: in the script, like we need a jazz number, and

802
00:37:53,040 --> 00:37:54,640
Speaker 4: he would have it within like a day.

803
00:37:54,760 --> 00:37:56,640
Speaker 3: It would be the best song you've ever heard, or.

804
00:37:56,680 --> 00:37:58,719
Speaker 4: We have a hip hop song we need to dance.

805
00:37:58,760 --> 00:38:01,280
Speaker 4: It was just like he would just effortlessly produced it.

806
00:38:01,600 --> 00:38:04,239
Speaker 4: The one episode we did of the first episode I

807
00:38:04,239 --> 00:38:08,120
Speaker 4: directed of Girlman's World was the nineteen sixty whatever.

808
00:38:08,520 --> 00:38:11,640
Speaker 3: Yes, that's the same to the table read.

809
00:38:11,480 --> 00:38:15,600
Speaker 4: And Sabrina just sang a song like like jazzy acapella.

810
00:38:15,920 --> 00:38:18,080
Speaker 4: She just sang a song and he wrote down what

811
00:38:18,239 --> 00:38:20,600
Speaker 4: notes she was singing and then composed a song based

812
00:38:20,640 --> 00:38:23,040
Speaker 4: on what she sang. And he just heard her. He's like,

813
00:38:23,120 --> 00:38:25,479
Speaker 4: oh yeah, she's got perfect pitch. And she sang this note,

814
00:38:25,480 --> 00:38:27,720
Speaker 4: this note, this note, so I wrote he wrote a

815
00:38:27,760 --> 00:38:31,440
Speaker 4: song based on her table spontaneous performance was amazing.

816
00:38:31,480 --> 00:38:32,520
Speaker 1: Yeah, wow, so cool.

817
00:38:33,000 --> 00:38:34,560
Speaker 5: He also would come to the set to teach us

818
00:38:34,600 --> 00:38:36,720
Speaker 5: if we ever had to do anything even slightly musical.

819
00:38:37,000 --> 00:38:39,000
Speaker 5: You know, Ben, when Ben was directing with the with

820
00:38:39,040 --> 00:38:41,680
Speaker 5: the foam finger, he took the time to come down

821
00:38:41,719 --> 00:38:43,200
Speaker 5: to the set and he taught Ben with a baton,

822
00:38:43,320 --> 00:38:44,799
Speaker 5: no you want to do this, you want to do that?

823
00:38:44,840 --> 00:38:46,399
Speaker 3: I mean it was Yeah. He was a great guy,

824
00:38:46,440 --> 00:38:47,000
Speaker 3: great guy.

825
00:38:47,560 --> 00:38:51,520
Speaker 2: Just completely involved. Yes, And when they would would have

826
00:38:51,560 --> 00:38:55,880
Speaker 2: their disagreements, it was both of them was for the

827
00:38:55,880 --> 00:38:58,359
Speaker 2: best of the show. It's just Ray thought this and

828
00:38:58,360 --> 00:39:01,800
Speaker 2: Michael thought this. And I remember there was once really

829
00:39:02,040 --> 00:39:04,240
Speaker 2: I might have been for the first or the pilot

830
00:39:04,239 --> 00:39:08,799
Speaker 2: of Girl where my supervisor. She and I both just

831
00:39:08,880 --> 00:39:10,360
Speaker 2: like duck down, and she just looked at me and

832
00:39:10,360 --> 00:39:12,759
Speaker 2: she went because she had never worked with Michael before.

833
00:39:12,800 --> 00:39:15,160
Speaker 2: And I said, it'll be okay. Just don't worry.

834
00:39:15,800 --> 00:39:16,799
Speaker 3: They don't need each other.

835
00:39:16,800 --> 00:39:18,759
Speaker 2: It's just they're just trying to work this out. But

836
00:39:18,920 --> 00:39:21,520
Speaker 2: it was entertaining. Yeah, it is.

837
00:39:21,800 --> 00:39:22,480
Speaker 3: It is funny.

838
00:39:22,520 --> 00:39:25,200
Speaker 1: I will say that because you think, like you hear

839
00:39:25,239 --> 00:39:29,719
Speaker 1: those stories that Michael and Ray would fight and probably regularly,

840
00:39:30,560 --> 00:39:33,480
Speaker 1: and then you think, well, I wonder why Michael, who

841
00:39:33,520 --> 00:39:36,120
Speaker 1: has entire power to fire Ray and say I'm not

842
00:39:36,120 --> 00:39:38,440
Speaker 1: going to have you on the show. I will say

843
00:39:39,080 --> 00:39:46,919
Speaker 1: that Michael really respects men who will fight back with him. Yeah,

844
00:39:47,040 --> 00:39:50,120
Speaker 1: because he did know that Ray fighting with him was

845
00:39:50,160 --> 00:39:52,840
Speaker 1: because Ray really was fighting for what he thought was

846
00:39:52,840 --> 00:39:55,799
Speaker 1: best for the show. And Michael did respect that, even

847
00:39:55,840 --> 00:39:58,520
Speaker 1: if he disagreed with what He liked the fact that

848
00:39:58,560 --> 00:40:01,840
Speaker 1: somebody was willing to stand up to him and say, no,

849
00:40:02,200 --> 00:40:04,520
Speaker 1: you're wrong, and here's why and here's what's better. And

850
00:40:04,560 --> 00:40:07,360
Speaker 1: he likes that. He likes that because it means you're passionate,

851
00:40:07,400 --> 00:40:08,640
Speaker 1: and he wants that.

852
00:40:08,880 --> 00:40:10,160
Speaker 3: He also respected talent.

853
00:40:11,000 --> 00:40:13,759
Speaker 5: I think anybody who met Ray knew that Ray was

854
00:40:13,960 --> 00:40:15,960
Speaker 5: just just phenomenal at what he did.

855
00:40:16,080 --> 00:40:19,320
Speaker 1: Michael spoke so highly of him, like the most talented,

856
00:40:19,400 --> 00:40:23,840
Speaker 1: the most incredible, just the absolute best. So, speaking of Michael,

857
00:40:23,880 --> 00:40:25,680
Speaker 1: how did you get hired? On Boy Meets World?

858
00:40:26,480 --> 00:40:30,160
Speaker 2: The first show I did with Michael was Almost Home

859
00:40:30,239 --> 00:40:32,880
Speaker 2: I think, Okay, it was like a follow up to

860
00:40:32,880 --> 00:40:38,200
Speaker 2: the Torko Sun I believe, just before Boy and then yeah,

861
00:40:38,640 --> 00:40:43,239
Speaker 2: I think that only went one, maybe two seasons. So

862
00:40:43,360 --> 00:40:46,440
Speaker 2: then we did Boy and it just you know, we

863
00:40:46,520 --> 00:40:50,120
Speaker 2: all just clicked. It was it was just that's what

864
00:40:50,160 --> 00:40:51,960
Speaker 2: I said. I just looked forward to those mixes so

865
00:40:52,080 --> 00:40:55,320
Speaker 2: much because and Michael is, without a doubt, the best

866
00:40:55,400 --> 00:41:00,160
Speaker 2: joke tiller of anybody in the world. There's nobody, matter

867
00:41:00,160 --> 00:41:04,640
Speaker 2: of fact, the voice mamals recording him doing a joke.

868
00:41:05,719 --> 00:41:08,359
Speaker 2: I still have one. I still have one about the parrot, uh,

869
00:41:08,840 --> 00:41:12,200
Speaker 2: just because it's just you just you just marvel at

870
00:41:12,200 --> 00:41:15,200
Speaker 2: his ability to just take a very simple story and

871
00:41:15,840 --> 00:41:18,560
Speaker 2: just turn it into this. You know, and the people

872
00:41:18,560 --> 00:41:21,439
Speaker 2: that know Michael, like Jack is the laugh guy. Jack

873
00:41:21,480 --> 00:41:23,239
Speaker 2: and I will Jack and I tell jokes a lot,

874
00:41:23,239 --> 00:41:25,160
Speaker 2: and then we both Michael tells that better and we

875
00:41:25,200 --> 00:41:28,040
Speaker 2: still do that.

876
00:41:28,040 --> 00:41:30,120
Speaker 3: Amazing he really was an amazing joke teller.

877
00:41:30,160 --> 00:41:32,040
Speaker 5: He could build a joke on a joke, he'd do

878
00:41:32,080 --> 00:41:33,520
Speaker 5: a callback in the middle of a joke.

879
00:41:33,560 --> 00:41:34,440
Speaker 3: I mean, he really is.

880
00:41:34,880 --> 00:41:36,960
Speaker 4: I remember one time, man, we were on set and

881
00:41:37,000 --> 00:41:39,840
Speaker 4: somebody brought up a stand up comedian too Michael. They

882
00:41:39,880 --> 00:41:42,040
Speaker 4: were like, do you know this stand up And He's like,

883
00:41:42,080 --> 00:41:44,640
Speaker 4: I know them all. I watched them all he was

884
00:41:44,680 --> 00:41:46,319
Speaker 4: and that verson was like, well do you know this bit?

885
00:41:46,360 --> 00:41:49,360
Speaker 4: And Michael was able to remember exactly which comedian the

886
00:41:49,360 --> 00:41:51,279
Speaker 4: guy was talking about which bit. I was like, wow,

887
00:41:51,320 --> 00:41:55,319
Speaker 4: he studies. Yes, he watches every stand up comedian, knows

888
00:41:55,400 --> 00:41:56,280
Speaker 4: every single story.

889
00:41:56,320 --> 00:41:59,120
Speaker 1: It was yeah, yeah, Well, when you think about it,

890
00:41:59,160 --> 00:42:01,480
Speaker 1: like it requires more to be a comedian than this,

891
00:42:01,680 --> 00:42:03,600
Speaker 1: But the base of it is you have to be

892
00:42:03,680 --> 00:42:05,640
Speaker 1: able to tell a good story, and then on top

893
00:42:05,680 --> 00:42:07,640
Speaker 1: of that you have to be there are other skills

894
00:42:07,719 --> 00:42:09,840
Speaker 1: you need, but like, if you can't tell a good story,

895
00:42:09,880 --> 00:42:11,400
Speaker 1: you're not going to be a good comedian.

896
00:42:11,520 --> 00:42:11,959
Speaker 3: It's true.

897
00:42:12,320 --> 00:42:15,920
Speaker 5: And then for people are usually musical, I mean, there's

898
00:42:15,920 --> 00:42:17,440
Speaker 5: a musicality to joke telling.

899
00:42:17,440 --> 00:42:22,640
Speaker 4: And Might always had that comedians are musicians exactly. But

900
00:42:22,640 --> 00:42:24,240
Speaker 4: he would always point to like the fact that Woody

901
00:42:24,239 --> 00:42:27,720
Speaker 4: Allen plays jazz, you know, like people are like they

902
00:42:27,880 --> 00:42:28,560
Speaker 4: actually are.

903
00:42:28,520 --> 00:42:30,960
Speaker 3: Usually musicians first, or drummers.

904
00:42:30,800 --> 00:42:33,120
Speaker 5: I mean, Steve Martin, everybody, all these kind of people.

905
00:42:33,160 --> 00:42:35,080
Speaker 5: But it's also the best ones are the ones that

906
00:42:35,440 --> 00:42:39,720
Speaker 5: like I always go to Chandler on Friends to Matthew Perry.

907
00:42:39,880 --> 00:42:41,320
Speaker 5: And one of the reasons he was so funny is

908
00:42:41,360 --> 00:42:44,200
Speaker 5: that sitcom you can always get into the same rhythm.

909
00:42:44,280 --> 00:42:47,719
Speaker 5: It can be very much that Dunda set up jo

910
00:42:48,360 --> 00:42:49,880
Speaker 5: And the reason he was so good is that you

911
00:42:49,960 --> 00:42:51,279
Speaker 5: never knew where he was going to go.

912
00:42:51,400 --> 00:42:52,200
Speaker 3: It was like jazz.

913
00:42:52,239 --> 00:42:54,719
Speaker 5: It was like he played completely offbeat and it was

914
00:42:54,719 --> 00:42:56,680
Speaker 5: like whoa that came out of nowhere. And that was

915
00:42:56,719 --> 00:42:58,279
Speaker 5: one of the things where you find some of these

916
00:42:58,320 --> 00:43:00,360
Speaker 5: men and women that can kill it where it's just

917
00:43:00,719 --> 00:43:02,480
Speaker 5: you think they're going one place with a joke and

918
00:43:02,480 --> 00:43:06,480
Speaker 5: it goes to completely different, right, which yeah, Michael definitely has.

919
00:43:06,600 --> 00:43:08,920
Speaker 2: So yeah, whatever he'd start up, you know, because every

920
00:43:08,960 --> 00:43:11,080
Speaker 2: week he'd come in with a new joke, and whenever

921
00:43:11,080 --> 00:43:12,680
Speaker 2: he starts to start up, I'd go, Okay, where is

922
00:43:12,719 --> 00:43:14,400
Speaker 2: this going? Where is this? Yeah, I'm gonna try to

923
00:43:14,440 --> 00:43:18,040
Speaker 2: go It was never right never, you know.

924
00:43:18,560 --> 00:43:21,359
Speaker 1: So while you were working on Boy and you saw

925
00:43:21,400 --> 00:43:23,600
Speaker 1: it go through so many changes over the years.

926
00:43:23,880 --> 00:43:26,000
Speaker 3: Did you think this show is going to be a.

927
00:43:25,960 --> 00:43:31,000
Speaker 2: Hit Boy Meets World Initially, Well, because it was in

928
00:43:31,040 --> 00:43:33,920
Speaker 2: the TGIF lineup, I thought that it would be it

929
00:43:33,960 --> 00:43:36,399
Speaker 2: would be popular. I didn't. I didn't foresee it going

930
00:43:36,440 --> 00:43:39,799
Speaker 2: seven seasons. No, you know, and I'm so glad it

931
00:43:39,840 --> 00:43:42,400
Speaker 2: did because it just went the whole, you know, the

932
00:43:42,440 --> 00:43:46,600
Speaker 2: whole run from very young to college and getting married

933
00:43:46,640 --> 00:43:48,319
Speaker 2: and all of that. And then Girl. I thought Girl

934
00:43:48,400 --> 00:43:50,719
Speaker 2: was just brilliant, and you know, all the There was

935
00:43:50,760 --> 00:43:54,080
Speaker 2: a lot of location shots in uh Girl, because they

936
00:43:54,080 --> 00:43:56,360
Speaker 2: were in New York, and I go to New York frequently,

937
00:43:57,080 --> 00:43:59,839
Speaker 2: so I would say, I know where that fountain is.

938
00:44:00,000 --> 00:44:01,759
Speaker 2: I'm going to get that fountain, and I go and

939
00:44:01,800 --> 00:44:03,560
Speaker 2: I record the fount because iways put my gear with

940
00:44:03,600 --> 00:44:07,279
Speaker 2: me record the fountain or all the subway stuff, all

941
00:44:07,320 --> 00:44:09,759
Speaker 2: the subway sounds like, especially in that first episode of

942
00:44:09,800 --> 00:44:13,200
Speaker 2: the Girl, that's all from my library, and it's just

943
00:44:13,320 --> 00:44:16,120
Speaker 2: like that means so much to me. It doesn't I

944
00:44:16,120 --> 00:44:18,239
Speaker 2: don't charge anybody for that. It's just for me. It's like,

945
00:44:18,360 --> 00:44:22,440
Speaker 2: that's not how that train sounds, this is how it sounds,

946
00:44:22,880 --> 00:44:25,000
Speaker 2: and you know, like I get very I get very

947
00:44:25,040 --> 00:44:28,080
Speaker 2: picky with like phone rings, Like I don't know if

948
00:44:28,080 --> 00:44:30,800
Speaker 2: you guys remember what a princess phone looks like. Of course,

949
00:44:30,960 --> 00:44:34,680
Speaker 2: of course they have a very distinct ring, completely different

950
00:44:34,719 --> 00:44:35,919
Speaker 2: than like a regular.

951
00:44:35,640 --> 00:44:38,000
Speaker 5: Desk phone and still talks about it.

952
00:44:38,080 --> 00:44:41,040
Speaker 2: Yeah. So if I see if there's a princess phone

953
00:44:41,040 --> 00:44:43,400
Speaker 2: in my editor puts in a regular phone ring, I'm like,

954
00:44:43,520 --> 00:44:45,680
Speaker 2: uh uh uh uh no here, and I'll send them

955
00:44:45,719 --> 00:44:46,960
Speaker 2: a princess phone ring. Put that in.

956
00:44:47,680 --> 00:44:49,560
Speaker 5: You know, you gotta be do you do you think

957
00:44:49,640 --> 00:44:51,960
Speaker 5: you hear the world more than you see the world.

958
00:44:52,320 --> 00:44:54,319
Speaker 2: I think so, Yeah, I think so.

959
00:44:55,360 --> 00:44:56,800
Speaker 3: Sot it's so cool.

960
00:44:56,960 --> 00:45:00,239
Speaker 1: I would never I would never think that's an What

961
00:45:00,280 --> 00:45:06,040
Speaker 1: that fountain sounds like? I would to me, you went

962
00:45:06,080 --> 00:45:08,080
Speaker 1: to New York and recorded the right fountain.

963
00:45:08,680 --> 00:45:10,840
Speaker 2: I was in New York. I know where that is.

964
00:45:10,880 --> 00:45:11,560
Speaker 3: I'm going to record it.

965
00:45:11,640 --> 00:45:13,000
Speaker 2: We're going to put it in, you know, and then

966
00:45:13,320 --> 00:45:15,200
Speaker 2: three people in the world know about this, but there

967
00:45:16,000 --> 00:45:19,200
Speaker 2: we are. So it's just my little quirk, my little quirk.

968
00:45:19,640 --> 00:45:22,279
Speaker 2: Another thing, another thing that used to really bug me

969
00:45:22,360 --> 00:45:26,000
Speaker 2: to death, which you don't have anymore's payphones, because when

970
00:45:26,440 --> 00:45:28,920
Speaker 2: when you had. When you were done talking and you

971
00:45:29,040 --> 00:45:31,600
Speaker 2: put down the receiver, the coins that you would put

972
00:45:31,600 --> 00:45:34,319
Speaker 2: in would then go through into the little hold.

973
00:45:34,520 --> 00:45:35,440
Speaker 3: I remember that.

974
00:45:36,840 --> 00:45:39,560
Speaker 2: Well, you watch old movies and you will never hear that.

975
00:45:41,680 --> 00:45:44,919
Speaker 2: And so I was working at a studio called Metromedia

976
00:45:45,040 --> 00:45:47,960
Speaker 2: back in the day. UH that's now that was torn

977
00:45:48,000 --> 00:45:50,880
Speaker 2: down and now it's a high school. And there was

978
00:45:50,920 --> 00:45:53,880
Speaker 2: a pay phone up but two floors up from where

979
00:45:54,000 --> 00:45:57,640
Speaker 2: the sound where I was working. So that was way

980
00:45:57,640 --> 00:46:00,560
Speaker 2: before having phones that you could record. Unless you had

981
00:46:00,560 --> 00:46:03,320
Speaker 2: a nog Brother, there's no way you could remotely record anything.

982
00:46:03,920 --> 00:46:07,160
Speaker 2: So my assistant and I found a really long mike

983
00:46:07,239 --> 00:46:09,560
Speaker 2: cable and we ran it all the way up to

984
00:46:09,600 --> 00:46:12,200
Speaker 2: that up to where that payphone was, and we recorded

985
00:46:12,239 --> 00:46:14,240
Speaker 2: that and then we had it and it's like, Okay,

986
00:46:14,320 --> 00:46:16,920
Speaker 2: now we're going to do that because I can't stand that.

987
00:46:18,800 --> 00:46:22,000
Speaker 2: Another thing to listen for anything Like back in UH,

988
00:46:22,440 --> 00:46:24,800
Speaker 2: anything that was mixed at Universal back in the sixties

989
00:46:24,840 --> 00:46:28,600
Speaker 2: and seventies, they always had the same phone ring, Like

990
00:46:29,239 --> 00:46:32,799
Speaker 2: in the opening title of UH. The Rockford Files, the

991
00:46:32,800 --> 00:46:35,480
Speaker 2: phone rings and then it's just answering machine. The answers.

992
00:46:36,120 --> 00:46:38,560
Speaker 2: This is James rock Jim Rockford leave a message. I'll

993
00:46:38,600 --> 00:46:42,120
Speaker 2: get back to you. That phone ring is in every

994
00:46:42,160 --> 00:46:46,040
Speaker 2: every everything that you know, any TV thing from Universal,

995
00:46:46,080 --> 00:46:48,400
Speaker 2: I'd hear the phone Oh I bet this is Universal.

996
00:46:48,440 --> 00:46:49,080
Speaker 2: Oh yeah it is.

997
00:46:49,320 --> 00:46:49,759
Speaker 3: So it's like.

998
00:46:52,600 --> 00:46:55,600
Speaker 4: Which my son recognized. He called it out one day

999
00:46:55,680 --> 00:46:58,200
Speaker 4: we were watching Yes. He was like, Dad, have you

1000
00:46:58,200 --> 00:47:00,799
Speaker 4: ever noticed that whenever people fall in a movie they

1001
00:47:00,840 --> 00:47:01,839
Speaker 4: sound exactly the same?

1002
00:47:01,880 --> 00:47:04,440
Speaker 3: I was like, and we watched like it was in

1003
00:47:04,480 --> 00:47:06,440
Speaker 3: Indiana Jones. I was like this one. I was like,

1004
00:47:06,520 --> 00:47:07,760
Speaker 3: that's the Wilhelm screen.

1005
00:47:08,160 --> 00:47:12,839
Speaker 2: I was like, oh my god, yeah, it's it's an all.

1006
00:47:13,320 --> 00:47:16,120
Speaker 2: Actually it's said twice in the Two Towers, the blur

1007
00:47:16,160 --> 00:47:19,280
Speaker 2: of the ring stuff, but it's in every Oh.

1008
00:47:19,200 --> 00:47:22,560
Speaker 3: Yeah, and we tried.

1009
00:47:22,960 --> 00:47:25,320
Speaker 2: You know, I have one producer who's like, got to

1010
00:47:25,320 --> 00:47:27,319
Speaker 2: find a place for the Wilhelm screen. Got to find

1011
00:47:27,320 --> 00:47:27,880
Speaker 2: a place, you know.

1012
00:47:27,920 --> 00:47:30,440
Speaker 1: And so it's just it's like, yeah, it's a tribute,

1013
00:47:30,440 --> 00:47:32,480
Speaker 1: like writer said, yeah, So I think I'm going to

1014
00:47:32,560 --> 00:47:34,239
Speaker 1: know the answer to this, But I have to ask it.

1015
00:47:34,280 --> 00:47:37,120
Speaker 1: Are you even able to watch TV or movies without

1016
00:47:37,239 --> 00:47:39,560
Speaker 1: just focusing on the sound and it's small issues?

1017
00:47:39,840 --> 00:47:45,160
Speaker 2: Well, you know, if it's engaging, yes, okay, But like

1018
00:47:45,239 --> 00:47:47,319
Speaker 2: I remember the first time seeing Raiders of the Lost

1019
00:47:47,440 --> 00:47:51,239
Speaker 2: Arc at the Chinese I was so enthralled with the

1020
00:47:51,280 --> 00:47:53,560
Speaker 2: sound that I kept going in and out of the

1021
00:47:53,600 --> 00:47:55,400
Speaker 2: story and I'll be like, where are we? How do

1022
00:47:55,480 --> 00:47:58,000
Speaker 2: we get here? Because I was listening to because that

1023
00:47:58,000 --> 00:48:00,960
Speaker 2: that the sound in that movie is amazing, and uh,

1024
00:48:01,480 --> 00:48:03,480
Speaker 2: I had to go back and see it the next day. Okay,

1025
00:48:03,480 --> 00:48:05,000
Speaker 2: now I want to see what really helpens because I

1026
00:48:05,000 --> 00:48:08,680
Speaker 2: couldn't pay attention to now and if something if it's

1027
00:48:08,760 --> 00:48:12,200
Speaker 2: not appropriate, the sound isn't appropriate, or if the adr

1028
00:48:12,280 --> 00:48:15,080
Speaker 2: really stands out, that'll totally pull me out of it.

1029
00:48:15,080 --> 00:48:17,000
Speaker 3: It does me too, situation totally.

1030
00:48:16,680 --> 00:48:19,400
Speaker 2: Good, Oh what was that? Or something's out of sync,

1031
00:48:19,840 --> 00:48:24,160
Speaker 2: like over over the shoulder shots so you know the

1032
00:48:24,200 --> 00:48:26,640
Speaker 2: camera's behind me and I'm talking here and you can

1033
00:48:26,680 --> 00:48:29,080
Speaker 2: see my mouth moving. Well, if that's not in sync

1034
00:48:29,120 --> 00:48:29,920
Speaker 2: with what you.

1035
00:48:29,840 --> 00:48:33,799
Speaker 5: Hear, yes, crazy, I do the same crazy, And you

1036
00:48:33,840 --> 00:48:36,000
Speaker 5: can do when you can tell that a line has

1037
00:48:36,040 --> 00:48:39,920
Speaker 5: been looped when it just doesn't match and it's like, Okay,

1038
00:48:39,920 --> 00:48:41,839
Speaker 5: they just threw that, that's adr they grab that from

1039
00:48:41,880 --> 00:48:42,399
Speaker 5: another take.

1040
00:48:42,480 --> 00:48:44,359
Speaker 3: That drives me nuts.

1041
00:48:44,280 --> 00:48:46,239
Speaker 2: Or put a different person said it, that's not even

1042
00:48:46,280 --> 00:48:47,720
Speaker 2: the same person sounds horrible.

1043
00:48:47,960 --> 00:48:50,520
Speaker 5: Yes, yeah, oh man, it's not the If you want

1044
00:48:50,520 --> 00:48:51,920
Speaker 5: to have some fun, go back. If you want to

1045
00:48:51,960 --> 00:48:54,120
Speaker 5: just well, for you, it wouldn't be fun to be infuriating.

1046
00:48:55,160 --> 00:48:59,839
Speaker 5: Some of the old eighties cartoons. Oh really, Transformer's Mask.

1047
00:49:00,040 --> 00:49:04,280
Speaker 5: There were times where just they would lip flaps wouldn't

1048
00:49:04,320 --> 00:49:06,319
Speaker 5: be moving at all.

1049
00:49:07,400 --> 00:49:09,640
Speaker 2: Claps you do flaps, not mouth flaps.

1050
00:49:09,640 --> 00:49:10,439
Speaker 3: Slip slip.

1051
00:49:10,760 --> 00:49:14,080
Speaker 5: She loves it, you can tell by her face, or

1052
00:49:14,200 --> 00:49:16,400
Speaker 5: just another actor would be speaking and they go, we

1053
00:49:16,440 --> 00:49:18,719
Speaker 5: don't have time to reanimate it, so just keep it

1054
00:49:18,760 --> 00:49:20,640
Speaker 5: as the wrong actor in the wrong character.

1055
00:49:20,719 --> 00:49:23,239
Speaker 3: It's so amazing. It's like they don't even try at

1056
00:49:23,239 --> 00:49:23,600
Speaker 3: this point.

1057
00:49:24,000 --> 00:49:30,319
Speaker 2: Wow. I've been really honing in on fully lately. I'm

1058
00:49:30,360 --> 00:49:37,000
Speaker 2: working on a spoof, a spoof for Batman fires the

1059
00:49:37,160 --> 00:49:40,000
Speaker 2: Justice League, and it's like, if you guys ever go

1060
00:49:40,080 --> 00:49:45,960
Speaker 2: to college humor, look up uh Batman Joker Interrogation, look

1061
00:49:46,040 --> 00:49:49,840
Speaker 2: that up, and it's those actors and seen that director,

1062
00:49:49,880 --> 00:49:52,600
Speaker 2: that those writers. That was like ten years ago that

1063
00:49:52,640 --> 00:49:54,560
Speaker 2: we did that. Now he's he's got this thing. So

1064
00:49:54,600 --> 00:49:59,600
Speaker 2: we have six four to six minute bits that are Batman.

1065
00:49:59,680 --> 00:50:01,320
Speaker 2: Oh my god, it is so funny.

1066
00:50:01,360 --> 00:50:06,239
Speaker 3: But anyway, it's a Christian Bale Batman, it is, but

1067
00:50:06,280 --> 00:50:06,839
Speaker 3: they do a.

1068
00:50:06,800 --> 00:50:11,840
Speaker 2: Spoof on on the Robert Pattison one, so he's the

1069
00:50:12,000 --> 00:50:17,040
Speaker 2: Batman versus Batman. So we have Aquaman, Cyborg, Wonder Woman,

1070
00:50:17,600 --> 00:50:23,160
Speaker 2: the Batman, Superman, and the Joker. Who's anyway. So I

1071
00:50:23,200 --> 00:50:25,760
Speaker 2: had never seen any of the any of those movies

1072
00:50:25,760 --> 00:50:28,239
Speaker 2: because I just don't have time to also my head.

1073
00:50:28,280 --> 00:50:31,040
Speaker 2: I'm into Harry Potter and Lord of the Rings and

1074
00:50:31,040 --> 00:50:32,239
Speaker 2: a little bit of Game of Thrones, and I just

1075
00:50:32,239 --> 00:50:36,040
Speaker 2: don't have anyone. I don't have any more ruined my

1076
00:50:36,120 --> 00:50:39,560
Speaker 2: head to know stuff, you know. I mean, we can

1077
00:50:39,600 --> 00:50:42,279
Speaker 2: talk silly really and all you want, but I don't

1078
00:50:42,320 --> 00:50:44,640
Speaker 2: know what comes in America is So I thought, if

1079
00:50:44,640 --> 00:50:46,359
Speaker 2: I'm going to be if I'm going to be doing this,

1080
00:50:46,480 --> 00:50:49,480
Speaker 2: you know, because they have, you know, the Lasso of

1081
00:50:49,600 --> 00:50:52,920
Speaker 2: Truth for wonder Woman. They have like every every character

1082
00:50:53,000 --> 00:50:55,640
Speaker 2: has their own little thing and we can't steal that sound,

1083
00:50:55,719 --> 00:50:57,520
Speaker 2: but they want to come as close as possible. So

1084
00:50:58,040 --> 00:51:02,279
Speaker 2: I okay, Well, so I'm watching Justice League. I just

1085
00:51:02,360 --> 00:51:05,080
Speaker 2: I got zoned into the folly in that movie. I

1086
00:51:05,160 --> 00:51:08,000
Speaker 2: was just like, holy, oh my god. I mean these

1087
00:51:08,000 --> 00:51:10,080
Speaker 2: are features so they can spend a day trying to

1088
00:51:10,080 --> 00:51:11,839
Speaker 2: get a sound. I mean, it's not like you got

1089
00:51:11,880 --> 00:51:13,759
Speaker 2: two hours to do this movie. It's not like that.

1090
00:51:13,840 --> 00:51:18,399
Speaker 2: It's they can just feature Folly is incredible, and I'll

1091
00:51:18,440 --> 00:51:20,200
Speaker 2: just you know, every now and then I'll just get

1092
00:51:20,560 --> 00:51:23,640
Speaker 2: hooked into one thing and then everything I watch, I'm

1093
00:51:23,880 --> 00:51:27,759
Speaker 2: I'm watching that playing attention tonight. So that's just the life.

1094
00:51:27,480 --> 00:51:29,440
Speaker 3: Of my world.

1095
00:51:29,239 --> 00:51:32,560
Speaker 1: So what advice would you give to someone wanting to

1096
00:51:32,560 --> 00:51:35,360
Speaker 1: get into this career, especially if they're just learning about

1097
00:51:35,360 --> 00:51:38,319
Speaker 1: it right now from this podcast episode.

1098
00:51:38,480 --> 00:51:40,279
Speaker 2: Well, the first thing is somebody who wants to get that,

1099
00:51:40,320 --> 00:51:45,200
Speaker 2: I'd say, choose another path because there are hundred thousands

1100
00:51:45,560 --> 00:51:48,560
Speaker 2: of people that know pro tools. You know, it's not

1101
00:51:48,719 --> 00:51:54,960
Speaker 2: unique now like it once was so then once it's

1102
00:51:55,040 --> 00:51:58,520
Speaker 2: so much of it is luck and being getting into

1103
00:51:58,520 --> 00:52:01,239
Speaker 2: the right place at the right time, you know. Like

1104
00:52:01,320 --> 00:52:05,240
Speaker 2: when I first started, all of the Norman Laar shows

1105
00:52:05,280 --> 00:52:07,840
Speaker 2: were shot at Metromedia where I recorded the phone hanging

1106
00:52:07,920 --> 00:52:12,279
Speaker 2: up and I came in as an overnight person to

1107
00:52:12,320 --> 00:52:16,839
Speaker 2: help the people in post production sound. So I worked

1108
00:52:16,840 --> 00:52:20,799
Speaker 2: on you know, All in the Family, the Jefferson's Good Times,

1109
00:52:21,080 --> 00:52:22,840
Speaker 2: you know, all of the Norman lay shows.

1110
00:52:23,120 --> 00:52:23,839
Speaker 3: Well that was.

1111
00:52:23,960 --> 00:52:27,800
Speaker 2: I mean, what an incredible beginning. So then as people

1112
00:52:27,840 --> 00:52:29,800
Speaker 2: in that there are only three of us in that department.

1113
00:52:29,840 --> 00:52:31,960
Speaker 2: So then the first person that left was the laugh guy.

1114
00:52:32,840 --> 00:52:34,879
Speaker 2: So then I became the laugh guy for a year,

1115
00:52:36,000 --> 00:52:37,759
Speaker 2: and then the next year the mixer left, so that

1116
00:52:37,880 --> 00:52:40,560
Speaker 2: I became the mixer. So that was like very you know,

1117
00:52:40,880 --> 00:52:43,399
Speaker 2: right place, right time, you know, I mean, you could

1118
00:52:43,440 --> 00:52:47,600
Speaker 2: have the most amazing qualities as a mixer, but if

1119
00:52:47,640 --> 00:52:49,719
Speaker 2: you aren't in the right place, if you don't know

1120
00:52:49,719 --> 00:52:52,759
Speaker 2: how to get in there, it's it's I don't know

1121
00:52:52,800 --> 00:52:56,239
Speaker 2: how I would tell anybody to even pursue that really was.

1122
00:52:56,560 --> 00:52:59,560
Speaker 2: It was an incredible You think about my very first

1123
00:52:59,600 --> 00:53:04,200
Speaker 2: experience orients in Hollywood was working with Norman Lair and

1124
00:53:04,239 --> 00:53:06,959
Speaker 2: his his shows. I think, does it get much better

1125
00:53:07,000 --> 00:53:07,200
Speaker 2: than that?

1126
00:53:07,800 --> 00:53:09,319
Speaker 5: Some of the best shows ever in the history of

1127
00:53:09,320 --> 00:53:10,400
Speaker 5: television right there.

1128
00:53:10,480 --> 00:53:13,080
Speaker 2: So yeah, amazing, absolutely groundbreaking.

1129
00:53:13,360 --> 00:53:14,520
Speaker 3: Yeah, you know, and then go.

1130
00:53:14,480 --> 00:53:17,120
Speaker 2: To rap parties and I would talk to him and

1131
00:53:17,640 --> 00:53:19,480
Speaker 2: just tell him how much it meant to me. You know.

1132
00:53:19,560 --> 00:53:22,279
Speaker 2: I remember telling Carol o' connor how much how much

1133
00:53:22,320 --> 00:53:24,759
Speaker 2: I loved his character and loved him, and he was

1134
00:53:24,840 --> 00:53:27,400
Speaker 2: just like, oh, sweetie, and kind of of my face,

1135
00:53:28,239 --> 00:53:30,279
Speaker 2: just like crazy and going to a One Day to

1136
00:53:30,360 --> 00:53:35,040
Speaker 2: Time rap party when Valerie and Eddie were just dating.

1137
00:53:35,239 --> 00:53:38,759
Speaker 2: They had just started really and it was so cute

1138
00:53:38,800 --> 00:53:41,040
Speaker 2: because they're like holding hands. They kind of walked around.

1139
00:53:41,120 --> 00:53:44,480
Speaker 2: He had on a powder blue tuxedo with like a

1140
00:53:44,560 --> 00:53:45,320
Speaker 2: ruffled shirt.

1141
00:53:45,600 --> 00:53:47,560
Speaker 3: You know, I mean, just Eddie van Helen. He can

1142
00:53:47,600 --> 00:53:49,080
Speaker 3: wear whatever you want, I know, but it.

1143
00:53:49,080 --> 00:53:51,920
Speaker 2: Was, you know, it was just so sweet. It just

1144
00:53:51,960 --> 00:53:55,560
Speaker 2: watching them together. Everybody nobody, you know, bothered them, but

1145
00:53:55,560 --> 00:53:59,279
Speaker 2: everybody was just like, oh, that's so cute. Uh So, yeah,

1146
00:53:59,480 --> 00:54:02,640
Speaker 2: it was a great beginning. And I still work. There's

1147
00:54:02,760 --> 00:54:05,960
Speaker 2: one producer actually, the One Day to Time producer, Patricia Palmer.

1148
00:54:06,800 --> 00:54:10,000
Speaker 2: I still I still work with her. I did One

1149
00:54:10,080 --> 00:54:13,680
Speaker 2: Day at Time, was a reboot that we've just finished.

1150
00:54:13,680 --> 00:54:17,239
Speaker 2: Then I did another series earlier last year called How

1151
00:54:17,280 --> 00:54:22,279
Speaker 2: We Roll with Pete Holmes, who is the guy that

1152
00:54:22,360 --> 00:54:28,920
Speaker 2: plays the Batman and Maget and stuff. So time. Yeah, yeah,

1153
00:54:28,960 --> 00:54:31,120
Speaker 2: and you know, she and I have lunch together frequently,

1154
00:54:31,239 --> 00:54:35,120
Speaker 2: and we've known each other since nineteen seventy seven and

1155
00:54:35,160 --> 00:54:38,880
Speaker 2: I was only two. The ones that makes sense of course,

1156
00:54:38,960 --> 00:54:42,240
Speaker 2: of course, they made special allowances for child labor.

1157
00:54:44,719 --> 00:54:48,960
Speaker 1: You worked on so many shows on TV, from Seinfeld

1158
00:54:49,160 --> 00:54:51,800
Speaker 1: to Punky Brewster, to news radio to Motown forty to

1159
00:54:51,880 --> 00:54:54,640
Speaker 1: just shoot me. Did you ever think you would be

1160
00:54:54,680 --> 00:54:59,399
Speaker 1: here thirty years later talking about Boy Meets World? And

1161
00:55:00,080 --> 00:55:03,120
Speaker 1: what are your feelings about boy and Girl Meets World?

1162
00:55:03,120 --> 00:55:06,440
Speaker 2: Now, let's see first of all those lists that you

1163
00:55:06,600 --> 00:55:09,160
Speaker 2: that you laid off, that you did, I only did

1164
00:55:09,200 --> 00:55:11,560
Speaker 2: a couple of episodes of Seinfeld. I did the pilot

1165
00:55:11,640 --> 00:55:13,080
Speaker 2: news Radio about the series.

1166
00:55:13,480 --> 00:55:16,040
Speaker 3: And there's one more that you said, great.

1167
00:55:16,040 --> 00:55:19,920
Speaker 2: Yeah, yeah, that was that was crazy though. There there

1168
00:55:20,000 --> 00:55:21,959
Speaker 2: was one more that you mentioned that I only worked

1169
00:55:22,000 --> 00:55:24,080
Speaker 2: on a couple. So I just want to clear that up.

1170
00:55:24,320 --> 00:55:26,920
Speaker 1: So right in case people think you did all of that, give.

1171
00:55:26,800 --> 00:55:31,520
Speaker 2: Those mixers their props because they deserve it. Uh No,

1172
00:55:31,760 --> 00:55:35,040
Speaker 2: I would not. I couldn't even have imagined. When I

1173
00:55:35,080 --> 00:55:38,080
Speaker 2: was in San Diego working at a recording studio, you know,

1174
00:55:38,840 --> 00:55:41,120
Speaker 2: I just wanted to make more than a dollar seventy

1175
00:55:41,120 --> 00:55:45,359
Speaker 2: five an hour, you know, and and then I thought,

1176
00:55:45,400 --> 00:55:46,560
Speaker 2: you know, well, the only way I'm going to make

1177
00:55:46,600 --> 00:55:47,960
Speaker 2: any money at this is I got to get up

1178
00:55:47,960 --> 00:55:51,279
Speaker 2: to LA. So I got up to LA and then

1179
00:55:51,360 --> 00:55:54,200
Speaker 2: my career just you know, just took off, and for

1180
00:55:54,239 --> 00:55:59,560
Speaker 2: me to think, now, in twenty twenty seven, I will

1181
00:55:59,600 --> 00:56:03,000
Speaker 2: have been here fifty years. Wow, And that's that's my

1182
00:56:03,040 --> 00:56:06,200
Speaker 2: I'm holding out for twenty twenty seven before I say, okay,

1183
00:56:06,200 --> 00:56:07,719
Speaker 2: I'm going to cut back a little bit, you know,

1184
00:56:08,000 --> 00:56:10,840
Speaker 2: because I've always wanted That's just been a goal of

1185
00:56:10,840 --> 00:56:13,800
Speaker 2: mine to say I did this for fifty years.

1186
00:56:14,120 --> 00:56:15,640
Speaker 3: Yeah, that makes sense, you know.

1187
00:56:15,760 --> 00:56:22,080
Speaker 2: So I look back so fondly on Girl and Boy.

1188
00:56:22,880 --> 00:56:25,200
Speaker 2: You know the people we've lost, like Arlen and Grayson,

1189
00:56:26,640 --> 00:56:31,719
Speaker 2: which was horrible. Ray Yeah, just recently Matt Nelson. I mean,

1190
00:56:31,760 --> 00:56:35,600
Speaker 2: these were people I loved. Yeah, and you know there

1191
00:56:35,440 --> 00:56:37,480
Speaker 2: were you know, Michael has this posse that comes with

1192
00:56:37,560 --> 00:56:39,839
Speaker 2: him to everything, and so the posse would come in

1193
00:56:40,480 --> 00:56:43,799
Speaker 2: and uh, you know, I just those sessions were just

1194
00:56:44,719 --> 00:56:47,160
Speaker 2: the highlight of my week. And I'll tell you something else.

1195
00:56:47,239 --> 00:56:51,440
Speaker 2: My mom died in nineteen ninety two, and all of

1196
00:56:51,480 --> 00:56:53,640
Speaker 2: the show shows I was working on, I'll set flowers

1197
00:56:53,680 --> 00:56:59,560
Speaker 2: she my parents were in Missouri, and so Boy sent flowers.

1198
00:56:59,600 --> 00:57:03,560
Speaker 2: But then Michael told Karen McCain, who took Arlene's place,

1199
00:57:04,880 --> 00:57:07,080
Speaker 2: that he wanted to send me flowers, and so he

1200
00:57:07,200 --> 00:57:11,480
Speaker 2: sent me a dozen white roses just in sympathy for

1201
00:57:11,560 --> 00:57:13,719
Speaker 2: having lost my mom. Had nothing to do with that.

1202
00:57:13,760 --> 00:57:16,800
Speaker 2: It was just for me. It's just like the most.

1203
00:57:17,520 --> 00:57:19,560
Speaker 1: And that was from when you were on Almost Home.

1204
00:57:19,640 --> 00:57:21,479
Speaker 1: Because if your mom died in ninety two, boy didn't

1205
00:57:21,480 --> 00:57:22,880
Speaker 1: start until ninety three, so.

1206
00:57:23,120 --> 00:57:25,760
Speaker 2: Really, so then okay, then that's when it was You're.

1207
00:57:25,720 --> 00:57:28,000
Speaker 1: Right, it was Almost Home and that's the first thing

1208
00:57:28,000 --> 00:57:29,520
Speaker 1: you had ever worked with him on. So it's not

1209
00:57:29,560 --> 00:57:32,080
Speaker 1: even like he did that because well, she's been a

1210
00:57:32,080 --> 00:57:33,960
Speaker 1: part of my team for years and years.

1211
00:57:34,000 --> 00:57:35,960
Speaker 3: That was just something he just cared.

1212
00:57:36,240 --> 00:57:38,200
Speaker 2: Yeah, so I totally lied about the rest of that.

1213
00:57:38,480 --> 00:57:43,160
Speaker 2: I can't remember. I remember way, who are you a kain? No?

1214
00:57:43,240 --> 00:57:45,440
Speaker 3: I I remember in.

1215
00:57:45,440 --> 00:57:48,600
Speaker 2: My own way, you know, whether it's I always tell

1216
00:57:48,640 --> 00:57:50,480
Speaker 2: to people just you know, get the gist of what

1217
00:57:50,600 --> 00:57:52,160
Speaker 2: I'm saying, not the details.

1218
00:57:52,400 --> 00:57:54,760
Speaker 5: Yeah, well, we're gonna have to go to lunch sometime

1219
00:57:54,800 --> 00:57:56,880
Speaker 5: because I want to hear those news radio stories. Oh,

1220
00:57:56,920 --> 00:58:00,240
Speaker 5: I would have to go. I would love to go those.

1221
00:58:00,280 --> 00:58:01,959
Speaker 5: That was one of my favorite shows, So I would.

1222
00:58:02,000 --> 00:58:03,600
Speaker 5: And then I worked with that whole crew right after

1223
00:58:03,600 --> 00:58:04,280
Speaker 5: Boy Me to World.

1224
00:58:04,360 --> 00:58:06,160
Speaker 3: So, oh did you on this on the show?

1225
00:58:06,640 --> 00:58:08,000
Speaker 5: Yeah, we did, We did a show with that. I

1226
00:58:08,040 --> 00:58:10,160
Speaker 5: did a show with Andy Dick and Everyone was not

1227
00:58:10,200 --> 00:58:12,000
Speaker 5: a good show called Go Fish, but it was the whole.

1228
00:58:12,560 --> 00:58:14,320
Speaker 5: A lot of the crew coming off of news radio.

1229
00:58:14,400 --> 00:58:16,560
Speaker 5: So yeah, I would love to hear some of that stuff.

1230
00:58:16,800 --> 00:58:19,480
Speaker 2: Yeah, you know it was challenging.

1231
00:58:20,480 --> 00:58:22,760
Speaker 3: And mostly because of the TV like that.

1232
00:58:22,880 --> 00:58:26,480
Speaker 2: Mostly because of the technology. If we had had what

1233
00:58:26,560 --> 00:58:28,920
Speaker 2: we have now with pro Tools, it would have been

1234
00:58:29,040 --> 00:58:31,920
Speaker 2: so much easier. But this is everything's being played back

1235
00:58:31,960 --> 00:58:34,000
Speaker 2: on tape. Well, if you want to move something, you know,

1236
00:58:34,160 --> 00:58:37,480
Speaker 2: five frames earlier, got a coffee it, copy it off

1237
00:58:37,640 --> 00:58:41,120
Speaker 2: from the tape to another tape, then the tape five

1238
00:58:41,160 --> 00:58:43,080
Speaker 2: frames and then he gets back of it. I mean.

1239
00:58:44,720 --> 00:58:45,120
Speaker 3: So cool.

1240
00:58:45,120 --> 00:58:49,160
Speaker 2: Well, pro Tools changed everybody's lives for the better. Definitely.

1241
00:58:49,800 --> 00:58:52,240
Speaker 1: Well, Tamara, we can't thank you enough for being here

1242
00:58:52,280 --> 00:58:54,680
Speaker 1: and sharing your time with us. You were an absolutely

1243
00:58:54,680 --> 00:58:58,640
Speaker 1: wonderful guest. Thank you for educating not just our dear listeners.

1244
00:58:58,240 --> 00:59:01,280
Speaker 3: But all of us.

1245
00:59:00,400 --> 00:59:02,880
Speaker 1: Absolutely on what goes into your job. And thank you

1246
00:59:02,920 --> 00:59:05,600
Speaker 1: for all the years and and uh dedication you put

1247
00:59:05,600 --> 00:59:07,800
Speaker 1: into making Boy Meet and Girl Meets World as.

1248
00:59:07,720 --> 00:59:11,760
Speaker 2: Much as my pleasure. Don't we made like Grandchild Meats World?

1249
00:59:12,720 --> 00:59:16,120
Speaker 1: You never know you know, I'd like I'd like a

1250
00:59:16,200 --> 00:59:18,880
Speaker 1: contact for Jack the laugh Guy, please, I want to

1251
00:59:18,920 --> 00:59:19,959
Speaker 1: tell you more to Jack.

1252
00:59:20,240 --> 00:59:25,720
Speaker 2: Okay, okay, I don't know if he would, if he would, come.

1253
00:59:25,600 --> 00:59:28,960
Speaker 3: On, Jack may refuse to talk to us. Guy's answering machine.

1254
00:59:28,960 --> 00:59:32,560
Speaker 2: They're very it's nothing, Hi, this is Jack. Leave a message.

1255
00:59:33,880 --> 00:59:38,120
Speaker 2: But you know, I mean, I think everybody knows now

1256
00:59:38,160 --> 00:59:41,120
Speaker 2: that shows are left, you know, oh yeah, right, but

1257
00:59:41,280 --> 00:59:43,800
Speaker 2: you know, twenty years ago it was sort of like, no,

1258
00:59:44,040 --> 00:59:47,480
Speaker 2: we don't know. And I have worked with producers that

1259
00:59:47,840 --> 00:59:49,840
Speaker 2: they shoot in front of a live audience. But if

1260
00:59:49,840 --> 00:59:52,080
Speaker 2: that joke didn't get a laugh, he's.

1261
00:59:51,880 --> 00:59:53,960
Speaker 3: Like, they're not going to put it didn't.

1262
00:59:53,760 --> 00:59:55,760
Speaker 2: Get a laugh, Nope, don't put anything in there. And

1263
00:59:56,120 --> 00:59:58,600
Speaker 2: in that case he uses the laugh Guy to smooth edits.

1264
00:59:59,320 --> 01:00:01,840
Speaker 2: Mostly know, like, you know, this has applause and then

1265
01:00:01,840 --> 01:00:03,480
Speaker 2: we cut and it cuts off, so we need to

1266
01:00:03,480 --> 01:00:06,640
Speaker 2: smooth that. And uh, you know. So there are those

1267
01:00:07,160 --> 01:00:10,120
Speaker 2: with integrity that say, nope, we didn't earn it, so

1268
01:00:10,160 --> 01:00:12,880
Speaker 2: we're not doing it. Not doing that. But I will

1269
01:00:12,920 --> 01:00:13,959
Speaker 2: tell you, well, all.

1270
01:00:13,880 --> 01:00:19,960
Speaker 1: Right, all right, thank you so much for great to

1271
01:00:20,000 --> 01:00:20,280
Speaker 1: see you.

1272
01:00:20,320 --> 01:00:21,240
Speaker 2: Thank you so much.

1273
01:00:21,480 --> 01:00:36,520
Speaker 1: All right, I can't believe that, so no wonder we

1274
01:00:36,600 --> 01:00:39,400
Speaker 1: don't have super vivid memories of her, even though she

1275
01:00:39,480 --> 01:00:42,080
Speaker 1: worked on every single episode, because.

1276
01:00:43,920 --> 01:00:47,520
Speaker 4: It always post was post was a mystery, especially with

1277
01:00:47,600 --> 01:00:49,960
Speaker 4: multi camera I knew nothing about multi caamer post until

1278
01:00:49,960 --> 01:00:52,160
Speaker 4: I was directing Girl. That was when I finally like

1279
01:00:52,240 --> 01:00:54,720
Speaker 4: went to editing sessions and I was like, because you know,

1280
01:00:54,960 --> 01:00:57,560
Speaker 4: we would actually a lot of our editing was kind

1281
01:00:57,560 --> 01:00:59,720
Speaker 4: of done on the fly. Yeah, they would be cutting

1282
01:00:59,720 --> 01:01:02,360
Speaker 4: between cameras for the live studio audience and then.

1283
01:01:02,640 --> 01:01:04,040
Speaker 3: Often that would be the edit.

1284
01:01:04,120 --> 01:01:06,200
Speaker 4: Like, it wouldn't change that much, And it wasn't, I mean,

1285
01:01:06,240 --> 01:01:08,920
Speaker 4: our at least I thought so until I directed. And

1286
01:01:08,960 --> 01:01:10,200
Speaker 4: then you get in there and you're like, no, I

1287
01:01:10,200 --> 01:01:11,800
Speaker 4: want to cut to this camera. I want to come

1288
01:01:11,840 --> 01:01:14,320
Speaker 4: to that camera, you know, and you have that creative input,

1289
01:01:15,200 --> 01:01:17,360
Speaker 4: but like post for as actors, you never know what

1290
01:01:17,400 --> 01:01:18,360
Speaker 4: post production is like.

1291
01:01:18,400 --> 01:01:19,280
Speaker 3: And I love that stuff.

1292
01:01:19,320 --> 01:01:22,320
Speaker 5: I love the little minutia of you know, the idea

1293
01:01:22,360 --> 01:01:25,680
Speaker 5: that she's getting the recording of a regular payphone and

1294
01:01:25,720 --> 01:01:26,640
Speaker 5: get I mean that stuff.

1295
01:01:26,640 --> 01:01:29,120
Speaker 1: I know that she went to a prop house and

1296
01:01:29,160 --> 01:01:31,000
Speaker 1: got a pistol and then in her own place is

1297
01:01:31,040 --> 01:01:32,720
Speaker 1: just waiting around.

1298
01:01:32,840 --> 01:01:34,760
Speaker 3: I mean, that's I could talk about that stuff all

1299
01:01:34,840 --> 01:01:35,200
Speaker 3: day too.

1300
01:01:35,240 --> 01:01:37,760
Speaker 4: Man Fully in particular is like my favorite thing in

1301
01:01:37,760 --> 01:01:40,160
Speaker 4: the world. I just I love watching fully sessions.

1302
01:01:40,240 --> 01:01:41,320
Speaker 3: I would yeah, I.

1303
01:01:41,320 --> 01:01:43,960
Speaker 4: Would totally like another job in Hollywood that would that

1304
01:01:44,000 --> 01:01:45,000
Speaker 4: I would kill to have.

1305
01:01:45,200 --> 01:01:47,080
Speaker 3: Is like just you know, fully artists, we so much

1306
01:01:47,200 --> 01:01:47,640
Speaker 3: so cool.

1307
01:01:47,680 --> 01:01:50,600
Speaker 1: So yeah great, Well, thank you all for joining us

1308
01:01:50,600 --> 01:01:52,840
Speaker 1: for this episode of Pod Meets World. As always, you

1309
01:01:52,880 --> 01:01:55,400
Speaker 1: can follow us on Instagram pod Meets World Show. You

1310
01:01:55,440 --> 01:01:57,440
Speaker 1: can send us your emails pod Meets World Show at

1311
01:01:57,440 --> 01:01:59,400
Speaker 1: gmail dot com and we.

1312
01:01:59,360 --> 01:02:04,000
Speaker 3: Have merch lip flap merch ah.

1313
01:02:03,280 --> 01:02:08,680
Speaker 1: You sound a way to do it tood meetsworldshow dot com.

1314
01:02:08,800 --> 01:02:10,120
Speaker 3: Oh the amount?

1315
01:02:10,200 --> 01:02:12,640
Speaker 1: How many times do you think we've heard at fifteen and.

1316
01:02:12,760 --> 01:02:14,720
Speaker 5: Just this part of the part of the lexicon. We

1317
01:02:14,720 --> 01:02:15,520
Speaker 5: say it all the time.

1318
01:02:15,800 --> 01:02:19,560
Speaker 1: No, thank you, Pard Pass will send us out.

1319
01:02:19,880 --> 01:02:23,120
Speaker 3: Don't do it again. We love you all. Pod dismissed

1320
01:02:23,720 --> 01:02:27,840
Speaker 3: lip flaps. I should have given it to writer. What

1321
01:02:27,880 --> 01:02:32,400
Speaker 3: was I thinking? I would have done it too, you Chirk.

1322
01:02:36,040 --> 01:02:38,720
Speaker 5: Pod Meets World is an iHeart podcast produced and hosted

1323
01:02:38,760 --> 01:02:40,880
Speaker 5: by Danielle Fischel, Wilfordell.

1324
01:02:40,360 --> 01:02:41,120
Speaker 3: And Ryder Strong.

1325
01:02:41,320 --> 01:02:44,640
Speaker 5: Executive producers Jensen Carp and Amy Sugarman, Executive in charge

1326
01:02:44,640 --> 01:02:48,280
Speaker 5: of production, Danielle Romo, producer and editor, Taras Sudbach, producer,

1327
01:02:48,360 --> 01:02:51,760
Speaker 5: Jackie Rodriguez, engineer and Boy Meets World super fan Easton Allen.

1328
01:02:51,880 --> 01:02:54,200
Speaker 5: Our theme song is by Kyle Morton of Typhoon and

1329
01:02:54,240 --> 01:02:56,439
Speaker 5: you can follow us on Instagram at Pod Meets World

1330
01:02:56,520 --> 01:02:59,360
Speaker 5: Show or email us at Pod Meets World Show at

1331
01:02:59,400 --> 01:03:00,000
Speaker 5: gmail dot com.

1332
01:03:00,080 --> 01:03:00,320
Speaker 2: Count