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Speaker 1: Hey, everybody. This is Freddie Rodriguez.

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Speaker 2: And I'm Wilmer Valderrama. Welcome to the DOOS podcast. I'm

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Speaker 2: Michael Tuda Podcast Network. I heeart our partners and fearless

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Speaker 2: leaders and disruption of podcasting.

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Speaker 3: But we're nearing, We're near Indiana.

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Speaker 1: We're here in the end.

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Speaker 4: That's right, that's right. We've had a plethora of wonderful guests. Yes,

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Speaker 4: and today our guest is someone very personal to you, right.

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Speaker 2: Yes, very very personal. And this is a very vulnerable,

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Speaker 2: very vulnerable place for me. Yes, because we know how

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Speaker 2: that turned out, by the way I sound explained, by.

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Speaker 3: The way it is. But Samara Bay, you know, you.

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Speaker 2: See, you know we always explain this to our guests

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Speaker 2: when they're here, and that our guests are quite intentional.

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Speaker 3: Right, Like we're we don't, we don't.

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Speaker 2: This is not one of those shows we're like, oh,

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Speaker 2: you know this book so and so, like we have

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Speaker 2: to have some type of connection tool or guess whether

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Speaker 2: it's in mutual respect or whether it's like a specific

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Speaker 2: subject or that so and in this specific subject.

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Speaker 3: You were many hats. Best author is one, Yes, and

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Speaker 3: you have a book. What is the name of your book?

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Speaker 5: I have a book called Permission to Speak.

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Speaker 2: That's right, And I asked that many times in time

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Speaker 2: you were you likesion, But tell everyone who's listening a

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Speaker 2: little bit of uh, you know what your career is,

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Speaker 2: what you've done, and I know you're onto other things too,

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Speaker 2: and we love to hear that as well.

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Speaker 5: Yeah, okay, So two main things. One is how we

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Speaker 5: know each other and the other is how it has

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Speaker 5: evolved very organically in the many many years since we

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Speaker 5: work together. But basically, in a nutshell, I have a

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Speaker 5: background as a dialect coach and that is.

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Speaker 1: A rare, weird, niche job in.

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Speaker 5: Hollywood that no one even thinks about it until they're like, wow,

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Speaker 5: that actor sounded really amazing and not like themselves at all,

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Speaker 5: and that one didn't.

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Speaker 4: I'm sorry, how do you how do you wake up

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Speaker 4: one day and say I want to become a dialect coach?

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Speaker 4: Because you're right, it is a very niche It is

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Speaker 4: a very unique occupation.

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Speaker 1: What made you become a dialect coach?

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Speaker 5: I'll tell you. I think the absolute heart of it

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Speaker 5: is loving actors, like really having like a deep loving

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Speaker 5: respect for what the process is of taking words written

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Speaker 5: by it usually not you and putting them into your

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Speaker 5: mouth and making them a whole ass human. And if

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Speaker 5: there's an accent on top of that, because either English

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Speaker 5: is your second language and the producers, directors, whatever want

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Speaker 5: a different sound coming out of you, or you're playing

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Speaker 5: a very specific role that requires like oh, I'm from

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Speaker 5: Boston and I'm playing somebody from West Texas, then there

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Speaker 5: is a respect also for like, well, what's that culture's

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Speaker 5: what are we doing with this? How story are we talent?

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Speaker 2: And it's quite and it's quite a collaboration, but really

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Speaker 2: a partnership. You know, you you both have to go

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Speaker 2: on this journey to discovery what does this guy sound like?

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Speaker 2: Like I've had not like coach in Spanish because I

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Speaker 2: was like, okay, where in Mexico is my character is

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Speaker 2: supposed to be from? What is the Spanish? Because it

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Speaker 2: can't just be like any generic Mexican accent. There's like

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Speaker 2: there's like twelve different Mexican accents, right, you know. So

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Speaker 2: I think that's one of the things, like I think

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Speaker 2: it's really important is when you partner I was home

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Speaker 2: like Samara, It's like you really are like, Okay, we're

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Speaker 2: going to have to figure this guy out.

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Speaker 5: And often when I'm pulling like audio tracks from the internet,

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Speaker 5: from YouTube to be like, is this what we're going for.

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Speaker 5: It's not just like the sounds like vowel sound, consonant sound.

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Speaker 5: It's like the it's like the vibe of the person.

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Speaker 5: Does this match the vibe of the character you're playing?

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Speaker 5: Is this going to help us tell that story of

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Speaker 5: this person in this you know, maybe in this emotional

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Speaker 5: state or maybe in this like aspirational moment of their

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Speaker 5: life where they're getting out from where they were, you know,

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Speaker 5: like these are the stories that we tell with our voice.

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Speaker 3: So you're talking about your love with actors. Where did

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Speaker 3: that start?

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Speaker 6: Oh?

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Speaker 5: You guys. I was just home this weekend in northern

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Speaker 5: California and I went to this Shakespeare festival that is

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Speaker 5: some version of the one eighties Santa Cruz. Santa Cruz,

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Speaker 5: there's a University of California campus there. My dad started

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Speaker 5: as a professor there in the seventies teaching astrophysics, and

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Speaker 5: so I grew up there and was brought along with

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Speaker 5: them to this Shakespeare stuff.

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Speaker 4: When I was like ten, well, your dad used to

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Speaker 4: you bring it to this?

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Speaker 7: Yeah?

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Speaker 5: My parents were like, I think we have a precocious

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Speaker 5: kid on our hands.

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Speaker 6: Let's see if she can handle this.

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Speaker 5: And then it was like these beautiful, very modern imagine

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Speaker 5: like you know, like bos Lhrman, Romano, Juliet type of Shakespeare.

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Speaker 5: It just made me feel like, Okay, A, I feel

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Speaker 5: very alive. Whatever's happening. B. I'm looking around everyone else

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Speaker 5: does C. We're like breathing together. D. I don't know.

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Speaker 5: Whatever's happening on the stage feels like it's like something

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Speaker 5: about the human condition. Right. All that was happening. And

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Speaker 5: obviously when I was ten, I wasn't like a bathet,

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Speaker 5: but I was It's like this, whatever this is, this

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Speaker 5: is what I want to do, and it's I mean,

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Speaker 5: it's cracked me up over the you know, intributing at

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Speaker 5: thirty whatever years to be like, oh I my definition

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Speaker 5: of this has changed a lot. The other half of

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Speaker 5: what you were getting at is dialect coach, dialect coach.

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Speaker 5: And then this sort of pivot happened when I got

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Speaker 5: brought into coach women who are running for office in

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Speaker 5: the twenty eighteen midterms just totally pro bonoun right, and

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Speaker 5: it made me realize that so many other times I

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Speaker 5: hadn't really totally put it together. But like my actors

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Speaker 5: would ask me to help them with like a speech

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Speaker 5: at the United Nations or a speech for an awards

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Speaker 5: ceremony or something where they're playing the character of themselves.

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Speaker 1: But that's different than dialect.

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Speaker 5: This is different, but it would bring up the ways

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Speaker 5: in which, like dialect work was always and I don't know,

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Speaker 5: like you know, you get to tell me from the inside,

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Speaker 5: But for me, as as I worked with all these

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Speaker 5: different clients, was always about half like sounds and let's

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Speaker 5: get this right and let's get it in your body

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Speaker 5: and whatever, and half let's create an environment where you

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Speaker 5: can like play and get and be bad at something

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Speaker 5: before you're good, which I think is like not enough

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Speaker 5: of us have that safe space in our lives ever,

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Speaker 5: And like what is it to breathe as someone else?

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Speaker 5: Or what is it to breathe while doing something new

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Speaker 5: that is making us get all activated? But like stay

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Speaker 5: in it anyway, And that's public speaking as much as

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Speaker 5: it's dialectoral.

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Speaker 2: You know, it's I love you trigger something that I've

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Speaker 2: done a bunch of keynote stuff. And what's really helped

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Speaker 2: me is comedy.

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Speaker 3: Because being funny in it and not just being funny.

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Speaker 2: And it's like when you do comedy, you understand the setup,

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Speaker 2: you understand the build.

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Speaker 3: Up, you understand the punchline, the execution.

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Speaker 2: But in real life that's not how you tell stories.

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Speaker 2: You don't tell stories to the massage. You to a

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Speaker 2: story to your friends. So you're not really thinking about

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Speaker 2: which is the operative word, which is the you know

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Speaker 2: that's what.

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Speaker 5: So love you just an operative word.

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Speaker 1: You're using correct terminology and uh, you.

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Speaker 3: Know, well I was coached by.

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Speaker 5: That was trademarks.

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Speaker 2: It's resonated, something stuck around. But but I think it's

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Speaker 2: a very very fascinating thing when you think about, Okay,

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Speaker 2: an actor has to speak of the U N. He

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Speaker 2: has to do a couple of things, and that sound

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Speaker 2: like an actor who's just faking it, right, But most importantly,

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Speaker 2: if you you know, if you're the United Nations, you

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Speaker 2: have a certain passion for what you're about to speak about,

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Speaker 2: and the right pronunciations of the technical terms and most

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Speaker 2: importantly the operator words is probably going to be really

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Speaker 2: important when you say that, Like in storytelling, the level

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Speaker 2: of urgency, the level of I don't want to say theatrical,

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Speaker 2: because nothing about that speech is fake. But but there

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Speaker 2: is there is a performance in order for it to

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Speaker 2: transcend beyond the ping of that.

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Speaker 5: I made up this term in my book because I

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Speaker 5: just didn't it didn't exist for what you're talking talking

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Speaker 5: about called carrying out loud. And the idea is not

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Speaker 5: just that we care about shit. We do often when

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Speaker 5: we're speaking on a stage or in any kind of

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Speaker 5: a metaphorical stage. This it's because we care, but many

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Speaker 5: of us, all of us, are socialized to hide when

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Speaker 5: we care because it's terrifying to me, Like I care

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Speaker 5: about this, right, this is the vulnerability that actors are

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Speaker 5: like used to doing.

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Speaker 4: Yep.

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Speaker 5: But so the idea with carrying out loud is just

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Speaker 5: to offer like some language for what this process is

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Speaker 5: that any of us can engage in where we're like, Okay,

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Speaker 5: I care about this thing. I'm not gonna have to

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Speaker 5: talk about it like I care about it?

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Speaker 3: Right?

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Speaker 5: How do I do that without like either pushing too

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Speaker 5: hard overcarrying acting like we care and then it feels theatrical.

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Speaker 2: Over carrying over carrying. Yes, So there's two things. Right,

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Speaker 2: you're very passionate about the subject. When you're too overly

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Speaker 2: passion you lose people because people are like you're preaching

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Speaker 2: to me.

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Speaker 5: Now, Yes, I like to think of it as a spectrum.

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Speaker 5: So on the one hand, over here, you're like, I

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Speaker 5: care about this a lot. We lovingly call this pushings

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Speaker 5: poa I mean metaphor. Yeah, yeah, yeah, I care about it.

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Speaker 5: But you know, we can tell when someone's pushing and

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Speaker 5: it's it's not that they don't even it's not it's

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Speaker 5: not that they don't care. Maybe it's that we can't

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Speaker 5: read anymore because there's so much messy going on in

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Speaker 5: front of them. And then on the other end of

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Speaker 5: the spectrum is I care a lot, but I'm going

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Speaker 5: to pretend like I don't because and often this is

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Speaker 5: like going into our throat and just being like, yeah,

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Speaker 5: I mean it's cool whatever, like this is kind of

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Speaker 5: my my life's work. But like if you don't like it,

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Speaker 5: it's fine, right.

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Speaker 4: So it's like it's like overacting in a scene almost right,

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Speaker 4: put it out there.

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Speaker 3: If you're in, you're in. If you're not, it's cool.

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Speaker 5: I mean, it's such an obvious like defense mechanism. It's

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Speaker 5: so it's so like survival based. It's in a way,

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Speaker 5: I just want to like love on anybody listening who's like, oh,

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Speaker 5: should I do that?

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Speaker 3: Right?

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Speaker 5: Of course we do that. It's an incredibly valuable learned

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Speaker 5: skill to be like I care, but like not really

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Speaker 5: if that's inconvenient for anybody here. But if there's a

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Speaker 5: spectrum and over here is over and overhears under, then

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Speaker 5: what is the sweet spot in the middle. If we're

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Speaker 5: getting up on a stage and we're time, what matters

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Speaker 5: to us? How do we access consistently so we can

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Speaker 5: trust ourselves that level of care so that that that

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Speaker 5: word passion you used right comes out and it isn't

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Speaker 5: like this thing that pushes people away because it's too much,

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Speaker 5: or this thing that makes people not totally seem interesting.

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Speaker 4: Yeah, so you're almost like a good director is what

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Speaker 4: I'm what I'm going massaging the Yeah.

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Speaker 5: That's a lot of it because I'm now I'm almost

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Speaker 5: entirely now doing public speaking coaching, and often it's for

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Speaker 5: business leaders. It's right, it's not Hollywood anymore. And you know,

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Speaker 5: it's a huge mm applies because.

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Speaker 3: It's just you or like, wow, these are the crazy question.

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Speaker 2: Yeah, when you get to that level of coaching, Yeah,

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Speaker 2: to coach individuals that are at that sea level, do

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Speaker 2: you feel two questions one is are they more introverted

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Speaker 2: and they're not good with their words because they're just

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Speaker 2: geniuses what they have in front, so they can operate,

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Speaker 2: but they just don't publicly speak, or they're just credible

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Speaker 2: communicators that they're just like they know how to delegate

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Speaker 2: in an interesting way because they're that leadership, or like,

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Speaker 2: you know, you don't what I'm trying to ask. If

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Speaker 2: there's two there's two different powers and there are two

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Speaker 2: different people you're gonna get at that.

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Speaker 5: Yeah, yeah, I think it's I Yes, I think those

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Speaker 5: are the two categories too. For me, it's like either

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Speaker 5: folks who were thrust into the CEO role and the

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Speaker 5: public side of it, or even just the like all

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Speaker 5: hands like meetings with their.

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Speaker 3: Or like they are gray CEO but they never thought

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Speaker 3: there was.

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Speaker 5: Hot and they and they self identify as an introvert,

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Speaker 5: or they self identify as I hate public speaking, which

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Speaker 5: of course does like so much allbody. I hate speaking

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Speaker 5: is a job and then and then it's a story

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Speaker 5: we tell ourselves, and then we look for evidence and

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Speaker 5: right like this is a brain's word beautiful, but you

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Speaker 5: need somebody to like disrupt that, or yeah, they just

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Speaker 5: want to be like absolutely, like Olympic level pig performance

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Speaker 5: and I love that too, right where they're like there's

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Speaker 5: more to learn, or I'm continuing to challenge myself and

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Speaker 5: speak on bigger stage. Maybe like I'm used to speaking

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Speaker 5: at the conferences for my industry, but now I want

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Speaker 5: to speak to the press. Now, I want to speak

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Speaker 5: to the public. Now I want to be a thought

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Speaker 5: leader and like really claim my thought leadership and that

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Speaker 5: kind of up level.

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Speaker 6: You know.

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Speaker 5: Again, it's story, like the stories we tell ourselves and

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Speaker 5: how we can change them.

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Speaker 2: To make They're just fascinating when you see like attorneys

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Speaker 2: or you know, the head of the sheriff's department or

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Speaker 2: whatever and they have to you know, talk a by

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Speaker 2: the gravity of a situation at a press how do

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Speaker 2: you convey to the public, you know, public urgency or

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Speaker 2: emergency or just a regular update on an ongoing case.

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Speaker 3: Like what are your thoughts? You're saying you have so

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Speaker 3: many thoughts.

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Speaker 5: My main thought is it's not what anybody prioritizes when

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Speaker 5: they're when they're becoming that position. And then you see

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Speaker 5: in those moments of public crisis where the audience is

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Speaker 5: just like watching I'm thinking, for example, of the fires

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Speaker 5: here in La right when the audience is like watching

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Speaker 5: being like I need some thing, like I need to

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Speaker 5: be cared.

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Speaker 4: For like.

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Speaker 7: Microphone than you, you know, but like either one, it's

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Speaker 7: either I want to flight attendant who makes me feel

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Speaker 7: really comfortable or I want just like no bullshit, like

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Speaker 7: just literally.

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Speaker 4: And everyone's relying on this cop or this whatever to

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Speaker 4: like comfort them right, to like convey that emotion this right,

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Speaker 4: and so like all of a sudden, they're thrust it

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Speaker 4: in that position, is what you're saying.

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Speaker 5: And do you think in their throat at those moments

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Speaker 5: and they're like, I mean blast but if and they're like,

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Speaker 5: we're all on the case and we really got your back.

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Speaker 5: We're all in the audience being like there's I don't

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Speaker 5: I can't name it, but that's not enough.

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Speaker 2: Right, bringing us back a little bit to the beginning,

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Speaker 2: and so of at all, I want to just drop

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Speaker 2: a few names that you've worked with, because I saw

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Speaker 2: this list here and I saw my name there, and

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Speaker 2: I'm just gonna go impressive, Yeah, Galgadot, right, Pierce Prossman,

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Speaker 2: an Olympic Cruz, Ricky Martin, Terry Crews, Terry Crews.

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Speaker 5: I thought he was just on here.

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Speaker 2: He has so many questions. Rachel mccadams, Wilmer Valdorama, that.

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Speaker 1: Guy, that guy.

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Speaker 2: Guy o'donno and Angelica Houston Wilmer abod Orama.

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Speaker 3: Was that like the low in your career you did

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Speaker 3: not get that.

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Speaker 1: Have you listened to that guy lately?

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Speaker 3: Not the guy? Yeah, that's the one that got away.

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Speaker 5: I mean the production Like what if that had gone

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Speaker 5: we would have like been together for years.

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Speaker 1: I don't know if he sounds like he went through

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Speaker 1: a dialing coach.

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Speaker 2: At some point in the game, was like, look, you

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Speaker 2: either either you want wilmermo Dorama or you want you

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Speaker 2: don't want Wilmerdama, you know, and then eventually it worked.

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Speaker 3: But I have so many questions. So you were saying

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Speaker 3: two thousand in seventeen, is that no? No, I'm like that.

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Speaker 3: You guys are.

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Speaker 2: Yeah, so really really far away in the landland far away.

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Speaker 2: Yeahre Hollywood was a little different, right, So if you

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Speaker 2: were of any dissent somehow, if you're on network TV,

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Speaker 2: you need to sound American because people thought if you

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Speaker 2: had an accent on primetime television, no one was going

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Speaker 2: to understand.

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Speaker 5: You, right, I mean, I joke although obviously it is haha,

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Speaker 5: not funny that half of my work was actually just

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Speaker 5: soothing the nervous system of producers like they were just like,

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Speaker 5: oh no, Middle America will be turned off by X

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Speaker 5: y Z. And I'll be like, we got you.

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Speaker 3: And I wanted what was the you want to share?

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Speaker 3: What project was that we did?

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Speaker 5: Well, it was a pilot that never went so no

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Speaker 5: one will ever know. But here's this is the specific

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Speaker 5: part about what's the pilot.

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Speaker 3: I would know about the pilot. Ye, I mean it's

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Speaker 3: so annoying because no annoying. They didn't get picked up

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Speaker 3: because it was it was lovely.

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Speaker 5: But I will say here was the challenge on that one.

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Speaker 5: Tell me if this is your memory, you were it

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Speaker 5: was a family drama to families.

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Speaker 2: Military is a military show called four Stars, and he

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Speaker 2: was about two four star general families, right, So it's

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Speaker 2: like a four star general and a four star general.

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Speaker 2: They you know, they they went to war together and

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Speaker 2: all that stuff whatever, and now their families are in

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Speaker 2: the family and business there in the military. And one

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Speaker 2: is a reporter you know, and in Washington and all

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Speaker 2: that stuff, and the other one is a young colonel

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Speaker 2: played by the always Greade will and uh and you

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Speaker 2: have Stephen Bauer played my dad and Bruce Greenwood played

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Speaker 2: I mean, it was like the cast was just phenomenal

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Speaker 2: and it's a beautiful I just saw the pilot again.

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Speaker 3: Because I was thinking of that idea. It was so good.

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Speaker 5: And we filmed in deep in like Seami Valley for Iraq,

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Speaker 5: which was fascinating.

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Speaker 3: Which was amazing. That scene was crazy.

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Speaker 2: So it was so the It was a beautiful family

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Speaker 2: drama that also had international turmoil type of.

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Speaker 3: You know, a compliment to the story.

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Speaker 2: You know, there was also there was also like an

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Speaker 2: action you know aspect to it, but it was also

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Speaker 2: about the core of the families and all that and

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Speaker 2: it fell into the whole. Around this time, CBS would

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Speaker 2: on cancer shows. There was no slots, so it was like,

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Speaker 2: no matter how great your pilots were, if things were performing,

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Speaker 2: you might not only get one slot a year, two

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Speaker 2: slots a year to put in something new. They still

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Speaker 2: were making pilots though, so but I was supposed to

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Speaker 2: be someone who had just kind of you know, grown

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Speaker 2: up service, you know, whether universe.

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Speaker 5: It was cast with a brother and maybe a sister

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Speaker 5: and a mom and a dad who all had American accents.

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Speaker 3: Yeah. Right, so then.

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Speaker 5: So the question is, would be the story of this

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Speaker 5: guy who just has this little bit of a leftover

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Speaker 5: right venezuelan sound like, no problem except if it confuses

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Speaker 5: the audience, which in this case it might actually have.

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Speaker 3: And so hard he cooked it up. He's like, you

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Speaker 3: know what did you know this? Like at some point

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Speaker 3: did you want to write write in the line?

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Speaker 2: He just decided, you know what, I'm gonna have a

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Speaker 2: little bit of a slight accent.

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Speaker 1: Oh he did that for you?

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Speaker 3: Oh wow, Yeah, because because.

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Speaker 2: The truth is like the performance, like they'd be like,

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Speaker 2: the performance is great, but that one word, so I

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Speaker 2: would end up doing like you can.

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Speaker 5: Talk about the process of a guy like coach on

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Speaker 5: set is like like creating, how do I have no

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Speaker 5: idea how to put this? Creating a this like a

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Speaker 5: protective this for my actor where I am completely honest

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Speaker 5: with them, but I'm also not prioritizing a tiny bit

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Speaker 5: of sound over the like emotional truth of the scene.

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Speaker 5: Like we're on the same team. But if they're hearing

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Speaker 5: sounds and they're telling me to go in and give

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Speaker 5: him this note, he knows and I know that we're

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Speaker 5: playing this game and it's a dance.

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Speaker 4: But you were involved, and even though she was involved,

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Speaker 4: Steven still felt like he had.

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Speaker 2: The Well, I just I was ruggling with very specific words,

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Speaker 2: a lot of military formal stuff that I just have

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Speaker 2: never said out there.

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Speaker 5: And literally they wanted to miss sound American overnight and

400
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Speaker 5: like you sound you know you are the most American's

401
00:19:14,000 --> 00:19:18,960
Speaker 5: very excited, but like you know what I'm saying. My

402
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Speaker 5: agent would call this a dialect emergency and it always

403
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Speaker 5: cracked me up.

404
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Speaker 6: But the idea of a dialect.

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Speaker 5: Emergency is like the night before, the producers are like

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Speaker 5: Ohan over there.

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Speaker 3: Wa, but heres what was really interesting?

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Speaker 2: So kind of going back and I want to explain

409
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Speaker 2: to audiences a little bit more of how this works,

410
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Speaker 2: right because I think everyone's like, wait, somebody teaches you

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Speaker 2: how to talk like an American accing like you know,

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Speaker 2: so I just want to, you know, so specifically, what

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00:19:44,240 --> 00:19:48,480
Speaker 2: happens is when they're they're actors that are not either

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00:19:49,320 --> 00:19:52,520
Speaker 2: born and raised here or they have a crazy New

415
00:19:52,600 --> 00:19:54,840
Speaker 2: York accent, but they need to sound like they're from

416
00:19:55,520 --> 00:19:59,040
Speaker 2: La or you know, or they have a Puerto Rican accent,

417
00:19:59,040 --> 00:20:00,919
Speaker 2: but they got to sound Mexican can like, there are

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00:20:01,000 --> 00:20:04,639
Speaker 2: certain tools that you have to kind of acquired, but

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00:20:04,760 --> 00:20:07,240
Speaker 2: beyond those tools, you have to have some kind of

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Speaker 2: coaching because if you've never been exposed to that type

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Speaker 2: of communication, I mean that that type of uh you

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Speaker 2: know of dialect, then you know it's going to take

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Speaker 2: a second.

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Speaker 3: It's going to take a lot of repetition, it's going

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Speaker 3: to talk a lot of rehearsal.

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Speaker 2: But sometimes they don't realize this thing until like you're

427
00:20:23,960 --> 00:20:26,280
Speaker 2: in rehearsals and you're shooting next week.

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Speaker 3: And they're like, would you be open? This is how

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Speaker 3: they come to you. Would you be open like maybe

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Speaker 3: having someone bring.

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Speaker 2: And they ask your agent because they don't ask the

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Speaker 2: producers never want to be the bad guys. They ask

433
00:20:38,160 --> 00:20:41,960
Speaker 2: your agents and they'll call your agent and they're like, hey,

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Speaker 2: so has a little bit of an accent. Is it

435
00:20:46,280 --> 00:20:48,960
Speaker 2: is it? Does he can he lose his accent and

436
00:20:48,960 --> 00:20:51,040
Speaker 2: make it more American? And my agent calls me and

437
00:20:51,080 --> 00:20:52,159
Speaker 2: says like, hey, they really want.

438
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Speaker 3: You to lose your action a right? Cool?

439
00:20:54,080 --> 00:20:57,199
Speaker 2: And for a lot of times what happens is I

440
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Speaker 2: can do it to the script, but the moment mean

441
00:21:00,280 --> 00:21:03,719
Speaker 2: that I'm flowing and I have to add live something.

442
00:21:04,080 --> 00:21:05,840
Speaker 3: That's why I start drawing outside the lions.

443
00:21:05,880 --> 00:21:09,600
Speaker 2: That's what my accident, absolutely, because you've worked on those specifics,

444
00:21:09,920 --> 00:21:11,760
Speaker 2: so those things that you know, and then all of

445
00:21:11,800 --> 00:21:14,919
Speaker 2: a sudden, I'm feeling and I'm vibing and I'm flowing,

446
00:21:14,960 --> 00:21:16,720
Speaker 2: and all of a sudden, I'm making something a little

447
00:21:17,320 --> 00:21:18,120
Speaker 2: saucy aired And.

448
00:21:18,080 --> 00:21:20,159
Speaker 5: Then we start with your the magical moments that we

449
00:21:20,400 --> 00:21:22,760
Speaker 5: in the audience want to see. So now we're cross

450
00:21:22,760 --> 00:21:26,520
Speaker 5: purposes because because he's like, shit, don't do those. Oh wait,

451
00:21:26,560 --> 00:21:27,359
Speaker 5: but no, do those.

452
00:21:27,520 --> 00:21:28,760
Speaker 2: And that's one of the reasons why I said this

453
00:21:28,800 --> 00:21:31,840
Speaker 2: is such a it's very fun for me. This is

454
00:21:31,840 --> 00:21:34,840
Speaker 2: also one of these very vulnerable moments for actors where

455
00:21:34,880 --> 00:21:37,560
Speaker 2: they have to kind of take the ego aside.

456
00:21:37,560 --> 00:21:39,600
Speaker 3: And this is not like it has nothing to do

457
00:21:39,640 --> 00:21:39,879
Speaker 3: with you.

458
00:21:40,600 --> 00:21:43,280
Speaker 2: It has everything to do with the vision and the

459
00:21:43,320 --> 00:21:45,679
Speaker 2: structure of what a filmmaker or a writer or a

460
00:21:45,720 --> 00:21:49,359
Speaker 2: producer wants for their project, right, right, And they know

461
00:21:49,440 --> 00:21:51,560
Speaker 2: you're the guy for the job, right, they know you're

462
00:21:51,560 --> 00:21:52,720
Speaker 2: the guy for the role.

463
00:21:52,760 --> 00:21:53,720
Speaker 5: By the way you got the job.

464
00:21:54,240 --> 00:21:57,280
Speaker 2: Yeah, and by the way, like they there were you know,

465
00:21:57,320 --> 00:21:59,359
Speaker 2: they were very excited, and I think you know, and

466
00:21:59,480 --> 00:22:01,720
Speaker 2: CBS excited to work with me, and it's the first

467
00:22:01,760 --> 00:22:04,400
Speaker 2: time I worked with CBS, and you know.

468
00:22:04,359 --> 00:22:06,080
Speaker 3: So we're like, let's go, you know.

469
00:22:06,440 --> 00:22:08,920
Speaker 2: And they wanted this family to be to have a

470
00:22:09,000 --> 00:22:11,280
Speaker 2: Latin descent, you know, they wanted to but you know,

471
00:22:11,320 --> 00:22:13,679
Speaker 2: they wanted to be American Latinos, which means like they

472
00:22:13,720 --> 00:22:14,600
Speaker 2: don't have an accent, you know.

473
00:22:15,640 --> 00:22:17,560
Speaker 3: That'd being said. We started thinking like what if it

474
00:22:17,680 --> 00:22:18,720
Speaker 3: was I know, he.

475
00:22:18,800 --> 00:22:21,840
Speaker 2: Was on a base you know, in South America for

476
00:22:22,000 --> 00:22:24,800
Speaker 2: like the first his infant years. We started like, you're

477
00:22:24,800 --> 00:22:27,359
Speaker 2: coming up with all these storylines in the background that

478
00:22:27,359 --> 00:22:29,160
Speaker 2: that gave him kind of the ability to say, hey,

479
00:22:29,160 --> 00:22:30,720
Speaker 2: you know, he has an accent because he was kind

480
00:22:30,720 --> 00:22:33,520
Speaker 2: of raised on the base with locals from a different

481
00:22:33,680 --> 00:22:34,960
Speaker 2: Latin writing country or something.

482
00:22:35,040 --> 00:22:35,320
Speaker 5: You know.

483
00:22:36,000 --> 00:22:38,679
Speaker 2: But the point I'm making is that eventually they'll make

484
00:22:38,720 --> 00:22:40,399
Speaker 2: a phone call and they say like, hey, would you

485
00:22:40,400 --> 00:22:42,080
Speaker 2: be open and working with the coach, And the answer

486
00:22:42,160 --> 00:22:44,840
Speaker 2: is always yes, right, because let's let's go, let's do it.

487
00:22:45,960 --> 00:22:49,159
Speaker 3: And that's how we met, and we had a you

488
00:22:49,160 --> 00:22:50,200
Speaker 3: know a lot of these great.

489
00:22:50,000 --> 00:22:52,679
Speaker 2: Conversations, Like I it was funny, it is like my

490
00:22:52,760 --> 00:22:59,080
Speaker 2: vocaulary for English is really good, but my my pronunciations.

491
00:23:00,280 --> 00:23:02,600
Speaker 3: Just like that, like who I am? You know, it's

492
00:23:02,640 --> 00:23:03,320
Speaker 3: just like what you.

493
00:23:03,240 --> 00:23:05,359
Speaker 2: Know how it sounds like now I now I have

494
00:23:05,520 --> 00:23:07,800
Speaker 2: any easier time because I've been working for a lot

495
00:23:07,840 --> 00:23:09,760
Speaker 2: longer and like you know, I've been speaking English for

496
00:23:09,840 --> 00:23:11,800
Speaker 2: a lot longer, you know. But at those times when

497
00:23:11,840 --> 00:23:14,080
Speaker 2: I when I had to do something that was not

498
00:23:14,440 --> 00:23:18,600
Speaker 2: necessarily calling for someone like me, someone to be something

499
00:23:18,720 --> 00:23:21,600
Speaker 2: like you know, like a military guy or something, we

500
00:23:21,640 --> 00:23:25,159
Speaker 2: would have to do the coaching and then we started

501
00:23:25,160 --> 00:23:36,880
Speaker 2: the exercise. But like, but you can talk a little

502
00:23:36,880 --> 00:23:38,760
Speaker 2: bit more about the process. So then you arrive on

503
00:23:38,800 --> 00:23:40,240
Speaker 2: stead and here's the actor.

504
00:23:40,920 --> 00:23:46,359
Speaker 3: Were you, Here's here's your here's your actor, and okay,

505
00:23:46,520 --> 00:23:48,199
Speaker 3: let us know when it when it's fixed.

506
00:23:49,240 --> 00:23:52,160
Speaker 4: Were you part of Like were you like on CBS's

507
00:23:52,240 --> 00:23:54,040
Speaker 4: list of dialog Like how did you.

508
00:23:53,920 --> 00:23:54,960
Speaker 1: To you tell me?

509
00:23:55,320 --> 00:23:59,199
Speaker 5: We never know? I mean I had an agent and

510
00:23:59,200 --> 00:24:02,320
Speaker 5: and I had a reputation frankly right, like it's often

511
00:24:02,359 --> 00:24:04,800
Speaker 5: word of mouth, and I know I was I think

512
00:24:05,200 --> 00:24:06,800
Speaker 5: still am. It's just I'm saying it in past tense

513
00:24:06,840 --> 00:24:08,520
Speaker 5: because I'm not doing this work as much anymore. But

514
00:24:08,640 --> 00:24:10,119
Speaker 5: like I think I was on the top of the

515
00:24:10,160 --> 00:24:12,960
Speaker 5: list for CIA, the big agency. You know, it's like

516
00:24:13,000 --> 00:24:14,640
Speaker 5: it's like they would just be like, go to her,

517
00:24:14,800 --> 00:24:18,040
Speaker 5: she you know literally with I think that they think

518
00:24:18,240 --> 00:24:21,360
Speaker 5: is she doesn't fuck up her actors, because so much

519
00:24:21,359 --> 00:24:23,440
Speaker 5: of the work is not just the vowels and consonants.

520
00:24:23,280 --> 00:24:26,520
Speaker 5: It's making sure that you don't lose your your confidence

521
00:24:26,560 --> 00:24:27,679
Speaker 5: and your sense of play.

522
00:24:27,600 --> 00:24:28,720
Speaker 3: And compliment to you.

523
00:24:28,800 --> 00:24:33,040
Speaker 2: Like a lot of acting coaches that are brought as

524
00:24:33,080 --> 00:24:36,400
Speaker 2: an emergency to said because someone is having a tough

525
00:24:36,400 --> 00:24:37,280
Speaker 2: time getting there.

526
00:24:38,000 --> 00:24:40,439
Speaker 3: You know, also is a really that you.

527
00:24:40,480 --> 00:24:45,199
Speaker 2: Kind of share a very similar kind of structure. You know,

528
00:24:45,640 --> 00:24:49,720
Speaker 2: you kind of have to really. I always this is analogya.

529
00:24:49,720 --> 00:24:51,840
Speaker 2: I've used it a few times, probably on the show too,

530
00:24:51,840 --> 00:24:53,760
Speaker 2: but in life in general, it's it's like a picture

531
00:24:53,800 --> 00:24:54,399
Speaker 2: and a catcher.

532
00:24:55,359 --> 00:24:58,800
Speaker 3: The catcher is a psychologist. He's a therapist to the picture.

533
00:25:00,080 --> 00:25:03,240
Speaker 2: He's got to come in massage the pitches out of

534
00:25:03,280 --> 00:25:09,960
Speaker 2: your picture. Because in baseball, if that picture is the

535
00:25:10,040 --> 00:25:13,400
Speaker 2: stress or he gets in his head, can get out

536
00:25:13,400 --> 00:25:13,680
Speaker 2: of it.

537
00:25:14,240 --> 00:25:17,640
Speaker 3: There goes the game. Right, He's like he's gonna blow

538
00:25:17,680 --> 00:25:18,760
Speaker 3: it at the mount right.

539
00:25:19,000 --> 00:25:22,800
Speaker 2: So the catcher comes up with a smile when he's like, hey, good, good, good,

540
00:25:22,880 --> 00:25:25,520
Speaker 2: that's really good. Good speed on that ninth curve on that. Now,

541
00:25:25,600 --> 00:25:27,239
Speaker 2: let's give me a straight because in this one we're

542
00:25:27,240 --> 00:25:29,440
Speaker 2: gonna do blah blahah you know, or like, hey, you're

543
00:25:29,440 --> 00:25:31,560
Speaker 2: coming in a little low on this, don't be afraid

544
00:25:31,600 --> 00:25:32,600
Speaker 2: to go through it a little harder.

545
00:25:32,680 --> 00:25:33,679
Speaker 3: Let's go, baby, let's go.

546
00:25:33,760 --> 00:25:38,080
Speaker 2: We got this right, So that gets the picture. Okay, cool,

547
00:25:38,080 --> 00:25:39,640
Speaker 2: it's me and him playing catch.

548
00:25:39,560 --> 00:25:44,800
Speaker 3: Right, right, but catch. But pictures are like actors.

549
00:25:45,359 --> 00:25:47,760
Speaker 2: There is I don't the word is not delicate, but

550
00:25:47,800 --> 00:25:52,080
Speaker 2: there is sensive. There is a sensitivity to the to

551
00:25:52,160 --> 00:25:52,840
Speaker 2: the finesse.

552
00:25:53,400 --> 00:25:54,320
Speaker 3: Yeah you know.

553
00:25:54,600 --> 00:25:59,760
Speaker 2: And that's why when we had our episode about directors, yeah,

554
00:26:00,200 --> 00:26:04,920
Speaker 2: uh huh, the sensitivity of how you address your actors. Yeah,

555
00:26:04,960 --> 00:26:06,440
Speaker 2: it's very very important.

556
00:26:06,560 --> 00:26:08,480
Speaker 3: Yeah you know. But the point is you have to

557
00:26:08,560 --> 00:26:10,520
Speaker 3: have like the picture catcher mentality.

558
00:26:10,840 --> 00:26:13,600
Speaker 5: But often it happens in these tiny, little like ninja

559
00:26:13,680 --> 00:26:18,040
Speaker 5: moments where you know, in between takes, like cut, we're

560
00:26:18,040 --> 00:26:20,199
Speaker 5: going again, hair and makeup, come in and do like

561
00:26:20,240 --> 00:26:23,119
Speaker 5: a little whatever, dab dab, and I whisper in your

562
00:26:23,160 --> 00:26:26,000
Speaker 5: ear and then we all go together. If I'm whisper,

563
00:26:26,080 --> 00:26:29,119
Speaker 5: if I wisp like a good whisper. Maybe is like

564
00:26:29,520 --> 00:26:32,239
Speaker 5: it's the just that you know, you know, you're you're

565
00:26:32,240 --> 00:26:33,159
Speaker 5: almost there, You've.

566
00:26:33,000 --> 00:26:33,680
Speaker 1: Got this, You've got this.

567
00:26:34,080 --> 00:26:36,200
Speaker 5: A bad one is why do you keep messing that up?

568
00:26:37,800 --> 00:26:39,639
Speaker 5: Or like eighty billion other right, we could go with

569
00:26:39,720 --> 00:26:40,560
Speaker 5: eighty billion other game?

570
00:26:40,720 --> 00:26:42,520
Speaker 3: You were you've nailed it ten times. I don't know

571
00:26:42,560 --> 00:26:43,000
Speaker 3: what's happening?

572
00:26:43,040 --> 00:26:43,880
Speaker 5: Yeah, what the fuck are you doing?

573
00:26:44,600 --> 00:26:46,240
Speaker 3: Yeah?

574
00:26:46,280 --> 00:26:49,600
Speaker 5: And literally like I I often you know, have like

575
00:26:49,880 --> 00:26:51,560
Speaker 5: have like the number one on the call sheet, like

576
00:26:52,320 --> 00:26:56,360
Speaker 5: in a way I hold there. I have so much power, right,

577
00:26:56,680 --> 00:26:59,840
Speaker 5: like it's important not to use that. It's really really

578
00:27:00,400 --> 00:27:01,200
Speaker 5: what that moment is.

579
00:27:01,119 --> 00:27:03,720
Speaker 2: That we're trying to She's like a yeah, so the

580
00:27:03,760 --> 00:27:07,439
Speaker 2: director comes to give you a thought and then oh

581
00:27:07,520 --> 00:27:09,439
Speaker 2: yeah she has a mad thing to do. So like

582
00:27:09,880 --> 00:27:13,080
Speaker 2: you have two Now you have two people and sometimes

583
00:27:13,160 --> 00:27:15,240
Speaker 2: a writer coming at you.

584
00:27:15,960 --> 00:27:19,120
Speaker 3: So now you have your dialary coach, Now you have your.

585
00:27:19,000 --> 00:27:21,640
Speaker 2: Director, and now you have the writer that just wants

586
00:27:21,680 --> 00:27:23,879
Speaker 2: to tell you why it's important to leave it as written.

587
00:27:25,960 --> 00:27:27,680
Speaker 5: And the director just gave a note of like try

588
00:27:27,720 --> 00:27:30,320
Speaker 5: a different ways. So now you're really you know, processing,

589
00:27:30,760 --> 00:27:34,399
Speaker 5: and then I'm there. Often what happens actually for a

590
00:27:34,400 --> 00:27:36,960
Speaker 5: good dialect coach who like reads the room. Is that

591
00:27:37,000 --> 00:27:38,680
Speaker 5: I'm holding back, right, You got to let obviously, you

592
00:27:38,720 --> 00:27:40,479
Speaker 5: got to let them give their note first, and then

593
00:27:40,560 --> 00:27:43,439
Speaker 5: I decide a if my note is worth going in

594
00:27:43,480 --> 00:27:45,160
Speaker 5: after that be if my note is going to help

595
00:27:45,200 --> 00:27:46,480
Speaker 5: what the director just said or heard it?

596
00:27:47,400 --> 00:27:49,680
Speaker 1: So are you are you listening to what the director?

597
00:27:49,960 --> 00:27:53,440
Speaker 5: If I can? Right, Yeah, it matters right because I

598
00:27:54,000 --> 00:27:56,640
Speaker 5: am there for them, like I really am. Not as

599
00:27:56,720 --> 00:28:00,880
Speaker 5: much as my job is to protect the sound, get

600
00:28:00,920 --> 00:28:03,880
Speaker 5: those zunes right, My real job is tell a good story.

601
00:28:04,040 --> 00:28:07,240
Speaker 5: My real job is like make the director's vision. Make

602
00:28:07,400 --> 00:28:11,800
Speaker 5: your heartbeat to the speed of the audience, you know,

603
00:28:11,880 --> 00:28:13,680
Speaker 5: like we're here to make arts.

604
00:28:13,680 --> 00:28:15,880
Speaker 2: I'll tell you something some an actor probably has never

605
00:28:15,880 --> 00:28:17,440
Speaker 2: told you, but maybe it has, and you tell me

606
00:28:17,480 --> 00:28:23,160
Speaker 2: if it did. There's a time where your nerves get

607
00:28:23,359 --> 00:28:25,640
Speaker 2: so you're I've been doing this for twenty years quite

608
00:28:25,680 --> 00:28:27,439
Speaker 2: by the time that you know, then I've done it

609
00:28:27,440 --> 00:28:29,200
Speaker 2: for almost seventeen years or something in my career.

610
00:28:29,320 --> 00:28:32,440
Speaker 3: Right, So I trust my instinct as an actor.

611
00:28:32,480 --> 00:28:34,600
Speaker 2: I know that I'm about to kill it like I

612
00:28:34,640 --> 00:28:36,359
Speaker 2: come in as a killer. I'm coming in on the

613
00:28:36,440 --> 00:28:38,880
Speaker 2: set and I'm prepared and I'm ready, let's go, you know,

614
00:28:40,600 --> 00:28:43,880
Speaker 2: and then you have this other layer. She's like, Okay,

615
00:28:44,080 --> 00:28:45,959
Speaker 2: I got what I need to do for the character.

616
00:28:46,040 --> 00:28:48,200
Speaker 2: I know who the character is. Now he has to

617
00:28:48,280 --> 00:28:53,080
Speaker 2: sound this way, which is not who I sound like, right,

618
00:28:53,880 --> 00:28:57,400
Speaker 2: And so you end up doing a take and immediately

619
00:28:57,520 --> 00:29:01,920
Speaker 2: you look over to video village and the actor stuging

620
00:29:01,960 --> 00:29:04,960
Speaker 2: to producer is fine. The actor is talking to SCRIPTI

621
00:29:05,120 --> 00:29:07,000
Speaker 2: that's fine because I know I know those two things.

622
00:29:08,040 --> 00:29:11,320
Speaker 2: But the moment the actor the director talks to the

623
00:29:11,400 --> 00:29:15,280
Speaker 2: dally coach, he.

624
00:29:15,240 --> 00:29:15,840
Speaker 1: Has a problem.

625
00:29:16,240 --> 00:29:16,479
Speaker 3: I know.

626
00:29:16,960 --> 00:29:21,840
Speaker 2: That's when I know, here comes the fucking note. And

627
00:29:21,880 --> 00:29:24,520
Speaker 2: I'm sititting there like I see the lean over or whatever.

628
00:29:24,680 --> 00:29:29,000
Speaker 2: And sometimes what happens is the directors like did they

629
00:29:29,120 --> 00:29:31,120
Speaker 2: nail it or not know it because he's not looking.

630
00:29:31,160 --> 00:29:33,000
Speaker 2: He's not here in the accent right. And by the way,

631
00:29:33,040 --> 00:29:34,600
Speaker 2: sometimes the directors don't even hear it.

632
00:29:35,320 --> 00:29:37,120
Speaker 5: Or sometimes what we're actually working on is like a

633
00:29:37,200 --> 00:29:39,520
Speaker 5: really specific like I said West Texas earlier. You know,

634
00:29:39,520 --> 00:29:41,880
Speaker 5: it's like the director doesn't know I'm the keeper.

635
00:29:41,600 --> 00:29:43,360
Speaker 3: Of the sound, yes exactly.

636
00:29:42,920 --> 00:29:44,560
Speaker 5: And the actor and I are like in our own

637
00:29:44,600 --> 00:29:46,720
Speaker 5: little dance because we're the ones who've been listening NonStop

638
00:29:46,760 --> 00:29:49,400
Speaker 5: to clip that tells us how these people sound, you

639
00:29:49,440 --> 00:29:52,040
Speaker 5: know whatever, and the director, Yeah, it is just looking.

640
00:29:52,120 --> 00:29:53,840
Speaker 4: Do you ever just let do you ever just go

641
00:29:54,640 --> 00:29:58,560
Speaker 4: Well that wasn't one hundred, but it'll but it'll fly.

642
00:29:59,000 --> 00:29:59,920
Speaker 3: You ever do that?

643
00:30:00,360 --> 00:30:02,880
Speaker 4: And so like the action is maybe eighty percent?

644
00:30:03,080 --> 00:30:06,120
Speaker 5: Yeah, I mean I joke that. Like, as with any

645
00:30:06,160 --> 00:30:08,640
Speaker 5: crew member, by the way, the dialect coach's job is

646
00:30:08,680 --> 00:30:10,840
Speaker 5: to be super obsessed with the one thing I'm there

647
00:30:10,880 --> 00:30:14,720
Speaker 5: to do and also simultaneously deprioritize it the instant it

648
00:30:14,760 --> 00:30:17,920
Speaker 5: doesn't matter. Yeah, and so I like, my makes my

649
00:30:18,000 --> 00:30:20,760
Speaker 5: heart be like my job wait, no, chill, no, my job,

650
00:30:20,840 --> 00:30:23,560
Speaker 5: but chill and like that. But that is the thing, right,

651
00:30:23,640 --> 00:30:25,560
Speaker 5: We have to be able to deprioritize it when it's

652
00:30:25,560 --> 00:30:26,480
Speaker 5: just not what the moment's about.

653
00:30:26,880 --> 00:30:29,240
Speaker 4: Have you ever done that and then watched the thing

654
00:30:29,280 --> 00:30:31,520
Speaker 4: that you were coaching on and then and then like

655
00:30:32,240 --> 00:30:35,160
Speaker 4: the thing that you were like, it's like eighty percent,

656
00:30:35,240 --> 00:30:37,160
Speaker 4: it's okay, and then you see it on TV and

657
00:30:37,160 --> 00:30:37,600
Speaker 4: you're like.

658
00:30:37,680 --> 00:30:39,200
Speaker 5: Ah, here's the inside.

659
00:30:39,360 --> 00:30:39,840
Speaker 1: I hear it.

660
00:30:39,960 --> 00:30:42,080
Speaker 5: Third way, There is a third way, which.

661
00:30:41,840 --> 00:30:46,120
Speaker 2: Is ABR alright, Also, then is it an ADR that's right.

662
00:30:46,280 --> 00:30:48,240
Speaker 1: So then is it your call to go, hey, he

663
00:30:48,280 --> 00:30:49,040
Speaker 1: has to eight rs?

664
00:30:49,200 --> 00:30:52,480
Speaker 5: I mean with my dream producers, yes it is. They're like,

665
00:30:52,600 --> 00:30:54,800
Speaker 5: let me send you the rough cut and you give

666
00:30:54,880 --> 00:30:56,440
Speaker 5: us notes, right, or like tell us what scenes we're

667
00:30:56,440 --> 00:30:59,400
Speaker 5: gonna need to go in on. Usually I'm thrown in

668
00:30:59,400 --> 00:31:00,920
Speaker 5: at the last second for d R. But yeah, I

669
00:31:00,920 --> 00:31:04,040
Speaker 5: mean that's so that's happened. I mean I got my

670
00:31:04,080 --> 00:31:04,960
Speaker 5: start doing ad R.

671
00:31:06,000 --> 00:31:06,520
Speaker 1: That's happened.

672
00:31:06,520 --> 00:31:09,960
Speaker 4: Where you see the actors performance and you're like, you gotta,

673
00:31:10,200 --> 00:31:11,080
Speaker 4: you gotta.

674
00:31:11,360 --> 00:31:15,880
Speaker 5: Okay, the actress performance is a dramatic way of putting Yeah, yeah,

675
00:31:15,960 --> 00:31:17,240
Speaker 5: a few waywards sounds.

676
00:31:17,320 --> 00:31:34,880
Speaker 3: Performing the sound the only perform this network.

677
00:31:35,800 --> 00:31:38,720
Speaker 5: You're exactly right. Well, also, wait, since you said that,

678
00:31:38,800 --> 00:31:41,000
Speaker 5: I just feel like it's it's important to say that

679
00:31:41,160 --> 00:31:43,560
Speaker 5: so much of the job when you're when I am

680
00:31:43,560 --> 00:31:45,960
Speaker 5: on a set is like, yes, these are the guardrails,

681
00:31:46,000 --> 00:31:47,760
Speaker 5: let's stay within that. This is the sound we need

682
00:31:47,800 --> 00:31:49,800
Speaker 5: to do for the story. We're talking so much of

683
00:31:49,840 --> 00:31:52,719
Speaker 5: real life and accent work is messier than that. And like,

684
00:31:52,840 --> 00:31:55,280
Speaker 5: I don't even accent work. I should just say accents, right,

685
00:31:55,720 --> 00:31:58,200
Speaker 5: And you know, and we know that so much of

686
00:31:58,240 --> 00:32:02,760
Speaker 5: what is beautiful about how each of us sounds and

687
00:32:02,800 --> 00:32:05,680
Speaker 5: how literally every one of us sounds different from everyone else.

688
00:32:06,360 --> 00:32:08,440
Speaker 5: Is that the sounds coming out of our mouth reflect

689
00:32:08,440 --> 00:32:11,800
Speaker 5: the life we've actually lived, the places we've lived, the

690
00:32:11,840 --> 00:32:14,440
Speaker 5: people we've spent the most time with, the people we admire,

691
00:32:14,720 --> 00:32:17,840
Speaker 5: the people we want never to sound like like that's

692
00:32:17,880 --> 00:32:21,080
Speaker 5: our life coming out of our mouth. So you know, yeah,

693
00:32:21,160 --> 00:32:22,880
Speaker 5: my job on set is like, this is the right

694
00:32:22,920 --> 00:32:24,880
Speaker 5: sound and this is the less right sound, But in

695
00:32:24,920 --> 00:32:28,160
Speaker 5: real life that's not that's not the thing, right. And actually,

696
00:32:28,160 --> 00:32:30,680
Speaker 5: part of my job has been my job that I

697
00:32:30,760 --> 00:32:32,640
Speaker 5: made up, the part where I'm like, actually just coaching

698
00:32:32,640 --> 00:32:34,920
Speaker 5: and consulting folks is often to help them see their

699
00:32:34,960 --> 00:32:39,080
Speaker 5: own inner biases around sounds and be like, can we

700
00:32:38,680 --> 00:32:40,600
Speaker 5: what if we backed off on that? What if we

701
00:32:40,680 --> 00:32:44,400
Speaker 5: check that bias and we're like, you sound exactly right

702
00:32:44,520 --> 00:32:46,720
Speaker 5: for the message you're going to give on that stage.

703
00:32:46,840 --> 00:32:47,240
Speaker 3: It's you.

704
00:32:47,800 --> 00:32:50,600
Speaker 5: And that's why literally gain. The book is called Permission

705
00:32:50,600 --> 00:32:52,640
Speaker 5: to Speak, and the cover has the word permission six

706
00:32:52,680 --> 00:32:54,840
Speaker 5: times on it. It's like, that's because the permission matters

707
00:32:54,880 --> 00:32:55,280
Speaker 5: more than the.

708
00:32:55,200 --> 00:32:56,360
Speaker 3: Speaking, right, right.

709
00:32:57,240 --> 00:32:59,000
Speaker 4: I know you fell in love with actors when you

710
00:32:59,040 --> 00:33:00,800
Speaker 4: were ten watch Shakespeare.

711
00:33:00,800 --> 00:33:02,840
Speaker 1: But what was this specifically.

712
00:33:02,160 --> 00:33:06,160
Speaker 4: About accents that made you go into into dialect codes?

713
00:33:06,200 --> 00:33:08,040
Speaker 5: Okay, I have two quick answers. One is I got

714
00:33:08,040 --> 00:33:09,880
Speaker 5: an MFA in acting, so I really was trying to

715
00:33:09,880 --> 00:33:12,280
Speaker 5: pursue acting. Oh cool, if you ever like have I

716
00:33:12,560 --> 00:33:14,840
Speaker 5: or whatever like like I'm available.

717
00:33:23,040 --> 00:33:26,800
Speaker 6: You sound like likely sealball. That is the most random question.

718
00:33:26,960 --> 00:33:27,720
Speaker 1: Yeah, I see it.

719
00:33:27,920 --> 00:33:30,480
Speaker 5: Yeah, I mean, let me do some preser.

720
00:33:31,160 --> 00:33:33,880
Speaker 2: What's a little video, we'll circle back, let's we'll talk

721
00:33:33,880 --> 00:33:35,040
Speaker 2: about that after the episode.

722
00:33:36,120 --> 00:33:39,080
Speaker 5: But the other answer is, if I'm being like a

723
00:33:39,200 --> 00:33:44,800
Speaker 5: totally honest dork about this, I loved impressions when I

724
00:33:44,880 --> 00:33:47,200
Speaker 5: was little. I love Marilyn Monroe and I would do

725
00:33:47,280 --> 00:33:50,160
Speaker 5: her voice. I would do British voice right, like there

726
00:33:50,200 --> 00:33:53,040
Speaker 5: was I wasn't getting them right. But I was so

727
00:33:53,160 --> 00:33:56,840
Speaker 5: curious even then about the relationship between how we sound

728
00:33:57,160 --> 00:34:00,760
Speaker 5: and how we get treated in life. Oh, that's interesting,

729
00:34:00,760 --> 00:34:02,640
Speaker 5: and the idea that we could change how we sound.

730
00:34:02,680 --> 00:34:06,240
Speaker 5: I mean, my fair lady. This classic musical is literally

731
00:34:06,280 --> 00:34:09,480
Speaker 5: about somebody with a lower class, like a coded for

732
00:34:09,920 --> 00:34:13,279
Speaker 5: class lower class British accent, who, because of a like

733
00:34:13,440 --> 00:34:19,560
Speaker 5: social experiment by a mean dialect coach learns how to

734
00:34:19,560 --> 00:34:23,040
Speaker 5: sound fancy and her life opens up. And I watched

735
00:34:23,040 --> 00:34:25,440
Speaker 5: that as like a ten year old being like I

736
00:34:25,480 --> 00:34:28,160
Speaker 5: am learning something about the world from this. Wow, not

737
00:34:28,200 --> 00:34:30,560
Speaker 5: necessarily something that I want to emulate, right, I'm not like,

738
00:34:30,640 --> 00:34:35,960
Speaker 5: let me please be that asshole dialect coach. It came one,

739
00:34:36,480 --> 00:34:39,680
Speaker 5: but that idea that when we change how we sound,

740
00:34:39,800 --> 00:34:43,600
Speaker 5: our world changes for better and for worse, like really

741
00:34:44,640 --> 00:34:45,319
Speaker 5: really like.

742
00:34:45,480 --> 00:34:48,719
Speaker 2: Feels like it feels like an interesting code, like a

743
00:34:48,800 --> 00:34:51,279
Speaker 2: key to different different.

744
00:34:51,600 --> 00:34:53,320
Speaker 5: Under And now I've done you know, I did a

745
00:34:53,360 --> 00:34:55,920
Speaker 5: lot of research on like social linguistics, which is like

746
00:34:56,000 --> 00:34:57,959
Speaker 5: literally how the sounds that come out of our mouth

747
00:34:58,320 --> 00:35:00,759
Speaker 5: happened because of the society we're because of the room

748
00:35:00,760 --> 00:35:02,600
Speaker 5: we're in, because right, like we all know we sound

749
00:35:02,600 --> 00:35:04,439
Speaker 5: different when we talk to like a three year old

750
00:35:04,440 --> 00:35:06,480
Speaker 5: then we talked to a grandmother than we did when

751
00:35:06,480 --> 00:35:08,319
Speaker 5: we talk to a lawyer who's mad. Then we like,

752
00:35:08,840 --> 00:35:10,680
Speaker 5: is one version real and the other ones are fake?

753
00:35:11,200 --> 00:35:14,960
Speaker 5: Or are humans made to have these different versions of

754
00:35:14,960 --> 00:35:18,160
Speaker 5: ourselves that come out in different rooms? And you know

755
00:35:18,280 --> 00:35:20,799
Speaker 5: that's complicated and there's you know, aspects of that like

756
00:35:21,080 --> 00:35:24,880
Speaker 5: code switching that feel really heavy. But also like we

757
00:35:24,920 --> 00:35:28,160
Speaker 5: can celebrate it because obviously this is like an evolutionary

758
00:35:28,200 --> 00:35:28,640
Speaker 5: trait in.

759
00:35:28,680 --> 00:35:32,040
Speaker 1: Humans, right, And what was that? The most interesting thing

760
00:35:32,080 --> 00:35:34,319
Speaker 1: you found when you when you when you took up

761
00:35:34,360 --> 00:35:36,880
Speaker 1: social linguistics was was that.

762
00:35:37,239 --> 00:35:40,279
Speaker 5: You know, I'll tell you one other thing. Thank you

763
00:35:40,320 --> 00:35:41,960
Speaker 5: for giving me like permission to be like a nerd

764
00:35:41,960 --> 00:35:45,560
Speaker 5: about social But here's here's the heart of it. And

765
00:35:45,600 --> 00:35:46,960
Speaker 5: it's in a way, it's kind of what I just said,

766
00:35:46,960 --> 00:35:48,719
Speaker 5: but I'm saying it differently because I love this. I

767
00:35:48,760 --> 00:35:51,000
Speaker 5: love this. It's like a gift for me. Maybe all

768
00:35:51,000 --> 00:35:55,600
Speaker 5: of us social linguists will say that every habit any

769
00:35:55,640 --> 00:35:58,160
Speaker 5: of us have ever picked up our arms and us,

770
00:35:58,760 --> 00:36:02,240
Speaker 5: the acts and stuff, the ways in which we sound more,

771
00:36:02,640 --> 00:36:04,279
Speaker 5: you know, like our hometown and we've just talked to

772
00:36:04,280 --> 00:36:07,120
Speaker 5: our mom and we don't when we haven't. Every habit

773
00:36:07,160 --> 00:36:09,280
Speaker 5: any of us have ever picked up in how we sound,

774
00:36:09,400 --> 00:36:12,040
Speaker 5: we've picked up for a reason. It has served us

775
00:36:12,280 --> 00:36:13,120
Speaker 5: in some way.

776
00:36:14,280 --> 00:36:15,920
Speaker 1: In a bad or a good way.

777
00:36:16,000 --> 00:36:18,359
Speaker 5: It has served us. It has like helped you know,

778
00:36:18,400 --> 00:36:21,680
Speaker 5: somebody will say, oh, I can't I hate that, I

779
00:36:21,680 --> 00:36:24,480
Speaker 5: say like so much. Make me stop saying like, and

780
00:36:24,520 --> 00:36:26,440
Speaker 5: I'll be like, we can get a little more bit

781
00:36:26,440 --> 00:36:28,520
Speaker 5: more conscious about your likes and what those are, what

782
00:36:28,560 --> 00:36:31,120
Speaker 5: those like hedging terms are doing. But also can we

783
00:36:31,200 --> 00:36:33,399
Speaker 5: just love on that? Like where did we pick it up?

784
00:36:33,920 --> 00:36:37,480
Speaker 5: Who do you love that? Sounds like that? Who are

785
00:36:37,480 --> 00:36:40,440
Speaker 5: you reflecting back? How has that helped you to connect

786
00:36:40,440 --> 00:36:43,720
Speaker 5: with people in those other rooms, in those other relationships,

787
00:36:43,960 --> 00:36:45,279
Speaker 5: in those moments before this one?

788
00:36:45,480 --> 00:36:45,719
Speaker 1: Right?

789
00:36:45,880 --> 00:36:47,920
Speaker 5: And like if there's shame wrapped up in that, can

790
00:36:47,960 --> 00:36:48,839
Speaker 5: we deshame that?

791
00:36:49,160 --> 00:36:49,359
Speaker 7: Right?

792
00:36:49,520 --> 00:36:49,719
Speaker 5: Right?

793
00:36:50,200 --> 00:36:53,799
Speaker 4: But they're obviously raising that question because although it may

794
00:36:53,800 --> 00:36:56,440
Speaker 4: have helped them, they feel that it's actually hurting them

795
00:36:56,480 --> 00:36:56,879
Speaker 4: as well.

796
00:36:56,960 --> 00:36:57,200
Speaker 5: Right.

797
00:36:57,440 --> 00:36:57,720
Speaker 1: Yeah.

798
00:36:57,800 --> 00:37:00,480
Speaker 5: Often it's like I'm trying to up level. I'm now

799
00:37:00,560 --> 00:37:02,960
Speaker 5: you know, in this more professional context.

800
00:37:02,520 --> 00:37:05,319
Speaker 2: And they're watching themselves give the speech or they get

801
00:37:05,360 --> 00:37:07,560
Speaker 2: really self conscious. Yeah, and they're just like, oh my god,

802
00:37:07,600 --> 00:37:10,439
Speaker 2: I said like like a million times. Yeah, I think

803
00:37:11,640 --> 00:37:14,640
Speaker 2: but the old our producers do that, does.

804
00:37:14,480 --> 00:37:14,959
Speaker 3: That a lot?

805
00:37:15,320 --> 00:37:15,520
Speaker 1: Yeah?

806
00:37:15,520 --> 00:37:16,560
Speaker 5: I mean, are you calling someone out?

807
00:37:16,600 --> 00:37:18,000
Speaker 3: Ye's he says, my lot.

808
00:37:19,160 --> 00:37:21,400
Speaker 2: But he's just because he's so smart, he's just like

809
00:37:21,480 --> 00:37:23,520
Speaker 2: he thinks about so many different ideas.

810
00:37:23,320 --> 00:37:26,319
Speaker 3: He has had a tough time. Hello, I was talking

811
00:37:26,320 --> 00:37:27,640
Speaker 3: about a producer that we work with.

812
00:37:27,760 --> 00:37:31,400
Speaker 2: Yes, you know, you're just so smart.

813
00:37:32,280 --> 00:37:34,920
Speaker 5: I'm as a great example. I'm as a great example.

814
00:37:35,400 --> 00:37:38,600
Speaker 3: I am the king of But you know what an is?

815
00:37:39,239 --> 00:37:42,719
Speaker 5: I mean, linguistically speaking, it's just a little like you're

816
00:37:42,760 --> 00:37:44,719
Speaker 5: dropping a little sign post that says a not quite

817
00:37:44,760 --> 00:37:47,960
Speaker 5: donely processed, and often it allows your audience to process too.

818
00:37:48,120 --> 00:37:50,120
Speaker 3: Can I tell you what I think in like his?

819
00:37:50,880 --> 00:37:54,239
Speaker 2: Because I have the same issues myself when I do

820
00:37:55,160 --> 00:38:01,160
Speaker 2: when I speak in the uh I'm saying, So what

821
00:38:01,200 --> 00:38:04,720
Speaker 2: I'm doing is I'm buying myself time to piece together

822
00:38:04,760 --> 00:38:07,360
Speaker 2: a sentence that I want to sound smart.

823
00:38:08,600 --> 00:38:10,200
Speaker 5: So do you mean that you don't do it when

824
00:38:10,239 --> 00:38:11,360
Speaker 5: you're feeling more loose?

825
00:38:11,600 --> 00:38:14,760
Speaker 2: When I feel more confident and I'm running with my stuff,

826
00:38:15,800 --> 00:38:17,560
Speaker 2: I rarely used to like or.

827
00:38:18,080 --> 00:38:21,160
Speaker 5: So this is thank you for that example, because this

828
00:38:21,239 --> 00:38:24,560
Speaker 5: is like the old timey and I'm like insert irol.

829
00:38:24,640 --> 00:38:26,960
Speaker 5: The old timy approach to public speaking is count your

830
00:38:27,000 --> 00:38:30,040
Speaker 5: ums in us. Stop doing that, like police yourself, stop it.

831
00:38:30,560 --> 00:38:34,080
Speaker 5: And my approach is like, what's going on in the

832
00:38:34,080 --> 00:38:36,120
Speaker 5: inside psychologically that's making you feel like you have to

833
00:38:36,160 --> 00:38:40,239
Speaker 5: prove yourself right because all of us have a version

834
00:38:40,239 --> 00:38:42,880
Speaker 5: of ourselves. That's like, how do I prove myself well,

835
00:38:42,920 --> 00:38:45,040
Speaker 5: I should, I should like shave off all the parts

836
00:38:45,040 --> 00:38:45,279
Speaker 5: of me that.

837
00:38:45,280 --> 00:38:47,400
Speaker 6: Are super weird, but you should bring that.

838
00:38:47,400 --> 00:38:48,839
Speaker 5: I should say that my biggest words that I have.

839
00:38:50,000 --> 00:38:51,759
Speaker 5: And then there's the other version of ourself that's with

840
00:38:51,760 --> 00:38:53,959
Speaker 5: our favorite people, and how do we bring that version

841
00:38:54,000 --> 00:38:54,279
Speaker 5: of us?

842
00:38:54,560 --> 00:38:58,200
Speaker 4: But you may be right, but like the perception that

843
00:38:58,239 --> 00:39:01,080
Speaker 4: the overall perception is that if you do too many

844
00:39:01,080 --> 00:39:03,920
Speaker 4: elms or too many likes, that it's there's a negative

845
00:39:03,920 --> 00:39:06,600
Speaker 4: perception behind that, right, But you're saying, although there's a

846
00:39:06,640 --> 00:39:09,280
Speaker 4: negative perception behind that, you should embrace it anyway.

847
00:39:09,400 --> 00:39:09,600
Speaker 1: Is that?

848
00:39:09,719 --> 00:39:09,920
Speaker 4: Is that?

849
00:39:09,960 --> 00:39:12,480
Speaker 5: What? No, I'm actually saying, Yes, And you know what

850
00:39:12,520 --> 00:39:14,560
Speaker 5: I'm really saying is what Wilmer said, which is which

851
00:39:14,600 --> 00:39:23,560
Speaker 5: is brilliant, just reflecting your brilliance, which which is what

852
00:39:24,080 --> 00:39:27,680
Speaker 5: you said, which is what actually happens in the human body,

853
00:39:28,080 --> 00:39:30,600
Speaker 5: is that when we are feeling more relaxed, more confident,

854
00:39:30,719 --> 00:39:33,200
Speaker 5: like we have less to prove, like we're around our

855
00:39:33,239 --> 00:39:36,880
Speaker 5: favorite people and they get us even if we're not.

856
00:39:37,600 --> 00:39:40,640
Speaker 5: If we give ourselves permission to show up that way, yeah,

857
00:39:40,880 --> 00:39:42,799
Speaker 5: we am the end a less.

858
00:39:42,600 --> 00:39:47,279
Speaker 4: Yeah, that's incredibly fascinating. But before we continue on, we

859
00:39:47,320 --> 00:39:48,400
Speaker 4: are going to take a pause.

860
00:39:48,760 --> 00:39:52,000
Speaker 2: This is the end of episode one of two. Because

861
00:39:52,000 --> 00:39:54,960
Speaker 2: you're giving us so much time. That's so thank you

862
00:39:55,040 --> 00:39:58,479
Speaker 2: for listening and watching. Uh those some egos and wim

863
00:39:59,000 --> 00:40:04,360
Speaker 2: with I'm Freddi Rodriguez. See you on the next one.

864
00:40:05,280 --> 00:40:09,160
Speaker 4: Dose Amigos is a production from WV Sound and iHeartMedia's

865
00:40:09,239 --> 00:40:13,160
Speaker 4: Michael through That podcast network, hosted by Me, Freddie Rodriguez,

866
00:40:13,280 --> 00:40:14,440
Speaker 4: and Wilmer Valdorama.

867
00:40:14,680 --> 00:40:18,840
Speaker 2: Those Amigos is produced by Aaron Burlson and Sophie Spencer Zabos.

868
00:40:18,880 --> 00:40:23,560
Speaker 4: Our executive producers are Wilmer Valdorama, Freddie Rodriguez, Aaron Burlson,

869
00:40:23,719 --> 00:40:25,920
Speaker 4: and Leo Klem at WV Sound.

870
00:40:26,120 --> 00:40:28,480
Speaker 2: This episode was shot and edited it by Ryan Posts

871
00:40:28,480 --> 00:40:31,560
Speaker 2: and mixed by Sean Tracy and features original music by

872
00:40:31,560 --> 00:40:33,200
Speaker 2: Madison Devenport and Halo Boy.

873
00:40:33,360 --> 00:40:36,800
Speaker 4: Our cover art photography is by David Avalos and designed

874
00:40:36,920 --> 00:40:38,600
Speaker 4: by Deny Holtz Clau and.

875
00:40:38,640 --> 00:40:41,240
Speaker 2: Thank you for being at Third Amigo today. I appreciate

876
00:40:41,280 --> 00:40:43,360
Speaker 2: you guys always listening to Those Amigos.

877
00:40:43,360 --> 00:40:46,040
Speaker 4: More podcasts from my heart, visit the ir heart Radio app,

878
00:40:46,239 --> 00:40:49,440
Speaker 4: Apple podcast, or wherever you listen to your favorite shows.

879
00:40:49,680 --> 00:40:51,319
Speaker 3: See you next week.