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Podcast. Do it now. Hey guys,

1:36

Dando here, and I just want

1:38

to give you all a heads

1:40

up that the audio of this

1:42

week's episode of tuned-in with Jim

1:44

Cummings really varies in quality due

1:47

to unforeseen tech issues at the

1:49

time of recording that we were

1:51

all unaware of. Our editors have

1:53

done all they can to salvage

1:55

what we were left with, and

1:57

I think they're pretty tip-top job.

1:59

But regardless, we apologize. in advance

2:01

and we hope you still enjoy

2:03

this week's episode of tuned-in of

2:05

Jim Cummings featuring the

2:08

one and only Pamela Adlon. How

2:10

you doing out there? It's

2:12

me Tigger. I am Duckwing Duck.

2:14

It's me bonkers. Gee bobcat.

2:17

All right y'er Ray. Your

2:19

favorite firefly. You desire to

2:21

hold knocker. My name is

2:23

Jim Cummings and welcome to

2:25

tuned-in. I mean this, this

2:27

man. sitting next to me

2:29

is I have, I have,

2:32

you know, I look at

2:34

everybody like in my life

2:36

as my teacher and my

2:38

mentor, but like truly my

2:41

mentor in Voiceover and

2:43

animation. We, it was

2:45

the days of Jim

2:47

Kirby. Mm-hmm. On Sunset.

2:49

Sure, sure. And Pontchick.

2:51

Bert bars and Kirby.

2:54

Bert bars and Kirby. And

2:56

I remember sitting in Pontchik,

2:58

remember the little place downstairs?

3:01

Oh yeah! That had rice

3:03

peel off like the Russian dairy.

3:05

Right, right. And it was you

3:08

and Pat music. And I was

3:10

like, feed me Seymour, teach me

3:13

your ways. That was early. I

3:15

think that was even before I'd

3:17

broken into animation and I was

3:20

doing like strictly radio. And when

3:22

I started it was like. I

3:24

was doing radio, like I got

3:26

hired to do that 7-Eleven

3:28

campaign with Jim Kirby. We used

3:30

to smoke in the studio with

3:32

me and he was like, all

3:35

right. And he would like start

3:37

the session and he'd be like,

3:39

young Kevin, always on the go.

3:41

And I'd be like, hey dad, I've got

3:43

a big thirst for a big gulp.

3:45

Because I'm always on the go, can

3:47

I bar the car? And I did

3:49

that for like four years, five

3:52

years. And I just wanted to

3:54

do. tunes. I wanted to do

3:56

animation and my first one

3:58

was Rugrats. and it was

4:01

just like guest starring

4:03

and like I was in

4:05

the green room with with

4:07

kree and e.g. and e.g.

4:09

and cath. All the boys.

4:11

Yes, all of us boys.

4:13

Yeah, yes, that's exactly right.

4:16

Yeah, young women were always

4:18

boys in cartoons because

4:20

their voice wasn't gonna

4:22

change. Yeah, and they like I

4:25

used to say, you know, call

4:27

me the cleaner like Harvey Kitell

4:29

and pulp fiction because like

4:31

I remember doing a show

4:34

called Bobby's World, which was

4:36

the Howie Wendell show. And I

4:38

was the third Derek, like

4:40

he had three brothers. They kept

4:43

casting like real teenage boys.

4:45

And of course their balls

4:47

dropped and they couldn't. So

4:49

I would say, they call me

4:51

the cleaner. And I would come

4:54

in and just take over and...

4:56

And your balls are drop free.

4:58

Yeah. So you were fine. Well,

5:00

I was born with my balls

5:03

dropped. Yes, they were. And eggs.

5:05

There was nowhere to go. That's

5:07

right. Oh God. Oh, I'm so

5:09

happy that you're here. It's been

5:12

so long. So I'm so happy

5:14

to be here with you. You

5:16

know, I have so many fond

5:18

memories of all the crazy things.

5:21

And... Screening. Yeah pulling in there

5:23

and just getting paid to, you

5:25

know, act out. I remember

5:27

you telling me the story

5:30

and I'm quoting from

5:32

memory and I've since

5:34

had three children and

5:36

they're all grown and

5:38

out of my house

5:41

which is unbelievable to

5:43

me. And I remember

5:45

you telling me. that you

5:47

started because you were in

5:49

school and you would always

5:51

have drumsticks. Yeah. Yep.

5:53

And can you tell about that,

5:55

about starting and doing

5:57

voices in class? Oh, well, yeah.

6:00

It's, I said it before, I,

6:02

it's a, I make my living

6:04

doing stuff that used to get

6:06

me kicked out of class. It's

6:08

so true. And, and I, you

6:10

know, I can remember very vividly

6:12

sitting on my dad's knee, we

6:14

were watching Jack Penny and Mel

6:16

Blanc came out and he started

6:18

doing, you know, doing all that,

6:20

he had this Mexican routine that

6:22

he did. And, uh, and my

6:24

dad goes, you see this bastard.

6:27

Everybody was a bastard to my

6:29

dad. You see this? See this

6:31

bastard? I'll tell you what. He

6:33

does all that, that Tasmanian devil

6:35

and the Daffy Duck and the

6:37

Bugs Bunny and the Sylvester. He's

6:39

the guy who does the voices.

6:41

And the first thing that hit

6:43

me was I don't have, he

6:45

doesn't have to stand in the

6:47

corner for being a weirdo. That

6:49

would be me. So I figured

6:52

if I aimed at that, maybe

6:54

I get to be him. Sorta.

6:56

You know, and so now I'm

6:58

him sorta and it worked out

7:00

you are completely, you know, unbelievable

7:02

like this brush with the king

7:04

Like this brush with Mel blank

7:06

and that your father Like kind

7:08

of like orchestrated that. Yeah, yeah,

7:10

that's incredible. Yeah, well by telling

7:12

me that there was no way

7:14

it was going to happen. Yeah,

7:16

but what are you going to

7:19

do for a living? No, that's

7:21

what I'll do Okay, but how

7:23

are you going to eat? I'm

7:25

going to do it really well.

7:27

And how? Yeah. And how. And

7:29

so here we are, right? Wow.

7:31

Yeah. Did you have that drive?

7:33

When did you know that you,

7:35

you know, this, you know what,

7:37

I'm going to aim over here

7:39

and I'm going to produce, I'm

7:41

going to write, I'm going to

7:44

direct, I'm going to act. I

7:46

love that you're asking me this

7:48

and, you know, being here with

7:50

you and talking about like the

7:52

beginnings, like the beginnings. you know,

7:54

where I am is all starting

7:56

from my voice. And, you know,

7:58

like my big influence, in what

8:00

I do in animation is

8:02

was wacky races

8:04

and snaggletooth. Mm.

8:07

Snagglepus. Puss, yes.

8:09

Snagglepuss. And, um... It's,

8:12

it's, you're right, you've

8:14

been, oh, dismissed,

8:16

playadiven. Yeah, that's, yeah. You

8:18

know, and I just, you

8:21

know, and my mother always

8:23

called me Penelope, you pit

8:25

stop. And, you know, I...

8:27

I was very kind of,

8:30

you know, I remember seeing

8:32

Errol Flynn in a

8:34

Bugs Bunny cartoon, but

8:36

he was Errol Flynn

8:38

in real life, and he

8:41

like flew in on a

8:43

vine, like as Robin Hood,

8:45

and landed, and he's the

8:48

real guy, and Bugs was

8:50

Bugs. And that... cracked my

8:52

head open. How did I not see

8:55

that one? I mean it just

8:57

was huge and I remember watching

8:59

it on TV in the 70s

9:01

and just being like you can

9:03

do that. You know my dad

9:05

was a writer and producer and

9:07

my dad was he used to

9:09

write comics and he started

9:11

out writing for Dell and

9:13

I know I read that that boggles

9:16

my mind. Yeah it's it's a big

9:18

part of you know my upbringing and

9:20

I was there. when Origins of

9:23

Marvel Comics came out when

9:25

Stan Lee wrote that and

9:28

in New York City like

9:30

in probably like 1969 or

9:33

70 and I still have

9:35

my original copy and you

9:38

know now like everything is is

9:40

so monetized and then it

9:42

was so pure yeah even

9:44

though like the way the

9:47

world is right now like

9:49

you know succibissing

9:51

itself and and just

9:54

like corporate has led

9:56

everything and you feel

9:58

like the entire industry

10:00

is gonna hang up its jersey

10:02

from the rafters in about two

10:05

years but I feel like there's

10:07

going to be a shift and

10:09

you know I spoke to two

10:11

incredible creatives today before you you're

10:13

you're you're you're you're the whole

10:15

you make it three you are

10:17

the whole Trinity of saying you

10:19

know we don't need to make

10:21

a lot of money and we

10:23

don't need a lot of money

10:26

and we don't need a lot

10:28

of money to make the art

10:30

we want to make. And I

10:32

mean that's kind of the thing

10:34

like through the years when you

10:36

know I was just an actor

10:38

because that's all I could allow

10:40

myself to aspire to. But I

10:42

was writing since I was a

10:44

teenager. I've had a camera or

10:47

a recording device attached to my

10:49

eye or my hand since I

10:51

was 12 years old. You know,

10:53

I used to go to Yale

10:55

lab in Hollywood. And so you

10:57

knew early on too. You knew.

10:59

Yeah, but I didn't know I

11:01

could make a living at it.

11:03

Oh, okay. But you, that's interesting.

11:05

You kind of were like, also

11:08

you're a guy. Yeah. And I'm

11:10

not, I guess, but I mean,

11:12

yeah, you are. It's gonna say,

11:14

Bobby? Yeah. That's my bad. Oh,

11:16

no, it's good. Bobby. I'm done.

11:18

No, I was just, I was

11:20

just at lunch at the, this

11:22

place on Vineland, the farmhouse, like

11:24

in the hotel, and the waiter

11:26

comes over and he's like, the

11:29

chef knows you're here and he's

11:31

getting this tattooed and he shows

11:33

me, like his phone, he leaves

11:35

it on the table of Bobby.

11:37

And he said he wants you

11:39

to write something that he can

11:41

overlay. I'm like, this is a

11:43

lot of pressure. Oh my god,

11:45

and he's gonna have it. Like,

11:47

what if I don't write good?

11:50

Yeah, oh my god. I have

11:52

people do that. I know. And

11:54

then they come up, like at

11:56

a convention on a Friday. Here,

11:58

would you sign then? Yeah, and

12:00

so. And then she brings it

12:02

back and it's my name and

12:04

I go, oh, I wouldn't have,

12:06

I would have spelled it. I know,

12:08

I want to take in a

12:11

calligraphy class, come on. Something.

12:13

It's been kind of just

12:15

the reflection on, oh, I've

12:17

always been doing this stuff. But

12:20

there was a point where I

12:22

couldn't pay my rent. And

12:24

it's always been voiceover and

12:26

animation that. has been my

12:29

bread and butter. And it

12:31

doesn't matter, like, I was on

12:33

TV and I made enough money

12:35

to buy my first apartment

12:38

when I was a teenager.

12:40

Wow. But I got fired. And

12:42

then I wasn't on TV anymore.

12:44

And what's your good fire? What

12:47

was the role? I was on

12:49

a show called The Facts of

12:51

Life. And like, oh yeah. It

12:53

was later in the later seasons.

12:56

And they were trying everybody. You

12:58

know, like I think it was

13:00

like me and Molly Ringwald and

13:02

George Clooney and Felice Actor and

13:05

McKenzie Aston, like they tried all

13:07

of us and we all got

13:09

the boot. And, um, but that

13:11

that was the days that they

13:13

had like really a lot of money.

13:16

So my mother was really smart.

13:18

She invested my money

13:20

in an apartment. But then

13:23

later, you know, I was in my

13:25

20s. I could not pay the rent.

13:27

I had to go to errands

13:29

on labria the record store.

13:31

Mm-hmm. Do you remember it? I

13:34

sure do. And I had to

13:36

sell my record collection to

13:38

pay my rent. And then

13:40

I started doing, you know,

13:43

I started getting parts and

13:45

getting hired and like I

13:47

met you and Pat and you

13:49

know, and Ginny McSwain, like and

13:51

so you, you, and, um... You'd

13:54

meet people and they'd be

13:56

like, okay, okay, I know Jimmy

13:59

can do. all these characters

14:01

and get Pammy in here.

14:03

She could be the mom,

14:05

the army man, and the

14:07

son. Like, you know, like

14:09

we had range for days.

14:12

Yeah, that's right. Jeff Bennet,

14:14

B.W. Billy West, John DiMaggio,

14:16

Kathy O. Yeah. You know,

14:18

we made the transition because

14:20

we couldn't quite make it

14:22

on camera. And there was

14:25

that old joke in those

14:27

days. You know, she's got

14:29

a face for radio. Oh,

14:31

yeah. Yeah, that was usually

14:33

about me. But yes. He's

14:35

got a face for the

14:37

microphone. No, no. That's great.

14:40

You know what? So what?

14:42

That's how I met Mark

14:44

Hamel. And Mark was like.

14:46

The funniest person in the

14:48

world? You're like, wait, you're

14:50

funny. Like, what? He's the

14:53

greatest guy on the block,

14:55

yeah. The best. And it's

14:57

funny, I'll bet he was

14:59

more excited to meet you

15:01

than you were to meet

15:03

him. Oh my God, I

15:05

was a nobody when I

15:08

worked with Mark. I don't

15:10

know about that. But he's

15:12

a historian. You know, he

15:14

knows the guy who did

15:16

the Third Cave Man on

15:18

the Right and the Eight.

15:21

Yes. We got to get

15:23

him on. We got to

15:25

get him on this. I

15:27

did. I did. I did.

15:29

You call him? We'll all

15:31

pile on. But I did

15:34

a series with Mark and

15:36

Rob Paulson called Time Squad.

15:38

Okay. Yeah. Dave Wasson's show.

15:40

He's the guy who does

15:42

Cuphead now. Oh. It was

15:44

a great show. Yeah. I

15:46

like the Cuphead show too.

15:49

Yeah. That's really interesting. Yeah.

15:51

And it's like. Fleisher like

15:53

the flavor. Fleisher. I love

15:55

that. It's a real throwback.

15:57

Yeah, it's it's incredible. You

15:59

should have Mauricio on the

16:02

show too. from Rock and

16:04

Toons. He's the guy who's

16:06

like saving the Fleisher library.

16:08

And I met Jane Fleisher,

16:10

Max's granddaughter with Mauricio. And

16:12

he's like the kid of

16:15

Mexican immigrants who's obsessed with

16:17

old animation old school. He's

16:19

just like a really incredible

16:21

guy. But Time Squad with

16:23

Mark Hamelin, Rob Paulson.

16:26

We did it at Cartoon

16:28

Network. And my God, it

16:30

was the greatest. Most inappropriate

16:34

sessions in the world. Well,

16:36

you must have been shocked.

16:38

We would have, oh my God, and

16:41

we would do some things.

16:43

Anyway, I mean, and everybody

16:45

was in that show.

16:47

Like, everybody came through

16:49

Tom Kenny, Kevin, Michael

16:51

Richardson. And there were

16:53

people who would come

16:55

in and do things

16:57

that would Blow my mind like

16:59

people who Were just people

17:02

and you don't remember their

17:04

names and like one guy

17:06

came in and did every

17:08

single character from the

17:11

wizard of us Like within

17:13

60 seconds. Oh, I remember

17:15

being in sessions pretty

17:17

good. Oh sessions with Jeff

17:20

Bennett Billy West and like

17:22

The creators of the show total

17:24

firepower the creators of the show

17:26

going what else you got and

17:29

they're like Flipping through their relatives

17:31

Yeah, well Jeff's amazing. He can

17:33

come up with stuff left right

17:36

and center incredible. Yeah unbelievable got

17:38

to get him on here one

17:40

of these. Yes That's for sure.

17:42

That is for sure. We'll tag team.

17:44

Yeah, yeah, that sounds good. How are

17:47

you doing that name, Brendan? I'm good.

17:49

I'm just loving that this is somewhat

17:51

of a King of the Hill reunion

17:53

because he got Bobby and Pops. Oh,

17:55

yeah. Did you remember Jim was on

17:58

King of the Hill, Pamela? Oh my

18:00

god. On King of the Hill.

18:02

That's so good. There's duties in

18:05

that bagger. Oh my god. Yes

18:07

there. Yes there is pop. And

18:10

then he would, you know, we

18:12

need to have pops back. Yeah,

18:14

we, yeah. Wow. I don't even

18:17

have to try very hard. So

18:19

good. Just some old part. How

18:21

is, how's the reboot going? Have

18:24

you finished recording everything yet or?

18:26

Yeah. coming out next year. Yeah.

18:29

Yeah. Because I know they've revealed

18:31

that Bobby's now older and a

18:33

chef or something, but yeah, it's

18:36

pretty exciting. I mean, I'm a

18:38

huge King of the Hill fans.

18:41

I'm pretty excited. Yeah, me too.

18:43

I learned, um, I learned a

18:45

lot about writing for myself as

18:48

a writer from being on King

18:50

of the Hill. And, you know,

18:52

I remember some people would be

18:55

like, you know, it's a cartoon.

18:57

I'm like, back off. because it

19:00

wasn't it was so much more

19:02

like it was it was like

19:04

this 2D animation but it was

19:07

a really well-written sitcom the way

19:09

it was so grounded and they

19:12

would let moments happen and be

19:14

organic it was just really an

19:16

extraordinary experience it it really was

19:19

the writing was incredible it was

19:21

really really and they really did

19:23

it really it was so subtle

19:26

Bobby's inclination. His predilection, you had

19:28

the idea that once he hit

19:31

puberty, it was, it was stand

19:33

back. Yeah. Because mom, I'm gonna

19:35

be in your closet for a

19:38

while here. Yeah. Don't just... But

19:40

everybody thought like, you know, that

19:42

Bobby was gay or whatever. But

19:45

he was a ladies man. Like,

19:47

I mean, you gotta see, he

19:50

was the next Dalai Lama. You

19:52

know he he like rubbed chocolate

19:54

all over his chest for you

19:57

know Connie and and Marie and

19:59

He was That's pretty romantic.

20:01

He was more layered. He

20:03

was, he was much, much more

20:06

layered than, you know, the surface.

20:08

One would, yeah, that's right. Yeah.

20:10

What's keeping you the busiest these

20:13

days there? Do you care to

20:15

even be busy? Are you done with

20:17

it all? Yeah, I have a lot of

20:20

energy since my youngest daughter

20:22

just moved out of the

20:24

house. Bless you. And that...

20:26

You know, I directed my

20:28

first feature, which came out

20:30

this year, and it premiered

20:33

at South by Southwest.

20:35

Babes. Babes. Babes. Yeah. And

20:37

did you see it? No. Anyway.

20:40

I've seen many scenes. I

20:42

think the milk scene. Oh,

20:44

there you go. Tripping on

20:47

mushrooms. Milk spurts through her

20:49

shirt. But, um... I was

20:51

gonna... Okay. I was gonna...

20:53

Say I have that effect

20:55

on microphones. They just go

20:57

pew So you know I'm

21:00

still very much Working I'm

21:02

not I you know I've

21:04

been trying to get my

21:06

film made that that I

21:08

wrote four and a half

21:10

years ago, but you know

21:12

in the past you know

21:14

since I became a boss

21:16

and a director and

21:18

Running sets and everything

21:21

the business is like

21:23

taken a like sideways turn

21:25

because there's been all

21:27

the mergers like the mergers

21:30

are killing everything and then

21:32

we had COVID and then

21:34

we have strike yeah I'm

21:36

very motivated I do even though

21:38

I'm working all the time I

21:41

do a lot of mentorship

21:43

and so I bring people

21:45

along with me and when

21:47

I'm working to shadow me

21:49

I just feel like everybody

21:51

has space next to them.

21:53

when they're working to raise

21:55

people up and help them

21:57

and teach them. That's well said.

22:00

And I feel like, you

22:02

know, since you are, and

22:04

I've always called you, my

22:06

OG mentor in voiceover, that

22:08

it's kind of, everything is

22:11

like, the synchronicity of everything

22:13

right now is kind of

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apply I have a question for

23:42

you. Yes. You've done so many

23:45

different walks in the entertainment business.

23:47

Directing, voice acting, acting, on camera,

23:49

yada yada yada. Do you have

23:51

a favorite creative endeavor pursuit? Or

23:54

is it just kind of the

23:56

whole creation that gets you going?

23:58

I like working. I'm not a

24:00

snob. I like to do

24:02

anything. And, you know, from

24:05

like my first movie, which

24:07

was Greece too, you know,

24:09

on camera, which is like

24:11

so silly that, you know, when

24:13

I think back to it, you

24:15

know, that I went back to

24:18

school and it was like,

24:20

I was punished. for having

24:22

a job in Hollywood and all

24:24

I wanted to do was

24:26

like hammer a nail into a

24:28

set or just be part of

24:31

things. So I don't discern but

24:33

if I had a choice now,

24:35

number one is just only to

24:37

work with good collaborative people. I

24:39

just I have no room for

24:41

assholes in my life. I'm in

24:43

my 50s. I have work to

24:46

speed by the time you get

24:48

to me. That's right. That's all.

24:50

I love that. It's true. And

24:52

I, you know, I have been

24:54

taking care of people for

24:57

a long long time and

24:59

I've been responsible since

25:01

I was a teenager.

25:03

And so I just

25:05

really like, don't waste

25:07

my time. Don't waste

25:09

my time. Do you want

25:11

me here? Don't thirst trap

25:14

me here. Like, let's work

25:16

together. I'm very collaborative

25:18

and I'm just looking

25:21

for the right next

25:23

thing because you know when

25:25

you direct a feature that's two

25:27

years of your life. When you

25:29

do a show that's every second

25:31

of your day. Well that's for

25:34

sure, huh? Yeah, and you know

25:36

this morning I just like I

25:38

had a conversation with Mark Duplace

25:40

who's somebody like you know we

25:43

really like each other what we

25:45

do what we do. And it's

25:47

kind of like, it's, it's like

25:50

tribe. We want to find something

25:52

together and it doesn't have

25:54

to be expensive and we're

25:56

talking about that. So it's

25:58

like, you know, these like. Splinter

26:01

factions are happening within our

26:03

industry, like with music, with

26:05

animation, with art, with all

26:07

of it, you know, I

26:09

don't want to call it

26:11

content because that's really offensive

26:13

to me. Why's that? Because

26:15

it's like, um... It sounds

26:18

like filler. Yeah. If you

26:20

don't care, um, the way

26:22

the... the lighting feels you

26:24

know or the way your

26:26

furniture is and you're not

26:28

putting an effort and you

26:30

don't have any style and

26:33

you don't have any care

26:35

I care and I the

26:37

way I curate what I

26:39

do it's not only the

26:41

writing it's like I call

26:43

myself like the rock tumbler

26:45

like it goes to my

26:48

rock tumbler and I know

26:50

it's gonna work at the

26:52

at the top of the

26:54

podcast you mentioned you feel

26:56

like there's a shift coming

26:58

in Hollywood is that what

27:00

you're referring to, like a

27:03

shift to more creative endeavors

27:05

rather than like big budget,

27:07

you know, flashy. It's after

27:09

this wildfire is just going

27:11

to go through everything. Like,

27:13

you know, I mean, there

27:15

was a certain point that

27:18

I had this wonderful project

27:20

with Swampi Marsh, who created

27:22

Phineas and Ferb and Milo

27:24

Murphy's Law with Dan Povan

27:26

Meyer. And Richard O'Brien, who

27:28

wrote the Rocky Horror Show,

27:30

total legend. He wrote this

27:33

gorgeous, gorgeous thing. And I've

27:35

never pitched something harder and

27:37

worked harder for something that

27:39

I, you know, and I

27:41

would give people instructions on

27:43

how to listen to it.

27:45

Like close your door. It's

27:48

about 38 minutes. Get your,

27:50

put your, throw your phone

27:52

in the toilet. Sit back,

27:54

listen to this, read the

27:56

libretto, like it was just

27:58

this gorgeous thing. everybody was

28:00

afraid of it and then I'd

28:03

be like what happened to those

28:05

cool people we met last week

28:07

oh one was fired the other

28:09

the company folded like that's the

28:11

way it's been yeah boy so you

28:13

can't blame people that's the way

28:16

it goes yeah you know things get

28:18

built up and and you got

28:20

this great avenue oh what do

28:22

you mean they don't work there

28:24

anymore would the company folded oh

28:27

Yeah. Back to the drawing board.

28:29

Then you start over. Yeah, and

28:31

it's also, I mean, that's

28:33

just the schism that exists

28:35

right now. And I just feel

28:38

like it's going to shift.

28:40

But it's the same thing and

28:42

it's the same, you know, advice

28:44

that you give to somebody

28:46

who's like, I want to

28:48

get into voiceover, I want to

28:50

get into music, I want to

28:53

get into graphic design. Well, you

28:55

got it. You gotta do it.

28:58

You gotta practice. You know,

29:00

like, you gotta do your

29:02

work before the day you

29:04

start the job. Absolutely. That's such

29:06

a resounding statement, you know, like. throughout

29:08

all of entertainment. I mean I even

29:11

get people asking me like I want

29:13

to start a podcast like oh you

29:15

guys have a podcast what's going on

29:17

and I'm like just do it like

29:20

literally use your phone and just record

29:22

it yeah just go just go do

29:24

something because you learn so much along

29:26

the way you know like this is

29:29

my first time ever doing a podcast

29:31

I've learned so much over this course of

29:33

a year you know it's like it's being

29:35

how's my stepfather yeah yeah Oh my God!

29:38

Wait! I remember this.

29:40

Oh you did? Okay. I remember

29:43

hearing like about, you

29:45

have a daughter? Well, I

29:47

have four of them. That's

29:49

right. Yeah, so. That's

29:52

right. I mean, they're

29:54

all girl dad. And then

29:56

I became the girl mom.

29:58

Yes. Oh wow! with Odessa

30:00

and... Yeah, Gideon and Rocket. Have

30:02

you ever worked with your daughters?

30:05

Yeah, actually, um, Gideon and I

30:07

did the ghost and Molly McGee

30:09

together. Yeah, there was something. And

30:11

also, another one, uh... And she

30:14

was a little nipper, right? No,

30:16

that was, that was later. Oh,

30:18

that was later. But I know,

30:20

like, Kree brings her girls in

30:22

to the studio to do that

30:25

kind of stuff, but... Yeah, that's

30:27

so, that's so funny. It's just,

30:29

that's so cool. I love that.

30:31

Yeah. Nepo babies. That's right. I

30:33

actually wanted to talk about that.

30:36

I wanted to talk about that

30:38

because you, your, your family was

30:40

in the entertainment industry and I

30:42

feel like there's so much criticism

30:44

for Nepo babies these days. Did

30:47

you ever feel that growing up?

30:49

What was that like experience in

30:51

that? I also feel like the

30:53

term Nepal baby is a very

30:55

now, like of this time. For

30:58

sure, you know, because it's like,

31:00

you know, here's the thing. If

31:02

somebody is related to somebody and

31:04

it makes somebody interested to meet

31:06

you, it gets you in the

31:09

room. But then you've got to

31:11

have something going on. You got

31:13

to have something going on. You

31:15

got to have something to keep

31:17

you there. Like you can't. You

31:20

can't look at. Cooper Hoffman. I

31:22

think that's Philip Seymour Hoffman's son

31:24

and go he only got it

31:26

because his dad was the greatest

31:28

yeah American character actor like and

31:31

then there's the stereotype of like

31:33

the lazy rich kid who has

31:35

no ambition you can't have both

31:37

you know like you can't have

31:39

but that's I think why it's

31:42

a stanky kind of you know

31:44

label because It's like the people

31:46

who come from it who didn't

31:48

like put in the work you

31:50

want But you have that, you

31:53

have that in anything though. Like

31:55

nobody, nobody really gets mad at

31:57

like somebody who goes works for

31:59

their parents financial firm, you know,

32:01

like that's not like, oh you

32:04

only got this, it's like, oh

32:06

yeah, it's expected, you know, like,

32:08

oh my parents work in the

32:10

mines. Like I'm probably going to

32:12

go work in the mines too,

32:15

you know, or like a family

32:17

coffee shop, you know, nobody's like,

32:19

oh, you work at this coffee

32:21

shop because your parents own it,

32:23

you know, you know, you know,

32:26

you know, you know, you know,

32:28

you know, you know, like, like,

32:30

like, like, like, like, like, like,

32:32

like, like, like, like, like, like,

32:34

like, And I'm like, you know,

32:37

my dad's an actor and like

32:39

I was raised on set and

32:41

you know that whole world like

32:43

enamored me, you know, being on

32:45

a sound stage, seeing the creation

32:48

of all these different worlds, you

32:50

know, especially a sci-fi show and

32:52

it was like, yeah, no kidding,

32:54

I want to do this. Like

32:57

it's like my whole livelihood, it's

32:59

my environment growing up like, you

33:01

know, and in the publishing world

33:03

and you know with comics and

33:05

and you know that was just

33:08

a huge part of what formed

33:10

me and I love horror my

33:12

dad wrote horror comics as well

33:14

and then just like kind of

33:16

moving through all those phases I

33:19

didn't really know but I did

33:21

there was one time my dad

33:23

was doing a pilot with Jimmy

33:25

Comac who was like the producer

33:27

of like welcome back hotter and

33:30

she opened the man and like

33:32

this is all the og back

33:34

in the 70s and it was

33:36

a musical of Archie and it

33:38

was Archie comics Archie comics and

33:41

it was Audrey and Judy Landers

33:43

and oh my god I don't

33:45

remember the rest of the cast

33:47

but I was like obsessed with

33:49

what was going on there, but

33:52

all I wanted to do was

33:54

to pretend to be a producer

33:56

and I was like 11 years

33:58

old. And like I threw a

34:00

scarf around my neck because I

34:03

thought that's what it was. Sure.

34:05

Producers. How about a beret? Wear

34:07

scarves. Maybe a beret. Or a

34:09

trill or whatever the hell does it?

34:11

And I remember I grabbed. They had

34:13

like there was a script like on

34:15

a chair in the audience seats and

34:18

I put it under my arm and

34:20

I was terrified that somebody was going

34:22

to go. What are you doing

34:24

with that little boy?

34:26

Because my hair was like

34:29

so short and everybody called

34:31

me he him when I

34:33

was 10 and 11 and

34:36

I remember Jimmy Comac

34:38

Let me do the warm-up

34:40

for the audience when I

34:42

was 11 and tell jokes and

34:45

Wow Yeah, you must have had

34:47

a lot of gland. That's

34:49

awesome. Yeah, I had some

34:51

glands Yeah, I mean that's

34:53

I think I told some

34:55

inappropriate jokes I'm sure you did

34:57

which I'm tempted to ask

35:00

if you can remember them

35:02

Or you just have to make up

35:04

a new dirty joke I suppose

35:06

I mean I remember one which

35:08

was like how does an

35:11

alien or somebody put on

35:13

deodorant and then I just

35:15

sprayed the deodorant like this,

35:18

like it was like an

35:20

after. It's a visual. It

35:22

is. It is a nurse.

35:24

That's right. Hopefully they're watching.

35:27

Can I ask, do you

35:29

find it easier to be

35:31

an actor taking directions or

35:33

be the director giving the

35:35

directions? Here's the thing.

35:38

I love as an actor, a

35:40

director, who gives me a

35:42

direction. But you know being

35:44

an actor who's done many

35:47

different series like you know

35:49

seven seasons of California

35:51

Cation 13 seasons of

35:53

King of the Hill and

35:55

Whatever else I've done you

35:58

know when somebody has

36:00

something to offer you. And

36:02

that's where I learned the

36:04

most, I caught myself. You

36:06

want me to look at

36:08

you here. That's where I

36:10

learned the most as a

36:12

director being an actor. Because

36:14

I knew the value when

36:16

somebody would come to the

36:18

show, like with the revolving

36:20

directors. And you know, because

36:22

actors. Don't give a shit

36:24

about focal lengths. They don't

36:26

care about whatever toys you've

36:28

got. They need something. So

36:30

tell me something. And when

36:32

you're watching a show or

36:34

a movie or a play,

36:36

do you really care about

36:39

the drone shot over the

36:41

Florida Keys and Roadhouse? But

36:43

subconsciously I think it adds

36:45

acting is raw and bad

36:47

you're like there was no

36:49

director here. Yeah. So I'm

36:51

I learned from being an

36:53

actor going daddy daddy give

36:55

me something you know we

36:57

don't need to talk about

36:59

the three different well acting

37:01

and reacting it's yeah and

37:03

you you That's why I'm

37:05

like, you know, you've got

37:07

to do the work before

37:09

you go to work. So

37:11

it's different for me like

37:13

when I'm an actor I

37:15

do my line work and

37:17

everything when I get to

37:19

the set as a director

37:21

I think about the whole

37:23

piece, but I like to

37:25

work organically with everybody who's

37:27

there as an actor as

37:29

well, but you're within the

37:31

constraints of the director's vision.

37:33

Yeah, wow. But I love,

37:35

I love both, you know,

37:37

I just did an episode

37:39

of Elles Beth. which was

37:41

on this week, this last

37:43

week, and when I went

37:45

there, I was like, oh

37:47

my God, I think I

37:49

forgot how to, I can't

37:51

do this. And on day

37:53

three, after lunch, I was

37:55

like, oh, I get it.

37:58

Oh, Jesus. It's a totally

38:00

different thing, totally. And it

38:02

was so much fun. And

38:04

I just love that. I,

38:06

you know, and I'm. going

38:08

to do an episode of

38:10

this show called Mid-century modern

38:12

this week and play Nathan

38:14

Lane's sister and Linda Laven's

38:16

daughter. Oh, wow. Nathan Lane's

38:18

sister. I'm dying. Like, wow.

38:20

And if you guys haven't

38:22

seen the bird cage or

38:24

the original Alice, forget it.

38:26

Go see it now. But,

38:28

you know, it's like I'm

38:30

going across the genres still.

38:32

Like that's the way I

38:34

came up. So I did

38:36

Els Beth Beth. And now

38:38

I'm gonna do mid-century modern,

38:40

which is like a multi-cam,

38:42

which I haven't done, you

38:44

know, in probably like 18

38:46

years. Was California Cation multi-cam?

38:48

No, it was single? No,

38:50

that was a single camera

38:52

camera. I wouldn't have thought

38:54

that. Yeah. Wow, it was

38:56

well done. Yeah. How long

38:58

were the days on that

39:00

show? I don't even know.

39:02

Not too, not too brutal.

39:04

Yeah. Not too bad for

39:06

me. But yeah. You know,

39:08

yeah, we weren't multi-cam on

39:10

that, but it really is

39:12

like, so for me, I

39:14

just directed a feature and

39:17

then I just, I did

39:19

Ellsbeth, I'm going to do

39:21

Mid-century Modern, but the consistency

39:23

of animation has stayed in

39:25

my life and it's like,

39:27

I can't even believe it,

39:29

like I pinch myself. that,

39:31

you know, I get to

39:33

still go to LA Studios

39:35

every other. week. Oh, that's

39:37

so great. You know what

39:39

I mean? Like, you know,

39:41

because I do like hamster

39:43

and Gretel and I go

39:45

and I look at the

39:47

animation and I'm like, this

39:49

is incredible. Hamster and Gretel.

39:51

Yeah, that's nice. That's Dan

39:53

Pohmann-Myers. Yeah, it's funny. Yeah,

39:55

well, he's, they're pretty good.

39:57

So good. They really are.

39:59

Yeah, they're perfect weirdos, which

40:01

I love that about them.

40:03

Yeah. Yeah, yeah, like their,

40:05

like their, their, eccentricity eccentricity

40:07

eccentricity has. eccentricity has. all

40:09

of the stuff like that

40:11

we came from now as

40:13

part of what we do.

40:15

Yeah, oh it's so true.

40:17

So when you come up

40:19

with characters do you do

40:21

the same thing I do

40:23

do bad impressions of your

40:25

relatives? How do you like

40:27

that? How do you conjure

40:29

up your your critters? Because

40:31

I've had people have asked

40:33

me this so I figured

40:36

I'm going to turn around

40:38

and ask it of others

40:40

as you know I have

40:42

a mini philosophy that if

40:44

you do a perfect impression

40:46

of somebody nobody knows it's

40:48

a new character. It's a

40:50

new character. Because they don't

40:52

know. That's right. If you

40:54

do a terrible impression, if

40:56

someone, everybody knows, they don't

40:58

even know who it is.

41:00

That's a new character. And

41:02

if you put two people

41:04

together and kind of come

41:06

up with what, you know,

41:08

like, I have a character,

41:10

Honda, Al Naka, who's Yule

41:12

Brenner and Charles Bronson. Oh,

41:14

that would be one ugly

41:16

kid. But actually, Honda's not

41:18

that good looking. So maybe

41:20

that does what? Oh my

41:22

God. What does he sound

41:24

like? Well, he kind of,

41:26

he sort of sounds like

41:28

this. You know, I can't

41:30

believe the good fortune that

41:32

you must have had to

41:34

have run into me today.

41:36

Because you see, I have

41:38

an investment opportunity for you

41:40

just under your wallet. You

41:42

know, and he's, he's, that's

41:44

him. And that's your, your,

41:46

Brenner Charles Bronson. No one's

41:48

ever busted me on it.

41:50

Because nobody could ever, are

41:52

you kidding? I do have

41:55

Charles Bronson on Black Velvet

41:57

in the living room of

41:59

my house. Yeah, I also

42:01

have a painting of George

42:03

C. Scott as Patton And

42:05

the rat pack like these

42:07

are the things that Charles

42:09

Bronson on black belt. Oh, yeah,

42:11

I'll take a picture and send

42:13

it to you. Please I know

42:15

You know, that's wonderful. Of course

42:18

I do my relatives. Of course

42:20

I do my relatives. Of course,

42:22

yeah, okay. Of course and you

42:24

know whenever I mean I mean

42:26

reality shows if you like see

42:29

a character on a reality show

42:31

you're like you pause it and

42:33

you go back you're like this

42:35

is insane like this is

42:37

the best opportunity for this

42:40

voice but we don't have

42:42

as many jobs and opportunities

42:44

to do it anymore. Yeah. You know,

42:47

and creators are doing

42:49

their own voices. Yeah, yeah,

42:51

those bastards. I know, I

42:53

know. I remember, I remember

42:55

this girl in a park

42:57

one time and like everybody's

43:00

got like a different like,

43:02

she didn't have enough for

43:05

lip and she was like,

43:07

did you see my dog?

43:09

You know, and there's different

43:12

things that, you know, I used

43:14

to answer the phone. at home

43:16

and answer hello. And my

43:18

daughters would, it's so funny

43:20

because I'm dry right now. I

43:22

hate those voices that do

43:25

the stretch, you have to

43:27

sustain for four hours. Yes.

43:29

So when you're doing like

43:31

a female, yo dad, don't you

43:33

know? Oh man. You know, now

43:35

I sound like Andy Kaufman, but

43:38

they're all in there. They're all

43:40

in there. Better than Andy

43:42

Devine. Well, exactly. He's, well,

43:44

he was Gene Autry's, I

43:46

think it was Gene Autry's

43:48

sidekick. The old, he was one of

43:50

the old, he was one of the

43:52

old side kicks from Western's. You know,

43:54

you said critters to me, and

43:57

I remember one of my first

43:59

also jobs was. Capital Critters at

44:01

Hannah Barbara. Yeah, yeah, yeah. I

44:03

remember that show. I still look

44:06

at that building and I'm like,

44:08

yeah. Yeah, right across. Yeah, I

44:11

was surprised they took that down

44:13

because I made it an apartment

44:15

building. Yeah, not that it should

44:18

have been in the Smithsonian, but

44:20

it was weird. I think it

44:22

should. The Hannah Barbera animation studio

44:25

is now an apartment building. We

44:27

need housing too, okay? We need

44:29

housing. Yeah, that's right. Yeah, it's

44:32

this just like generic building across

44:34

from LA Studios on Kowanga. And

44:36

they churned out so many cartoons

44:39

for so many years. Oh my

44:41

God. You know what cracks me

44:43

up? And I can still see

44:46

them doing it. Some of the

44:48

animators, because they all work. They

44:50

were right there. Everything happened at

44:53

Santa Barbara. Boom, boom. Here's some

44:55

music, here's recording, here's Gordon Hunt,

44:58

here's the, okay, and now here's

45:00

the art room, here, they were

45:02

there, okay, good. And, and they

45:05

were painting all these cells. And

45:07

they had these really, really thick

45:09

cells, animation cells, and they would

45:12

flick them down the hallway, then

45:14

run and jump and slide on

45:16

them and ruin them. And you'd

45:19

go out and you see the

45:21

dumpster, you know, because it was

45:23

out. piles like this thick. I

45:26

mean it had to weigh probably

45:28

like 50 pounds. Oh my god.

45:30

Huckleberry hound or quick door, who

45:33

only knows? Quick drop, you know,

45:35

the Flintstone, Flintstone kids. And there

45:37

were all these cells that nowadays

45:40

would be like, you know, you

45:42

grab a hold of that and

45:44

you could. Solid and retire. That's

45:47

it. At the time they probably

45:49

don't think it's ever going to

45:52

be valuable. I mean, even at

45:54

the time of recording this, like

45:56

if you told me sometime in

45:59

the future, like SD cards, they're

46:01

going to be valuable. Like, oh,

46:03

this is the original SD card.

46:06

Or, you know, an iPod first

46:08

generation or your Walkman. Yeah, because

46:10

everybody's so fetishizes the past, but

46:13

they're so eager to wipe it.

46:15

away. You know, people aren't taking

46:17

care of archiving, you know, and

46:20

it's getting a race, just like

46:22

racism. So anyway, sorry. L-O-L, let's

46:24

not go there. Cool. Women are

46:27

great. Cool. Yeah. But I did

46:29

my first series. animated series at

46:31

LA Studios when they used to

46:34

have Jimmy in the bathroom. There

46:36

we go. Do you remember what

46:38

they had in the bathrooms at

46:41

LA Studios? This is how far

46:43

back we go. When George used

46:46

to be in the upstairs and

46:48

he would say, you know, remember

46:50

the engineer George upstairs in LA

46:53

Studios who like plays in a

46:55

band at the Bake Potato Still.

46:57

Yeah. He used to be like

47:00

Studio C upstairs. He would say,

47:02

okay, roll the black shit. Yeah.

47:04

Because it was these big, big,

47:07

gigantic spools of tape. And it

47:09

was tape, like this thick, this

47:11

white tape. Yeah. And George would

47:14

always go, roll the black shit.

47:16

I mean, I started doing animation

47:18

when we would go in. audition

47:21

in the booth and they would

47:23

tighten the reals. Yes. My agents

47:25

would tighten the reals. That's right.

47:28

It's so unbelievable. Yeah, exactly. It

47:30

was like, yeah. Hello, it is

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48:56

And more. What was in the

48:58

bathroom? What was in

49:00

the bathroom at LA

49:02

Studios? A bidet? Oh, oh

49:05

that's right. There you go!

49:07

Yeah, that's right. There was

49:09

a bidet in the bathroom

49:11

at LA Studios. You would

49:14

spend hours in there.

49:16

Well, my first series

49:18

was called Phantom 2040.

49:20

And Stu Silver was the

49:23

director. That was the guy

49:25

from, he lived in Africa and

49:27

he had the, was it the

49:29

phantom, like from the comic books?

49:31

I don't know, it was phantom

49:34

2040 and it took place in

49:36

LA and I played sparks. Oh.

49:38

And it was like in the

49:40

future and I would talk about him

49:43

and say, me, I'm just a kid.

49:45

And then, you know, Jeff Bennett was

49:47

in it. And I remember he had

49:49

a line that he was like, we're

49:51

gonna get some food tubes and we're

49:53

gonna res down. Like, and nobody knew

49:56

what they were saying or doing. Yeah.

49:58

It was future speak. It was.

50:00

future speak, who was Jeff Bennett,

50:02

Scott Valentine, Leah Reminy, Kerry Snodgrass,

50:04

Margo Kitter, Paul Williams. Whoa. It

50:07

was just like, I just saw

50:09

him a few weeks ago. You

50:11

did? Yeah. Oh, I was obsessed

50:14

with him. What a guy, what

50:16

a, what a, what a, wow,

50:18

that was a cast. Yeah, that

50:21

was my, my first series. I

50:23

know, incredible. That's an amazing cast.

50:26

That's not bad right out of

50:28

the gate, huh? I know and

50:30

how we used to always, um,

50:33

we would all do shows together.

50:35

Yeah. Which I love. I think

50:37

that's the only way to do

50:40

it. We miss it. Yeah. Yeah,

50:42

make a note. I did one

50:44

series with Taj Mahal that he

50:47

did a voice in and he

50:49

would like have his deal. Dobro.

50:51

Yeah, yeah, yeah, and he kept

50:54

he would claim the guitar like

50:56

against the mic stand and I'd

50:58

be like is this usable? Yeah,

51:01

man, like Taj Mahal, like we

51:03

would all hang out together and

51:05

I was pregnant with my first

51:08

daughter and Taj Mahal sang a

51:10

song to her while she was

51:12

in my belt. I mean, man,

51:15

come on. What do you want

51:17

egg in your beer? That's, that's

51:19

some legendary shit right there. I

51:22

mean, there's a brown girl in

51:24

the ring. Lady, daddy, da. Love

51:26

him so much. Oh, man. Yeah,

51:29

I haven't done him in a

51:31

long time. I used to have

51:34

all those albums. When you didn't

51:36

voice the character on Dark Wing

51:38

Duck? Oh, yeah. Was I in

51:41

that? You're a Dark Wing, right?

51:43

You voiced hate white. You and

51:45

EG, I think, in terror. Oh,

51:48

we were... Duck days. Well that

51:50

too, yeah, but you did a

51:52

dark wing. I don't work down

51:55

somewhere. I did? You were one

51:57

of Gosselin's angry sort of personality

51:59

called heat wave, kind of like

52:02

inside out, but for Gosselin. and

52:04

it was you and E.J. Daley

52:06

and someone else with the three

52:09

feelings. Was it, um... Oh yeah,

52:11

the frequency friends, your character was

52:13

the anger personality of Goslin. Yeah,

52:16

heatwight. Yes, it was called. And

52:18

it was kind of like, big,

52:20

big, shock. Oh my God. I

52:23

got to play someone who was

52:25

pissed off. Yeah, everybody was like,

52:27

I mean, I always got cast

52:30

is like, you know, I don't

52:32

need you, I don't need anybody,

52:34

like that. Or the bully. Or

52:37

like the Irish, like, uh, like,

52:39

what was the one on Jacob's?

52:42

I was Hector, Hector, you know,

52:44

we're Irish, the goals with the

52:46

tartan fingers. But, um, I'm just

52:49

like, yeah, I hate the voices

52:51

that do that to me. That's

52:53

why, when we were doing the

52:56

Tasmania show, I always did it

52:58

on Friday afternoon, just because I

53:00

didn't want to, you know. I'm

53:03

shred my pipes. No, I I

53:05

remember doing like I did a

53:07

ton of games, which I'm sure

53:10

you did. And those were the

53:12

hardest to do hours and hours

53:14

of the same. It's tedious. Yeah.

53:17

You know, okay, you're falling from

53:19

five feet. Now you're falling from

53:21

10 feet. Now you're falling. Okay.

53:24

Now you're falling from the third

53:26

moon of Jupiter. You know, okay,

53:28

so I'm falling, huh? It's so

53:31

true. Oh, and you're on fire.

53:33

By the way, you're on fire.

53:35

And you're in an acid bath.

53:38

And go. I did this one

53:40

game, Pajama Sam, for like many

53:42

different reboots and boots of this

53:45

game. And Pajama Sam. There's no

53:47

need to hide. I'm not afraid

53:50

of monsters. Move to the dresser.

53:52

Open the door. And then I

53:54

did the voice of Arthur which

53:57

was Microsoft was like going into

53:59

like make this it was a

54:01

giant doll that they sold for

54:04

like a hundred and fifty dollars

54:06

good luck yeah and it took me

54:08

a year and it was so hard

54:10

because the voice had to be

54:13

pure like had to be like

54:15

right right and it couldn't crack

54:17

it couldn't go up or down

54:19

because the chip in the doll

54:21

yeah so like weird as the

54:23

number one direction I would

54:26

always get would always get

54:28

would be like Say it with

54:30

a smile. Can you say it with

54:32

a smile? And I would do the

54:34

sessions with the picture of my daughters

54:36

on the music stand going, I'm

54:39

doing it for them. That's

54:41

right. That's right. Oh God.

54:43

Nobody else was earning money. No

54:45

offense. Yes, offense. Yeah. You know,

54:48

I had a job like that.

54:50

And a square magazine gave it

54:52

the dubious achievement of the year

54:55

award just for the name. and

54:57

it was called my interactive poo.

54:59

Oh my god. And I was my interactive

55:02

poo. And all I can imagine

55:04

is it's just a lump of

55:06

brown clay. But anyway, yeah, you

55:08

know, but it was poo and

55:11

it was. And it was like,

55:13

little stories. Well, one day I

55:15

was going through the woods with

55:17

my friend, Freddie. And then I

55:19

said to him, Freddie, would you

55:22

like to come over here? Freddie.

55:24

And it was, and it was

55:26

all, and then here comes, and

55:28

you know. Oh my God. And

55:31

the rub was that I had to

55:33

say every name on earth. Oh.

55:35

Because you had to download. Say

55:37

they're oh god. Yeah, so

55:40

we would do the story

55:42

and I would just put

55:44

a gap for the name

55:47

and then start with continued

55:49

stories over and now

55:52

we have to start

55:54

Adam Admar Abdul and

55:57

by the time I got

55:59

it forever. Who knew? And

56:01

because of their name, Chautauqua,

56:03

Chabuzi, Shaponawitz, Shagunkin' Kefortin, and

56:05

just on and on and

56:07

on and on until and

56:09

they wanted me to do

56:12

three in a row so

56:14

that they could pick, I

56:16

just, no, I will do

56:18

one. And there were millions

56:20

of names, thousands of, over,

56:22

over 10,000 names. I just

56:24

I so yeah yeah I

56:26

did so many toys and

56:28

games and and then I

56:30

started getting into you know

56:32

the dubbing the anime with

56:34

Jack Fletcher Mm-hmm and I

56:36

did like a whole bunch

56:38

of stuff with him you

56:41

know we did Kiki he's

56:43

delivery service we did trumpet

56:45

of the swan I mean

56:47

which is like so fascinating

56:49

because They find a way

56:51

to make English come out

56:53

of Japanese mouthlaps. Yeah, that's

56:55

hard to do. And it

56:57

worked. Yeah. It was incredible.

56:59

And then I did a

57:01

film called Vampire Hunter D,

57:03

which I think that was

57:05

like the first CG. And

57:08

the animation was gorgeous. Oh,

57:10

wow. The anime tricks. I

57:12

remember working with Ginny McSwain

57:14

and she calls me diaper

57:16

to this day. Like if

57:18

I see her, she'll be

57:20

like diaper. Oh, that's because

57:22

a nice name because I

57:24

did, I was the voice

57:26

of loves diapers for many

57:28

years. Oh, I would be,

57:30

hi, I'm little loves. And

57:32

I did all these commercials

57:34

and I was a diaper.

57:37

Wow. And so Ginny called

57:39

me diaper from then on.

57:41

Wow. Oh my God. Well,

57:43

you win. I mean, you're

57:45

what fills me up. You're

57:47

the interactive poop. I am

57:49

the diaper. I gave you

57:51

the gig. Come to me,

57:53

Jimmy. What I love about

57:55

doing this podcast is you

57:57

can just tell that it's

57:59

such a family that 80s,

58:01

90s voice community were just

58:03

so close. Do you think

58:06

that kind of community in

58:08

today's voice actors existed? I

58:10

don't feel like it does

58:12

it. I don't think so.

58:14

It can't because everybody is

58:16

remote. and people work in

58:18

an isolated vacuum. Yeah. It's

58:20

interesting. We were talking about

58:22

this a couple weeks ago

58:24

on a podcast and it's

58:26

interesting how like this topics

58:28

come up, you know, over

58:30

and over again on this

58:33

podcast about, you know, the

58:35

old days of working in

58:37

a studio together. And I

58:39

find it fascinating now that

58:41

like the voice actors get

58:43

together in a studio now

58:45

for a podcast instead of

58:47

doing their work. You know,

58:49

this is like the only

58:51

time that we're in studio

58:53

together, you know, is a

58:55

different kind of studio. It's

58:57

evolved. It's really true. to

58:59

be like green rooms you

59:02

know at King Hill we'd

59:04

spend the whole day and

59:06

like you know like Gwen

59:08

Stefani yeah no doubt was

59:10

in the show and we'd

59:12

hang out with with Gwen

59:14

Stefani and then Green Day

59:16

was in the show and

59:18

yes it is Yeah, she's

59:20

probably lost like I was.

59:22

Yeah. That's one thing about

59:24

King of the Hill because

59:26

I do a podcast on

59:29

King of the Hill and

59:31

I couldn't believe even in

59:33

the first season just how

59:35

many amazing I think it

59:37

was like episode four and

59:39

you had really Nelson on

59:41

the show and guest stars

59:43

from the get-go. Oh my

59:45

god, I think that that

59:47

was episode like yeah. Because

59:49

I always thought it was

59:51

like the pilot or something

59:53

but it was Willie Nelson

59:55

and Pat Marita. Wasn't

59:58

it? Yes, no, no, it

1:00:00

was golf one. Oh my

1:00:02

god I remember so it's

1:00:04

called Hank Hank got the

1:00:06

willies I think it's called

1:00:08

or something like that. Yes

1:00:10

yes we recorded the entire

1:00:12

first season of King of

1:00:14

the Hill at Fox on

1:00:16

the Darryl Xanac stage yeah

1:00:18

on a sound stage okay

1:00:20

listen who we would be

1:00:22

in a sound stage all

1:00:24

day not we couldn't make

1:00:26

any noise and then the

1:00:28

The studio was basically four,

1:00:30

three baffled walls in the

1:00:32

back of the sound stage.

1:00:34

And I remember Willie Nelson

1:00:36

and Pat Marita being back

1:00:38

there and then joining them.

1:00:40

I was just unbelievable. I

1:00:42

remember I worked with Pat

1:00:44

Marita a few times. And

1:00:46

he was notorious for indulging

1:00:48

and bibing. a little bit

1:00:50

of the weed. I think

1:00:52

it was more of a

1:00:54

liquid nature. But he walked

1:00:56

it, we're sitting over there

1:00:59

at B&B, and we're all

1:01:01

sitting around and I go,

1:01:03

oh, this will be so

1:01:05

cool. And it was karate

1:01:07

kid. We were actually doing

1:01:09

a karate kid, and he

1:01:11

was playing himself. And so

1:01:13

he comes walking in. You

1:01:17

know, and he's doing the

1:01:19

best drunk walk you've ever

1:01:21

seen. Oh, wow. Yeah, and

1:01:23

don't wear everybody. It's gonna

1:01:26

be fun. Anyway, can I

1:01:28

have a coffee? You know,

1:01:30

and everybody went, oh, oh,

1:01:32

thank you. Yeah, it was

1:01:34

like, oh, he's sober. It's

1:01:36

good. We can do it.

1:01:38

Okay, we can do it

1:01:41

now. Yeah, I mean, I

1:01:43

mean, we got to work

1:01:45

with so many people. I

1:01:47

mean, Tony and Selmo was

1:01:49

our Donald Duck when we

1:01:51

did Quack Pack. And Wayne

1:01:53

and Roussey, I worked with

1:01:55

Wayne and Roussey. McGee and

1:01:58

Minnie in real life and

1:02:00

then also. They were married.

1:02:02

They were married. I just

1:02:04

said

1:02:07

she's

1:02:10

gonna

1:02:14

walk

1:02:17

I guess

1:02:20

I

1:02:22

don't

1:02:24

matter

1:02:26

Let's

1:02:29

get Ginny in, Ginny, join the cast, let's get

1:02:31

three of you in, come on, let's do it.

1:02:33

Sit down, you can talk as well, microphone,

1:02:35

right here. I'm so glad to see, what

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and conditions apply here's what I

1:04:12

say about you besides loving her

1:04:14

and I've never seen enough of

1:04:16

her anymore of course panel adlon

1:04:18

diaper diaper you are the same

1:04:20

person that I knew how many

1:04:22

years ago now I'm embarrassed to

1:04:24

say sometimes in the early 80s

1:04:26

eight ladies but anyway um you're

1:04:28

the same person oh all the

1:04:30

time you're so sweet and that's

1:04:32

what I love that's what I

1:04:34

loved watching your show I thought

1:04:36

this is you know it's very

1:04:38

European because whenever you saw like

1:04:41

a foreign film what I loved

1:04:43

about foreign films just it was

1:04:45

like a slice of life yeah

1:04:47

remember they didn't have a beginning

1:04:49

military and I would watch your

1:04:51

take a subject matter in that

1:04:53

wonderful fucking cast I was I

1:04:55

was like I could have called

1:04:57

you after everyone and stayed up

1:04:59

all night talking to you. Oh,

1:05:01

they were... Jim, did you watch

1:05:03

this series? I was like, I

1:05:05

was... I did, yes. I thought

1:05:07

this is magic, this is this

1:05:09

girl. And some of the concepts

1:05:12

and some of the lines, you're

1:05:14

cast. Oh, come on. Did you

1:05:16

see the one I had Billy

1:05:18

West and Tom Kenny? Yes! And

1:05:20

Billy did the wind? I love

1:05:22

it was about her film career

1:05:24

it was like oh yeah she

1:05:26

didn't like saturated with all the

1:05:28

boys town it I loved it

1:05:30

was like oh yeah she didn't

1:05:32

like saturated with all the boys

1:05:34

town it I loved it was

1:05:36

about her film career it was

1:05:38

about those girls the daughters you

1:05:40

know bitchy Sassy daughters and darling

1:05:43

seeing them grow up on your

1:05:45

show. Oh my god. And of

1:05:47

course that wonderful English actress plays

1:05:49

your mother. Celia Emery. Such a

1:05:51

same. Like a dame and shit.

1:05:53

And you're increased summer. I know.

1:05:55

You know, that's so, I'm so

1:05:57

happy you brought that up because

1:05:59

the thing about that is that

1:06:01

Cree had not been on camera

1:06:03

for 25 years. And... Wow, that

1:06:05

doesn't sound right, doesn't it? She

1:06:07

was on Bill Cosby's spin-off. Yeah.

1:06:09

I mean, when I was pregnant

1:06:11

with my first daughter, I was

1:06:14

doing seven shows. And one of

1:06:16

them or two of them was

1:06:18

with Cree. But, um... Creed was

1:06:20

so freaked out because she hadn't

1:06:22

been on camera in so long

1:06:24

that Felicia Fizano, my casting director,

1:06:26

she called me and said, Creed

1:06:28

didn't show up. And I was

1:06:30

like, oh. So we had to

1:06:32

get Creed to get her back

1:06:34

in there. Oh my God. And

1:06:36

it was so awesome because you

1:06:38

know, it's like, we're so loved

1:06:40

and embraced in this community that

1:06:42

you're picking up on, you know,

1:06:45

and this... Like, this woman kept

1:06:47

hiring me. Can I, can I,

1:06:49

well, because, and we never had

1:06:51

a big show together, we had

1:06:53

a lot of guest stars, until

1:06:55

we did, um, Duck Days, or

1:06:57

is that what was called? Yeah,

1:06:59

yeah, we hit Quack or whatever

1:07:01

was called. Yeah, that's it. And,

1:07:03

and, and they were the Huey

1:07:05

Dewey and Louie. E. Gee, Elias.

1:07:07

I wasn't Duck Days, I was

1:07:09

in Quack, hi. Yeah. Yeah. That's

1:07:11

why I brought my resume my

1:07:13

resume, because I got my resume,

1:07:16

because I got my resume, because

1:07:18

I got my. This girl I

1:07:20

mean I was in love, but

1:07:22

you know even on minor things,

1:07:24

but one little thing about Cree

1:07:26

summer Marsha Goodman found her in

1:07:28

Toronto Doing and to this she

1:07:30

was like Yeah, 17 and then

1:07:32

she would send me I was

1:07:34

you know the gun for hire

1:07:36

you know working for Andy crazy

1:07:38

and he heard and who I

1:07:40

love and I would go and

1:07:42

this girl named Cree and the

1:07:44

rest is history and she came

1:07:47

through deek as we called it

1:07:49

Yeah, she came through there and

1:07:51

that's she was a rock star

1:07:53

voice when she was like 18.

1:07:55

Totally. And I love her too.

1:07:57

I don't see it. I don't

1:07:59

see anybody and this is like

1:08:01

a big deal for me to

1:08:03

be here. I still see and I still

1:08:05

see and I still see and I

1:08:07

see your buddy at LA Studios

1:08:09

who's got the office in the

1:08:11

back. I haven't been inside that

1:08:13

studio since 2019 and I left

1:08:15

finishing up some shows and I

1:08:17

was turning a certain number and

1:08:19

I thought you know this is

1:08:21

probably going to be it. Jamie

1:08:23

Simone met me outside of Studio

1:08:25

Atlas and said Oh, I'm sorry.

1:08:27

And you were talking, I'm going,

1:08:29

I went to LA, you're talking

1:08:31

about LA Studios? Yeah. Um, uh,

1:08:33

Jeff Howell. That's what I, yes.

1:08:36

I mean, just with Jen last

1:08:38

night. Yeah, no kidding. The beauty,

1:08:40

oh yeah, we're really good friends.

1:08:43

Yeah, that's great. Yeah, I mean,

1:08:45

you drove Miss Daisy to, it's

1:08:47

not something last night. Yeah, yeah,

1:08:50

yeah, yeah. Where did he, where

1:08:52

did hope to do? How do you want

1:08:54

to say? He's like the King of Dubbing.

1:08:57

Like the Jack Fletcher? Yeah. Yes. And that's

1:08:59

what he does exclusively. Wow. Zoom classes and

1:09:01

all this shit. I don't know if anybody

1:09:03

does it. But you know, leaving in 2019,

1:09:06

wrapping it up, I can still see it

1:09:08

was the fall of 2019. Who knew what

1:09:10

was ahead of us? I remember doing the

1:09:13

Simone back at Studio. Studio is saying to

1:09:15

me, you know, I think I might have

1:09:17

something for you in March. And I was

1:09:19

like, oh, oh, oh, oh, okay. Everything changed

1:09:22

and I did I did kind of a

1:09:24

failed series I shouldn't probably

1:09:27

mention it say I will magic

1:09:29

the gathering we did 12 episodes

1:09:31

and my dear friend Jeff excuse

1:09:34

me I'm so excited Jeff Klein hired

1:09:36

me and it was 20 it was

1:09:38

20-20 fall he gets in touch with

1:09:40

me and I think and I might

1:09:42

this is all over for me and

1:09:45

I don't really care I'm really kind

1:09:47

of done. Yeah. And but he called me,

1:09:49

I want you to do this. It was

1:09:51

this fantasy, if you know, magic together. It's

1:09:54

not my thing at all. But we ended

1:09:56

up long story short. We had a great

1:09:58

cast. The show is like. just shoot

1:10:00

me it's like scripts were like hearing

1:10:03

cancer oh I mean I just not

1:10:05

my thing and you know I worked

1:10:07

my ass up we had a great

1:10:09

cast and they mostly came in during

1:10:12

it we started recording in the fall

1:10:14

of oh good no you know on

1:10:16

January 6th the insurgent day That was

1:10:19

my first, it should have been the

1:10:21

sign. But we did 12 episodes, Jeff

1:10:23

Howell, I dragged in to be my

1:10:26

assistant, he was fabulous, and that's the

1:10:28

L.A. Studio's thing, where he said, you

1:10:30

know, I said, if you ever run

1:10:32

into Pam coming in? Yeah. And, and

1:10:35

then, so we did it, did pickups

1:10:37

a year later, and then they, Michelle's

1:10:39

pulled it. Yeah. And I hear they're

1:10:42

doing it again? Mazzletop, everybody. Enjoy! Have

1:10:44

a ball! Try the field, I don't

1:10:46

be here all week. But our, but

1:10:48

our, but the cash was very eclectic

1:10:51

and most of them came in. Of

1:10:53

course they were masked in, you know,

1:10:55

we had the, you know, the barriers

1:10:58

and all that stuff. And Stephen Root

1:11:00

was in it and we had some

1:11:02

beautiful people. Yeah. He's great. He's great.

1:11:05

Oh, I love him. Oh my God.

1:11:07

Yeah. He's like an uncle. So the

1:11:09

ones I like, I really like. And

1:11:11

the ones that I don't, I never

1:11:14

have to see. That's right. Didn't you

1:11:16

also direct me in pajamasam? Yes! Oh!

1:11:18

I don't know if that's on my

1:11:21

reservation. You should! People are like obsessed

1:11:23

with pajamasam. Pajamasam! So it was... The

1:11:25

only reason it wasn't painful is because

1:11:27

I got to do the llama. And

1:11:30

we did it together and she was

1:11:32

like, say it again, five bucks, let

1:11:34

me beat you up. Like I remember

1:11:37

all of this, five bucks, let me

1:11:39

beat you. Have cash incentives. Kind of

1:11:41

like with you, 50 bucks if you're

1:11:44

here. Oh my God, the constant, constant

1:11:46

like. Can I tell you something? Now

1:11:48

go to the door! Yeah. Oh my

1:11:50

god. You do the best boys and

1:11:53

funny boys. But I'm going to tell

1:11:55

you something. And I hope this is.

1:11:57

in the podcast because I hate to

1:12:00

say this after almost 45 years. Don't

1:12:02

compliment me. Maybe I have it right

1:12:04

now. I'm gonna say yeah I did

1:12:07

a lot of shows but I did

1:12:09

it because I loved you guys. The

1:12:11

actors I loved I loved all the

1:12:13

way yeah and when I was having

1:12:16

a shitty day or shitty time on

1:12:18

a show totally and by the way

1:12:20

we had some great writers we had

1:12:23

some oh Ken Kessel was talking to

1:12:25

him. He used to call the cupcakes

1:12:27

mixed week. Cupcake mixed week. I was

1:12:29

thinking of that just five seconds ago.

1:12:32

But we had some really wonderful people

1:12:34

in that booth with us. And of

1:12:36

course, you know, we'll get into that.

1:12:39

But anyway, I did it for, I

1:12:41

was an director and I loved talking

1:12:43

and being with you guys. Most of

1:12:46

the time, we didn't understand what we

1:12:48

were saying. No. And Charlie Adler would

1:12:50

say. Just say the fucking lies and

1:12:52

shut up. You know, and I mean,

1:12:55

you're overthinking it. Yeah, you know, by

1:12:57

the way, I would be like, I

1:12:59

don't understand why the jungle is with

1:13:02

my banana or whatever. He's like, are

1:13:04

you fucking kidding me? Charlie came along

1:13:06

later. He was, you know, he was

1:13:09

a boy's friender later. I mean, he

1:13:11

was my, no, no, no, this is

1:13:13

when he was an actor. Have you

1:13:15

seen him. He's Moses. Yeah, and he's

1:13:18

got a nice marriage going on and

1:13:20

totally. He looks like I shall, it's

1:13:22

very, very good. I haven't talked to

1:13:25

Charlie and he just, he's ghosting me,

1:13:27

so that's, there you go. Oh fine.

1:13:29

Yeah, I lost him, I lost him

1:13:31

in the shuffle. But yeah, just knowing

1:13:34

you guys. And you have to understand

1:13:36

what you did. I mean, we didn't,

1:13:38

I stopped having, when I was voice

1:13:41

directing, and you know. I don't say

1:13:43

I was the first female director out

1:13:45

there or director. Yeah. There wasn't a

1:13:48

thing called a voice director until Gordon

1:13:50

Hunt and I started together. Yeah. And

1:13:52

Gordon was my mentor? I mean, do

1:13:54

you want to hear all this? I

1:13:57

mean, yes. Sure, please. Okay, what was

1:13:59

I saying? You were talking about Gordon

1:14:01

Hunt, Helen Hunt's, dad. Yeah.

1:14:04

Yeah. Yeah. Well, because Joe

1:14:06

Barbera brought Gordon Hunt

1:14:08

in who had done a play that

1:14:10

I think Joe had written in

1:14:12

the late 50s. So Gordon Hunt

1:14:14

directed that play. I don't know,

1:14:16

you know, how they met me

1:14:18

before that. But then, you know,

1:14:20

don't forget, this world was

1:14:22

creator driven. This wasn't

1:14:25

about a voice director. The creators

1:14:27

all directed their own shows, whether

1:14:29

they could or not. And Joe

1:14:31

got married, you know, directed a

1:14:33

lot of them. And that's, you

1:14:35

know, that's how this all came

1:14:37

together. And, but later, there was

1:14:39

a show called Wait Till Your Father

1:14:41

Comes Home. Wait till your father

1:14:44

gets home. The live action. Is there

1:14:46

a live action? I think it was

1:14:48

1968. Totally. And then, you know,

1:14:50

little do we know? I mean,

1:14:52

you know, you only watch the

1:14:55

Sopranos and your show. I probably

1:14:57

don't know that. And I was

1:14:59

watching Good Pillows before I came

1:15:02

over. But anyway, Gordon did

1:15:04

this animated thing, you know,

1:15:06

Wait till your father gets

1:15:08

home. I think it was 1968.

1:15:10

Totally. And then, you know, little

1:15:12

do we know. I mean, you know,

1:15:14

you know, Hong Kong, Fui. put together.

1:15:17

Found together. Yeah, so odd.

1:15:19

That's incredible. Well it was because I

1:15:21

worked in, you know, how far do

1:15:23

you want to go back on this?

1:15:26

You guys should talk about that. I

1:15:28

mean, I need to go. I love,

1:15:30

I love, I love, I love everybody,

1:15:32

I love everything. I love everything,

1:15:34

I love everything. I love, I

1:15:36

love everything. I'm going to just

1:15:38

do one Bobby Hill one, so

1:15:40

jimping copy it for voice swap,

1:15:42

Chris. Oh yeah, thank you so

1:15:44

much. Yeah. That's so nice. Love

1:15:46

you and appreciate. Can we do

1:15:48

one thing 30 seconds before you

1:15:50

go? What's in? We want to do

1:15:52

a voice swap. You're going to do your

1:15:54

voice as Bobby and Jim will do the

1:15:57

same line in another voice. As we need the

1:15:59

poo. Okay. Oh, okay. I don't know

1:16:01

you, that's my purse. I

1:16:03

don't know you, that's my

1:16:05

purse. That's my honeypot. No.

1:16:07

And literally I was at

1:16:09

a restaurant before this where

1:16:11

the waiter came over and

1:16:13

brought the check and he

1:16:15

said the chef found out

1:16:17

that you were here and

1:16:19

he wants you to know

1:16:21

he's getting this tattooed on

1:16:23

his body and he shows

1:16:25

me a picture of Bobby

1:16:27

with the purse and I'm

1:16:29

like, why? Why? And then

1:16:31

he said, will you sign

1:16:33

this so he can do

1:16:35

an overlay? I'm like. I

1:16:37

didn't just take a calligraphy

1:16:39

class, please don't put this

1:16:41

pressure on me. It's so

1:16:43

sweet. But there are so

1:16:45

many people who love, like

1:16:47

the characters that we've done,

1:16:49

that they've got us all

1:16:51

over their body, baby. You

1:16:53

know what? That's incredible, though,

1:16:55

isn't it? I mean, yeah.

1:16:57

The impression that you guys

1:16:59

have made, it's big. It's

1:17:01

big. Don't ever sell yourself

1:17:03

short on that. It's amazing.

1:17:05

Bye, Brendan! Oh, bye. Lovely

1:17:07

to meet you too. I

1:17:09

love you, George. I love

1:17:11

you. Ginny! I got to

1:17:13

see what they do. I

1:17:15

love you. Ginny. I'm so

1:17:17

glad I got to see

1:17:19

Ginny. What they do. They

1:17:21

smile in your face! How

1:17:24

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