Tamara Johnson Meets World

We all love Boy Meets World, but what would the show be like if you couldn’t hear Feeny’s words of wisdom, the chaos of the halls of John Adams High or the audience swooning over Cory and Topanga?? Sound Mixer Tamara Johnson is an unsung hero from behind the scenes, serving as the sound mixer for EVERY episode of BMW and Girl Meets World!

Tamara shares some unbelievable stories about making the show, from hitting the streets to collect authentic sound effects to working with actors on syncing up their “lip flaps.”
 
Plus, we hear the story of “The Laugh Guy,” a legendary contributor the gang didn’t even know existed!

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:17):
Jensen has said to me that fan is in my
top five favorite purchases of anything I've ever purchased in
my life.

Speaker 2 (00:24):
Wow.

Speaker 1 (00:25):
It is a remarkable fan and it's very quiet. So
I highly recommend that both of you and it will
keep you cool. I will send you a link.

Speaker 3 (00:34):
This is so funny. Alex and I had a huge
thing about a fan on our road trip.

Speaker 4 (00:38):
So she got Instagram scammed, like you know how like
Instagram sent you know you and I've totally been scammed.

Speaker 3 (00:44):
I can talk about that, yes, yes.

Speaker 4 (00:47):
But she was like, I was like, did you spend
like one hundred and forty dollars on fans? She's like, yeah,
I got two of these fans. They were like seventy
five bucks each. I'm like, what do what do you?
Why did you why there's a trust They're amazing And
I was like, this is the dumbest thing, Like you
can buy a fan for ten dollars, why did you
buy a seventy You know?

Speaker 3 (01:07):
These are these are.

Speaker 4 (01:07):
The most remarkable fans I've ever seen in my life.
They're like battery charged. They fold down into a little
circle and then they can become a floor fan. They
can become a small fan. They oscillate, they have a
remote control, they hold a charge for like forty eight
hours so you can have them on.

Speaker 3 (01:24):
It was and it saved our life in the in
the van.

Speaker 1 (01:26):
Why have you not already thought about putting one of
these fans in your off?

Speaker 5 (01:31):
And now I'm gonna need you to send me the
link because I need to get one for mine too.

Speaker 3 (01:33):
Yeah, they're amazed. I guess, I guess. I don't know.

Speaker 4 (01:36):
I didn't even think about that. I was just like,
it's going to be too hot, I'll just have to record.
But I guess it's just a.

Speaker 3 (01:41):
Regular fan and it's one hundred and four like it
is today. Is that gonna make a different funny?

Speaker 5 (01:45):
So Danielle, Danielle and I we both walked down from
I forget what hotel it was, and Jensen looked pretty
well rested, and Danielle and I looked like we hadn't
slept all night. And we looked at each other and
she was like she sleep.

Speaker 3 (01:57):
She's like nope.

Speaker 5 (01:57):
She's like did I sleep? Like nope, And she's like why,
I said, well, there was avent. She's like right over
the bed that was pointing right at your face while
we were trying to sleep, and so you're like under
the covers trying to block the air.

Speaker 3 (02:09):
It was horrifying. It was awful.

Speaker 1 (02:12):
And the option of do of sleeping like that or
sleeping with it hot, well, there's no doubt I'm choosing
freezing cold air blasting on my face.

Speaker 3 (02:21):
But it did not help.

Speaker 1 (02:23):
It was literally the air conditioning vent was maybe at
five five and a half yeah, five feet maybe five
and a half feet maybe put on the wall and
then just directly in front of the bed, angled right
down right at.

Speaker 3 (02:36):
Your face the whole time.

Speaker 5 (02:37):
So we do, Sue and I do not only the
air conditioning at sixty five at night, but also a fan. Yeah,
that's what we because we need the air. We can't
it can't just be cold. It has to be moving,
has to be circulating. So we have the cold and
the fan going. You also require a fan to be
standing at the edge of the applauding.

Speaker 2 (02:52):
Yeah.

Speaker 1 (02:54):
And when he says a fan, you mean an actual
person who.

Speaker 3 (02:57):
Lovest I love that.

Speaker 5 (03:00):
Just halfway through the night, as I roll over, they
just they whisper like that was the funniest rollover I've ever.

Speaker 3 (03:04):
So good doing are great? God have you lost weight
in the middle of the night. Yeah, okay, so can
we go back to be an Instagram scam for I?

Speaker 4 (03:14):
For whatever reason, they have nailed me of course, because
the algorithm has figured us all out. And I get
advertised movie props constantly, like like Reenac movie Jurassic Park one. No,
I wanted to buy the draft of the drafts Park
one for one. I thought you bought the Indiana Jones one,
but it was already being marketed to me, like crazy, Yeah,
I got the the Indiana Jones Grail Diary, which is

(03:35):
like this video and it shows this guy who like
handmade it and like and I was like, oh my god,
I need this because I actually dressed as doctor Jones
his father for Halloween last year, as like an in
joke with because my kid's name is Indy. So I
was like, and when I was walking around as this
old man, everybody kept just thinking I was dressed as
an old man, like nobody got the eye was who

(03:56):
I was. And I was talking to a friend, He's like, well,
you needed the Grail Diary. So I saw this ad
and I bought it, and of course, like what I
get is like a magazine like it's the cheapest, it's
a complete scam. And if i'd read the comments, because
you know, Instagram users actually comment on those times they
say like, don't buy this, that's total bull And I
was like, oh, I should have read the comments.

Speaker 3 (04:15):
But anyway, yeah, I get movie profits. Do you guys
what targeted ads?

Speaker 2 (04:18):
I know?

Speaker 4 (04:19):
Will you're a lurker now you don't actually use social media,
but what I do?

Speaker 5 (04:22):
I do still get ads. I get video So I bought.
The one thing I did buy from Instagram, which I
thought was a scam because it took like thirty eight
weeks to get to me, was the small video game
console that holds one hundred thousand of your classic games
that you have. So I bought that for like one
hundred and nine bucks, and by like the eighth week,

(04:43):
I just emailed them as is this a scam?

Speaker 3 (04:45):
I was like, you can just tell me at this
point you won. Yeah, yeah, I've let it go.

Speaker 1 (04:50):
At this point, I just want to know if I
should still be excited about my games exactly.

Speaker 3 (04:55):
And finally they're like, no, no, no, it's real. And it
showed up.

Speaker 5 (04:57):
I did exactly what Sue said I was going to do,
played it for half an hour and then I've never
played it again.

Speaker 3 (05:02):
Yep, never touched you played like the three games that
you remember.

Speaker 5 (05:05):
I played Street Fighter two, there you go, and couldn't
even get the guy that get a contract code? Did
you ever play Contrary? Down down, left, right, left right,
BA start? Yeah, let's start, well select start is for
two players, but the yeah, that's so yeah. No, I'm
what I want is my old and Tendo sixty four
to work.

Speaker 3 (05:24):
That's what I want.

Speaker 5 (05:24):
And I just found I we cleaned out a big
portion of our home and I found all this stuff.
But I doubt it a work. But that's what I want.
I don't these console things like it's just like old school.

Speaker 3 (05:32):
No, it's not at all.

Speaker 5 (05:33):
I'm miss blowing on the game and it's not working
and me yelling at the screen and all that kind
of stuff.

Speaker 1 (05:38):
I once bought a pair of shoes on Instagram, and
I've bought I mean, let's be honest, I shop.

Speaker 3 (05:45):
I liked a shop. That's the shopping shoulders. It's the
it's the same dance I do me too, it's awful.

Speaker 1 (05:56):
Oh well, you know what I think my shopping habit
become such that now I even enjoy shopping in person.
There's a whole I'm becoming a new person. Let me
say this. I'm transforming, I don't know, having fun, and
I'm doing.

Speaker 3 (06:11):
Things a sweet sleep of death.

Speaker 1 (06:13):
Are you listen. I'm constantly resisting it. I'm not asking
for it. I'm just saying, as we could argue that
I might be the happiest person ever, because even the
idea of death just sounds nice.

Speaker 3 (06:28):
I'll be happy. I'm happy alive. I'll be happy dead.
I will be happy.

Speaker 1 (06:34):
But I didn't used to like to shop at all
outside of my house. I was like, a real let's
just stay home.

Speaker 3 (06:42):
And I do you know.

Speaker 1 (06:43):
I use Instacart, I use Amazon, I use the Nordstrom app.
I shop at Anthropology online like I shop online, and
anything I have to go out and get I don't
want to do. But recently I wanted a lipliner. I
was like, I don't wear lipstick, but I've been doing
my makeup for our live shows that we've been doing,

(07:03):
and I was like, I need some sort of lip color.
I wanted to be a lip liner. And randomly I thought.

Speaker 6 (07:11):
I'm just gonna go to the mall, but go to
s arml yeah, arm go to hootgog on a stick,
well pandamic.

Speaker 1 (07:22):
So, actually, writer, it's funny you say that we were
in a movie and we were watching Teenage Mutant Ninja
Turtles Mutant Mayhem, and Keaton can only watch for about
he watches all the previews and then he watches the
first thirty minutes of a movie, and then he's like done, done.
I'm really announces to everybody done done, And I go, okay,
all right.

Speaker 2 (07:39):
Let's go.

Speaker 1 (07:39):
So I get him up and we walked the mall
and I was like, wow, I have this moment. I'm
just gonna pop into Sephora. Let me tell you, even
with a two year old who you know, doesn't understand
what shopping is and so therefore is making my life
miserable while running around trying to rip everything off the counter,
sticking his finger in the makeup samples. I thoroughly enjoyed
picking out a lipliner.

Speaker 3 (08:00):
It was wonderful.

Speaker 5 (08:01):
But anyway, going back to you, just you just described
me shopping with Sue by the way, yeah, literally just
sticking my finger in the samples Like I'm like, I
don't want.

Speaker 3 (08:11):
To be You're done, We're done. I am you done
with this?

Speaker 5 (08:15):
Literally just described me with Sue, so she just doesn't
take me shopping anymore.

Speaker 3 (08:19):
It's the worst.

Speaker 1 (08:21):
I love thinking of you as another little two year old.
But the one thing I say I definitely got scammed
with was Instagram shoes. I ordered a pair of shoes
and they they also took thirty eight weeks to arrive,
and I thought, I'm just never going to see these.
Then they arrived and they were beautiful, and I was like, wow,
worth the weight.

Speaker 3 (08:39):
Wore them once.

Speaker 1 (08:40):
Thankfully they lasted the length of my event, and on
the drive home, stepping into the car, the snaps, the snaps.
The straps just snapped and ripped off, broken, and I
immediately threw them in the trash. All right, I waited
thirty eight weeks for a one wear pair of shoes,
and now I feel very wasteful.

Speaker 5 (09:00):
But speaking of shoes, very quickly, I thought you'd be
impressed with this, Danielle. So Susan took it upon herself
for my birthday this year, and they just happened to
be next to me to buy me my first ever
pair of dunks.

Speaker 3 (09:11):
Ooh wow.

Speaker 5 (09:14):
So she got me the green ones and I had
to I don't know if he told you, but I
had to text producer Jensen Karr, husband of this podcast,
to ask how to tie them properly? Oh, if I
was just supposed to tie them, if I was supposed
to slip them on, And he sent me a YouTube
video about how I was supposed to do it.

Speaker 1 (09:29):
Yeah, I need I actually need help with lacing. Lacing too.
There is an art to lacing. And my feet are
pretty small, and so I have to like if I
if I can't most of my laces, I have to
tie in a bow because if I let them dangle,
I step on them. But there is like a time
I know there's there's also there's an art to lacing.
I recently did a video about my shoes because I

(09:51):
love shoes, and one of the very sweet comments and
there was, all right, now, let's teach my good sis
how to lace, and I was like, you know, I
don't have I don't have that much time. I'm really
just grabbing a pair of shoes, sliding them all my
feet and running out the door.

Speaker 5 (10:05):
That's what Jensen at the end of the day kind
of said. He's like, just tie them and go Okay,
that's probably the best.

Speaker 1 (10:10):
Time, But those are great. Writer, you are not super
into tennis shoes. You're a boot guy.

Speaker 3 (10:14):
But you did recently comment on a pair of my dunks.

Speaker 1 (10:16):
Remember the shoes I was wearing on tour once where
you recently said, I like those, those were dunks.

Speaker 3 (10:20):
I like most of your shoes. I'm always impressed.

Speaker 5 (10:23):
We should go all go shopping together at them all.
I think that'd be a ton of fun.

Speaker 3 (10:27):
Yeah, that's a good idea. I'll bring Keaton, you'll need too,
I'll be there. That's right. We have our two year old,
the Pod Meets World two old quickly. Welcome to Pod
Meets World. I'm Daniel Fischel, I'm right strong, and I'm WILFORDE.

Speaker 1 (10:45):
Hey everybody, we are going on the road and we
want you to join us for Pod Meets World Live.
Will Ryder and myself are taking the show to over
a dozen cities in twenty twenty three, and we have stories, games,
and a costume contest where your outfit can and when
you a legit nineties shooting script signed by us. Let's
start with Philadelphia, where we just announced three guests that

(11:06):
will be joining us on September thirtieth at the Met
in the city the Matthews family called home. We will
be joined by Tony Quinn, Trina McGhee and Matthew Lawrence
talk about a trio of unforgettable guest stars. There are
tickets still available, Phillies, so go to Pod Meets Worldshow
dot com now. Also, we are in Orlando this Sunday
at the hard Rock Live with just a handful of
tickets left. And let's break down where else you can

(11:28):
see us soon Cleveland, Toronto, Pittsburgh, Washington, DC, New York, Boston,
Los Angeles, Chicago, New Orleans, Atlanta and Durham.

Speaker 3 (11:36):
Whoo. You can go to Pod Meets Worldshow.

Speaker 1 (11:38):
Dot com right now for more info and acclaim yourself
a ticket to the coolest party since The Exits played
John Adams High. When Sarah Markowitz first came up with
the idea for Pod Meets World, who one thing that
we wanted to do on the show was shine a
spotlight on some of the crew members and production jobs

(12:01):
that helped Boy Meets World become the show it was,
but rarely get kudos week in and week out. We
may have gotten most of the attention, but we were
just the script reading cogs in a much larger and
smarter machine. There were dozens and dozens of hard working
and lovely professionals who did most of the work, and
we knew that if we could introduce you to really
any of them in between our episode recaps, well we

(12:22):
could finally give them the credit they deserve. And this
week we're honored to do just that. Sound mixer Tomara
Johnson has just under get ready for this three hundred
and fifty credits to her name. She's It is a
resume that includes work on Fresh, Prince of bel Air,
Married with Children, Who's the Boss, Sister, Sister, the Nanny,

(12:45):
the Parkers, Everybody Loves Raymond, Zoe won On One, and
Wizards of Waverley Place, Oh, and also every single episode
of Boy Meets World and then later Girl Meets World.

Speaker 3 (12:58):
She's now.

Speaker 1 (12:59):
There are really only a handful of people who worked
on every episode of both shows. We're looking at you,
Jeff Manel and Tamara is part of that exclusive club.
And she was an Emmy nominee for Outstanding Sound Mixing
for a Variety Series, Music Series or Special for David
Copperfield's nineteen ninety five show Unexplained Forces. Maybe she can
explain David Blaine's plane trick for us. So today we

(13:24):
get to ask her many questions about her extensive time
on the show, including what is a sound mixer. Let's
welcome with what I can only guess will be impeccable
sound prolific to Maria Johnson.

Speaker 2 (13:38):
There, I am wow, nice to see.

Speaker 4 (13:43):
You again, Nice to see you care And you're in
a professional boot in my studio at home.

Speaker 5 (13:49):
That's fair in my happy place right in a booth.

Speaker 3 (13:51):
Perfect. I love it. Love that is so cool.

Speaker 2 (13:54):
Yes, I fortunately I have this. I can do projects
during the strike, which is good. Yes, that does help. Yeah,
So this is so exciting to be with all of you.
It really is.

Speaker 1 (14:06):
We are so excited to have you, and you are
truthfully our first guest with the type of resume where
we could say that you have worked on like the
entire history of television.

Speaker 2 (14:15):
Not really but okay.

Speaker 1 (14:18):
So we wanted to ask you this and you have
to answer very quickly without thinking it over.

Speaker 3 (14:22):
What was your favorite show you ever worked on?

Speaker 2 (14:25):
I'm not saying when it's World.

Speaker 3 (14:26):
No, No, you don't have to say that, but really.

Speaker 2 (14:28):
I don't have to. But there's so many elements of
the show besides the show. That just made it a
wonderful experience. All the writers, Michael, the cast, the stories,
the scripts. It's just it was a wonderful, wonderful show.

Speaker 3 (14:43):
Wow. I love that. I know, that's so cool.

Speaker 1 (14:46):
Anytime somebody says that, I'm always like, yeah, yeah, yeah,
it was.

Speaker 3 (14:51):
Well, you were there for the whole time, right, and the.

Speaker 2 (14:53):
Whole time pilot, first pilot, first show pilot, all the
way through the end, and then all the way through
the end girl, which was very sad.

Speaker 3 (15:01):
Yeah yeah, yeah.

Speaker 5 (15:03):
Only one meaning none of us were on all the
boy Metroll episodes and all the Girl Meetroll episodes. So
the only one of the four of us here who's
done them all.

Speaker 3 (15:10):
Was yeah, wow, so cool, so cool.

Speaker 1 (15:14):
Now, we know many of our listeners and most of
our hosts probably uh don't really know exactly what goes
into sound mixing and re recording. So let's start with that.
What is it exactly? What is the process.

Speaker 2 (15:29):
Well, when when they shoot the show, then the editor
picture editor gets all the all the takes, everything puts
together the show and includes the sound that goes with
each one of those takes. Then I get that and
my editor's dialogue editor will go through and clean everything up.
Sound effects editor goes in and adds all the sounds

(15:51):
that we need. I get the music from the composer,
and then I mix all those elements, including a laugh track.
The laugh guy comes in and there is a laugh guy,
I believe it or not. He comes in and laughs,
and that's how we that's how we do the show.
And then Michael and and everybody would come in and
we play it back and he gives notes and then
they leave.

Speaker 1 (16:12):
Hold on a minute, there's a laugh guy.

Speaker 2 (16:17):
There is a laugh guy.

Speaker 1 (16:20):
Okay, okay, they pay they pay a guy to laugh,
and does he come in and do different laughs?

Speaker 2 (16:27):
Well, he has a machine that has laughs. Okay himself.

Speaker 3 (16:32):
I thought there was a guy just sitting in front
of the microphone. Thought different.

Speaker 2 (16:41):
More than it's way more than sixty laughs. He has
libraries from many different stages, very many different shows, because
you know, like Boy Meets World would have a younger
sounding audience, you know, older audiences, African American audiences, you know,
just all sorts of different choices. So yeah, wow, that's
a whole that's a whole thing into itself.

Speaker 5 (17:02):
That will and then probably combinations of that. So we
need young African American, we need older Wow, that's crazy.

Speaker 2 (17:09):
Michael would often say, oh, I want to hear I
want to hear a woman laugh there.

Speaker 3 (17:14):
You know, or like different oos like this should be
this should be a playful.

Speaker 1 (17:22):
So did they add some of the audience.

Speaker 2 (17:27):
No, Actually, Michael is too fond of the woze. If
it was real and they really you really earned it,
then yes, but he wouldn't necessarily add to it. But
this is my favorite laugh note of all time. Do
you have a sad laugh? A sad lad from Michael
from another show? But it was like no, I don't.

Speaker 3 (17:48):
Oh wow.

Speaker 5 (17:48):
There was the one ask for that never happened was
the sad laugh.

Speaker 3 (17:52):
And here's I think, will could you do a sad level?

Speaker 5 (17:54):
Here?

Speaker 3 (17:54):
I was just gonna say, well, could do it from
a Will cool? A sad laugh would be like, you know, yes,
pretty pretty darn good.

Speaker 1 (18:04):
The trailing off is what gives it away where I'm
actually bummed about this.

Speaker 2 (18:08):
And the other best laugh note, second best was h
It was the scene was in sort of mid Middle
Ages medieval and they said the laugh didn't match the wardrobe.

Speaker 1 (18:20):
Oh my hand, we need that laugh to sound like
it's behind more tin.

Speaker 2 (18:29):
It's a laugh.

Speaker 4 (18:31):
This is old school, this is laugh doesn't match the
we want abonic plaguey.

Speaker 3 (18:36):
It doesn't sound like that. Cele it needs English, that
British right exactly.

Speaker 5 (18:43):
I think the British laugh in the thirteen hundreds, just
halfway through became a cough.

Speaker 1 (18:47):
So I think that it would be perfect going back
to this laugh guy. Where do we think he gathered
the laughs? Did he have to travel the world and
then the cord people laughing? Where did they get him.

Speaker 2 (19:00):
All the shows that have a live audience. If they
want their own library, then they give him all the
shows and then he goes through. It's a very painful
process go through. I've done this. I've built libraries, and
it's just ough. You just have to Yeah, you know,
you have a great start, but then you know, not
a good ending, or somebody talks in the middle, or

(19:21):
there's something, so you know, out have probably a thousand
takes of laughs. I will maybe be able to get
a hundred. Maybe it's very very very tea perfect.

Speaker 5 (19:32):
Yeah, we do that. We do that with voiceover too.
We do oof and egg libraries where it's just small,
small impacts, large impacts, medium impacts, getting hit in the leg,
getting hit in the shoulder, and you just build your
own personal library the whole time. So they just have
it for a show.

Speaker 1 (19:45):
Yeah, it's crazy, so that not every episode you're having
to go right.

Speaker 3 (19:51):
Not a laugh person.

Speaker 1 (19:52):
Oh man, how did you first get into sound mixing?
And this is a this is an honest question. Do
you have better he than us?

Speaker 2 (20:02):
I think I have different hearing than you do. Okay,
you know I will pick up like, oh there's a
problem here. I hear this, I hear that. So I
wouldn't say I necessarily have better hearing. It's just my
ears more trained to listen to stuff. And the way
I got into it is my parents bought me a
little real real tape recorder when I was ten years
old for Christmas, and I just started recording, you know, dinner,

(20:26):
you know, talk at dinner. I hold the speaker up
to the microphone up to the speaker and record a
show that I'd take scissors and scotch tape and I edited.

Speaker 3 (20:37):
And I didn't love your own stuff.

Speaker 2 (20:39):
Yeah, I was a little quarter inch step just really
really really primitive. But that's how that's how I got
into it. I just love sound. I always have, And
originally I wanted to be in music, you know, and
then I then I realized I needed to make money, so.

Speaker 3 (20:54):
That I would switch to post you excited.

Speaker 1 (20:58):
Yeah, being being an artist, which is not the way
to make a living.

Speaker 2 (21:01):
No, that's what I did. That's what I do in
my studio. My studio gives me the creative exactly, but
not the monetary flow. And then I have my my
union job that you know, pays the bills and you know,
but I have like four hours to do an episode,
so I don't have the time to like here at home,
I could spend an hour listening to for the right

(21:22):
gun shot, you know. I did that just Sunday. Actually nope, nope, all, okay,
I'll take that one. Can't do that when you're under
You got four hours to do your job.

Speaker 3 (21:30):
So so where were you physically? Like, did you move
with us from studio to studio or no.

Speaker 2 (21:37):
I I usually work at a studio. So we started
boy at what was the thing of that place? It
was Compact Video and then it became four MC, and
then I moved to another facility and they, uh, that's
just everyone just followed over and they just usually come wherever,
whoever the person like a colorist, let's say, you know,

(22:00):
or somebody you know post people that kind of set
up home in one place and then clients follow you
to that. So that's what happened. And I've actually done
I've actually done an episode a girl in this studio
because I had in twenty fifteen, I had back surgery
and I couldn't drive and I couldn't get There's the
place where we mixed was in Burbank. So the Brenda

(22:24):
tegu which I'm sure you all Brenda, came to my
studio and so did the laugh guy, and then we
shipped off the mix so Michael and everybody could hear it.
But that's only one time that happened.

Speaker 3 (22:37):
So how much were you on set?

Speaker 1 (22:39):
If ever?

Speaker 2 (22:39):
Never? Wow, I don't think I ever ever came.

Speaker 5 (22:43):
You did?

Speaker 3 (22:44):
You never came to like a tape night? Believe I did.

Speaker 2 (22:46):
I don't believe I ever did.

Speaker 5 (22:48):
Your most favorite show ever? You come to a televie
she said, favorite show to work on.

Speaker 3 (22:55):
We don't need to clarify that.

Speaker 2 (22:57):
I just called you Eric. And that's the point I'm
going to make here, is that when you're in post,
I don't know you as Danielle and Will and right,
I don't know you. I know you as Tapanga and Eric,
you know, and it's like, uh, in a way, I
don't want to break the fourth wall, sure, you know.

(23:17):
I Like one time, Will, you came in in the
Burbank studio to loop a line and it was after
you had you had you had a beard, and you'd
been gone for a while and you came back with
this large book that you'd written, you finished your manifesto,
and you take a pod I mean a cane that

(23:38):
and he opened it up. One page had something written
on it and then you go, dun dund done, I'm done. Well,
all of us in post just grabbed onto that. So
whenever we'd be working, dun dundune, I'm done. So you
came into the studio and like three of us said
it to you, and you looked at us like we, hut,

(23:59):
what God, Eric's coming in. Oh, this is so fun, Okay,
we'll do this and yeah, so that's why.

Speaker 3 (24:08):
And you had no idea that it had become a catchphrase, Will, Yeah,
that's so funny.

Speaker 2 (24:15):
Yeah.

Speaker 3 (24:15):
And so was that from boy or Girl?

Speaker 2 (24:17):
No, that was from Boy. That was like the last
season of Boy made me.

Speaker 3 (24:20):
Yeah.

Speaker 5 (24:20):
I think Plays with Squirrels was the last season of World, So,
oh my god, that's so funny.

Speaker 2 (24:26):
But the look on your face was like, who are
these people and what are they doing? I'm sure you
didn't even remember.

Speaker 1 (24:32):
No context, done, done, done, I'm done.

Speaker 3 (24:36):
Yeah, exact Wait what yeah? Okay, So here's a question.

Speaker 5 (24:39):
If you don't like to break the fourth wall with
your actors, with all the shows you've done, are there
characters other than actors? Are their characters that are better
at sound than others? I don't know how else to
say it.

Speaker 2 (24:52):
No, I wouldn't say that, but there are, there are,
and I'm not going to name names, but there are
some actors that are very very, very very good at adr.
I can say the positive ones.

Speaker 5 (25:04):
Gary Coleman from Awesome, one of my idols of all time,
from Different Strokes, Different strokes.

Speaker 2 (25:11):
He would come in, I'd play the line for him
and he'd do it one take.

Speaker 3 (25:15):
Out, amazing.

Speaker 2 (25:17):
And then I have had other actors who I don't care.
I've made a mistake. No, you can't fix it. That's
too bad. That's too bad. That's what it is, and
it is a real art to be able to.

Speaker 5 (25:29):
Do it is ADR, and voiceover is a whole different game.
It's just an absolutely different game, and you have to
be able to dissect yourself from it and listen to
the line as a separate person and try to mimic
it back.

Speaker 3 (25:41):
It's a whole different thing.

Speaker 2 (25:42):
Right, And you have to hear the line before in
the line after so that you blend into it, and
then the mic has to be in the right place.
So some ADR can be perfect, and if I get
ADR that someone else's shot not so much most of
the time.

Speaker 5 (25:58):
Can you tell us what ADR stands for, just for
all our dear listeners out there.

Speaker 2 (26:01):
I believe it stands for automatic dialogue replacement. And it's
also referred to as looping. And how that came into
being was way back in the day before pro tools
or anything like that. They would take the line on film.
They would take the line that you have to say,
and then they would loop it over and over and

(26:22):
over for the actor to listen to and then okay,
got it. Then they go into record record it and
that's how they would do that. So that's how it
was known as looping. Yeah, but ADR is very interchangeable,
you know.

Speaker 3 (26:34):
An additional dialogue recording could be that.

Speaker 2 (26:36):
It could be that too, I don't know really well.

Speaker 3 (26:39):
It's also interesting like.

Speaker 4 (26:41):
The way they have to so if you have to
replace the line, they have to put the beeps.

Speaker 3 (26:47):
And then they also do visuals because it depends on
who the actor like. Sometimes actors need it to be visual.

Speaker 4 (26:52):
The lines cross the screen right at the moment when
you're supposed to start the line right, and then other
people are audio and you need the be to know
when to start, and then you have to.

Speaker 3 (27:01):
Like watch your lips.

Speaker 4 (27:02):
Sometimes it is such a weird art form. I'm a
complete audio person, so I need to like basically, if
I hear it, I can repeat it exactly the way
I did it. But if I try and watch and match,
I get all screwed up and I get out of
my head. But if I'm like, if I'm just close
my eyes listen to it, I can repeat a line
exactly the way I said.

Speaker 5 (27:22):
Yeah you'll There's times like for the visual people out there,
it literally looks like Luke Skywalker is making the run
to blow up the Death Star, and he's looking at
a screen and those two lines are coming, and then
he when it hits the middle, he's got to hit
the button for the photon torpedoes, and everyone just went.

Speaker 3 (27:36):
They're not photon torpedoes. But that's what it is.

Speaker 5 (27:39):
And what makes it even more difficult is when you're
doing ADR and you have to eight R project that,
for instance, has already been animated. So we'll do things
where it's like it's a you know, when I did
Howl's Moving castle there, the lip flaps are already done
for the Japanese animation, so you have to go in
and try to fit the English dialogue into these mouthflaps.

Speaker 3 (28:00):
Still clean it up somewhat, but they're mouth flaps.

Speaker 5 (28:04):
Again.

Speaker 1 (28:04):
I don't don't ever say lip flaps or mouth.

Speaker 3 (28:08):
You've got to again. I never want to hear it again.

Speaker 5 (28:14):
Just on the beep, put it in the mouth flaps.
That's just the way it is.

Speaker 1 (28:18):
Please, I beg of you. I never want to hear
it again. You said, you said it twice. You changed
lip flaps, which is the worst to mouth. It's what
it's called. It's what it's called. It's them literally literally
shivering every time.

Speaker 5 (28:31):
It's just if I just keep saying moist moist mouth,
moist mouth flaps, most moist mouthflow.

Speaker 1 (28:37):
I'm one of the only people in the world who
doesn't get bothered by moist.

Speaker 5 (28:40):
But yeah, I'm getting Danielle a shirt that just says
mouth flaps is the worst Number one.

Speaker 3 (28:49):
Merch.

Speaker 5 (28:51):
Have another question for you, because a lot of people,
I think when they go on like the Universal Tour
or one of these kind of things, one of the
things they will learn about is fully and so can
you explain to us a little bit what folly is
and how that's different than what you do?

Speaker 2 (29:03):
Well, actually, I will get it depends on the show
and the show's budget. Like a single camera show will
always have a fully fully department walk it and do
it something like for Boy. You know, multicams don't really
have that kind of budget. So if we needed something

(29:24):
that wasn't footsteps, then that's something I just do on
the stage And I do my own folly here in
my studium. Except footsteps. They are the worst. They are
so hard to get those. Oh yeah, because it has
to be matched the environment it's in so with. As
a matter of fact, I have a library of Boy
and Girl Meets World footsteps that I've pulled from all

(29:47):
of the episodes that because it's on a sound stage.
I can those will blend in on an interior shot
really well. I use them all the time, but exterior
footsteps is a whole other story. That's just my nightmare.
But anyway, So but what fully is I'm trying to
see the best way to say this. Sometimes it's faster

(30:10):
to fully something, so you're recreating a sound in sync
with the picture. And if there's a lot of like like,
for instance, I just finished a show that had somebody
had a pistol and they were moving it around a lot.
So rather than get my pistol sound effects out, I say, oh,
this one goes here, blah blah, I just folly it.
I just got a pistol from a prop shop, came

(30:32):
home and just I just emulated the action and it
was like ten minutes versus probably an hour and a half,
so you know. And then there's also another point of folly,
which kind of goes into matching lips a little bit,
is international distribution. So every show, every show that Disney
puts out, goes out into the world in those languages.

(30:56):
So that's a whole again, that's a whole nother world.
Oh oh my god, is it? Ever, it's more work
to do a foreign mix than it is to do
a domestic one, because if you're sitting here talking and
you hear this while I'm talking, well, we're going to
replace that voice, but now we have to also match.
I have the sounds every time, and then also when

(31:17):
people are moving and in English, in a regular one,
it's like, Danielle, if you moved back in your chair,
we wouldn't expect to hear that, But if it's completely
being rebuilt and you move back, it's like you miss
the sound that there. I should hear a little creek
or something there.

Speaker 3 (31:32):
Right, you know.

Speaker 2 (31:33):
And yeah, and then the worst part of all is
what you finished with it. Then it goes to QC
Quality Control and they are just like have microscopes trying
to find mistakes, and it's just I would rather get
a root canal than do em. Andy. Seriously, Wow, I

(31:53):
have a friend.

Speaker 4 (31:54):
I have a friend who's in quality control, who's one
of my CLI and he's been in it for at
this point, like fifteen years, and it's you know, he's
a position, you know, so I think he has one
of those ears too, like but yeah, it seems like
a nightmare. I mean, and when when he first started,
he would just always be at home watching DVDs in
like three languages, Like he would have to watch a
movie in every language with different.

Speaker 3 (32:13):
Subtitles just to be quality.

Speaker 4 (32:15):
From now he runs the company, but he started just
being a watcher, like that was his job. I'm like,
oh my god, he'd have to watch Die Hard like
fourteen times, you know, fourteen different languages with the different stuff.

Speaker 3 (32:25):
It's like, oh my.

Speaker 4 (32:26):
But I think the most fun part about Foley is
when things sound better with different objects, so you're not
just recreated, but like you know, like I know, you know,
it's like punch sounds will be like hitting a wet
piece of paper, or like you know, like a bullet
going into something would be like a watermelon squishing. You know,
like all these weird sounds that they have to recreate.

Speaker 3 (32:47):
That's the famous one. Find his videos that are amazing.

Speaker 5 (32:50):
The famous one is the is the Psycho shower scene
where he's stabbing the water It's he's stabbing a watermelon
over and over, which gives the sound of sounding I
mean it's just like so creepy. Yeah, that's the that's
it's the famous breaking well.

Speaker 2 (33:02):
That's you know, that's because they did it with an
extra first, but then the extra died so that they
got the watermelon finished.

Speaker 3 (33:10):
There's a few people you only few people know that story.
That's right, that's right.

Speaker 1 (33:14):
It's we talked about the perils of being a background
actor sometimes you have.

Speaker 2 (33:20):
It's only one thing to be concerned about. That.

Speaker 1 (33:34):
So you you mentioned will coming in for a d R.
Did we have to do a lot of ADR on
Boy Meets World In Girmeys World?

Speaker 2 (33:41):
No? Uh, and Boy the year that you went to
Disney World, you and Ben had a scene out in
front of a big water fountain.

Speaker 3 (33:50):
How could I forget it? So so we looped.

Speaker 2 (33:53):
That whole thing and you came in. You both came
in for that.

Speaker 3 (33:55):
Yeah.

Speaker 2 (33:55):
But my favorite, actually my favorite Boy Meets World story
is for the pilot. We need to bend him to
loop something. And so he came in. I got him
set up in his chair and put his headphones on
him and he was just like why I, Oh my god,
this is so cool. Can I go get my mom?
You know, it's the cutest thing ever. And like you know,

(34:17):
he will he will always be that little I don't
know how old he wasn't ten, maybe he will always
in my mind be that little awestruck boy that he
was doing this, you know, so sweet. Yeah, it's very cute.

Speaker 1 (34:33):
So how many sound techs or engineers are usually working
on a TV show at once? And then how many
shows are you usually working on it once? Like are
you working you know how many different shoes?

Speaker 2 (34:44):
Do you mean, like on a weekly schedule?

Speaker 3 (34:47):
Schedule?

Speaker 2 (34:47):
Yeah, it really varies. I've had years that I've had
fourteen series, so I'd either do like three a day
and then two on the weekends, or you know that
four she only I haven't had that a long time.
But you know, money is only good for so much,
and then you go, you know what I will pay
you to let me not do this. As a matter

(35:11):
of fact, during pilot season, I usually have one hundred
dollars bill that I put hide away and then if
it's like, okay, it's four in the morning, here's one
hundred dollars, I want to go and it doesn't work,
I still have the same hundred dollars. But yeah, so
as far as as you know, again, it depends on
the type of show. So a multi kit budget, a
multi camera show will have a dialogue editor and Oftentimes

(35:35):
that editor also does the effects, but sometimes it's split
up depending on how involved it is. Then, so that's two.
And then there's the music composer music editor. Usually they
are not the same person. So the music the music
editor goes through and you know, the composer, I say

(35:57):
I want this queue here, this queue here, this queue here,
and then and he'll he or she will make it fit.
Then there's myself and the supervising editor, who is usually
the dialogue or music effects editor. He sits with in
the room with me, the laugh guy. And then there's
a tech that our pro tools tech was in another room,

(36:17):
but if I have any kind of problems or anything,
he's there to figure it out real quick. So that's
about EAT people.

Speaker 3 (36:24):
So were you working with Ray Colecord?

Speaker 2 (36:26):
Yeah?

Speaker 5 (36:27):
Yeah, so you worked directly with Ray who did our
music for all of Boy.

Speaker 3 (36:31):
Yeah Girl too.

Speaker 2 (36:33):
Yes, until he got.

Speaker 3 (36:35):
Yeah, we lost Ray, but he was a great guy.

Speaker 2 (36:37):
Amazing talent, wonderful person. It was that I could. I
couldn't go to the funeral because I was working. I
was so sad, you know, it's like, oh man, yeah,
And I stay in touch with his wife. She moved
to New York. But we're friends. But that was that
was yeah. And you know, one of the fun things
is when Ray and Michael would get into a fight, which.

Speaker 3 (37:00):
With the really I always thought they got along perfectly,
but but Michael's consider composer a musician.

Speaker 2 (37:08):
And they would you know, well, Ray would feel strongly
it needs to be this, and he would argue and
he would stand up and blah blah blah, and I
would just get my chair and I just just like, Okay,
let me know when you're ready.

Speaker 1 (37:22):
Who would usually win those fights Michael Michael, of course,
and I went.

Speaker 4 (37:29):
He would get obsessed with music line readings. I can
imagine going, you.

Speaker 1 (37:36):
Have a literal music genius with Ray gold Gord, and
you're gonna argue about how should be flexible.

Speaker 3 (37:45):
He could do anything like and remember just like we
would be.

Speaker 4 (37:48):
We would he would like throw like something would be
in the script, like we need a jazz number, and
he would have it within like a day.

Speaker 3 (37:54):
It would be the best song you've ever heard, or.

Speaker 4 (37:56):
We have a hip hop song we need to dance.
It was just like he would just effortlessly produced it.
The one episode we did of the first episode I
directed of Girlman's World was the nineteen sixty whatever.

Speaker 3 (38:08):
Yes, that's the same to the table read.

Speaker 4 (38:11):
And Sabrina just sang a song like like jazzy acapella.
She just sang a song and he wrote down what
notes she was singing and then composed a song based
on what she sang. And he just heard her. He's like,
oh yeah, she's got perfect pitch. And she sang this note,
this note, this note, so I wrote he wrote a
song based on her table spontaneous performance was amazing.

Speaker 1 (38:31):
Yeah, wow, so cool.

Speaker 5 (38:33):
He also would come to the set to teach us
if we ever had to do anything even slightly musical.
You know, Ben, when Ben was directing with the with
the foam finger, he took the time to come down
to the set and he taught Ben with a baton,
no you want to do this, you want to do that?

Speaker 3 (38:44):
I mean it was Yeah. He was a great guy,
great guy.

Speaker 2 (38:47):
Just completely involved. Yes, And when they would would have
their disagreements, it was both of them was for the
best of the show. It's just Ray thought this and
Michael thought this. And I remember there was once really
I might have been for the first or the pilot
of Girl where my supervisor. She and I both just

(39:08):
like duck down, and she just looked at me and
she went because she had never worked with Michael before.
And I said, it'll be okay. Just don't worry.

Speaker 3 (39:15):
They don't need each other.

Speaker 2 (39:16):
It's just they're just trying to work this out. But
it was entertaining. Yeah, it is.

Speaker 3 (39:21):
It is funny.

Speaker 1 (39:22):
I will say that because you think, like you hear
those stories that Michael and Ray would fight and probably regularly,
and then you think, well, I wonder why Michael, who
has entire power to fire Ray and say I'm not
going to have you on the show. I will say
that Michael really respects men who will fight back with him. Yeah,

(39:47):
because he did know that Ray fighting with him was
because Ray really was fighting for what he thought was
best for the show. And Michael did respect that, even
if he disagreed with what He liked the fact that
somebody was willing to stand up to him and say, no,
you're wrong, and here's why and here's what's better. And
he likes that. He likes that because it means you're passionate,

(40:07):
and he wants that.

Speaker 3 (40:08):
He also respected talent.

Speaker 5 (40:11):
I think anybody who met Ray knew that Ray was
just just phenomenal at what he did.

Speaker 1 (40:16):
Michael spoke so highly of him, like the most talented,
the most incredible, just the absolute best. So, speaking of Michael,
how did you get hired? On Boy Meets World?

Speaker 2 (40:26):
The first show I did with Michael was Almost Home
I think, Okay, it was like a follow up to
the Torko Sun I believe, just before Boy and then yeah,
I think that only went one, maybe two seasons. So
then we did Boy and it just you know, we

(40:46):
all just clicked. It was it was just that's what
I said. I just looked forward to those mixes so
much because and Michael is, without a doubt, the best
joke tiller of anybody in the world. There's nobody, matter
of fact, the voice mamals recording him doing a joke.
I still have one. I still have one about the parrot, uh,

(41:08):
just because it's just you just you just marvel at
his ability to just take a very simple story and
just turn it into this. You know, and the people
that know Michael, like Jack is the laugh guy. Jack
and I will Jack and I tell jokes a lot,
and then we both Michael tells that better and we
still do that.

Speaker 3 (41:28):
Amazing he really was an amazing joke teller.

Speaker 5 (41:30):
He could build a joke on a joke, he'd do
a callback in the middle of a joke.

Speaker 3 (41:33):
I mean, he really is.

Speaker 4 (41:34):
I remember one time, man, we were on set and
somebody brought up a stand up comedian too Michael. They
were like, do you know this stand up And He's like,
I know them all. I watched them all he was
and that verson was like, well do you know this bit?
And Michael was able to remember exactly which comedian the
guy was talking about which bit. I was like, wow,
he studies. Yes, he watches every stand up comedian, knows

(41:55):
every single story.

Speaker 1 (41:56):
It was yeah, yeah, Well, when you think about it,
like it requires more to be a comedian than this,
But the base of it is you have to be
able to tell a good story, and then on top
of that you have to be there are other skills
you need, but like, if you can't tell a good story,
you're not going to be a good comedian.

Speaker 3 (42:11):
It's true.

Speaker 5 (42:12):
And then for people are usually musical, I mean, there's
a musicality to joke telling.

Speaker 4 (42:17):
And Might always had that comedians are musicians exactly. But
he would always point to like the fact that Woody
Allen plays jazz, you know, like people are like they
actually are.

Speaker 3 (42:28):
Usually musicians first, or drummers.

Speaker 5 (42:30):
I mean, Steve Martin, everybody, all these kind of people.
But it's also the best ones are the ones that
like I always go to Chandler on Friends to Matthew Perry.
And one of the reasons he was so funny is
that sitcom you can always get into the same rhythm.
It can be very much that Dunda set up jo
And the reason he was so good is that you
never knew where he was going to go.

Speaker 3 (42:51):
It was like jazz.

Speaker 5 (42:52):
It was like he played completely offbeat and it was
like whoa that came out of nowhere. And that was
one of the things where you find some of these
men and women that can kill it where it's just
you think they're going one place with a joke and
it goes to completely different, right, which yeah, Michael definitely has.

Speaker 2 (43:06):
So yeah, whatever he'd start up, you know, because every
week he'd come in with a new joke, and whenever
he starts to start up, I'd go, Okay, where is
this going? Where is this? Yeah, I'm gonna try to
go It was never right never, you know.

Speaker 1 (43:18):
So while you were working on Boy and you saw
it go through so many changes over the years.

Speaker 3 (43:23):
Did you think this show is going to be a.

Speaker 2 (43:25):
Hit Boy Meets World Initially, Well, because it was in
the TGIF lineup, I thought that it would be it
would be popular. I didn't. I didn't foresee it going
seven seasons. No, you know, and I'm so glad it
did because it just went the whole, you know, the
whole run from very young to college and getting married

(43:46):
and all of that. And then Girl. I thought Girl
was just brilliant, and you know, all the There was
a lot of location shots in uh Girl, because they
were in New York, and I go to New York frequently,
so I would say, I know where that fountain is.
I'm going to get that fountain, and I go and
I record the fount because iways put my gear with
me record the fountain or all the subway stuff, all

(44:07):
the subway sounds like, especially in that first episode of
the Girl, that's all from my library, and it's just
like that means so much to me. It doesn't I
don't charge anybody for that. It's just for me. It's like,
that's not how that train sounds, this is how it sounds,
and you know, like I get very I get very
picky with like phone rings, Like I don't know if

(44:28):
you guys remember what a princess phone looks like. Of course,
of course they have a very distinct ring, completely different
than like a regular.

Speaker 5 (44:35):
Desk phone and still talks about it.

Speaker 2 (44:38):
Yeah. So if I see if there's a princess phone
in my editor puts in a regular phone ring, I'm like,
uh uh uh uh no here, and I'll send them
a princess phone ring. Put that in.

Speaker 5 (44:47):
You know, you gotta be do you do you think
you hear the world more than you see the world.

Speaker 2 (44:52):
I think so, Yeah, I think so.

Speaker 3 (44:55):
Sot it's so cool.

Speaker 1 (44:56):
I would never I would never think that's an What
that fountain sounds like? I would to me, you went
to New York and recorded the right fountain.

Speaker 2 (45:08):
I was in New York. I know where that is.

Speaker 3 (45:10):
I'm going to record it.

Speaker 2 (45:11):
We're going to put it in, you know, and then
three people in the world know about this, but there
we are. So it's just my little quirk, my little quirk.
Another thing, another thing that used to really bug me
to death, which you don't have anymore's payphones, because when
when you had. When you were done talking and you
put down the receiver, the coins that you would put
in would then go through into the little hold.

Speaker 3 (45:34):
I remember that.

Speaker 2 (45:36):
Well, you watch old movies and you will never hear that.
And so I was working at a studio called Metromedia
back in the day. UH that's now that was torn
down and now it's a high school. And there was
a pay phone up but two floors up from where
the sound where I was working. So that was way

(45:57):
before having phones that you could record. Unless you had
a nog Brother, there's no way you could remotely record anything.
So my assistant and I found a really long mike
cable and we ran it all the way up to
that up to where that payphone was, and we recorded
that and then we had it and it's like, Okay,
now we're going to do that because I can't stand that.

(46:18):
Another thing to listen for anything Like back in UH,
anything that was mixed at Universal back in the sixties
and seventies, they always had the same phone ring, Like
in the opening title of UH. The Rockford Files, the
phone rings and then it's just answering machine. The answers.
This is James rock Jim Rockford leave a message. I'll
get back to you. That phone ring is in every

(46:42):
every everything that you know, any TV thing from Universal,
I'd hear the phone Oh I bet this is Universal.
Oh yeah it is.

Speaker 3 (46:49):
So it's like.

Speaker 4 (46:52):
Which my son recognized. He called it out one day
we were watching Yes. He was like, Dad, have you
ever noticed that whenever people fall in a movie they
sound exactly the same?

Speaker 3 (47:01):
I was like, and we watched like it was in
Indiana Jones. I was like this one. I was like,
that's the Wilhelm screen.

Speaker 2 (47:08):
I was like, oh my god, yeah, it's it's an all.
Actually it's said twice in the Two Towers, the blur
of the ring stuff, but it's in every Oh.

Speaker 3 (47:19):
Yeah, and we tried.

Speaker 2 (47:22):
You know, I have one producer who's like, got to
find a place for the Wilhelm screen. Got to find
a place, you know.

Speaker 1 (47:27):
And so it's just it's like, yeah, it's a tribute,
like writer said, yeah, So I think I'm going to
know the answer to this, But I have to ask it.
Are you even able to watch TV or movies without
just focusing on the sound and it's small issues?

Speaker 2 (47:39):
Well, you know, if it's engaging, yes, okay, But like
I remember the first time seeing Raiders of the Lost
Arc at the Chinese I was so enthralled with the
sound that I kept going in and out of the
story and I'll be like, where are we? How do
we get here? Because I was listening to because that
that the sound in that movie is amazing, and uh,

(48:01):
I had to go back and see it the next day. Okay,
now I want to see what really helpens because I
couldn't pay attention to now and if something if it's
not appropriate, the sound isn't appropriate, or if the adr
really stands out, that'll totally pull me out of it.

Speaker 3 (48:15):
It does me too, situation totally.

Speaker 2 (48:16):
Good, Oh what was that? Or something's out of sync,
like over over the shoulder shots so you know the
camera's behind me and I'm talking here and you can
see my mouth moving. Well, if that's not in sync
with what you.

Speaker 5 (48:29):
Hear, yes, crazy, I do the same crazy, And you
can do when you can tell that a line has
been looped when it just doesn't match and it's like, Okay,
they just threw that, that's adr they grab that from
another take.

Speaker 3 (48:42):
That drives me nuts.

Speaker 2 (48:44):
Or put a different person said it, that's not even
the same person sounds horrible.

Speaker 5 (48:47):
Yes, yeah, oh man, it's not the If you want
to have some fun, go back. If you want to
just well, for you, it wouldn't be fun to be infuriating.
Some of the old eighties cartoons. Oh really, Transformer's Mask.
There were times where just they would lip flaps wouldn't
be moving at all.

Speaker 2 (49:07):
Claps you do flaps, not mouth flaps.

Speaker 3 (49:09):
Slip slip.

Speaker 5 (49:10):
She loves it, you can tell by her face, or
just another actor would be speaking and they go, we
don't have time to reanimate it, so just keep it
as the wrong actor in the wrong character.

Speaker 3 (49:20):
It's so amazing. It's like they don't even try at
this point.

Speaker 2 (49:24):
Wow. I've been really honing in on fully lately. I'm
working on a spoof, a spoof for Batman fires the
Justice League, and it's like, if you guys ever go
to college humor, look up uh Batman Joker Interrogation, look

(49:46):
that up, and it's those actors and seen that director,
that those writers. That was like ten years ago that
we did that. Now he's he's got this thing. So
we have six four to six minute bits that are Batman.
Oh my god, it is so funny.

Speaker 3 (50:01):
But anyway, it's a Christian Bale Batman, it is, but
they do a.

Speaker 2 (50:06):
Spoof on on the Robert Pattison one, so he's the
Batman versus Batman. So we have Aquaman, Cyborg, Wonder Woman,
the Batman, Superman, and the Joker. Who's anyway. So I
had never seen any of the any of those movies
because I just don't have time to also my head.

(50:28):
I'm into Harry Potter and Lord of the Rings and
a little bit of Game of Thrones, and I just
don't have anyone. I don't have any more ruined my
head to know stuff, you know. I mean, we can
talk silly really and all you want, but I don't
know what comes in America is So I thought, if
I'm going to be if I'm going to be doing this,
you know, because they have, you know, the Lasso of

(50:49):
Truth for wonder Woman. They have like every every character
has their own little thing and we can't steal that sound,
but they want to come as close as possible. So
I okay, Well, so I'm watching Justice League. I just
I got zoned into the folly in that movie. I
was just like, holy, oh my god. I mean these
are features so they can spend a day trying to

(51:10):
get a sound. I mean, it's not like you got
two hours to do this movie. It's not like that.
It's they can just feature Folly is incredible, and I'll
just you know, every now and then I'll just get
hooked into one thing and then everything I watch, I'm
I'm watching that playing attention tonight. So that's just the life.

Speaker 3 (51:27):
Of my world.

Speaker 1 (51:29):
So what advice would you give to someone wanting to
get into this career, especially if they're just learning about
it right now from this podcast episode.

Speaker 2 (51:38):
Well, the first thing is somebody who wants to get that,
I'd say, choose another path because there are hundred thousands
of people that know pro tools. You know, it's not
unique now like it once was so then once it's
so much of it is luck and being getting into

(51:58):
the right place at the right time, you know. Like
when I first started, all of the Norman Laar shows
were shot at Metromedia where I recorded the phone hanging
up and I came in as an overnight person to
help the people in post production sound. So I worked
on you know, All in the Family, the Jefferson's Good Times,

(52:21):
you know, all of the Norman lay shows.

Speaker 3 (52:23):
Well that was.

Speaker 2 (52:23):
I mean, what an incredible beginning. So then as people
in that there are only three of us in that department.
So then the first person that left was the laugh guy.
So then I became the laugh guy for a year,
and then the next year the mixer left, so that
I became the mixer. So that was like very you know,
right place, right time, you know, I mean, you could
have the most amazing qualities as a mixer, but if

(52:47):
you aren't in the right place, if you don't know
how to get in there, it's it's I don't know
how I would tell anybody to even pursue that really was.
It was an incredible You think about my very first
experience orients in Hollywood was working with Norman Lair and
his his shows. I think, does it get much better
than that?

Speaker 5 (53:07):
Some of the best shows ever in the history of
television right there.

Speaker 2 (53:10):
So yeah, amazing, absolutely groundbreaking.

Speaker 3 (53:13):
Yeah, you know, and then go.

Speaker 2 (53:14):
To rap parties and I would talk to him and
just tell him how much it meant to me. You know.
I remember telling Carol o' connor how much how much
I loved his character and loved him, and he was
just like, oh, sweetie, and kind of of my face,
just like crazy and going to a One Day to
Time rap party when Valerie and Eddie were just dating.

(53:35):
They had just started really and it was so cute
because they're like holding hands. They kind of walked around.
He had on a powder blue tuxedo with like a
ruffled shirt.

Speaker 3 (53:45):
You know, I mean, just Eddie van Helen. He can
wear whatever you want, I know, but it.

Speaker 2 (53:49):
Was, you know, it was just so sweet. It just
watching them together. Everybody nobody, you know, bothered them, but
everybody was just like, oh, that's so cute. Uh So, yeah,
it was a great beginning. And I still work. There's
one producer actually, the One Day to Time producer, Patricia Palmer.
I still I still work with her. I did One

(54:10):
Day at Time, was a reboot that we've just finished.
Then I did another series earlier last year called How
We Roll with Pete Holmes, who is the guy that
plays the Batman and Maget and stuff. So time. Yeah, yeah,
and you know, she and I have lunch together frequently,

(54:31):
and we've known each other since nineteen seventy seven and
I was only two. The ones that makes sense of course,
of course, they made special allowances for child labor.

Speaker 1 (54:44):
You worked on so many shows on TV, from Seinfeld
to Punky Brewster, to news radio to Motown forty to
just shoot me. Did you ever think you would be
here thirty years later talking about Boy Meets World? And
what are your feelings about boy and Girl Meets World?

Speaker 2 (55:03):
Now, let's see first of all those lists that you
that you laid off, that you did, I only did
a couple of episodes of Seinfeld. I did the pilot
news Radio about the series.

Speaker 3 (55:13):
And there's one more that you said, great.

Speaker 2 (55:16):
Yeah, yeah, that was that was crazy though. There there
was one more that you mentioned that I only worked
on a couple. So I just want to clear that up.

Speaker 1 (55:24):
So right in case people think you did all of that, give.

Speaker 2 (55:26):
Those mixers their props because they deserve it. Uh No,
I would not. I couldn't even have imagined. When I
was in San Diego working at a recording studio, you know,
I just wanted to make more than a dollar seventy
five an hour, you know, and and then I thought,
you know, well, the only way I'm going to make
any money at this is I got to get up

(55:47):
to LA. So I got up to LA and then
my career just you know, just took off, and for
me to think, now, in twenty twenty seven, I will
have been here fifty years. Wow, And that's that's my
I'm holding out for twenty twenty seven before I say, okay,
I'm going to cut back a little bit, you know,

(56:08):
because I've always wanted That's just been a goal of
mine to say I did this for fifty years.

Speaker 3 (56:14):
Yeah, that makes sense, you know.

Speaker 2 (56:15):
So I look back so fondly on Girl and Boy.
You know the people we've lost, like Arlen and Grayson,
which was horrible. Ray Yeah, just recently Matt Nelson. I mean,
these were people I loved. Yeah, and you know there
were you know, Michael has this posse that comes with

(56:37):
him to everything, and so the posse would come in
and uh, you know, I just those sessions were just
the highlight of my week. And I'll tell you something else.
My mom died in nineteen ninety two, and all of
the show shows I was working on, I'll set flowers
she my parents were in Missouri, and so Boy sent flowers.

(56:59):
But then Michael told Karen McCain, who took Arlene's place,
that he wanted to send me flowers, and so he
sent me a dozen white roses just in sympathy for
having lost my mom. Had nothing to do with that.
It was just for me. It's just like the most.

Speaker 1 (57:17):
And that was from when you were on Almost Home.
Because if your mom died in ninety two, boy didn't
start until ninety three, so.

Speaker 2 (57:23):
Really, so then okay, then that's when it was You're.

Speaker 1 (57:25):
Right, it was Almost Home and that's the first thing
you had ever worked with him on. So it's not
even like he did that because well, she's been a
part of my team for years and years.

Speaker 3 (57:34):
That was just something he just cared.

Speaker 2 (57:36):
Yeah, so I totally lied about the rest of that.
I can't remember. I remember way, who are you a kain? No?

Speaker 3 (57:43):
I I remember in.

Speaker 2 (57:45):
My own way, you know, whether it's I always tell
to people just you know, get the gist of what
I'm saying, not the details.

Speaker 5 (57:52):
Yeah, well, we're gonna have to go to lunch sometime
because I want to hear those news radio stories. Oh,
I would have to go. I would love to go those.
That was one of my favorite shows, So I would.
And then I worked with that whole crew right after
Boy Me to World.

Speaker 3 (58:04):
So, oh did you on this on the show?

Speaker 5 (58:06):
Yeah, we did, We did a show with that. I
did a show with Andy Dick and Everyone was not
a good show called Go Fish, but it was the whole.
A lot of the crew coming off of news radio.
So yeah, I would love to hear some of that stuff.

Speaker 2 (58:16):
Yeah, you know it was challenging.

Speaker 3 (58:20):
And mostly because of the TV like that.

Speaker 2 (58:22):
Mostly because of the technology. If we had had what
we have now with pro Tools, it would have been
so much easier. But this is everything's being played back
on tape. Well, if you want to move something, you know,
five frames earlier, got a coffee it, copy it off
from the tape to another tape, then the tape five
frames and then he gets back of it. I mean.

Speaker 3 (58:44):
So cool.

Speaker 2 (58:45):
Well, pro Tools changed everybody's lives for the better. Definitely.

Speaker 1 (58:49):
Well, Tamara, we can't thank you enough for being here
and sharing your time with us. You were an absolutely
wonderful guest. Thank you for educating not just our dear listeners.

Speaker 3 (58:58):
But all of us.

Speaker 1 (59:00):
Absolutely on what goes into your job. And thank you
for all the years and and uh dedication you put
into making Boy Meet and Girl Meets World as.

Speaker 2 (59:07):
Much as my pleasure. Don't we made like Grandchild Meats World?

Speaker 1 (59:12):
You never know you know, I'd like I'd like a
contact for Jack the laugh Guy, please, I want to
tell you more to Jack.

Speaker 2 (59:20):
Okay, okay, I don't know if he would, if he would, come.

Speaker 3 (59:25):
On, Jack may refuse to talk to us. Guy's answering machine.

Speaker 2 (59:28):
They're very it's nothing, Hi, this is Jack. Leave a message.
But you know, I mean, I think everybody knows now
that shows are left, you know, oh yeah, right, but
you know, twenty years ago it was sort of like, no,
we don't know. And I have worked with producers that
they shoot in front of a live audience. But if

(59:49):
that joke didn't get a laugh, he's.

Speaker 3 (59:51):
Like, they're not going to put it didn't.

Speaker 2 (59:53):
Get a laugh, Nope, don't put anything in there. And
in that case he uses the laugh Guy to smooth edits.
Mostly know, like, you know, this has applause and then
we cut and it cuts off, so we need to
smooth that. And uh, you know. So there are those
with integrity that say, nope, we didn't earn it, so
we're not doing it. Not doing that. But I will
tell you, well, all.

Speaker 1 (01:00:13):
Right, all right, thank you so much for great to
see you.

Speaker 2 (01:00:20):
Thank you so much.

Speaker 1 (01:00:21):
All right, I can't believe that, so no wonder we
don't have super vivid memories of her, even though she
worked on every single episode, because.

Speaker 4 (01:00:43):
It always post was post was a mystery, especially with
multi camera I knew nothing about multi caamer post until
I was directing Girl. That was when I finally like
went to editing sessions and I was like, because you know,
we would actually a lot of our editing was kind
of done on the fly. Yeah, they would be cutting
between cameras for the live studio audience and then.

Speaker 3 (01:01:02):
Often that would be the edit.

Speaker 4 (01:01:04):
Like, it wouldn't change that much, And it wasn't, I mean,
our at least I thought so until I directed. And
then you get in there and you're like, no, I
want to cut to this camera. I want to come
to that camera, you know, and you have that creative input,
but like post for as actors, you never know what
post production is like.

Speaker 3 (01:01:18):
And I love that stuff.

Speaker 5 (01:01:19):
I love the little minutia of you know, the idea
that she's getting the recording of a regular payphone and
get I mean that stuff.

Speaker 1 (01:01:26):
I know that she went to a prop house and
got a pistol and then in her own place is
just waiting around.

Speaker 3 (01:01:32):
I mean, that's I could talk about that stuff all
day too.

Speaker 4 (01:01:35):
Man Fully in particular is like my favorite thing in
the world. I just I love watching fully sessions.

Speaker 3 (01:01:40):
I would yeah, I.

Speaker 4 (01:01:41):
Would totally like another job in Hollywood that would that
I would kill to have.

Speaker 3 (01:01:45):
Is like just you know, fully artists, we so much
so cool.

Speaker 1 (01:01:47):
So yeah great, Well, thank you all for joining us
for this episode of Pod Meets World. As always, you
can follow us on Instagram pod Meets World Show. You
can send us your emails pod Meets World Show at
gmail dot com and we.

Speaker 3 (01:01:59):
Have merch lip flap merch ah.

Speaker 1 (01:02:03):
You sound a way to do it tood meetsworldshow dot com.

Speaker 3 (01:02:08):
Oh the amount?

Speaker 1 (01:02:10):
How many times do you think we've heard at fifteen and.

Speaker 5 (01:02:12):
Just this part of the part of the lexicon. We
say it all the time.

Speaker 1 (01:02:15):
No, thank you, Pard Pass will send us out.

Speaker 3 (01:02:19):
Don't do it again. We love you all. Pod dismissed
lip flaps. I should have given it to writer. What
was I thinking? I would have done it too, you Chirk.

Speaker 5 (01:02:36):
Pod Meets World is an iHeart podcast produced and hosted
by Danielle Fischel, Wilfordell.

Speaker 3 (01:02:40):
And Ryder Strong.

Speaker 5 (01:02:41):
Executive producers Jensen Carp and Amy Sugarman, Executive in charge
of production, Danielle Romo, producer and editor, Taras Sudbach, producer,
Jackie Rodriguez, engineer and Boy Meets World super fan Easton Allen.
Our theme song is by Kyle Morton of Typhoon and
you can follow us on Instagram at Pod Meets World
Show or email us at Pod Meets World Show at
gmail dot com.

Speaker 2 (01:03:00):
Count