EP72 - BOB BERGEN

This week, we’re joined by legendary voice actor Bob Bergen, the man behind Porky Pig, Tweety Bird, and Luke Skywalker in the Star Wars video games! We dive into his incredible career, debate the greatest cartoon character of all time, and settle the age-old question—does Porky Pig prefer Duck Season or Rabbit Season? All that and more in this hilarious, animated episode of Baguments! Tune in now!

Once again, please continue to share the Barguments Podcast with neighbors and friends and subscribe so you never miss an episode. While you are at it, please give us a 5-star rating and share your feelings about Bargumentst by leaving a review on whatever platform you listen to the show on.

Episode Transcript

Speaker 1 (00:00):
Are you mince Mark, you mence Bark you mince you?
Welcome in to another edition of Bargaments the podcast. I'm
your host, Dan Levy, and with me is a voice
over a legend. You've heard him as Porky Pig Tweety

(00:24):
and Marvin the Martian and also Luke Skywalker and a
ton of Star Wars video games. Ladies and gentlemen. It
is my privilege to welcome into the podcast Bob Bergen. Bob,
thanks so much for jumping out with me. I appreciate it, Sir.

Speaker 2 (00:39):
I got a question before we start.

Speaker 1 (00:41):
I like it already, throw it my way so I
know you're.

Speaker 2 (00:45):
The title of this is Barguments. Am I supposed to
be drinking right now?

Speaker 1 (00:49):
If you wanted to, you always get I always I've
never turned it down. But the more people drink, the
more the bargainment can go a little bit nuttier than
it's supposed to. But have that it if you want
to have that.

Speaker 2 (01:00):
Well, it's only noon in Los Angeles, and you know
I have no problem in biting, but before four five
o'clock keeping on a Sunday, it ain't gonna happen. But
I did have a lot of coffee this morning, so
I'm well caffeinated.

Speaker 1 (01:19):
The adage as always it's five o'clock somewhere, Bob, you
can it could be. I mean, right now for me,
it's two o'clock on a Sunday afternoon, so we can.
We can just go ahead and just do the time
savings daylight savings time a couple more hours. There you go,
and you're right back at it. No problem. By the way,
before we even launch into this, it's a question I've
asked some people before. Do you remember the first time,

(01:40):
your first drink, ever, your first alcoholic beverage, how old
you were, circumstances, what do you remember yours?

Speaker 2 (01:48):
I was such a square kid. It was my twenty
first birthday.

Speaker 1 (01:53):
Really, I never dropped.

Speaker 2 (01:55):
I never try to drop of alcohol in high school,
I never I never hung out with friends who drank.
To this day, I've never tried marijuana because as a
voice actor, I just didn't want the smoke to go
down my throat. Interesting, and I've had people say to me, oh,
but dude, you know you can do gummies, and I'm like, yeah,
I don't need that, but I won't tell you. Dan.

(02:16):
Since twenty one, I've made up for a lot of
lost time.

Speaker 1 (02:20):
Well, like I said, I didn't know I was going
to do voiceovers. When I was a young and I
was I moved around a lot as a kid. My
dad got different jobs. So I was born in Alabama.
We moved to the New York, Connecticut, and then we
moved to Omaha, Nebraska. And then while I was in Omaha,
my voice dropped. When I was sixteen, I was doing
telemarketing of all things. And that's when my boss told

(02:43):
me he thinks he's gonna hear me on the radio
because he was listening in to the calls. And I
thought he was gonna yell at me for not really
doing my job the way I should have been, and
he's like, you should do radio, and so I was like, Okay,
let's do that. So that's how I kind of got
into this business. Before then, I had no idea. You
were a completely different approach. You knew exactly what you did,
what you wanted to do from a young age. How

(03:05):
did you know voiceover was that thing for you?

Speaker 2 (03:09):
I didn't know voiceover was that thing. I just knew
I wanted it to do voices for cartoons. I didn't
know this was acting I didn't know this was a career.
I didn't know that other people did this other than
when I was a kid and I started to learn
how to read and I would see at the end
of the opening credits of a Leny Tunes cartoon voice
characterizations Mel Blanc. So I was like, oh, well, I

(03:32):
got to be him. I got to do that. And
I didn't. And again, I didn't know that people could
do this for a living. I just knew that I
could do a pretty good porky pig, I could do
a pretty good Yogi bear, I could do a pretty
good Popeye. Now the truth was I couldn't because my
voice hadn't changed. In my head, I thought I could.

(03:52):
So I got lucky that my dad moved the family
to LA when I was fourteen, and that's when I
kind of found out, Oh, this is acting, this is
a career. There are other people that do this. But
you know, if I didn't have the passion as a
little kid, I don't think I would have had the
drive as a teenager to pursue this.

Speaker 1 (04:14):
I think we've all had that kind of like, ooh,
cartoons looks fun. That was like something I would like
to do it In fact I get man, I'm not
in the level that you are as far as the
voice or talent is. I'm not even in the same
classroom as you. But because I do in and I
am visible online to a lot of other people, I
will get three to four messages a day on social media.
How do I get it? In the business? People say

(04:36):
I have a really good voice, I want to do cartoons,
I want to do video games and all that kind
of stuff. It is not easy at all. I've been
doing it now for over fifteen years, and I still
feel like I am just learning what this is. And
one of the better ways it's been described to me
is that radio is like college, and voiceovers is like
getting your doctorates degree. It's past a master's degree, it's

(04:58):
like getting a doctorate because is it really is how
to act? And that's something that's never really that doesn't
get conveyed very often, that it's acting not so much
you're not just voicing, you're actually that person. And that
part is not easy for a lot of people to take,
is it.

Speaker 2 (05:15):
Well. The thing is, there's no such thing as a
good voice. There's no such thing as a bad voice.
They're only good actors and bad actors. And the problem
is for the radio people. Radio is very stylized. There's
nothing real about it. It is you're playing the persona
of the person that speaks as the three four hour

(05:37):
branding voice of this station. Be it Top four we
talked about this yesterday, be it Top forty or sports
talk or rap or country. And that's not authentic you.
That is the you on the radio where voiceover is
really authentic you even in a cartoon. They're looking for
authenticity and acting, and it's not about using your voice.

(06:00):
It's about using your acting skills. You know, we all
have a voice, everybody on the planet. Most everybody on
the planet has a voice, but not everybody the planet
has acting skills. And just because you've used your voice,
I mean I've had people, you know, because I teach,
I've had people contact me and say, you know, I've
been a singer for the last twenty years. I sing

(06:22):
in my in my church choir, and I sing, I
do community theater, and I want I should do voiceover.
And so my stock answer to that is, well, a
person making six figures in voice acting can't necessarily or
won't necessarily have the skills to sing in your church,
so it's just your mouth. The only similarity is the

(06:45):
only common denominator is they both use their mouth. But
how they use it, what skills they use, what training
they have, Apples and oranges.

Speaker 1 (06:54):
It's funny you should say the singing because because the
voice that I have when I do when I do
speak in public, can when I go out to any place,
and if I go to the gym and I'm talking
to somebody, somebody will always meant, oh my god, your voice.
I bet you sing very well. I bet you do this.
I'm like, actually, I have no idea how to sing.
I've never trained this sing. I'm sure if I went somewhere,

(07:15):
I would just start at the beginning like everybody else.
But I am not a singer at all. I can
imitate some people like karaoke. Well that's as good as
it goes. But like you said, when it comes to
those skills, have you ever met anybody that has been
able to not be trained and just come right in
and do it? I mean everybody. I think everybody has
this idea that I got to go get trained, I

(07:35):
got to go get coached, and it could take several years.
Have we ever had somebody who just was so naturally good.
They just walked in and started like crushing like raw talent.

Speaker 2 (07:45):
Yeah, I've seen the raw talent, but they lack technique.
So I'll see somebody come up to the mic the
first time I coached with them or in the days
when I would do workshops, and the first moment out
of their mouth, I'm like, it's just a matter of time.
But what they now need to do is study acting,
study improv, and marry the technique with their god given talent.

(08:12):
The difference between a trained actor and a non trained
actor is this. A trained actor will make a choice,
a non trained actor will make a guess. You can't
guess at this. You have to have the technique to
make a solid choice because you've got to be able
to repeat your skills your talent at will consistently, and

(08:32):
without the ability or the training to be able to
do that, you're just going to guess every time. For instance,
you might do a brilliant take in a session, but
the director goes, oh, so sorry, technical glitch on our end,
We had your mic off. Do it to get exactly
the same way. Well, if you don't know how to
do it exactly the same way. Then you don't, then
you lack the skills to be able to compete right now.

(08:54):
And I'm sure you have been told by people you've
got a great voice, you should.

Speaker 1 (08:58):
Do voiceoveray, And I always tell them as I wish
it was that easy. Just say, people, I can.

Speaker 2 (09:04):
Tell you right now. You never hear that from an
agent or a casting never. You'll hear it from a baker.
You'll hear it from the person at the grocery store,
hear it from random strangers hearing you talk in a
movie theater. None of these people are in the business.
They just hear what sounds like an interesting, marketable voice.

Speaker 1 (09:22):
I've got, I've got I'm telling you right now.

Speaker 2 (09:25):
Agents don't go to a movie and say you should
do a voiceover. They never do now because they know
it's about acting, that about the sound.

Speaker 1 (09:31):
In fact, I mean, I get it so much. But
it's like, because I do radio as well, I'll have
people that I know, friends or family that will just say,
I can't believe you don't have your own show with
that voice? How do you not have your own show?
And I was like, if if it's that easy, then
everybody be doing it. Of course you don't think I've
thought of myself, I should have my own show. You

(09:52):
don't think I've thought to myself, I want to be
a million dollar voice over actor. Of course, but again
there's so many different steps that it goes beyond luck.
He goes beyond you know, I was in the right
place at the right time. That helps, But like you said,
if I'm not, if I don't have the right tools
in my bag for that session, I'm not getting called
back for another session. And I've I've got I've been

(10:13):
booked early on for stuff, and I've listened back to
what I was and I was like, man, I want
to rebooked me either. I mean, I was on with
other people and I could tell that these people were
pros and I was just getting the experience for that day.
So I mean, I understood what it is. I understand
the assignment, and I've gone back. One of the things
that I found interesting when I was researching you, because
honestly and that I researched, well, you took a giant

(10:35):
swing when you were younger. You actually tried to call
mel blank and you actually tried to figure out how
to get in and start doing this stuff as fast
as you could tell me about that, because not everybody
has the cajonias to just go, I'm going to do
it right now and call this person.

Speaker 2 (10:52):
Well, I didn't try. I actually succeeded. I didn't know
what I was. What I wanted to do was considered unusual.
My thought was, well, if you want to be a
baseball player, call a baseball player. If you want to
be a brain surgeon, call a brain surgeon. I wanted
to be a cartoon voice, so I thought, I'm going

(11:12):
to call it the cartoon voice. And and I've told
the story a million times, so I'm going to give
you a shorter version. But I just researched phone books
and found his phone number and called him up mel blank.

Speaker 1 (11:22):
I can't believe his info is in the phone book under.

Speaker 2 (11:26):
His wife's name. I mean, I had a stack of
phone bus and I just kept looking under different you know,
M blank, mel blank, you know, and I found it
under his wife's name or his wife's initial E blak estelle.
And you know, I recorded the conversation. It's on my website.
That's completely illegal, But what the hell I think After
forty something years, the statute limitations have.

Speaker 1 (11:47):
Passed it might it might have just ended.

Speaker 2 (11:50):
Yeah, and through the through the course of the conversation,
he he just happened to mention the name of the
studio he was working at that week, but he didn't
say the day of the time, just the name. So
when I finished mccon conversation with him, I called the
studio and I pretended to be his assistant so I
could get the actual day and time he was recording.
And I talked my mom into letting me skip school
and go watch him, which I did. And you know, again,

(12:12):
I didn't think it was unusual. I'm doing with anybody
who has ambition and drive would do no matter what
I mean, I don't even care. Hey, if you're a
kid and you just get turned on by watching the
garbage men pick up your garbage cans, you love trucks,
you know, watch YouTube. You see a little kid standing
out front waving at the garbage man because they think

(12:32):
it's cool. So, you know, a fourteen year old might
call the sanitation department and say can I ride along?
You know, that's what you do, what you want to do.
But the problem is when you become an adult, you
lose an inhibition. Well, when you're fourteen. What do you
have to lose?

Speaker 1 (12:48):
Nothing? It's a shot shot in the dark. So when
you actually were able to have a conversation with him,
what was he like? Was he an early nice guy?
Did he give you any piece of nuggets that you
still carry to this day? What did what did he
give you?

Speaker 2 (13:03):
What?

Speaker 1 (13:03):
What? What evolved in? I mean A you had a
phone conversation and b you actually spend a day watching
him work. So when you're going through those what are
you learning and what are you ingesting with that?

Speaker 2 (13:14):
Well? I recorded the conversation, but sadly half the conversation
is missing because the tape broke because I listened to
it so many times. Wow, thats got stuck in the
rotary of the the cassette player. But a buddy of
mine several years ago spliced it back together. I kept
what he could and digitally enhanced it. The first thing
he said was how'd you get my number? And I
told her? And then he says, asked me if I've

(13:37):
created any voices? And even though my goal was to
one day play Porky pick, I never told him that
because I thought that was rather presumptuous and rude to
say that to the guy who created the character, and
he you know, I think towards the end of the conversation,
he was like, it's a really tough business to get into.
How older. I said, I'm fourteen. He goes, well, it
takes an awful long time. And so I wanted to

(13:57):
change the subject because I didn't care about obstacles. I
want to know how you do it. So I changed
the subject did you need an agent? And he goes,
I did, but I didn't have one. If i'd had when,
I would have gotten in faster. So my first thought
was my need to get an agent. So watched him
work about you know three days later, and then got
home from that session to call it Hanna Barbara, and
I got to the head of casting and she referred

(14:20):
me to some voiceover classes. So I just started studying
voiceover at fourteen.

Speaker 1 (14:24):
Wow, that is unbelievable. That is let me ask you
this one, because it peels back in another layer of
the onion. What was it about Porky Pig? Because if
you're going to give me a list of everything that
mel Blake ever voiced, I think for me, I think
Porky Pig would be maybe six or eight on the list.
I mean, I think we all want, you know, I
want to figure out how New Bugs number one, and

(14:45):
I want to figure out Daffy number two, and I
want It's interesting that you went right to the Porky
Piggin said, I want that one.

Speaker 2 (14:52):
I found the character comedically brilliant. I loved that as
he was stuttering of a sudden, he would add lib
something totally different than the word he was going to say.
I could appreciate. I mean, there's some you're born with timing,
You're born with pitch. I was born with really good
comedic timing. So I was able to like the Marx brothers,

(15:13):
like Avid and Costello. I was I appreciated their timing,
their comedic genius. I was able to appreciate Porky Pig's
comedic genius. And you know, I would I have a
little tape record in front of the TV, and I
would record these cartoons and I would listen back and
I would go, oh, yeah, there's a pattern. There's a
formula to how he talks. And I would try to

(15:35):
mimic it and really trying to hone it and fine
tune it. I think the only re I'm asked this
question probably this most common question. I get why that character?
Because I resonated with it. You know, why would somebody say, man,
I want to be I want to do Broadway musicals

(15:55):
and I want to do Sondheim. Why Sonheim? Well, because
I resonated with Sondheim more than Rogers and Amberstein, So
you know, I just connected with it.

Speaker 1 (16:05):
You and I had a session not to I mean,
we could reveal it as well. You coached me yesterday
and it was an awesome session. So if people out
there are serious about doing voiceover stuff, Bob Bergen is
there's a waiting list out there, and if you can
find someone to recommend him in, he is definitely a
man who wants to do that. You and I had
a really good chat yesterday, and something that I found
that was interesting and I'm wondering if it translated it too,

(16:26):
was that we did a session where you were telling
me to you gave me a character and I had
to actually come up with a pretty much what he was,
who he was, a scenario all my mind and act
off of that, and that was what we worked on
and it was phenomenal and it's something that I will
take you away. I love nuggets from every coach I've
ever worked with the hardest part that you did is

(16:47):
that you took a character that's already established and what
it is and who he is and everything of that nature.
When you're about to take on a character like that,
are you putting your own personal spin on it? Or
are you just trying to take what the actual torch
was and extend what that is? Or are you trying
to do It's funny to say that a lot. Did
you evolve porky Pig or you just kind of playing

(17:09):
the same role that you thought mel would have wanted
you to play.

Speaker 2 (17:14):
First of all, that Mel Blank never pops in my head,
never did because I can't come close to his genius.
None of us do. So my whole goal has always
been to uphold the integrity of the character, but not
try to be Mel Blank because I can't. Early on,
when I first started getting hired, Warner Brothers would plain

(17:39):
me about a twelve to fifteen minute recording a sample
of Mel Blank just to get me, I guess motivated. Now.
The problem was it was a little bit of porky
from the thirties, from the forties, from the fifties, and
even from the sixties, and I would say to the
head the heads of Warner Brothers, which one do you want? Like,

(18:00):
what do you mean? I said, well, Mel Blank, who,
by the way, wasn't the original voice of Porky. He
took over from an actor who really stuttered. I said,
that was Mel trying to mimic the original guy. And
then about three years later he started to own the character.
But every director for his Freeling, Chuck Jones, Bob Clampett,
Robert McKimson, they all had their own interpretation of what

(18:23):
each of the characters are, from their look to their sound,
to their personality. So I said, what for each job,
what do you want? They didn't know how to answer
this because they had not researched the character as thoroughly
as I had, which was fine. So if I'm not
told here's what we want, my sweet spot for Porky

(18:44):
is about nineteen fifty three to nineteen fifty six, Chuck
Jones driple on Daffy. It's Duck Dodgers, it's Robin Hood Daffy.
That's the Porky that I think of as the hiton
me of Porky. For in character, however, like we just

(19:05):
came off of doing five years for HBO Mexico Looney
Tunes Cartoons, which was an homage to about nineteen forty
two Bob Plampet Porky. We'd never done that since I've
been doing the character for thirty something years. That was
a blast because that was a style I had never
had a chance to do. And then we did a

(19:25):
show called The Looney Tunes Show, which is like a
sitcom with the Loney Tunes completely their take of what
the character was. So you have to bend to whatever
the producer, the network, whatever they're doing with that character.
But so my job is to please them, just to
give them what they want. Like we just said, I

(19:46):
have no problem saying can I can I try one
just for myself. They never say no. But I've never felt,
oh my gosh the pressure of keeping up this character
because I don't own the character. I just try to
do my best.

Speaker 1 (20:01):
How many times did you try going for Porky Big
before you actually got it?

Speaker 2 (20:06):
I still audition for him. Interesting, none of us who
do classic characters have a lifetime contract.

Speaker 1 (20:14):
Really, No, of course, not, of course not.

Speaker 2 (20:18):
No. Blank basically had him by the short hairs. No, no, no,
they never want that again. So I will tell you
there are times when just say, hey, yeah, you're working Thursday.
It's a commercial, it's a toy whatever, or hey there's
a new whatever, and they want you to audition. I
will tell you this that I've gotten to a point

(20:39):
in my life and career well where I won't audition again.
I put together about a two and a half minute
sizzle reel which is sort of like my best as
Porky over the last thirty four years, and within that
reel for those clips were Emmy nominated, So I figure, yeah,
I'll let that be my audition from that.

Speaker 1 (20:59):
Interesting.

Speaker 2 (20:59):
But but but I know I have decided in my
old age, I'm tired of auditioning. I got thirty four
years of content, hundreds of episodes they can pick from that.

Speaker 1 (21:11):
When you're doing different kinds of voices, have you just
sat in a room and done a zillion different kinds
of different voices? Or when you're looking at a script
do you make it up right?

Speaker 2 (21:20):
Then?

Speaker 1 (21:20):
In there is there a thing where you're like, oh,
I have this voice, I've done it, but I haven't
done it on this one. Or are you looking at
a script and going here's something brand new I've never
done before. Are you premeditated that way or have you
gotten to the point where your skills are I got
a new voice. I'm just going to lay this down.

Speaker 2 (21:35):
It's the answer is both. So for instance, if I'm like,
if I'm doing an episode of a cartoon, I'm on.
And let's say it's the holiday episode. Uh, And let's
say that they need they need a they need an elf,
Santa's Elf, and it's just as happy, go lucky, wonderful,
typical elf. I'll just feel a typical elf, you know,

(21:58):
I just feel in life like this him saying what
I mean, billing toys. Oh boy. But then if it
says it's more of an adult swim cartoon at Santa's Elf,
but he's always drunk, Well take the elf life. But
I'll hello, hey Sala, Yeah, same boys. But then I

(22:21):
adjust it. I adapted to what they're looking for. If
it's an If they say it's an elf, but he's
an old elf. He's the king of elves, but he's
been Santa's head elf for the last three hundred years.
I'll start with my little health and then I'll make
him at old elf. Oh hell, sta How are you
what do you watch this day? Oh? Yeah, toys? What

(22:41):
are we doing to Shae? Have a toy? So you
take your tried and true. We have a Rollodex in
our head of you know, go to characters, but then
you look at the description, you look at the other characters,
you look at the story, and you start building based
around the specs and the information that they give you.
But it always starts with, well, what can I bring

(23:03):
to the table right now? And you know, when it
comes to an audition, you do all of that. You know,
I'll print up my scripts, I go into the booth
and I push record and I always record everything, including
what I'm trying out because magic happens when we're preparing.
So you know, I don't have a rule, but I do.

(23:28):
I've got a few rules. One of my rules is
I've got to bring more to the table than just
a voice. It's a character. All characters have a voice, Banana,
All voices have characters. I've got to build backstory like
you and I were doing. It was a coach yesterday,
you know, build backstory, build relationships, create the scene that
you're in, think about the environment performed to that environment,

(23:52):
not to the mic. So but that stuff is knee
jerk instinct for me at this forty two years in
this business. But a lot of it is instinct, and
a lot of it is fear. The scarier, the scarier
the character, the more creativity I'm gonna put into it.

Speaker 1 (24:10):
Because scarier as in like a scary character a character,
or a scared character like I'm scared of there's just
more evil.

Speaker 2 (24:19):
I don't know as an actor, I don't know what
to do with this. I haven't a clue what to
do with this. They don't get so then I go,
well to heck with the specs. I'm just going to
give them what I I'll give you an example. Years ago,
my agent sends me this audition and their prototype is
James Earl Jones. And I called her up and I said,

(24:39):
have you ever heard me talk? I mean, you know,
I would love to sound like James Earl Jones, but
this guy is not James Earl Jones. And she said,
I know they don't know what they want. Make it
your own. That is the advice I would give to
everybody auditioning for anything. Make it your own. Don't mimic
what you think they want. Make it your own.

Speaker 1 (25:00):
Well, then let me ask you this, What did you
do for that and that audition? If you can remember
off the top of your head, what did you give them?
That was in the vein of James Earl Jones, but
you made it your own. What did you do?

Speaker 2 (25:11):
Well? They said it was a cold and calculated villain,
very confident. So you know, James, I'm getting close to
the mike right here, but James L. Jones, which I
can't do, but I can do me. I can do
my own voice right about there being very cold and calculated.

(25:32):
So that's what I did.

Speaker 1 (25:33):
Wow. So it's so interesting to learn these different techniques
because I mean, when if anybody ever starts off doing
voiceover stuff and want to start doing voice it's always commercials.
It's always I got to add to commercials. And I've
paid thousands of dollars. I've traveled to California out of
Chicago before zoom and the internet and virtual was the thing.

(25:53):
I would fly out there and I would stay with
a buddy, Bill Ratt and or I told you before
it was a voice of a lot of stuff, and
he would just introduce me to coaches and introduce me
to people. I would watch him go and I would
just kind of practice with him. And I paid so
much money to have the broadcast sound nacatotomy and limit
the voice and kind of do what you just did.
There's kind of strip. It all just nice and quiet.

(26:14):
But yesterday I used so much of my voice with
you that I woke up today like, oh, I got
to work at it. I had to like spray my
voice with all kinds of sprays that I would normally do
to kind of warm up for a session afterwards, because
it wasn't used to being used in so many different ways.
And I love that because I was able to go
back to it was actually the point where my wife

(26:35):
and my son were here. I didn't realize that my
wife was trying to take a nap in the next room,
but my son was in the front room playing video game,
and what you had me doing, I was like, I
woke her up. My son my son thought that by
because my wife was in the room next to mine,
he was on an impression that I was screaming at
her and we were fighting, so he got all freaked out.

Speaker 2 (26:55):
And I had a company the authenticity in your screen,
and she.

Speaker 1 (26:59):
Was she got at me she's like, you can't do
that while we're here. Again, I'm like, no, but you
bought it, which means I was actually doing what I
was supposed to do it. And she's like, can you
do it at a time when we're not here. I'm like,
that's the deal that I could do. But at least
I nailed when I was supposed to nail. So, I mean,
your anger is perfect cause I actually figured out that.
I was like, I'll take I'll take the compliment. I
didn't mean to scare my son, so I took him

(27:21):
out for ice cream outdroids. It's like, all right, that
he's not mad. In fact, you can help me because
of some things that you and I were talking about.
As let's transition over to another iconic person that you
were doing, Luke Skywalker, another character that is cemented that
there is I mean Mark Hamill Hamilton, Yeah, that Mark Hamill.
I was at Hamilton, Mark Hamill and all kinds of

(27:43):
other people have taken swings of that one, and you
have to stay to the brand. Again. You've done characters
where you've had to kind of become your own, but
it sounds like a lot of the guys that you've
really done. Well are ones that have already been laid
out for you? How hard is that to go from
there and extend what that is? Because when I'm playing
a video game, my son and I we play video games,

(28:05):
we're always like, man, can you believe how real it is?
That sounds like them? Usually it is that person we're playing,
But you have to encapsulate what that person is. How
hard is that side of it? And not only getting
the voice down, but the mannerisms, the characteristics, the resonating
of his voice, and just those types of Like I said,

(28:26):
you have to pretty much steal what he's doing and
give that authenticity to a gamer. How hard is that?

Speaker 2 (28:32):
Well? I turned down the audition because I said to
my agent, I can't do Mark Hamill. And my agent
said okay, And she calls up the guys at Lucas
Arts and turned it down and they called her back
and they said, no, no, we've heard his demo. There's
there's there's a there's a timber, there's a sound that's
very similar. So we'd still like to see him. And

(28:54):
my agent's like, you want to go? I said, I'll go,
but I'm not right for this. So I walked into
the audition and I said, guys, I can't do Mark Hamill.
And Dara O'Farrell, who I adore to this day, who
was producer director for all of all the games I did,
he said to me, don't do Mark Hamill, do Luke Skywalker.

(29:17):
And I went, oh, okay, now here's the problem. I mean,
I'd seen the Star Wars movies at that time, there
were three of them, but I'd never memorized them. I
was more of a Star Trek fan than a Star
Wars fan. I didn't really know that much about the folklore.
I didn't really know that much. I didn't know Empire

(29:37):
Strikes Back versus Return of the Jedi. I didn't know
which came first, because I never really was a diehard fan.
So Dara was explained to me, there's pre Jedi and
post Jedi Luke, and he would play me some voice
prints of Mark. You know, pre Jedi where where young
Luke was kind of little whiny, it was just this

(30:00):
he was a kid, and then post Jedi Luke where
he got more grounded. May the Force be with you.
So we played with that sort of thing, and then
I guess I got some callbacks and I booked my
first game. Oh but before I did my first game,
I told my agents. She said, hey, they want you
to do this game. I said, not until you call

(30:20):
Mark Hamill's agent and get his blessing because I didn't
know Mark hambll well. I didn't know if Mark Hamill
was like in a negotiation and asking for too much
money okay, or if they were going to hire a
scale plus ten actor to take over the part for
this one game, which I thought was tacky. So I said, look,
he's a Luke Skywalker, so I'm not going to take
this job. If he wants it, and whatever they want,

(30:42):
whatever he wants to get paid, they should pay him
because he's breaking Luke Skywalker. He didn't want he was
not interested at that time. He was trying to distance
himself way before the reboot or the relaunch of the
series of movies. So yeah, when I found out that
he was not interested, I was happy to do it.
But that's just a listen to everybody watch or listening
to this man, there's a code. You don't go after

(31:05):
somebody else's job. And if they're holding an audition for
something that's out there that somebody's done, we're all available
on social media. Find out what the deal is. Like
The Simpsons, they've auditioned to replace the cast of The
Simpsons multiple times, each time during a negotiation. No, no, no.
Someday you're going to hopefully have a character that is

(31:25):
so successful you're going to try to get more money,
and you don't want your contemporaries people trying to break
in to get your job. So reach out to your
fellow actors. If this audition pops up, and if they say, yeah,
I prefer you not to do this, tell them you

(31:45):
got it. I won't do this.

Speaker 1 (31:48):
Let's go a little more inside baseball. And this is
something that I always ask I've asked musicians this, I've
asked voiceover people, I've asked radio this, and it's something
that I'm always more fascinated with them. Maybe I might
be one of the few. What do you do to
take care of your voice? Because I've done a lot
of I've done e learning stuff, I've done audio books,
I've done what I get A lot of radio station

(32:11):
voice stuff that I do. I do a lot of
branding for radio stations, and whenever they've given me like
five or six pages of single space stuff, my voice
is cashed, and I have a whole routine of things
that I got to do to get my voice ready
for a session like that. The things that you're doing,
you're stretching your voice all kinds of different places. What
do you do except of the fact you said you

(32:32):
don't smoke and you don't drink, what do you do
to take care of that? What do you do in preparation?

Speaker 2 (32:37):
No, no, no, I drink. I just don't drink at
this time of the day. And I smoke cigars, but
I smoke maybe one cigar every three months, and I
don't hail cigars. So first thing is, I don't even
do an audition that calls for screaming, and those are
usually games. I don't do nine out of ten game
auditions because I'm not going to lose my voice for
scale that's number one, number two, reading for four hours

(33:01):
in my own voice, or even as Porky for three hours,
I'm not going to stress my voice. I'm not going
to lose my voice because I guess I have a
strong I guess strong vocal chords. So using my voice
has never been a problem. So other than choosing not
to audition for like a game, that's like, you know,
soldiers screaming and all that stuff and death. Screw. I

(33:22):
just won't do it because it's not worth losing my
voice for it.

Speaker 1 (33:24):
Do you do it again? Of tea? Do you take
really hot, steamy showers in the morning? Not that I
want to know the end of details, But I don't
warm up.

Speaker 2 (33:30):
I don't warm up. I don't do anything.

Speaker 1 (33:32):
You just go.

Speaker 2 (33:33):
I pour a cup of coffee. I come into my office,
I see what my auditions are. I print them up,
I push recorded, go in the booth. I mean, I
just know that. But that's just I think the way
I'm built. I've got friends who need they have to
wake up two hours before a session because they've got
morning voice. The moment I wake up, I've got the
same voice I've got with you right now.

Speaker 1 (33:50):
But that's just me interesting and I have more. Yeahly,
so I try to steam it out and kind of
warm it, upload it before you go. But I get
a lot of that one, All right, White Whales? Any
Is there any voice that you're like, I still I'm
chasing after there? Is there a cartoon that you wish
you could be on? A family guy a Simpsons? Is

(34:11):
there anything that's still because you've done so much in
your career in terms of iconic characters and all kinds
of fun stuff. Is there a couple that are like
still out there that you're hunting for or you just
kind of trying to have fun?

Speaker 2 (34:24):
Well, I mean the bottom line is, unless I'm psychic,
how would I know what that character is. So I
audition every day just like everybody else. And if I
get a really cool, fun audition and I'm like, oh,
that one looks like it's going to be a biggie,
I want that, but it's I won't know it until
I get the audition. Now, because my real name is
Bob Berger, somebody had my name when I joined SAG.

(34:45):
I told you that yesterday. I'm dying into Bob's Burgers.
But you know, I've tried. I've tried that angle with
the producers. Hey my real name is Bob Berger, but
they don't care. So yeah, the the thing I really
want to do next is the thing that I get next.
I won't know what that is until I get it.

Speaker 1 (35:05):
So there's no like I would love one shot a
family guy. I would love one shot at you know,
working with this I kind of kind of already made
cartoon or anything that's out there right now.

Speaker 2 (35:16):
No, because I don't watch cartoons.

Speaker 1 (35:19):
I would the cartoon himself does not watch the cartoons.
I like it.

Speaker 2 (35:23):
No, I don't know I do. It's sort of like,
you know, if you're a doctor, you're gonna come home
and watch Graize anatomy, you know. I just I do
this for a limnic. I can appreciate cartoons. I grew
up watching the Loving the old black and White Popeyes
and the Looney Tunes and speed Racer and stuff like that.

(35:45):
But if I get an audition for like a Family
Guy or a Simpsons or something like that, that'd be great.
That'd be fun. I would love to be a regular
on one of those shows. I'm not stupid, but I'm
not sitting here going, oh, please seth MC are going
to hire me because I should do your show now.
I don't have passion to be on one specific show.

(36:06):
I just like to work. I don't care what it is.
I like to work on animated features. I like to
work on toys. I like to work on preschool stuff.
I like to work on superhero stuff. I don't think
there's a genre of animation. I do not enjoy doing.
When I'm doing it. Most of the time, it's just
a job. That's it, just a job. The writing isn't spectacular,

(36:28):
it's just a job. And every once in a while
I'm doing that thing where I'm like, oh my god,
this acts itself. It's so well written. These people are
just such a delight to work with. I want this
to go twenty five thirty years. Sometimes it only goes
one episode, sometimes it only goes one season. But man,
when you get that property, that content, that's like, holy crap,
I'm doing this. This is so cool. And most of

(36:51):
the time when I've done those jobs, you won't even
know what they are because they weren't mega hits.

Speaker 1 (36:56):
Interesting. Interesting. One of the other things I found that
people who do the kind of genrest of that you are,
you are a giant hit. At comic cons, people come
to you, they look for you, know, they want to
be the voiceover actor, and you can pretty much make
a whole of their side living just off these comic cons.
I've been around other voice unters. I was around George
Low who was Space Ghosts, and I've I've watched the

(37:18):
cash in on these things. What's some of the more strangest,
funniest fan interactions you've had when you encountered you that
are like, oh my god, you're him.

Speaker 2 (37:27):
Well, you know, it's interesting because I don't do many
of them. I turned down more than I say yes
four because it's giving up a weekend and I like
my weekends. I'm actually about to leave go to Florida
to do San Diego Comic Con the cruise, which is
their first comic con cruise. Now it's leaving out of Tampa,
so I'm not quite sure why they're calling it San Diego,

(37:48):
but I think it's the brand.

Speaker 3 (37:49):
Of Yes Diego, What's what what I've So when I
first started doing these conventions twenty five thirty years ago,
I didn't know.

Speaker 2 (38:01):
We don't assume people know who we are. We're voice people.
I'm not an on camera actor. So when people knew
who I was and people knew what my body of
work was, and this is before the Internet, it blew
me away. People meet you and they're shaking like they're
meeting the Beatles, and as far as they're concerned, whatever
they're a fan of that you do, you're for that weekend,

(38:24):
you're the Beatles. And at first I thought they were
punking me. I thought they were making fun of me.
I thought they were joking that. I realized, oh no,
these people are die hard fans. And one of the
things I do love about these conventions is that fandom.
You know, it's hard because sometimes all you want to
do is get to the men's room because you got

(38:45):
you got a five minute break, but getting there because
people notice you, and I can't walk past them and say,
excuse me, but I must pee now. I have to
actually respect and honor them and give them that moment
that they came there for, because these are people who
are responsible for me and being able to buy a
house on it right now, you know, God bless these people.

(39:07):
Uh So, watching that, the shaking and the nervousness at
first with something I had to get used to. I've
autographed various parts of people's bodies.

Speaker 1 (39:17):
Wow.

Speaker 2 (39:19):
I've had people come back, you know, five years later
and show me that they had what I wrote tattooed.
That's interesting. I've people are always auditioning for me for
with with my characters and asking me how did they
do well. My first response is always I don't want
to hurt them or break their break their heart. But

(39:40):
I usually say to people, you know, my goal is
that you're not very good, you know, because of my job.
But I will tell you this, some of the people
are damn good. And if they really are interested, and
if they if they have a work ethic and they
are willing to go to the distance, I'm going to
give them the same advice I would give a paying student.

(40:01):
Here's here are the websites you need to look at.
Here are the books you need to read. Here are
the people you need to study with. Here's my email address.
After this weekend, pop me a note. I'll send you
more stuff. But I'm going to be honest with you.
If you're not willing to put in the work that
I did, the people that I know every day who
work did, then don't waste your time. Find something else

(40:22):
in life you're willing to work that hard for. Because
this is difficult. But if you really want this badly enough,
you're going to do whatever it takes and more than
everybody else to make it happen.

Speaker 1 (40:32):
Interesting, that's really good stuff. Any time you've met a
famous person that's been a fan of yours, have you
ever had an interaction? Have you had a Mark Hamill go, Wow,
that's damn good. Or have you met any celebrities or
people that are all of a sudden like I did
not expect this person to say they were a fan
of mine.

Speaker 2 (40:53):
Well, he wasn't a fan of mine. He was a
fan of Porky Pig. We did a show called Duff
Dodgers years ago, me and Joe Alaski. I was Porky,
he was Daffy, and they had a lot of stunt casting,
and they brought in Quentin Tarantino Wow, to play one
of the one of the guest voices. And he comes
in with a Fred Flintstone T shirt and he walks

(41:13):
in and he is literally like a comic con fanboy.
And he comes up to both me and Joe and
he's shaking as he shakes our hand, and he goes,
I'm such a huge fan. Oh my god, I can't
believe I'm in this room. I'm at Owner Brothers right
now and I'm working with Porky Pig and Daffy Duck.
And he goes to his little music stand, he puts
on his headphones and I said, before we start, can

(41:34):
I just give you just a little bit of information, sir.
You're Quentin Tarantino and he goes, I know, but you're
porky Pig and daffy duck. I said no, no, no, no, no, no, no,
you do not understand what I'm saying. You're Quentin, You're
Quentin pulp fiction Tarantino. Why are you so giddy? He goes,

(41:55):
I'm living a dream right now. I am doing a
job with Looney Tunes. And I looked at Joe, who's daffy,
and I said, this is sir real. About a week later,
I'm at a deli in Studio City called Jerry's Deli,
and I saw Quitting Tarantino in a booth having lunch
with a lady. And I walked up to him and

(42:17):
I said, mister Tarantino, you may not remember me. And
he goes, oh, this is perky Pig. And he goes,
do you want to join us? Would you like a pickle?
And I said no, no, I'm having blunch. I just
wanted to say it was the man never knew my name.

Speaker 1 (42:32):
That's awesome. Now he never knew my name, it's awesome.

Speaker 2 (42:35):
He was, but he was so excited to work with me.
I get that a lot, especially when we do something
with a guest star. I was speaking about Mark Hamill.
I was at a studio waiting to go into do
a Looney Tunes session and Mark was in the waiting room.
I said, what are you here for? And he said
what he was here for you is what are you
here for? I sa, I'm I'm here for a Looney
Tunes job and he goes, oh my god, I would

(42:56):
love to do something with Looney Tunes. I said really,
He goes yeah. So I go into my session and
my producer Matt Craig and voice director Colette Sunderman. I
said to Matt, Mark Cammell's out there and he really
wants to work on the show. And he goes, Mark
wants to work on our show. I said yeah. So
a few weeks later I find out that they wrote

(43:17):
them apart. But wow, I wasn't in that episode, so
I didn't get to work with him.

Speaker 1 (43:24):
But that guy owes you at least a lunch for
doing that. That's incredible.

Speaker 2 (43:30):
But here's the My point is, no matter who you are,
no matter what your body of work is, we all
just want to work. We all just want to have fun.
And you would be surprised how many major celebrities. I
was on the Board of Governors at the TV Academy
for ten years and I just rubbed elbows with Ednie
winners and Oscar winners and nominees. And how many people

(43:53):
would come up to me and say, can you get
me into voiceover? How do I get into doing voices
for cartoons? Everyone tells me I've had a great voice. Yeah, yeah,
yeada blah blah blah.

Speaker 1 (44:03):
All right, well, let's get over towards the bargument side
of this thing, because this is where we get to
have a little more fun and you can step outside
of yourself for a little bit, okay, and we can
throw some questions your way and go for it. We
volleyme besides yourself, and we can even go the best
of all time? In the classic Who are the top
three voiceover talents? Cartoon voice over talents of all time?

Speaker 2 (44:26):
Mel Blank, Mel Blank Blank, DAWs Bulger Chin forrec Wow.
And if I had more, if you gave me more
than three, I would have I would add on to that,
But those are the three that popped into my head.

Speaker 1 (44:38):
I would have to go Mel Blank definitely going to
with a with Dan Castleinada Castlenetta and I'm going Seth
Seth McFarlane because those three guys, those three guys can
just do so many different characters that I've loved.

Speaker 2 (44:55):
If you had said contemporary, I would have thrown those
guys in.

Speaker 1 (44:57):
It's okay, it's only if.

Speaker 2 (44:59):
You And if you had said four, my fourth would
have been Paul Freese.

Speaker 1 (45:03):
Paul Freese. Yes, yes, there's so many. That's what makes
it a good argument, my friend. But it's funny that
mel Blank, like I said, it wasn't until years later
where the internet was born, and you can watch interviews
of him and you just go, oh, my god, how
easily he was dipping it out of it. That's that's
the one thing I think whenever I've seen any kind
of like real session of when you watch like the
actors studio of the Family Guy people are the Simpsons,

(45:27):
the real ones like Harry Sheer and you know, Dan
Castlenetta and South McFarlane and those guys, just how easily
they dive in and out of those parts. Even though
I mean, if somebody were to say, hey, do an
impression of Peter Griffin, I have one, but it'll take
about three seconds and be like, oh, okay, you know
then you just get into it. But they just the
way they just go in and out of it, like

(45:47):
they're just taking a deep breath. To me, that's always
the most amazing thing.

Speaker 2 (45:51):
If you if you were to watch an old rerun
of a talk show from the sixties or seventies and
they've got Fred Astaire or Sammy Davis and can you
give us a little soft shoe, they wouldn't hesitate, they
would just do it. Why because that's what they do.
This is what we do. And anybody who's a wonderful singer,

(46:12):
anybody who's a wonderful painter, you know, give them their
their their canvas and their palette and their brush and
they're gonna do what they do. Well, that's what talent is.

Speaker 1 (46:24):
Well to me, that always advises how blessed? All right,
another bargament your way, We don't. I mean, you can
throw anybody in there who is the greatest cartoon character
of all time, that party Pig, because it's you, I
will definitely it's hard to argue at the beginning.

Speaker 2 (46:43):
No, no, not because it's me, Because he's charming if
imus and it doesn't want paints.

Speaker 1 (46:56):
Well as Porky Pig. Allow me to ask you a
question I've always wanted to ask, what's your favorite season?
Duck season or rapid season?

Speaker 2 (47:06):
Oh, that's easy in that Bacon season.

Speaker 1 (47:13):
And if Porky Pig was going to be stuck on
an island with anybody, who would he wanted to be
a cartoon Garrett. He wanted to be Daffy Duck. What
he wanted to be? Bugs Buddy? What do you want?
Elmer Fudd? What do you want? Smedy again, Zalz? Who
would Porky Pig want to hang out with? Who's his
best Who's his best friend on that show?

Speaker 2 (47:31):
I'm gonna answer as me, but I'm gonna answer is
Porky first? That I'm gonna tell you why? Is me? Okay, okay,
definitely Daffy. And the reason is because Porky didn't do
any cartoons.

Speaker 1 (47:45):
With bugs Oh.

Speaker 2 (47:48):
Or Elmer Fudd. He was it was either either paired
with with Daffy or a mute Sylvester. But he didn't
do any other pair and he had great chemistry with Daffy.

Speaker 1 (48:03):
That's interesting. That is interesting. Out of the two the
the combo characters cartoon characters, who's the greatest two characters?

Speaker 2 (48:15):
It?

Speaker 1 (48:15):
Wiley Coyote and the road Runner. Would it be Sylvester
and Tweety Bird? Would it be I mean, anybody of
those genres. Would it be Tom and Jerry or Beavis
a butt heead? Who's who's the better the best cartoon duo?

Speaker 2 (48:33):
I was never a fan of like the road Runner,
Coyote or Tom and Jerry. Perhaps because they didn't speak.
I don't know. I just never found that style of
comedy interesting. I liked I like Daffy and Porky, and
not just because I do these voices. I just thought,

(48:53):
you know, Daffy was a was a buffoon, and Porky
was the voice of reason, whether it was Duck Dodger
or Robin Hood Daffy or drip along Daffy. But again
talking about that fifty three to fifty six Chuck Jones era.
Other than that, I like Popeye and Blueto. I like
Popeye and olive Oil.

Speaker 1 (49:13):
That's a good one.

Speaker 2 (49:15):
You know. A lot of the a lot of the.

Speaker 4 (49:22):
Duets or duos were one offs, like you know, Bugs
Bunny and Pete Puma were delightful, but they did one
you know, right, I liked Marvin the Martian and Bugs Bunny.

Speaker 1 (49:35):
You did mar the Martian, right.

Speaker 2 (49:37):
M you have done Marvin. I did Marvin and Spash
didn't that lovement?

Speaker 1 (49:41):
That is unbelievable. I think we all have a Marvin
the Martian impression, but you probably have it way better
than us.

Speaker 2 (49:48):
Everybody does Marvin to me.

Speaker 1 (49:51):
I'm sure, and I'm like, oh.

Speaker 2 (49:53):
That's lovely, that's delightful. Thank you, Okay, bye.

Speaker 1 (49:59):
All right. If you were to pick the worst character
cartoon character to have as a roommate, who would you
believe Who would you not want to have as a
roommate cartoon character wise.

Speaker 2 (50:10):
Well, obviously Pepula Pew.

Speaker 1 (50:13):
I mean, let's be honest, I would be I think
bugs Buddy would be the worst one. That guy's that
guy's always talking trash. He's always talking trash and getting
into all kinds of fights.

Speaker 2 (50:26):
Oh yeah, but that's no, that's just bugs Buddy being fun.
So Pepula Pew for obvious reasons. And then of course Taz
would not be fun.

Speaker 1 (50:33):
That's true, that's true. He would be smashing through everything.
You're right, he would be, And I would think, uh,
you know, seventy Sam would have a very short fuse.

Speaker 2 (50:43):
Probably, yeah, But he was also a little guy and
he had I think a Napoleonic complex, and so I
think he has he was more insecure, and you know,
Pepula Pue just smell bed.

Speaker 1 (50:53):
What classic cartoon deserves a live action reboot? And who
would star in that?

Speaker 2 (51:01):
Well, Popeye could certainly use a better one because the
movie they did back in nineteen eighty.

Speaker 1 (51:06):
Was dreadful with Robin Williams.

Speaker 2 (51:09):
Yeah, but you know, I would.

Speaker 1 (51:11):
Love to see them reimagine Popeye just a little bit,
because there's well they are.

Speaker 2 (51:15):
There's there's a horror movie.

Speaker 1 (51:17):
That's real, that's real. I saw that the license was
up and then they were doing it, but I thought
it was more of a joke. They're really doing it.

Speaker 2 (51:24):
Oh it's I think it's called Popeye the slasher Man
and it's real. It's real.

Speaker 1 (51:31):
Okay, I'm looking forward to that one. Who is gonna
play Popeye for that? Who could be a scary Popeye?

Speaker 2 (51:37):
It doesn't matter because it's all prosthetics, and you know,
it doesn't matter. I'm not a fan of that. You know,
the Winnie the Pooh slasher movies, just because the character
becomes public domain. They did a Mickey Mouse one too,
a steamboat Willie one. Yeah, that doesn't. But you know what,
if the fans want to see that, that's lovely, have fun,
go for it. But a cartoon that you could live action.

(52:01):
I haven't been terribly fond of the live action, the
combo live action cartoon movies that they've done, even the
Space Jam that I did.

Speaker 1 (52:10):
You Space Jam mm hmmm, that is amazing.

Speaker 2 (52:15):
Yeah, But when it came out, I was like, yeah.

Speaker 1 (52:18):
It's okay, now, I take it. I take you. You weren't
invited to those Michael Jordan pick up games that were
right next to the lot, were you?

Speaker 2 (52:25):
I wasn't even invited to the premiere because when the
movie when the movie premiered, the powers that be at
Warner Brothers told my agent that premiers are only for
talent and and my agent was like, what do you
think he did? So they eventually uh invited uh Daffy
Duck and and Bugs Bunny and and d Baker was

(52:52):
Daffy Duck, and De's wife was nice enough to let
me be as plus one. And when D and I
got to the to the premiere at the the Chinese
Theater in Hollywood, and I'd never been to a movie premiere,
they looked at our tickets and they said, oh, yeah,
you guys are down the street in the Overflow theater,
so we had to watch it.

Speaker 1 (53:12):
You know what, I don't. I don't have anything in
compares to that. But I do remember the one time
I got to cover a Super Bowl, and it was
when the Bears were in because I'm in Chicago and
I was covering sports at the time and I I
was working for a rock station. I was glad I
even got the ticket, but I finally was able to
get it, and instead of having like an actual ticket
in the stadium, I was in a basement with the
overflow media people and I watched it on a giant

(53:33):
screen television. I remember just sending myself going I should
have went home after the parties last night. I'd much
trying to watch the game with I'd munch, trying to
watch the games with my brother and my friends, and
I don't want to sit here with a bunch of
strangers and media people all around the world not talking
to anybody because they're all busy trying to figure if
it's all business. They're all trying to figure out how
to what we're doing after the game, And I'm like,
I could use a beer. The steaks.

Speaker 2 (53:55):
The steaks well, you know, I mean after the Space
Sham screening, we were invited to the after party at
Warner Brothers, and D says to me, I wonder if
there's like an overflow after party in the parking lot. No,
we actually got to do the real party.

Speaker 1 (54:11):
Ow nice. Did you get to meet Jordan or any
of those guys.

Speaker 2 (54:14):
No. I saw this very tall bald head walking in
the distance and I was like, oh, I got to
go meet him. And so I went running over there
and these giant bodyguards stopped me. And this guy's like,
nobody needs Michael, and I'm like, okay. I was Porky,
Pagan Tweety and Marvin the Marshan in the movie. He was,
I don't care if you a mickey mouth you you
ain't meeting Michael Jordan.

Speaker 4 (54:36):
Ah, all right, all right, Maney.

Speaker 1 (54:44):
Bob, I appreciate you coming on the podcast. This was
so much fun. You bet all right? That's gonna do
it for an episode of Barguments once again. My name
is Dan Levy. Feel free to subscribe, share, do all
the fun stuff, give it a five star rating, and
leave a review that helps the podcast Bob. If people
want to follow you social media, they want to get
in touch with you via any kind of voiceover advice

(55:06):
or anything you want to give out there. What's what's
a good way for people to get old of you?

Speaker 2 (55:10):
I'm on Facebook, You'll find me there. I'm on Twitterburgend
Dot Bob or whatever or whatever it is. I don't
even know my handles because I don't pay that much attention.
But oh, it's excellently I'm sorry, it's not Twitter said Instagram.
I'm actually getting the phone book.

Speaker 1 (55:27):
Wow, if you can find one, he's there.

Speaker 2 (55:29):
In the phone book. I kept myself in the phone book.
You know, I don't even know if they give out
phone books. She's call information. You'll find me.

Speaker 1 (55:36):
Well. I am more just happy that you and I
have struck up some sort of relationship because I think
what you're doing is amazing and I'm inspired by you,
and I'm still trying to do whatever it takes to
get in it. So I'm still here. So I appreciate everything.
I appreciate the last couple of days, and I appreciate
you coming on the pod.

Speaker 2 (55:50):
Thanks buddy, it's fun.

Speaker 1 (55:52):
Once again, this is Barguments. Thanks so much for jumping
on with us. We'll do it again soon. See it