1 00:00:22,309 --> 00:00:24,351 The tip of the tongue, the lips, and the teeth. 2 00:00:24,351 --> 00:00:25,761 The tip of the tongue, the lips, and the teeth. 3 00:00:25,761 --> 00:00:26,691 Red leather, yellow leather. 4 00:00:26,691 --> 00:00:27,651 Red leather, yellow leather. 5 00:00:27,651 --> 00:00:29,541 What a to-do to die today at a minute or two to two? 6 00:00:29,541 --> 00:00:30,021 A thing distinctly hard to say, but harder still to do. 7 00:00:30,021 --> 00:00:31,551 A thing distinctly hard to say, but harder still to do. 8 00:00:31,551 --> 00:00:32,871 For the beat a tattoo, at a quarter to 2:00, 9 00:00:32,871 --> 00:00:34,191 with rat, tat, tat, tat, tat, tat, tat, tat to do. 10 00:00:34,191 --> 00:00:34,851 And the dragons will come. 11 00:00:34,851 --> 00:00:36,711 And they sound a drum at a minute or two to 2:00 today, 12 00:00:36,711 --> 00:00:37,863 at a minute or two to 2:00. 13 00:00:37,863 --> 00:00:39,321 Hey, Jeff, how are the levels here? 14 00:00:39,321 --> 00:00:40,521 JEFF: Sounds good, Nancy. 15 00:00:40,521 --> 00:00:41,941 Good. 16 00:00:41,941 --> 00:00:45,676 I'm going to tell you a little story about a girl from Ohio. 17 00:00:48,301 --> 00:00:51,841 Though she wasn't the biggest or the strongest, 18 00:00:51,841 --> 00:00:55,348 what she could do was talk a lot. 19 00:00:55,348 --> 00:00:56,431 I cut my hair like this. 20 00:00:56,431 --> 00:00:59,371 Who do you think would win a cute prize, a baby unicorn 21 00:00:59,371 --> 00:01:00,021 sneezing or a puppy riding a-- 22 00:01:00,021 --> 00:01:02,241 sneezing or a puppy riding a-- 23 00:01:02,241 --> 00:01:03,811 you must owe Mario a lot of money. 24 00:01:03,811 --> 00:01:06,061 NANCY: So she joined her your high school speech team. 25 00:01:06,061 --> 00:01:07,531 And she was good at it. 26 00:01:07,531 --> 00:01:09,961 And the camel said, harrumph! 27 00:01:09,961 --> 00:01:11,711 [APPLAUSE] 28 00:01:11,711 --> 00:01:14,441 NANCY: So the girl got a job at a radio station, 29 00:01:14,441 --> 00:01:18,101 where she saw that you could make a living with your voice. 30 00:01:18,101 --> 00:01:22,303 (SINGING) WING, winging it in Dayton. 31 00:01:22,303 --> 00:01:24,011 NANCY: She even got to create a character 32 00:01:24,011 --> 00:01:25,541 to perform on the air. 33 00:01:25,541 --> 00:01:27,551 Lifeguard Lilypad at your service. 34 00:01:27,551 --> 00:01:28,451 This isn't a hot tub. 35 00:01:28,451 --> 00:01:29,091 Get swimming. 36 00:01:29,091 --> 00:01:29,591 [WHISTLES] 37 00:01:29,591 --> 00:01:30,021 NANCY: At the station, the girl met 38 00:01:30,021 --> 00:01:31,121 NANCY: At the station, the girl met 39 00:01:31,121 --> 00:01:33,611 a nice lady who gave her contacts for people 40 00:01:33,611 --> 00:01:35,231 in the animation industry. 41 00:01:35,231 --> 00:01:36,341 All right! 42 00:01:36,341 --> 00:01:40,091 NANCY: And one outstanding phone number for Daws Butler, 43 00:01:40,091 --> 00:01:43,751 voice of Huckleberry Hound, Elroy Jetson, Yogi Bear-- 44 00:01:43,751 --> 00:01:45,221 You hear what I hear, Boo Boo? 45 00:01:45,221 --> 00:01:46,811 NANCY: --and so many more. 46 00:01:46,811 --> 00:01:49,944 When she called him, she got an answering machine. 47 00:01:49,944 --> 00:01:51,736 PERCIVAL (ON ANSWERING MACHINE): Um, hello. 48 00:01:51,736 --> 00:01:55,731 This is Percival Pickles, Mr. Butler's butler. 49 00:01:55,731 --> 00:01:58,291 Mr. Butler's not home right now. 50 00:01:58,291 --> 00:02:00,021 If you'd like to leave a message, wait for the beep. 51 00:02:00,021 --> 00:02:01,850 If you'd like to leave a message, wait for the beep. 52 00:02:01,850 --> 00:02:02,836 Beep. 53 00:02:02,836 --> 00:02:04,321 [BEEP] 54 00:02:04,321 --> 00:02:06,491 (ENGLISH ACCENT) Oh, hello, Mr. Butler. 55 00:02:06,491 --> 00:02:07,841 I'm Nancy Cartwright. 56 00:02:07,841 --> 00:02:10,060 And I'm very interested in voice acting. 57 00:02:10,060 --> 00:02:12,558 Why don't you just give me a ring on the old telly. 58 00:02:12,558 --> 00:02:13,391 Thank you very much. 59 00:02:13,391 --> 00:02:14,141 Pip, pip, cheerio. 60 00:02:14,141 --> 00:02:16,556 (NORMAL ACCENT) Oh, I can't believe I did that. 61 00:02:16,556 --> 00:02:17,098 [PHONE RINGS] 62 00:02:17,098 --> 00:02:18,191 NANCY: He called back immediately. 63 00:02:18,191 --> 00:02:18,691 [GASPS] 64 00:02:18,691 --> 00:02:20,981 NANCY: And just like that, a beautiful friendship 65 00:02:20,981 --> 00:02:22,281 was formed. 66 00:02:22,281 --> 00:02:24,941 Now Nancy had a mentor to teach her 67 00:02:24,941 --> 00:02:26,861 how to use her unique voice. 68 00:02:26,861 --> 00:02:30,021 So she moved to Hollywood and started her career. 69 00:02:30,021 --> 00:02:30,221 So she moved to Hollywood and started her career. 70 00:02:30,221 --> 00:02:32,381 She worked her way up, and eventually did voices 71 00:02:32,381 --> 00:02:33,106 for hit cartoons. 72 00:02:33,106 --> 00:02:34,598 What are we going to do, Richie? 73 00:02:34,598 --> 00:02:35,681 It's just an expression. 74 00:02:35,681 --> 00:02:37,571 "Get down" means to boogie. 75 00:02:37,571 --> 00:02:39,941 You've simply just got to set your mind to it. 76 00:02:39,941 --> 00:02:42,611 NANCY: Then one day, she got an audition for the voice 77 00:02:42,611 --> 00:02:45,401 of a little girl named Lisa. 78 00:02:45,401 --> 00:02:47,471 But Nancy noticed another monologue 79 00:02:47,471 --> 00:02:51,911 for a school-hating, 10-year-old underachiever with spiky hair. 80 00:02:51,911 --> 00:02:54,881 So the girl asked to read for him instead. 81 00:02:54,881 --> 00:02:56,561 Eat my shorts. 82 00:02:56,561 --> 00:02:58,451 NANCY: She was hired immediately. 83 00:02:58,451 --> 00:03:00,021 And that show won countless awards 84 00:03:00,021 --> 00:03:01,091 And that show won countless awards 85 00:03:01,091 --> 00:03:03,761 and became the longest running scripted show 86 00:03:03,761 --> 00:03:05,661 in the history of the world. 87 00:03:05,661 --> 00:03:06,666 I'm Bart Simpson. 88 00:03:06,666 --> 00:03:07,541 Who the hell are you? 89 00:03:07,541 --> 00:03:10,751 NANCY: After 40 years of doing voiceovers, the girl thought, 90 00:03:10,751 --> 00:03:13,691 why don't I share my story with everyone else? 91 00:03:13,691 --> 00:03:15,911 Now I can give advice to all those people 92 00:03:15,911 --> 00:03:19,331 who love doing silly voices and have big dreams. 93 00:03:28,561 --> 00:03:29,131 Hi. 94 00:03:29,131 --> 00:03:30,021 Welcome to my class. 95 00:03:30,021 --> 00:03:30,661 Welcome to my class. 96 00:03:30,661 --> 00:03:33,481 A voiceover booth can get a little claustrophobic. 97 00:03:33,481 --> 00:03:35,551 So how about we do this? 98 00:03:35,551 --> 00:03:36,091 [SNAPS] 99 00:03:36,091 --> 00:03:38,821 Oh, yeah, that's better. 100 00:03:38,821 --> 00:03:40,411 Pretty cool, right? 101 00:03:40,411 --> 00:03:43,111 I had MasterClass animate me. 102 00:03:43,111 --> 00:03:44,101 Why? 103 00:03:44,101 --> 00:03:45,781 What better way to learn about voice 104 00:03:45,781 --> 00:03:48,421 acting than from an animated character? 105 00:03:48,421 --> 00:03:50,331 And check this out. 106 00:03:50,331 --> 00:03:52,096 (HIGH VOICE) Hey there. 107 00:03:52,096 --> 00:03:53,491 [LAUGHS] 108 00:03:53,491 --> 00:03:55,201 Fun. 109 00:03:55,201 --> 00:03:57,871 OK, guys, in this class, I'll teach you 110 00:03:57,871 --> 00:04:00,021 everything about voice acting, how 111 00:04:00,021 --> 00:04:00,151 everything about voice acting, how 112 00:04:00,151 --> 00:04:03,091 to develop your characters, performance tips, 113 00:04:03,091 --> 00:04:05,281 and how to start out in the industry. 114 00:04:05,281 --> 00:04:07,081 I'll even share some life lessons 115 00:04:07,081 --> 00:04:09,931 that are useful, no matter what your career path is. 116 00:04:09,931 --> 00:04:12,721 And I'll demonstrate how I bring animation to life 117 00:04:12,721 --> 00:04:15,961 by voicing several original characters 118 00:04:15,961 --> 00:04:21,241 from a show we made just for you called "No Effort Girl." 119 00:04:21,241 --> 00:04:23,551 You'll learn how to distinguish your characters 120 00:04:23,551 --> 00:04:26,251 and give them depth so they feel like they could almost 121 00:04:26,251 --> 00:04:29,261 take on a life of their own. 122 00:04:29,261 --> 00:04:30,021 So let's get started. 123 00:04:30,021 --> 00:04:31,111 So let's get started. 124 00:04:31,111 --> 00:04:32,641 I'm Nancy Cartwright. 125 00:04:32,641 --> 00:04:33,751 And this is my Mas-- 126 00:04:33,751 --> 00:04:34,591 Wait. 127 00:04:34,591 --> 00:04:35,761 What are you doing? 128 00:04:35,761 --> 00:04:37,471 I'm doing the MasterClass line. 129 00:04:37,471 --> 00:04:38,881 But I'm the real Nancy. 130 00:04:38,881 --> 00:04:40,181 I'll do it. 131 00:04:40,181 --> 00:04:42,601 I'm Nancy Cartwright and this is my-- 132 00:04:42,601 --> 00:04:45,691 Um, no I'm going to be doing most of the talking, 133 00:04:45,691 --> 00:04:48,911 and you are just in that recording booth the whole time. 134 00:04:48,911 --> 00:04:50,641 So I should say the line. 135 00:04:50,641 --> 00:04:52,081 But you're not real. 136 00:04:52,081 --> 00:04:54,001 You're a cartoon. 137 00:04:54,001 --> 00:04:55,621 Just a cartoon? 138 00:04:55,621 --> 00:04:58,531 I'll have you know, I have all your thoughts, 139 00:04:58,531 --> 00:04:59,701 all your memories. 140 00:04:59,701 --> 00:05:00,021 I'm just like you but cuter. 141 00:05:00,021 --> 00:05:03,151 I'm just like you but cuter. 142 00:05:03,151 --> 00:05:04,081 This is crazy. 143 00:05:04,081 --> 00:05:06,121 I voice you. 144 00:05:06,121 --> 00:05:08,371 How are we even talking right now? 145 00:05:08,371 --> 00:05:10,171 I mean, I could try to explain it, 146 00:05:10,171 --> 00:05:11,791 but then we'd be here all day. 147 00:05:11,791 --> 00:05:14,401 And we have a lot of material to cover. 148 00:05:14,401 --> 00:05:16,051 Fine, how about this? 149 00:05:16,051 --> 00:05:18,241 We say the lines at the same time. 150 00:05:18,241 --> 00:05:19,681 OK, that works. 151 00:05:19,681 --> 00:05:21,801 OK, great, on three. 152 00:05:21,801 --> 00:05:22,776 1, 2, 3. 153 00:05:22,776 --> 00:05:24,901 I'm Nancy Cartwright, and this is my MasterClass. 154 00:05:24,901 --> 00:05:26,281 You are the worst. 155 00:05:26,281 --> 00:05:28,621 [LAUGHS] Yes, you are. 156 00:05:28,621 --> 00:05:29,491 Let's get started. 157 00:05:29,491 --> 00:05:30,021 158 00:05:30,021 --> 00:05:31,521 1 00:00:00,521 --> 00:00:01,949 2 00:00:07,251 --> 00:00:11,001 NANCY CARTWRIGHT: Voice acting is magical, 3 00:00:11,001 --> 00:00:17,301 because it starts to me with the word animate. 4 00:00:17,301 --> 00:00:21,231 And animate means to bring life to. 5 00:00:21,231 --> 00:00:24,031 It means to inject life. 6 00:00:24,031 --> 00:00:27,231 You take on and you do a character, you create it. 7 00:00:27,231 --> 00:00:30,021 We are giving life to an inanimate object. 8 00:00:30,021 --> 00:00:31,941 We are giving life to an inanimate object. 9 00:00:31,941 --> 00:00:35,781 Voice acting has to do with using all this, 10 00:00:35,781 --> 00:00:39,111 all the mechanics you got, like, in this area. 11 00:00:39,111 --> 00:00:42,141 [LAUGHS] From your neck on up, including your ears. 12 00:00:42,141 --> 00:00:44,511 It has to do with your larynx and your pharynx, 13 00:00:44,511 --> 00:00:49,971 your vocal cords, the nasal cavity, the cheeks, the teeth, 14 00:00:49,971 --> 00:00:51,351 the jaw line. 15 00:00:51,351 --> 00:00:53,661 All this has to do with making sound. 16 00:00:53,661 --> 00:00:57,021 It has to do with pinching your nose shut 17 00:00:57,021 --> 00:00:59,031 to make sound effects. 18 00:00:59,031 --> 00:01:00,021 There's a whole livelihood in this. 19 00:01:00,021 --> 00:01:00,681 There's a whole livelihood in this. 20 00:01:00,681 --> 00:01:04,040 You can-- lots of people have found success 21 00:01:04,040 --> 00:01:06,531 in doing voiceover work for films, 22 00:01:06,531 --> 00:01:10,671 for television, for audiobooks, narrating, doing character 23 00:01:10,671 --> 00:01:12,711 work, which is super fun. 24 00:01:19,521 --> 00:01:21,141 I think it's really important to make 25 00:01:21,141 --> 00:01:24,231 clear the difference between working in front of the camera 26 00:01:24,231 --> 00:01:26,121 as an on camera actor and working 27 00:01:26,121 --> 00:01:28,881 behind the camera as a voiceover actor. 28 00:01:28,881 --> 00:01:30,021 There are similarities in that you are developing a character. 29 00:01:30,021 --> 00:01:32,961 There are similarities in that you are developing a character. 30 00:01:32,961 --> 00:01:34,581 That's the most important thing is 31 00:01:34,581 --> 00:01:37,911 that you've made a character out of whole cloth, 32 00:01:37,911 --> 00:01:39,231 meaning it's substantial. 33 00:01:39,231 --> 00:01:40,251 You can back it up. 34 00:01:40,251 --> 00:01:41,451 There's no wavering. 35 00:01:41,451 --> 00:01:43,941 You're not confused about who you're playing. 36 00:01:43,941 --> 00:01:46,911 It's like it's 100% committed to that character. 37 00:01:46,911 --> 00:01:48,981 That would be the same behind the camera 38 00:01:48,981 --> 00:01:51,121 as it would be in front of the camera. 39 00:01:51,121 --> 00:01:53,871 But the main difference is that with voiceover work, 40 00:01:53,871 --> 00:01:56,991 all you have is your voice. 41 00:01:56,991 --> 00:01:59,601 Another thing that individuates voice 42 00:01:59,601 --> 00:02:00,021 acting from on camera acting is there's 43 00:02:00,021 --> 00:02:02,961 acting from on camera acting is there's 44 00:02:02,961 --> 00:02:05,511 lots of room for improvisation. 45 00:02:05,511 --> 00:02:08,841 Studying whatever you can, whether it's singing or improv 46 00:02:08,841 --> 00:02:12,621 classes, all that can do nothing but help you. 47 00:02:12,621 --> 00:02:15,151 Your imagination is everything. 48 00:02:15,151 --> 00:02:17,481 So when you go in and do an audition 49 00:02:17,481 --> 00:02:20,151 or when you get the job, you just 50 00:02:20,151 --> 00:02:22,731 continue to create on this character. 51 00:02:22,731 --> 00:02:25,191 And this really comes in handy when 52 00:02:25,191 --> 00:02:29,138 you're doing take number four and the director has just said, 53 00:02:29,138 --> 00:02:29,721 you know what? 54 00:02:29,721 --> 00:02:30,021 Let's just do another one. 55 00:02:30,021 --> 00:02:30,921 Let's just do another one. 56 00:02:30,921 --> 00:02:34,351 I think we got what we want, but let's just try another one. 57 00:02:34,351 --> 00:02:37,131 This time just let it loose. 58 00:02:37,131 --> 00:02:38,811 Just do it, just fly with it. 59 00:02:38,811 --> 00:02:41,454 And that's when, to me, that ends up 60 00:02:41,454 --> 00:02:43,371 being the take that they like, because there's 61 00:02:43,371 --> 00:02:46,891 a lot of freedom in that kind of expression. 62 00:02:46,891 --> 00:02:48,531 So there are a lot of tools that one 63 00:02:48,531 --> 00:02:51,501 can use in order to make characters come to life. 64 00:02:51,501 --> 00:02:54,411 You've got pacing, you've got timing, you've got pitch, 65 00:02:54,411 --> 00:02:57,111 you've got attitude, you've got intention. 66 00:02:57,111 --> 00:02:59,871 What's the purpose of your character, the relationship 67 00:02:59,871 --> 00:03:00,021 that your character has with the other characters that 68 00:03:00,021 --> 00:03:02,121 that your character has with the other characters that 69 00:03:02,121 --> 00:03:03,164 are in the script? 70 00:03:03,164 --> 00:03:04,581 So real Nancy is going to show you 71 00:03:04,581 --> 00:03:06,651 what that looks like, since my mouth is just 72 00:03:06,651 --> 00:03:08,751 a pink line around a black hole. 73 00:03:08,751 --> 00:03:09,921 Go for it. 74 00:03:09,921 --> 00:03:10,556 Thanks. 75 00:03:10,556 --> 00:03:11,931 And I love your hair, by the way. 76 00:03:11,931 --> 00:03:13,101 I can never get that volume. 77 00:03:13,101 --> 00:03:14,078 Seriously. 78 00:03:20,599 --> 00:03:22,391 Let me give you guys a little demonstration 79 00:03:22,391 --> 00:03:23,683 of what I'm talking about here. 80 00:03:23,683 --> 00:03:26,451 For example, I'm just going to do a random character. 81 00:03:26,451 --> 00:03:30,021 This is just a little character that I can use as our example. 82 00:03:30,021 --> 00:03:30,951 This is just a little character that I can use as our example. 83 00:03:30,951 --> 00:03:32,671 So this is Chip. 84 00:03:32,671 --> 00:03:34,091 This is Chip, because I think he's 85 00:03:34,091 --> 00:03:37,671 got a little chip like in the middle of his tooth right here. 86 00:03:37,671 --> 00:03:40,011 So one of the things that you can do. 87 00:03:40,011 --> 00:03:42,831 I just slip out of Chip right there. 88 00:03:42,831 --> 00:03:45,971 One of the things that you can do as a voice actor 89 00:03:45,971 --> 00:03:48,551 is to change the pitch of your character. 90 00:03:48,551 --> 00:03:50,571 And pitch is like high, low. 91 00:03:50,571 --> 00:03:54,041 So I can take Chip and I can make Chip really super-- 92 00:03:54,041 --> 00:03:57,101 I can make him a little bit lower like this 93 00:03:57,101 --> 00:03:59,771 or I can lift him way up high like this. 94 00:03:59,771 --> 00:04:00,021 And it sort of sounds like he could be a little bit younger, 95 00:04:00,021 --> 00:04:03,011 And it sort of sounds like he could be a little bit younger, 96 00:04:03,011 --> 00:04:06,981 especially if I slow him down a little bit. 97 00:04:06,981 --> 00:04:10,581 And that gets into a whole different subject, speed. 98 00:04:10,581 --> 00:04:15,131 So if I make it super high and super, 99 00:04:15,131 --> 00:04:19,061 like, make him a little bit slower, 100 00:04:19,061 --> 00:04:23,021 he sounds younger and like I'm trying 101 00:04:23,021 --> 00:04:25,091 to figure out what I'm saying. 102 00:04:25,091 --> 00:04:27,191 But mom, don't do that. 103 00:04:27,191 --> 00:04:28,271 No, it's mine. 104 00:04:28,271 --> 00:04:30,021 I want to show you how to do that. 105 00:04:30,021 --> 00:04:30,741 I want to show you how to do that. 106 00:04:30,741 --> 00:04:33,551 So if I were to speed him up and say he were just like a, oh 107 00:04:33,551 --> 00:04:34,661 my gosh, we got to get out of here. 108 00:04:34,661 --> 00:04:35,171 I can't believe it. 109 00:04:35,171 --> 00:04:36,371 Mom, we're going to be late for school. 110 00:04:36,371 --> 00:04:37,971 How many times do I have to tell you, you've got to go faster, 111 00:04:37,971 --> 00:04:38,471 mom. 112 00:04:38,471 --> 00:04:42,191 But oh, I knew it was going to be OK. 113 00:04:42,191 --> 00:04:43,421 Like that. 114 00:04:43,421 --> 00:04:44,321 That changes it. 115 00:04:44,321 --> 00:04:45,551 That's speeding him up. 116 00:04:45,551 --> 00:04:51,891 I can also really take Chip and say, it's been a long day. 117 00:04:51,891 --> 00:04:53,501 It's been a super long day. 118 00:04:53,501 --> 00:04:56,321 I'm really, I'm so tired. 119 00:04:56,321 --> 00:04:59,031 Mommy, I'm tired. 120 00:04:59,031 --> 00:05:00,021 Can you just-- can you just-- 121 00:05:00,021 --> 00:05:02,481 Can you just-- can you just-- 122 00:05:02,481 --> 00:05:04,641 I love you. 123 00:05:04,641 --> 00:05:05,541 You see what I mean? 124 00:05:05,541 --> 00:05:08,181 It's like it can help you in terms 125 00:05:08,181 --> 00:05:12,211 of the age of the character and the attitude of the character. 126 00:05:12,211 --> 00:05:14,931 So speaking of attitude, that's a whole different tool 127 00:05:14,931 --> 00:05:16,681 that you can use. 128 00:05:16,681 --> 00:05:21,441 So if Chip is a happy go lucky guy and he's just so, yes, 129 00:05:21,441 --> 00:05:23,901 today's my first day of school, and I can hardly 130 00:05:23,901 --> 00:05:25,641 wait to get started. 131 00:05:25,641 --> 00:05:30,021 I'm in the first grade, and I think today that we're-- 132 00:05:30,021 --> 00:05:30,051 I'm in the first grade, and I think today that we're-- 133 00:05:30,051 --> 00:05:32,361 I'm not-- actually, I'm not sure what 134 00:05:32,361 --> 00:05:33,741 we're going to be learning about, 135 00:05:33,741 --> 00:05:36,771 but we'll find that out when I get to school. 136 00:05:36,771 --> 00:05:41,841 So he's a happy, willing to like experience life kind of a guy. 137 00:05:41,841 --> 00:05:47,001 But if Chip was not such a happy dude and he had a bad morning, 138 00:05:47,001 --> 00:05:51,231 Chip would sort of like, look what happens 139 00:05:51,231 --> 00:05:53,751 when I do this voice like this. 140 00:05:53,751 --> 00:05:55,821 My face even gets-- 141 00:05:55,821 --> 00:05:57,021 I can't help it. 142 00:05:57,021 --> 00:06:00,021 I'm a-- I just can't help it. 143 00:06:00,021 --> 00:06:00,781 I'm a-- I just can't help it. 144 00:06:00,781 --> 00:06:02,611 Everything changes so much. 145 00:06:02,611 --> 00:06:08,941 Look at even my forehead even crunches up here, because my-- 146 00:06:08,941 --> 00:06:11,671 I don't want to do it. 147 00:06:11,671 --> 00:06:12,811 This is acting. 148 00:06:12,811 --> 00:06:15,181 This is just acting. 149 00:06:15,181 --> 00:06:16,531 Attitude. 150 00:06:16,531 --> 00:06:19,351 Geez, there's all different kinds of attitudes. 151 00:06:19,351 --> 00:06:23,971 And attitudes and emotions, to me, kind of go hand in hand. 152 00:06:23,971 --> 00:06:28,081 Because Chip, when he's pissed off, he's like this, 153 00:06:28,081 --> 00:06:30,021 and his attitude is not so very good, but he's also very angry. 154 00:06:30,021 --> 00:06:32,581 and his attitude is not so very good, but he's also very angry. 155 00:06:32,581 --> 00:06:34,861 Another tool that you can use is placement. 156 00:06:34,861 --> 00:06:39,071 And this is a bit tricky, and this is just technique. 157 00:06:39,071 --> 00:06:40,741 So this is regular Chip. 158 00:06:40,741 --> 00:06:45,451 But if I was to make Chip closer to the back of my throat, 159 00:06:45,451 --> 00:06:47,761 this is like Chip that's stuck. 160 00:06:47,761 --> 00:06:51,691 And it changes the whole thing a little bit. 161 00:06:51,691 --> 00:06:56,941 But he's still got this lisp that identifies. 162 00:06:56,941 --> 00:07:00,021 That lisp identifies that specificness 163 00:07:00,021 --> 00:07:01,341 That lisp identifies that specificness 164 00:07:01,341 --> 00:07:06,741 about that character, is if he's got a split here, kind 165 00:07:06,741 --> 00:07:11,571 of like Mara Wilson did in "Mrs. Doubtfire," who 166 00:07:11,571 --> 00:07:13,791 inspired that voice. 167 00:07:13,791 --> 00:07:18,751 Anyway, so this is like when it's stuck way back 168 00:07:18,751 --> 00:07:20,511 in the back of my throat. 169 00:07:20,511 --> 00:07:24,681 But if I were to take Chip and make him more nasally, 170 00:07:24,681 --> 00:07:27,711 then he would sort of be going like this. 171 00:07:27,711 --> 00:07:30,021 And that places it back up here, more in my nasal passages. 172 00:07:30,021 --> 00:07:33,481 And that places it back up here, more in my nasal passages. 173 00:07:33,481 --> 00:07:33,981 You see? 174 00:07:33,981 --> 00:07:35,851 And it just creates a whole-- 175 00:07:35,851 --> 00:07:38,811 and if I were to take the attitude of Chip 176 00:07:38,811 --> 00:07:41,631 and so I would to like do him like that 177 00:07:41,631 --> 00:07:45,201 and put a little accent on it and make him more nasally, 178 00:07:45,201 --> 00:07:48,291 that makes him a whole different sort of a character. 179 00:07:48,291 --> 00:07:50,221 Another tool is volume. 180 00:07:50,221 --> 00:07:53,001 So volume is a tricky thing, because I 181 00:07:53,001 --> 00:07:56,991 have this relationship with my mic, Mr. Microphone, 182 00:07:56,991 --> 00:07:58,761 and I don't want to get too close. 183 00:07:58,761 --> 00:08:00,021 Although getting close can also help you. 184 00:08:00,021 --> 00:08:01,581 Although getting close can also help you. 185 00:08:01,581 --> 00:08:05,171 Because for Chip, if he's whispering-- 186 00:08:05,171 --> 00:08:07,421 so to demonstrate, it'd be like. 187 00:08:07,421 --> 00:08:10,631 So Kelly, Kelly, come here. 188 00:08:10,631 --> 00:08:12,641 I just have to say something to you. 189 00:08:12,641 --> 00:08:13,641 Come here. 190 00:08:13,641 --> 00:08:15,041 Kelly. 191 00:08:15,041 --> 00:08:16,121 Kelly. 192 00:08:16,121 --> 00:08:21,021 Did you know that I still have all my baby teeth? 193 00:08:21,021 --> 00:08:23,471 See, you can use that relationship 194 00:08:23,471 --> 00:08:25,031 with the microphone. 195 00:08:25,031 --> 00:08:29,261 But on the other hand, if it's like, Chip is at school 196 00:08:29,261 --> 00:08:30,021 and he's calling off to a guy in the playground. 197 00:08:30,021 --> 00:08:32,501 and he's calling off to a guy in the playground. 198 00:08:32,501 --> 00:08:35,621 And he's saying, Jack, Jack, stop it. 199 00:08:35,621 --> 00:08:37,511 I told you to stop it. 200 00:08:37,511 --> 00:08:39,641 That's mine. 201 00:08:39,641 --> 00:08:43,690 I got to actually literally pull myself on my-- and I even check 202 00:08:43,690 --> 00:08:46,511 with mister friendly engineer. 203 00:08:46,511 --> 00:08:47,331 Jeff. 204 00:08:47,331 --> 00:08:47,844 JEFF: Yes? 205 00:08:47,844 --> 00:08:49,511 NANCY CARTWRIGHT: How are we doing here? 206 00:08:49,511 --> 00:08:50,561 JEFF: It's a little hot. 207 00:08:50,561 --> 00:08:51,561 Maybe back off a hair. 208 00:08:51,561 --> 00:08:52,811 NANCY CARTWRIGHT: That's good. 209 00:08:52,811 --> 00:08:54,171 That's good direction. 210 00:08:54,171 --> 00:08:55,331 So I got what he said. 211 00:08:55,331 --> 00:08:57,851 All right, we try that again. 212 00:08:57,851 --> 00:09:00,021 Jack, Jack, stop it. 213 00:09:00,021 --> 00:09:00,461 Jack, Jack, stop it. 214 00:09:00,461 --> 00:09:01,781 That's mine. 215 00:09:01,781 --> 00:09:02,561 That's mine. 216 00:09:02,561 --> 00:09:03,911 That's not yours. 217 00:09:03,911 --> 00:09:04,751 How's that? 218 00:09:04,751 --> 00:09:06,953 Is this a little bit better, Jeff? 219 00:09:06,953 --> 00:09:07,661 JEFF: Way better. 220 00:09:07,661 --> 00:09:08,413 Thank you. 221 00:09:08,413 --> 00:09:09,371 NANCY CARTWRIGHT: Good. 222 00:09:09,371 --> 00:09:12,281 You've got this relationship that you have to deal with. 223 00:09:12,281 --> 00:09:14,518 And we'll get into that a little bit more later too. 224 00:09:14,518 --> 00:09:16,601 You know, there's another one that a lot of people 225 00:09:16,601 --> 00:09:17,651 don't think about. 226 00:09:17,651 --> 00:09:19,871 It's a handy little tool called intention. 227 00:09:19,871 --> 00:09:24,251 That has to do with your idea of getting 228 00:09:24,251 --> 00:09:28,571 across what you are trying to communicate 229 00:09:28,571 --> 00:09:30,021 to the listener or the viewer. 230 00:09:30,021 --> 00:09:30,081 to the listener or the viewer. 231 00:09:33,641 --> 00:09:36,641 It's an incredible tool to use. 232 00:09:36,641 --> 00:09:40,541 And without that, you got all these mechanics. 233 00:09:40,541 --> 00:09:44,351 It's like I've got a headset on, I've got a microphone. 234 00:09:44,351 --> 00:09:46,361 There's all this electronic stuff 235 00:09:46,361 --> 00:09:49,781 up here within the microphone. 236 00:09:49,781 --> 00:09:53,981 Look at all these cords that lead into the wall that 237 00:09:53,981 --> 00:09:56,081 then goes to the engineer. 238 00:09:56,081 --> 00:09:58,031 And then once it's record-- 239 00:09:58,031 --> 00:10:00,021 you've got to have a very strong intention 240 00:10:00,021 --> 00:10:01,301 you've got to have a very strong intention 241 00:10:01,301 --> 00:10:05,051 to get that message or that script, 242 00:10:05,051 --> 00:10:11,091 that text delivered from you and your heart and your passion, 243 00:10:11,091 --> 00:10:15,011 your soul, to the public. 244 00:10:15,011 --> 00:10:18,021 So intention is very, very important. 245 00:10:18,021 --> 00:10:24,011 Another thing that's super important is timing. 246 00:10:24,011 --> 00:10:25,541 I'm just saying. 247 00:10:25,541 --> 00:10:26,591 Especially in comedy. 248 00:10:29,111 --> 00:10:30,021 The writer is going to give you a lot of help in that area, 249 00:10:30,021 --> 00:10:32,471 The writer is going to give you a lot of help in that area, 250 00:10:32,471 --> 00:10:36,761 but you as the artist have to take those written words 251 00:10:36,761 --> 00:10:40,931 that the author has put there, you take them in, look at them, 252 00:10:40,931 --> 00:10:45,251 they go into whatever this magic is as an artist, 253 00:10:45,251 --> 00:10:49,241 and whatever comes out, that's your communication. 254 00:10:49,241 --> 00:10:52,091 And so that idea of-- 255 00:10:54,801 --> 00:10:56,271 you'll get a sense of timing. 256 00:10:56,271 --> 00:10:59,714 Nobody can teach you about timing. 257 00:10:59,714 --> 00:11:00,021 Well, a director can say, you know what, 258 00:11:00,021 --> 00:11:01,381 Well, a director can say, you know what, 259 00:11:01,381 --> 00:11:03,021 can you give me a little pause? 260 00:11:03,021 --> 00:11:08,271 Can you give me a little pause between this word 261 00:11:08,271 --> 00:11:09,681 and that word? 262 00:11:09,681 --> 00:11:11,331 Just give me a little break there. 263 00:11:11,331 --> 00:11:12,501 He's helping you out. 264 00:11:12,501 --> 00:11:15,141 He or she is helping you out quite a bit there. 265 00:11:15,141 --> 00:11:17,571 But as an artist, you have the ability to do that. 266 00:11:17,571 --> 00:11:21,951 And give different options when you are auditioning. 267 00:11:21,951 --> 00:11:25,431 You're going to want to give two, 268 00:11:25,431 --> 00:11:29,751 three, four different options when you submit an audition 269 00:11:29,751 --> 00:11:30,021 piece. 270 00:11:30,021 --> 00:11:30,771 piece. 271 00:11:30,771 --> 00:11:32,421 So change it up. 272 00:11:32,421 --> 00:11:35,931 They don't want you to be the same every time. 273 00:11:35,931 --> 00:11:37,831 They want to hear a difference. 274 00:11:37,831 --> 00:11:40,311 They want to hear that you're flexible, 275 00:11:40,311 --> 00:11:42,021 that you can take direction. 276 00:11:42,021 --> 00:11:46,281 And you have to be able to listen to what's needed, 277 00:11:46,281 --> 00:11:50,301 duplicate it, and then repeat it as needed. 278 00:11:50,301 --> 00:11:52,611 Everybody will be happy. 279 00:11:52,611 --> 00:11:58,011 Another invaluable tool is range and finding out for yourself 280 00:11:58,011 --> 00:11:59,451 what your range is. 281 00:11:59,451 --> 00:12:00,021 Range has to do with as high as you can go 282 00:12:00,021 --> 00:12:02,131 Range has to do with as high as you can go 283 00:12:02,131 --> 00:12:05,751 and as low as you can go with your voice and all the aspects 284 00:12:05,751 --> 00:12:06,831 in the middle of it. 285 00:12:06,831 --> 00:12:09,561 It has to do with the placement of the voice, the quality 286 00:12:09,561 --> 00:12:13,371 of it, whether it's scratchy or smooth or it's like velvet 287 00:12:13,371 --> 00:12:16,956 or it's gravelly. 288 00:12:19,581 --> 00:12:21,681 Guys have an advantage, it seems, 289 00:12:21,681 --> 00:12:25,521 that they have an Adam's Apple, and their range, 290 00:12:25,521 --> 00:12:28,941 men can go way, way down low, and then 291 00:12:28,941 --> 00:12:30,021 they can tighten it up a little bit 292 00:12:30,021 --> 00:12:30,811 they can tighten it up a little bit 293 00:12:30,811 --> 00:12:34,191 and then with more imagination and character development come 294 00:12:34,191 --> 00:12:35,809 up with a whole new character. 295 00:12:35,809 --> 00:12:37,101 Women have that same advantage. 296 00:12:37,101 --> 00:12:40,041 We don't have a falsetto, but we have soprano. 297 00:12:40,041 --> 00:12:43,811 So if I were to take a voice and just 298 00:12:43,811 --> 00:12:45,651 if I were to take Chip and drop him, 299 00:12:45,651 --> 00:12:48,861 Chip, Chip, take Chip, Chip, Chip, and drop 300 00:12:48,861 --> 00:12:53,421 Chip way, way, way, way, opening up my vocal passages. 301 00:12:53,421 --> 00:12:57,261 And I'm going way so-- so I'm doing super way down here. 302 00:12:57,261 --> 00:13:00,021 Sort of sounds like Nancy's got maybe laryngitis. 303 00:13:00,021 --> 00:13:01,101 Sort of sounds like Nancy's got maybe laryngitis. 304 00:13:01,101 --> 00:13:05,001 And if I scratch it up a little bit, this is like, OK. 305 00:13:05,001 --> 00:13:08,931 Now and I bring my bring my voice up a little bit higher. 306 00:13:08,931 --> 00:13:11,451 I can scratch it and make it sound like this 307 00:13:11,451 --> 00:13:14,571 is a teenager on steroids. 308 00:13:14,571 --> 00:13:16,191 I'm trying to get it clear. 309 00:13:16,191 --> 00:13:19,221 And then as I go up higher and higher and I get clear 310 00:13:19,221 --> 00:13:21,501 and I start to tighten it up even more 311 00:13:21,501 --> 00:13:24,501 and more, as you can see, I'm getting younger and younger. 312 00:13:24,501 --> 00:13:26,421 And I bring it up super high. 313 00:13:26,421 --> 00:13:28,761 And this is a range that's incredible. 314 00:13:28,761 --> 00:13:30,021 So I've gone down from way, way down, way, way, 315 00:13:30,021 --> 00:13:31,761 So I've gone down from way, way down, way, way, 316 00:13:31,761 --> 00:13:37,161 way down there, way, way down there, to way, way up here. 317 00:13:37,161 --> 00:13:40,791 You can have one voice, and that one voice you've 318 00:13:40,791 --> 00:13:46,341 got a plethora of characters just by changing pitch, 319 00:13:46,341 --> 00:13:50,361 by changing volume, attitude, emotion, placement, 320 00:13:50,361 --> 00:13:50,991 these tools. 321 00:13:58,111 --> 00:14:00,021 As for Bart Simpson, when we first started out 322 00:14:00,021 --> 00:14:01,291 As for Bart Simpson, when we first started out 323 00:14:01,291 --> 00:14:04,321 on the "Tracey Ullman Show" he was to me 324 00:14:04,321 --> 00:14:06,841 based on that description that I read at the audition, 325 00:14:06,841 --> 00:14:10,081 he was a high school hating 10-year-old underachiever 326 00:14:10,081 --> 00:14:11,221 and proud of it. 327 00:14:11,221 --> 00:14:14,221 So to me, it was very much a one note. 328 00:14:14,221 --> 00:14:19,681 But when that show went into the half hour, that was amazing, 329 00:14:19,681 --> 00:14:24,841 because a half hour show gives you all the freedom to create 330 00:14:24,841 --> 00:14:27,361 a well-rounded, so to speak, character, 331 00:14:27,361 --> 00:14:30,021 a fully fleshed out character, if you will. 332 00:14:30,021 --> 00:14:31,141 a fully fleshed out character, if you will. 333 00:14:31,141 --> 00:14:34,411 The evolution, not only of Bart but of all the 334 00:14:34,411 --> 00:14:36,871 characters that all of us did. 335 00:14:36,871 --> 00:14:40,771 And it's through doing this consistently and regularly 336 00:14:40,771 --> 00:14:44,371 for all these years that you do see at the beginning 337 00:14:44,371 --> 00:14:48,691 that there were changes that sort of naturally happened. 338 00:14:48,691 --> 00:14:51,391 I settled into a sound. 339 00:14:51,391 --> 00:14:54,541 Bart at the very beginning was kind of like, 340 00:14:54,541 --> 00:14:57,491 he was a little bit lower place down here. 341 00:14:57,491 --> 00:15:00,021 But as the season went on, this is kind of 342 00:15:00,021 --> 00:15:00,061 But as the season went on, this is kind of 343 00:15:00,061 --> 00:15:04,741 like where Bart has been for the past 20 years, like right here. 344 00:15:04,741 --> 00:15:06,811 This is like me talking to you, and then I 345 00:15:06,811 --> 00:15:08,861 switch into Bart Simpson very effortlessly. 346 00:15:08,861 --> 00:15:11,111 BART SIMPSON: Yeah, eat my shorts. (SINGING) Butt man, 347 00:15:11,111 --> 00:15:14,564 na, na, na, na, na, na, na, butt man. 348 00:15:14,564 --> 00:15:16,231 NANCY CARTWRIGHT: As you're starting out 349 00:15:16,231 --> 00:15:19,681 creating characters, I would keep that in mind. 350 00:15:19,681 --> 00:15:21,631 This is a clue for you guys. 351 00:15:21,631 --> 00:15:23,731 Make it as simple for you as possible 352 00:15:23,731 --> 00:15:25,411 and use your own voice. 353 00:15:25,411 --> 00:15:29,731 And then from that, you can add on layer by layer 354 00:15:29,731 --> 00:15:30,021 an attitude, a scratch, a split in the teeth, 355 00:15:30,021 --> 00:15:35,011 an attitude, a scratch, a split in the teeth, 356 00:15:35,011 --> 00:15:39,861 an energy, the pacing, all these tools that I've talked about. 1 00:00:00,021 --> 00:00:01,473 2 00:00:06,797 --> 00:00:11,841 It's very important that you develop your own identity 3 00:00:11,841 --> 00:00:15,561 as to who you are and what kind of voices you do. 4 00:00:15,561 --> 00:00:20,271 Not everybody is supposed to do every single voice out there. 5 00:00:20,271 --> 00:00:23,391 The late, great Don Lafontaine established-- 6 00:00:23,391 --> 00:00:25,611 I'm going to call it a voice print, because it's 7 00:00:25,611 --> 00:00:26,961 like a thumb print. 8 00:00:26,961 --> 00:00:28,701 It's unique unto you. 9 00:00:28,701 --> 00:00:30,021 So this guy-- if I were to say, in a world-- 10 00:00:30,021 --> 00:00:32,390 So this guy-- if I were to say, in a world-- 11 00:00:32,390 --> 00:00:33,381 you know, I can't-- 12 00:00:33,381 --> 00:00:35,241 I can only drop my voice so low. 13 00:00:35,241 --> 00:00:39,411 But his voice-- (LOWER) in a world full of stress 14 00:00:39,411 --> 00:00:40,581 and strife, da da da. 15 00:00:40,581 --> 00:00:43,131 He did, like, 5,000 trailers. 16 00:00:43,131 --> 00:00:45,921 He did so many voiceovers, this guy. 17 00:00:45,921 --> 00:00:49,131 He went from studio to studio, because he created 18 00:00:49,131 --> 00:00:53,661 such a recognizable, branded personality, 19 00:00:53,661 --> 00:00:56,181 so that when producers wanted to do 20 00:00:56,181 --> 00:00:59,891 an announce voice for their trailer, it's like, 21 00:00:59,891 --> 00:01:00,021 get Don Lafontaine. 22 00:01:00,021 --> 00:01:01,161 get Don Lafontaine. 23 00:01:01,161 --> 00:01:03,771 Because that's the sound that he created. 24 00:01:03,771 --> 00:01:05,691 In coming up with characters, you're 25 00:01:05,691 --> 00:01:09,231 going to find a specific niche of voices 26 00:01:09,231 --> 00:01:11,091 that you tend to go to. 27 00:01:11,091 --> 00:01:15,111 Like for me, for example, I found fairly quickly 28 00:01:15,111 --> 00:01:17,991 that my strength was in doing little character 29 00:01:17,991 --> 00:01:20,271 voices of little children, whether they 30 00:01:20,271 --> 00:01:23,791 were snorks or Pound Puppies, animals, it doesn't matter. 31 00:01:23,791 --> 00:01:27,321 I just found for myself that there were certain areas 32 00:01:27,321 --> 00:01:29,691 that I lean towards. 33 00:01:29,691 --> 00:01:30,021 For me to try to be a mother, the sound of my mother 34 00:01:30,021 --> 00:01:33,531 For me to try to be a mother, the sound of my mother 35 00:01:33,531 --> 00:01:35,931 sounds very much like the sound of my kid. 36 00:01:35,931 --> 00:01:39,801 So I found that for myself, by taking my voice 37 00:01:39,801 --> 00:01:42,651 and just tweaking it a little bit, 38 00:01:42,651 --> 00:01:46,281 I could make that teenage girl younger. 39 00:01:46,281 --> 00:01:49,131 So I really concentrated on that, 40 00:01:49,131 --> 00:01:50,931 and it served me very well. 41 00:01:50,931 --> 00:01:55,071 I started getting cast playing young parts. 42 00:01:55,071 --> 00:01:57,171 Oh, goody. 43 00:01:57,171 --> 00:01:59,301 NANCY CARTWRIGHT: Some were aliens. 44 00:01:59,301 --> 00:02:00,021 You don't understand. 45 00:02:00,021 --> 00:02:00,681 You don't understand. 46 00:02:00,681 --> 00:02:03,891 I'm from Twinkle Twinkle, where everyone can do magic. 47 00:02:03,891 --> 00:02:06,371 NANCY CARTWRIGHT: And there were teenage girls. 48 00:02:06,371 --> 00:02:07,601 I've got a secret. 49 00:02:07,601 --> 00:02:10,071 Billy Big Dipper isn't really from Saturn. 50 00:02:10,071 --> 00:02:12,099 Clarence Comet is flunking everything. 51 00:02:12,099 --> 00:02:13,641 NANCY CARTWRIGHT: And occasionally, I 52 00:02:13,641 --> 00:02:16,071 would do the voice of like a My Little Pony. 53 00:02:16,071 --> 00:02:18,711 Who cares what the sun was doing when he 54 00:02:18,711 --> 00:02:21,891 had to leave his one true love? 55 00:02:21,891 --> 00:02:23,871 Yeah, how can you ask a question 56 00:02:23,871 --> 00:02:25,941 like that at a time like this? 57 00:02:25,941 --> 00:02:29,721 It took actually me getting cast on The Simpsons that I 58 00:02:29,721 --> 00:02:30,021 realized that I had this area that I excelled in, which was 59 00:02:30,021 --> 00:02:35,811 realized that I had this area that I excelled in, which was 60 00:02:35,811 --> 00:02:41,693 doing these quirky male voices or tomboys, 61 00:02:41,693 --> 00:02:44,151 because there was a certain quality that I can take on that 62 00:02:44,151 --> 00:02:47,601 this-- this sound, apparently, there was a lot of agreement 63 00:02:47,601 --> 00:02:50,541 that the natural sound of my voice sounded a little bit more 64 00:02:50,541 --> 00:02:52,041 like a boy. 65 00:02:52,041 --> 00:02:55,341 That became a launching point for me 66 00:02:55,341 --> 00:02:57,571 to develop even more characters. 67 00:02:57,571 --> 00:03:00,021 So you will find your strength, and that's a good idea. 68 00:03:00,021 --> 00:03:01,341 So you will find your strength, and that's a good idea. 69 00:03:01,341 --> 00:03:03,599 Play to your strengths. 70 00:03:03,599 --> 00:03:05,475 71 00:03:09,643 --> 00:03:11,101 This is practically a no-brainer, 72 00:03:11,101 --> 00:03:12,476 what I'm going to share with you, 73 00:03:12,476 --> 00:03:15,031 and that is to draw from your own life experiences. 74 00:03:15,031 --> 00:03:18,146 You know, as artists, there are characters everywhere. 75 00:03:18,146 --> 00:03:19,771 You know, it's your next-door neighbor. 76 00:03:19,771 --> 00:03:21,211 It's your granddaughter. 77 00:03:21,211 --> 00:03:22,261 It's your son. 78 00:03:22,261 --> 00:03:23,521 It's your daughter. 79 00:03:23,521 --> 00:03:24,931 It's your parents. 80 00:03:24,931 --> 00:03:26,611 It's your Uncle Barney. 81 00:03:26,611 --> 00:03:29,551 It's like, all these people that you know, 82 00:03:29,551 --> 00:03:30,021 and actually even people that you don't know-- 83 00:03:30,021 --> 00:03:32,041 and actually even people that you don't know-- 84 00:03:32,041 --> 00:03:35,581 you stand in line or you sit in your car, 85 00:03:35,581 --> 00:03:37,501 and you meet some gal at fast food. 86 00:03:37,501 --> 00:03:40,291 And there's there's a quality about that girl that-- 87 00:03:40,291 --> 00:03:43,831 you know, she's sort of like a gum-chewing sort of a gal. 88 00:03:43,831 --> 00:03:44,623 Hey, what did you-- 89 00:03:44,623 --> 00:03:46,456 you know, and she gets into her whole thing, 90 00:03:46,456 --> 00:03:47,491 and she's a fast talker. 91 00:03:47,491 --> 00:03:49,291 Whatever she's doing, I don't think I got your order right, 92 00:03:49,291 --> 00:03:49,951 blah blah blah. 93 00:03:49,951 --> 00:03:51,301 Take a notebook with you. 94 00:03:51,301 --> 00:03:52,321 Write this down. 95 00:03:52,321 --> 00:03:54,991 On your phone, use the instant record thing. 96 00:03:54,991 --> 00:03:58,081 Record down, I was just In-n-Out Burger. 97 00:03:58,081 --> 00:03:59,641 Remember the girl. 98 00:03:59,641 --> 00:04:00,021 Remember the girl that that messed up my change. 99 00:04:00,021 --> 00:04:03,451 Remember the girl that that messed up my change. 100 00:04:03,451 --> 00:04:04,951 She was fast talking. 101 00:04:04,951 --> 00:04:07,681 That can go on your list of characters 102 00:04:07,681 --> 00:04:11,101 as you're developing a whole catalog of who 103 00:04:11,101 --> 00:04:12,181 these characters are. 104 00:04:12,181 --> 00:04:13,981 You can even name them. 105 00:04:13,981 --> 00:04:15,991 OK, that's Wanda. 106 00:04:15,991 --> 00:04:19,031 And the next day, when you're going in for an audition, 107 00:04:19,031 --> 00:04:21,151 you can recall what that special moment was. 108 00:04:21,151 --> 00:04:22,505 That will help you. 109 00:04:22,505 --> 00:04:24,441 110 00:04:31,231 --> 00:04:33,121 So listen, if you're trying to figure out 111 00:04:33,121 --> 00:04:36,001 what your personal voice print is, 112 00:04:36,001 --> 00:04:37,951 this is what I would suggest. 113 00:04:37,951 --> 00:04:38,881 Take your pen. 114 00:04:38,881 --> 00:04:39,901 Take a piece of paper. 115 00:04:39,901 --> 00:04:41,484 You could draw a line down the middle, 116 00:04:41,484 --> 00:04:44,071 and just start putting qualities down, 117 00:04:44,071 --> 00:04:50,161 like grumpy, nervous, speaks real slow, a gruff voice, 118 00:04:50,161 --> 00:04:52,501 angry, shy. 119 00:04:52,501 --> 00:04:55,781 Just do a bunch of modifiers describing personalities. 120 00:04:55,781 --> 00:04:58,501 And then on the other side, you could put down 121 00:04:58,501 --> 00:05:00,021 a mother, a father, a teenage boy, an eight-year-old boy, 122 00:05:00,021 --> 00:05:02,971 a mother, a father, a teenage boy, an eight-year-old boy, 123 00:05:02,971 --> 00:05:07,441 a two-year-old girl, a baby, the garbage man, a mailman, 124 00:05:07,441 --> 00:05:10,171 a secretary, the receptionist, a teacher. 125 00:05:10,171 --> 00:05:12,751 You know, you could even do them in stacks of cards. 126 00:05:12,751 --> 00:05:14,971 That would be a really good way to go. 127 00:05:14,971 --> 00:05:17,101 Pile number one of modifiers. 128 00:05:17,101 --> 00:05:19,801 Pile number two of character types. 129 00:05:19,801 --> 00:05:22,111 Pile number three of actions. 130 00:05:22,111 --> 00:05:25,621 Picking up one from each pile and putting them together, 131 00:05:25,621 --> 00:05:30,001 and you will find that you will start being really good 132 00:05:30,001 --> 00:05:30,021 at doing a certain kind of a character, 133 00:05:30,021 --> 00:05:33,361 at doing a certain kind of a character, 134 00:05:33,361 --> 00:05:35,611 whether it's a young one-- you're really good at doing 135 00:05:35,611 --> 00:05:37,771 young voices, old voices-- 136 00:05:37,771 --> 00:05:42,011 you will find that by experience and by practicing. 137 00:05:42,011 --> 00:05:44,891 Drill, drill, drill and you'll figure it out yourself. 138 00:05:44,891 --> 00:05:51,451 I feel that if you can figure out what your brand is, 139 00:05:51,451 --> 00:05:56,461 meaning your specific area that you excel in and you do that-- 140 00:05:56,461 --> 00:06:00,021 be the best teenager you can be, be the best announcer, 141 00:06:00,021 --> 00:06:01,411 be the best teenager you can be, be the best announcer, 142 00:06:01,411 --> 00:06:02,581 be the best mother-- 143 00:06:02,581 --> 00:06:06,211 be the best at whatever that is, and you'll become 144 00:06:06,211 --> 00:06:09,321 the go-to person for casting. 1 00:00:00,021 --> 00:00:01,925 2 00:00:07,161 --> 00:00:10,281 If you're going to start a career in voiceovers, 3 00:00:10,281 --> 00:00:12,201 there's a few things you need to know. 4 00:00:12,201 --> 00:00:14,391 Number one, the most important thing 5 00:00:14,391 --> 00:00:16,341 is you've got to be yourself. 6 00:00:16,341 --> 00:00:19,401 You have your own voice, literally. 7 00:00:19,401 --> 00:00:21,981 You have to commit 100%. 8 00:00:21,981 --> 00:00:24,951 You don't want to do a voice that has holes in it, 9 00:00:24,951 --> 00:00:28,401 and if you're certain about who you are and what you are doing, 10 00:00:28,401 --> 00:00:30,021 that is going to be so much easier. 11 00:00:30,021 --> 00:00:31,881 that is going to be so much easier. 12 00:00:31,881 --> 00:00:36,641 Another thing, a good tip, is watch animation. 13 00:00:36,641 --> 00:00:39,551 Be familiar with the ones that are doing really well, 14 00:00:39,551 --> 00:00:43,661 and watch those shows with the idea in mind of casting. 15 00:00:43,661 --> 00:00:45,161 Which part would you be? 16 00:00:45,161 --> 00:00:46,511 Which part do you like? 17 00:00:46,511 --> 00:00:48,861 Who's doing something that you feel you could do? 18 00:00:48,861 --> 00:00:51,341 And you can even make notes for yourself, 19 00:00:51,341 --> 00:00:54,141 and then you can refer to it later on. 20 00:00:54,141 --> 00:00:56,561 And a good tip is to just duplicate 21 00:00:56,561 --> 00:00:59,021 what somebody else is doing, and then 22 00:00:59,021 --> 00:01:00,021 by changing your pitch, your tone, your attitude, 23 00:01:00,021 --> 00:01:01,851 by changing your pitch, your tone, your attitude, 24 00:01:01,851 --> 00:01:05,561 how fast you're speaking, you can make that your own. 25 00:01:05,561 --> 00:01:08,291 Get out there and perform and use your family. 26 00:01:08,291 --> 00:01:09,041 Use your friends. 27 00:01:09,041 --> 00:01:09,791 Tell jokes. 28 00:01:09,791 --> 00:01:11,111 Become characters. 29 00:01:11,111 --> 00:01:12,491 Read books out loud. 30 00:01:12,491 --> 00:01:14,291 Read them to children. 31 00:01:14,291 --> 00:01:15,131 Tell stories. 32 00:01:15,131 --> 00:01:16,631 You know, you can change your voice. 33 00:01:16,631 --> 00:01:18,071 You can become these characters. 34 00:01:18,071 --> 00:01:19,751 Do the kids like it? 35 00:01:19,751 --> 00:01:22,671 And just see what kind of an effect you create. 36 00:01:22,671 --> 00:01:26,141 And the main thing is if you love it, bam, go for it. 37 00:01:26,141 --> 00:01:28,081 38 00:01:32,941 --> 00:01:36,451 So let's talk about the value of mentors. 39 00:01:36,451 --> 00:01:40,111 A mentor is someone who is going to help you 40 00:01:40,111 --> 00:01:44,851 and are going to guide you and encourage you and answer 41 00:01:44,851 --> 00:01:48,781 questions and even open up doors for you. 42 00:01:48,781 --> 00:01:51,421 That's what I think a mentor is. 43 00:01:51,421 --> 00:01:53,611 How you get one-- 44 00:01:53,611 --> 00:01:57,461 that is a very difficult question to answer. 45 00:01:57,461 --> 00:01:59,831 I can tell you a couple of things. 46 00:01:59,831 --> 00:02:00,021 Number one, be yourself, and number two, 47 00:02:00,021 --> 00:02:02,671 Number one, be yourself, and number two, 48 00:02:02,671 --> 00:02:04,261 don't stalk anybody. 49 00:02:07,741 --> 00:02:10,081 I was so fortunate. 50 00:02:10,081 --> 00:02:14,506 I had the opportunity very early on to meet a mentor. 51 00:02:23,461 --> 00:02:26,221 I learned some pretty amazing lessons from Daws. 52 00:03:02,731 --> 00:03:04,321 He would send me scripts, and I'd 53 00:03:04,321 --> 00:03:06,151 mail these back on cassette. 54 00:03:06,151 --> 00:03:08,371 He would listen and give me a critique 55 00:03:08,371 --> 00:03:10,351 and then mail the critique back along 56 00:03:10,351 --> 00:03:14,671 with either a letter or he'd talk into a cassette 57 00:03:14,671 --> 00:03:17,951 himself and evaluate what I had done. 58 00:03:17,951 --> 00:03:21,211 I don't know what it was, but he took me under his wing. 59 00:03:38,461 --> 00:03:40,681 He used this expression. 60 00:03:40,681 --> 00:03:45,121 I didn't get it at first, but he said to me, don't be cosmetic, 61 00:03:45,121 --> 00:03:47,431 unless it's a Saturday night. 62 00:03:47,431 --> 00:03:51,661 I thought, what is he talking about, don't be cosmetic? 63 00:03:51,661 --> 00:03:53,341 Well, and then I thought, I guess 64 00:03:53,341 --> 00:03:56,911 cosmetic has to do with putting something on. 65 00:03:56,911 --> 00:03:58,591 You put cosmetics on your face. 66 00:03:58,591 --> 00:03:59,581 It's makeup. 67 00:03:59,581 --> 00:04:00,021 You're changing something. 68 00:04:00,021 --> 00:04:01,621 You're changing something. 69 00:04:01,621 --> 00:04:03,721 That is exactly what he was talking about. 70 00:04:03,721 --> 00:04:06,081 Don't be phony. 71 00:04:06,081 --> 00:04:10,281 Don't be fake, because a microphone is super sensitive. 72 00:04:10,281 --> 00:04:12,351 And more importantly than that, you're 73 00:04:12,351 --> 00:04:15,411 trying to communicate a message. 74 00:04:15,411 --> 00:04:19,251 And if you're not sincere about what you're saying, 75 00:04:19,251 --> 00:04:22,311 nobody is going to get it. 76 00:04:22,311 --> 00:04:24,561 Daws never taught me how to do voices. 77 00:04:24,561 --> 00:04:26,721 In fact, he didn't teach anybody. 78 00:04:26,721 --> 00:04:29,061 That's not what his job was. 79 00:04:29,061 --> 00:04:30,021 He comes from old radio. 80 00:04:30,021 --> 00:04:30,741 He comes from old radio. 81 00:04:30,741 --> 00:04:31,641 He was a writer. 82 00:04:31,641 --> 00:04:36,861 He was an entertainer, and he taught me to take a script 83 00:04:36,861 --> 00:04:41,271 and take the writer's words, the black on white, and make them 84 00:04:41,271 --> 00:04:42,531 my own. 85 00:04:42,531 --> 00:04:46,041 So don't be afraid to experiment. 86 00:04:46,041 --> 00:04:48,291 This is the time to make mistakes, 87 00:04:48,291 --> 00:04:51,981 you know, to sound horrible and then flip that around 88 00:04:51,981 --> 00:04:53,871 to your advantage. 89 00:04:53,871 --> 00:04:58,891 Daws said to me, he said, love the words, and taste the words. 90 00:04:58,891 --> 00:05:00,021 And this is a lesson to take with you your whole career. 91 00:05:00,021 --> 00:05:02,151 And this is a lesson to take with you your whole career. 92 00:05:22,971 --> 00:05:26,781 When Daws and I were working fairly regularly together, he 93 00:05:26,781 --> 00:05:29,661 said to me, I'd like to take you to a recording session. 94 00:05:29,661 --> 00:05:30,021 I thought, oh my gosh. 95 00:05:30,021 --> 00:05:31,041 I thought, oh my gosh. 96 00:05:31,041 --> 00:05:34,491 Oh my gosh, this would be so fantastic to actually see him 97 00:05:34,491 --> 00:05:36,021 in action. 98 00:05:36,021 --> 00:05:39,711 So he picked me up, and we drove over to Hanna-Barbera. 99 00:05:39,711 --> 00:05:42,261 It was The All-New Popeye Hour. 100 00:05:42,261 --> 00:05:44,841 That was the show, and he was the voice of Wimpy. 101 00:05:44,841 --> 00:05:47,761 Oh, good morning, everybody. 102 00:05:47,761 --> 00:05:51,957 I trust you are all enjoying good health. 103 00:05:51,957 --> 00:05:55,881 My, but we do look lovely today, don't we? 104 00:05:55,881 --> 00:05:57,711 I was around all these-- 105 00:05:57,711 --> 00:05:59,361 like the pioneers of the industry, 106 00:05:59,361 --> 00:06:00,021 and a lot of these people, I recognized their faces 107 00:06:00,021 --> 00:06:02,151 and a lot of these people, I recognized their faces 108 00:06:02,151 --> 00:06:04,281 from television shows. 109 00:06:04,281 --> 00:06:06,951 But when Jack Mercer, who was the voice of Popeye, 110 00:06:06,951 --> 00:06:09,471 opened his mouth, and he started doing the voice of Popeye, 111 00:06:09,471 --> 00:06:10,941 I was like, whoa! 112 00:06:10,941 --> 00:06:12,561 And oh! 113 00:06:12,561 --> 00:06:15,801 And I had to like, be quiet, because I was literally 114 00:06:15,801 --> 00:06:18,621 sitting in the room that they were recording in. 115 00:06:18,621 --> 00:06:22,791 And I couldn't laugh out loud, and I had to respect that. 116 00:06:22,791 --> 00:06:25,791 And they read it like old radio. 117 00:06:25,791 --> 00:06:28,551 It was done like from the beginning to the end. 118 00:06:28,551 --> 00:06:30,021 They had their whole script in front of them, and it was-- 119 00:06:30,021 --> 00:06:31,401 They had their whole script in front of them, and it was-- 120 00:06:31,401 --> 00:06:33,161 it was amazing. 121 00:06:33,161 --> 00:06:34,671 And if there was one gal in there, 122 00:06:34,671 --> 00:06:36,231 her name was Marilyn Schreffler. 123 00:06:36,231 --> 00:06:37,941 She was the voice of Olive Oyl. 124 00:06:37,941 --> 00:06:41,391 And she's doing, (OLIVE OYL VOICE) Oh, Popeye. 125 00:06:41,391 --> 00:06:43,221 Kind of like that. 126 00:06:43,221 --> 00:06:47,691 But I was being very respectful, just taking it all in. 127 00:06:47,691 --> 00:06:50,781 So on the way home, Daws wanted to know from me, 128 00:06:50,781 --> 00:06:52,161 so what do you think, Nancy? 129 00:06:52,161 --> 00:06:53,721 What did you get from that? 130 00:06:53,721 --> 00:06:57,381 I said, oh, Daws, I just, I think I can do this. 131 00:06:57,381 --> 00:07:00,021 I really think-- I loved it. 132 00:07:00,021 --> 00:07:00,171 I really think-- I loved it. 133 00:07:00,171 --> 00:07:02,521 This was amazing. 134 00:07:02,521 --> 00:07:04,051 I really want to do this. 135 00:07:04,051 --> 00:07:05,371 He goes OK, OK. 136 00:07:05,371 --> 00:07:05,871 Good. 137 00:07:05,871 --> 00:07:07,351 Good, that's good. 138 00:07:07,351 --> 00:07:10,671 But then he said to me, there's a few things 139 00:07:10,671 --> 00:07:12,141 that you're going to need to learn, 140 00:07:12,141 --> 00:07:14,811 and I'm going to help you with that. 141 00:07:14,811 --> 00:07:18,381 Having a mentor definitely can open up some doors for you, 142 00:07:18,381 --> 00:07:24,141 and at the same time, you will offer them a challenge, 143 00:07:24,141 --> 00:07:27,951 an opportunity to be able to kind of like, pass the torch. 144 00:07:27,951 --> 00:07:30,021 You know, it's a satisfying relationship from both sides. 145 00:07:30,021 --> 00:07:31,311 You know, it's a satisfying relationship from both sides. 146 00:07:31,311 --> 00:07:34,221 You know, it's symbiotic, and if you can get that, 147 00:07:34,221 --> 00:07:39,451 that's something to cherish and appreciate when you have that. 148 00:07:39,451 --> 00:07:42,711 And now I'm passing the torch on to you. 149 00:07:42,711 --> 00:07:44,603 150 00:07:49,341 --> 00:07:51,471 A demo is your calling card. 151 00:07:51,471 --> 00:07:54,981 It is the most important tool that you can have 152 00:07:54,981 --> 00:07:58,281 in order to get hired in this industry. 153 00:07:58,281 --> 00:08:00,021 What do you need to put a good demo reel together? 154 00:08:00,021 --> 00:08:00,931 What do you need to put a good demo reel together? 155 00:08:00,931 --> 00:08:03,141 First of all, you need a quiet place. 156 00:08:03,141 --> 00:08:06,771 You need a super quiet place, and you can go to a closet 157 00:08:06,771 --> 00:08:09,531 and set up a booth, kind of, in your own closet. 158 00:08:09,531 --> 00:08:12,441 The clothes-- just reach your hand in the center 159 00:08:12,441 --> 00:08:14,121 and separate the clothes. 160 00:08:14,121 --> 00:08:16,131 You've got your winter wardrobe on the left, 161 00:08:16,131 --> 00:08:18,681 and you've got your spring and summer stuff on the right. 162 00:08:18,681 --> 00:08:20,511 You've got to get rid of the slippers on the floor 163 00:08:20,511 --> 00:08:22,191 so that you can put your little chair in there. 164 00:08:22,191 --> 00:08:23,608 You've got to close it off, so you 165 00:08:23,608 --> 00:08:26,211 can knock out all the sounds in the background. 166 00:08:26,211 --> 00:08:29,031 Also, the noise inside has to be quiet. 167 00:08:29,031 --> 00:08:30,021 You want it to be as clean as possible, 168 00:08:30,021 --> 00:08:31,771 You want it to be as clean as possible, 169 00:08:31,771 --> 00:08:35,690 so make sure you aren't wearing any noisy jewelry. 170 00:08:35,690 --> 00:08:38,161 Because I'll tell you, if there's noise there, listen. 171 00:08:38,161 --> 00:08:40,161 I'm going to give you a demonstration right now. 172 00:08:40,161 --> 00:08:41,631 This is me scratching my head. 173 00:08:41,631 --> 00:08:42,718 [SCRATCHING] 174 00:08:42,718 --> 00:08:43,551 Can you hear that? 175 00:08:43,551 --> 00:08:44,973 [SCRATCHING] 176 00:08:45,921 --> 00:08:48,831 You don't want any kind of extraneous noise 177 00:08:48,831 --> 00:08:51,741 at all on your reel. 178 00:08:51,741 --> 00:08:56,451 You want it just to be pure you, and that's it. 179 00:08:56,451 --> 00:08:59,771 Another thing is that you have to have copy, a script. 180 00:08:59,771 --> 00:09:00,021 Where do you get that? 181 00:09:00,021 --> 00:09:00,731 Where do you get that? 182 00:09:00,731 --> 00:09:03,431 If you don't write it yourself or somebody doesn't write it 183 00:09:03,431 --> 00:09:05,141 for you, here's a little tip. 184 00:09:05,141 --> 00:09:06,461 Go through magazines. 185 00:09:06,461 --> 00:09:07,721 Read newspapers. 186 00:09:07,721 --> 00:09:11,141 What I did was I just pulled out ads from magazines, 187 00:09:11,141 --> 00:09:13,421 and I just rewrote them, like the keywords 188 00:09:13,421 --> 00:09:14,731 were all there that I needed. 189 00:09:14,731 --> 00:09:17,231 I turned that into a character, and the next thing you know, 190 00:09:17,231 --> 00:09:22,661 I've got an ad for Century 21 real estate. 191 00:09:22,661 --> 00:09:24,888 That was not my niche. 192 00:09:24,888 --> 00:09:26,221 NANCY CARTWRIGHT: It's all ours. 193 00:09:26,221 --> 00:09:27,881 TERRY MCGOVERN: Yeah, our first real home. 194 00:09:27,881 --> 00:09:29,339 NANCY CARTWRIGHT: Oh, I still can't 195 00:09:29,339 --> 00:09:30,021 believe that Mike at our Century 21 office 196 00:09:30,021 --> 00:09:31,661 believe that Mike at our Century 21 office 197 00:09:31,661 --> 00:09:33,341 helped us find a house like this. 198 00:09:33,341 --> 00:09:34,196 TERRY MCGOVERN: That we can really afford. 199 00:09:34,196 --> 00:09:34,821 200 00:09:34,821 --> 00:09:37,031 VOCALIST: (SINGING) Century 21. 201 00:09:37,031 --> 00:09:39,171 The third thing would be, keep it simple. 202 00:09:39,171 --> 00:09:40,181 Keep it short. 203 00:09:40,181 --> 00:09:42,671 You don't want to make your demo tape any longer 204 00:09:42,671 --> 00:09:44,981 than like, one to two minutes. 205 00:09:44,981 --> 00:09:47,981 And only do your best characters. 206 00:09:47,981 --> 00:09:53,111 I want to hear that you are 100% committed to doing 207 00:09:53,111 --> 00:09:55,991 that character, so if you have any doubt in your mind 208 00:09:55,991 --> 00:10:00,021 that this one doesn't sound grounded, like pure, 209 00:10:00,021 --> 00:10:00,371 that this one doesn't sound grounded, like pure, 210 00:10:00,371 --> 00:10:01,601 don't do it. 211 00:10:01,601 --> 00:10:03,221 It will hurt you. 212 00:10:03,221 --> 00:10:07,421 Make sure the characters are an identity of their own. 213 00:10:07,421 --> 00:10:11,471 You don't want them to be all exactly the same attitude, 214 00:10:11,471 --> 00:10:12,791 the same length. 215 00:10:12,791 --> 00:10:17,411 Kind of mess it up, so that I as a listener am curious about, 216 00:10:17,411 --> 00:10:20,141 what's the next voice you're going to do? 217 00:10:20,141 --> 00:10:22,241 So some of them sort of sound like this. 218 00:10:22,241 --> 00:10:24,461 And some of them are super, super tiny, 219 00:10:24,461 --> 00:10:26,711 and they sound like this. 220 00:10:26,711 --> 00:10:28,509 Or you got a gal that sounds like that. 221 00:10:28,509 --> 00:10:30,021 And if I want to do that, and she's kinda fast-talking, 222 00:10:30,021 --> 00:10:30,801 And if I want to do that, and she's kinda fast-talking, 223 00:10:30,801 --> 00:10:32,381 and she's not really thinking about what she's 224 00:10:32,381 --> 00:10:34,791 saying too much, can I do that as a lead for a character 225 00:10:34,791 --> 00:10:35,624 in an animated show? 226 00:10:35,624 --> 00:10:38,691 Absolutely, positively. 227 00:10:38,691 --> 00:10:40,581 Here's another bright idea. 228 00:10:40,581 --> 00:10:42,871 Put your best thing up at the front. 229 00:10:42,871 --> 00:10:44,421 Don't save that to the end. 230 00:10:44,421 --> 00:10:46,711 Put that golden nugget right at the top, 231 00:10:46,711 --> 00:10:48,551 so I can hear who you are. 232 00:10:48,551 --> 00:10:50,801 NANCY CARTWRIGHT: (SINGING) You've never heard a girl, 233 00:10:50,801 --> 00:10:53,187 never heard a girl like Nancy Cartwright, Cartwright. 234 00:10:53,187 --> 00:10:54,604 The voices are my own, but they're 235 00:10:54,604 --> 00:10:57,141 yours on a loan for a very, very, very small fee. 236 00:10:57,141 --> 00:10:59,241 I think the main takeaway about the demo reel 237 00:10:59,241 --> 00:11:00,021 is, you have to be you. 238 00:11:00,021 --> 00:11:01,431 is, you have to be you. 239 00:11:01,431 --> 00:11:03,081 It's your arsenal. 240 00:11:03,081 --> 00:11:06,951 It's your treasure box of characters that you love, 241 00:11:06,951 --> 00:11:10,281 and you're confident about what you've done, 242 00:11:10,281 --> 00:11:12,381 and you're proud of what you've done. 243 00:11:12,381 --> 00:11:15,471 And you want the world to know it, or at least casting people. 244 00:11:15,471 --> 00:11:17,459 245 00:11:23,431 --> 00:11:26,641 I have found that we can have a lot of considerations, 246 00:11:26,641 --> 00:11:30,021 and we can kind of interiorize on, I can't do as many voices 247 00:11:30,021 --> 00:11:31,681 and we can kind of interiorize on, I can't do as many voices 248 00:11:31,681 --> 00:11:32,911 as so-and-so. 249 00:11:32,911 --> 00:11:36,001 I feel like I sound too young. 250 00:11:36,001 --> 00:11:38,071 I have a very limited range. 251 00:11:38,071 --> 00:11:39,931 I don't have any connections. 252 00:11:39,931 --> 00:11:41,561 How do I get started? 253 00:11:41,561 --> 00:11:43,531 I don't have a mentor. 254 00:11:43,531 --> 00:11:46,081 I'm probably too old for this industry. 255 00:11:46,081 --> 00:11:50,791 These are all considerations that anybody can have, 256 00:11:50,791 --> 00:11:54,121 and I got to tell you something, just to let you know, 257 00:11:54,121 --> 00:11:55,351 it's normal. 258 00:11:55,351 --> 00:11:56,821 I don't know anybody that doesn't 259 00:11:56,821 --> 00:12:00,021 have some kind of personal judgment about themselves. 260 00:12:00,021 --> 00:12:00,961 have some kind of personal judgment about themselves. 261 00:12:00,961 --> 00:12:05,201 But do yourself a favor, and don't do that. 262 00:12:05,201 --> 00:12:06,671 Just shove that aside. 263 00:12:06,671 --> 00:12:08,321 Don't have any considerations. 264 00:12:08,321 --> 00:12:10,781 Invest yourself 100%, and I'm telling you, 265 00:12:10,781 --> 00:12:13,561 you will do so much better. 1 00:00:00,021 --> 00:00:03,423 2 00:00:06,196 --> 00:00:08,571 NANCY CARTWRIGHT: So there's a show that I'm working on-- 3 00:00:08,571 --> 00:00:13,371 for you specifically-- called "No-Effort Girl." 4 00:00:13,371 --> 00:00:16,350 We'll be using scripts from the show in our lessons. 5 00:00:16,350 --> 00:00:19,461 And as a bonus, we'll be animating my recordings 6 00:00:19,461 --> 00:00:24,061 to give you all a sneak peek into the animation process. 7 00:00:24,061 --> 00:00:26,841 But before we do that, I'm gonna show you 8 00:00:26,841 --> 00:00:30,021 how I develop original voices, starting with our star, 9 00:00:30,021 --> 00:00:30,681 how I develop original voices, starting with our star, 10 00:00:30,681 --> 00:00:34,441 No-Effort Girl. 11 00:00:34,441 --> 00:00:36,811 Okay, guys, so there's this description of her 12 00:00:36,811 --> 00:00:38,131 that has so-- 13 00:00:38,131 --> 00:00:42,024 it is just like, it doesn't take a whole lot of intelligence 14 00:00:42,024 --> 00:00:42,691 to look at this. 15 00:00:42,691 --> 00:00:43,951 There's gold mines. 16 00:00:43,951 --> 00:00:47,761 There's little nuggets in here, little gems, little hints, 17 00:00:47,761 --> 00:00:49,321 of who our girl is. 18 00:00:49,321 --> 00:00:52,351 So it just says here, "No-Effort Girl is a precocious" 19 00:00:52,351 --> 00:00:55,261 --hello precocious-- "thirteen-year-old girl who 20 00:00:55,261 --> 00:00:59,311 didn't ask to be born with super strength, x-ray vision, 21 00:00:59,311 --> 00:01:00,021 and the ability to fly-- 22 00:01:00,021 --> 00:01:01,381 and the ability to fly-- 23 00:01:01,381 --> 00:01:03,181 so lay off her!" 24 00:01:03,181 --> 00:01:07,081 Okay, so that is pretty-- that first sentence there 25 00:01:07,081 --> 00:01:10,711 tells me so much about who this girl is. 26 00:01:10,711 --> 00:01:14,761 That alone-- I'm telling you, that alone gives me 27 00:01:14,761 --> 00:01:16,621 tomes to work with. 28 00:01:16,621 --> 00:01:17,521 But it goes on. 29 00:01:17,521 --> 00:01:22,591 "In spite of having to wear a cumbersome purple retainer" 30 00:01:22,591 --> 00:01:23,791 --seriously?-- 31 00:01:23,791 --> 00:01:27,691 "her favorite thing to do is gab with her best friend, 32 00:01:27,691 --> 00:01:29,461 Yikes the Dragon. 33 00:01:29,461 --> 00:01:30,021 Unfortunately, her superhero phones 34 00:01:30,021 --> 00:01:31,711 Unfortunately, her superhero phones 35 00:01:31,711 --> 00:01:34,201 are always ringing off the hook with annoying calls 36 00:01:34,201 --> 00:01:35,611 to save the day. 37 00:01:35,611 --> 00:01:38,251 And when she finally gets around to putting on her homemade 38 00:01:38,251 --> 00:01:41,401 costume" --homemade, that's important-- 39 00:01:41,401 --> 00:01:44,101 "she usually fixes the impossible problem 40 00:01:44,101 --> 00:01:48,601 with basically no effort, but groans and rolls her eyes 41 00:01:48,601 --> 00:01:50,591 the entire time." 42 00:01:50,591 --> 00:01:53,581 This chick has an attitude, man. 43 00:01:53,581 --> 00:01:54,571 But she's smart. 44 00:01:54,571 --> 00:01:56,731 And she's specific about what she does. 45 00:01:56,731 --> 00:01:59,191 "Underneath, she loves all the attention 46 00:01:59,191 --> 00:02:00,021 she gets from helping others." 47 00:02:00,021 --> 00:02:01,681 she gets from helping others." 48 00:02:01,681 --> 00:02:03,331 That's a really good clue. 49 00:02:03,331 --> 00:02:05,801 She likes to help others. 50 00:02:05,801 --> 00:02:08,220 But she rolls her eyes. 51 00:02:08,220 --> 00:02:11,401 She's kind of like a little bit of a princess there. 52 00:02:11,401 --> 00:02:13,171 "She loves all the attention, even 53 00:02:13,171 --> 00:02:15,331 if it's an imposition on her plans 54 00:02:15,331 --> 00:02:18,691 to scroll social media on her phone all day." 55 00:02:18,691 --> 00:02:22,831 This is-- I'm telling you, this is very, very helpful to me, 56 00:02:22,831 --> 00:02:25,063 what the writer has done here. 57 00:02:25,063 --> 00:02:27,271 The other thing that will really, really help you out 58 00:02:27,271 --> 00:02:29,971 is if they give you a picture of the character, just 59 00:02:29,971 --> 00:02:30,021 the drawing. 60 00:02:30,021 --> 00:02:31,091 the drawing. 61 00:02:31,091 --> 00:02:33,808 So when I look at the picture of No-Effort Girl, 62 00:02:33,808 --> 00:02:35,641 there's a couple clues here that help me out 63 00:02:35,641 --> 00:02:38,791 that are being reinforced by the picture. 64 00:02:38,791 --> 00:02:41,231 The cell phone is very important to her. 65 00:02:41,231 --> 00:02:44,971 She lives with her cell phone. 66 00:02:44,971 --> 00:02:46,921 To me, the artwork is very-- 67 00:02:46,921 --> 00:02:49,441 it's kind of the modern Jetsons in a way. 68 00:02:49,441 --> 00:02:51,421 It looks-- she's kind of futuristic. 69 00:02:51,421 --> 00:02:53,371 Look, she's got a little peplum-- 70 00:02:53,371 --> 00:02:57,901 the little boots on her, the booties, totally fashionista. 71 00:02:57,901 --> 00:02:59,131 She's cute. 72 00:02:59,131 --> 00:03:00,001 She's really cute. 73 00:03:00,001 --> 00:03:00,021 But look at the attitude on the picture of her on the left. 74 00:03:00,021 --> 00:03:02,761 But look at the attitude on the picture of her on the left. 75 00:03:02,761 --> 00:03:06,661 She's got that gnah thing going with her mouth. 76 00:03:06,661 --> 00:03:08,861 She can stand up on her own. 77 00:03:08,861 --> 00:03:12,151 She doesn't need anybody to fight her fights for her. 78 00:03:12,151 --> 00:03:16,351 No-Effort Girl does it, and she does it without any effort. 79 00:03:16,351 --> 00:03:19,181 She's got blue hair, another thing, wow. 80 00:03:19,181 --> 00:03:21,631 I'm not sure if Mom and Dad really like that, 81 00:03:21,631 --> 00:03:23,731 but she is independent. 82 00:03:23,731 --> 00:03:26,191 This is a gal that-- she's got my heart. 83 00:03:26,191 --> 00:03:27,001 She really does. 84 00:03:27,001 --> 00:03:28,921 She's an independent thinker. 85 00:03:28,921 --> 00:03:30,021 She's a nonconformist. 86 00:03:30,021 --> 00:03:31,561 She's a nonconformist. 87 00:03:31,561 --> 00:03:36,151 You will either love her or probably be annoyed by her. 88 00:03:36,151 --> 00:03:37,231 I love her. 89 00:03:37,231 --> 00:03:38,671 So she's precocious. 90 00:03:38,671 --> 00:03:40,411 She's 13. 91 00:03:40,411 --> 00:03:43,651 She's got a retainer. 92 00:03:43,651 --> 00:03:44,941 I've read this. 93 00:03:44,941 --> 00:03:48,001 I've read this, and I kind of came up with this idea 94 00:03:48,001 --> 00:03:50,901 that (LISPING) she's got-- 95 00:03:50,901 --> 00:03:54,121 see, Chip had a split right-- he had a lisp. 96 00:03:54,121 --> 00:03:55,731 He had a thing like this. 97 00:03:55,731 --> 00:03:56,991 This was his thing. 98 00:03:56,991 --> 00:03:59,721 But with a retainer, it's a totally sort 99 00:03:59,721 --> 00:04:00,021 of a different thing. 100 00:04:00,021 --> 00:04:01,011 of a different thing. 101 00:04:01,011 --> 00:04:04,351 And I'm not saying-- this is just my interpretation. 102 00:04:04,351 --> 00:04:07,071 This is one idea, and this is what-- 103 00:04:07,071 --> 00:04:09,021 what I would go in for the audition. 104 00:04:09,021 --> 00:04:10,581 And then if they wanted-- if they've 105 00:04:10,581 --> 00:04:13,071 got another idea, the producer, the director, 106 00:04:13,071 --> 00:04:15,081 the writer have another idea in mind, 107 00:04:15,081 --> 00:04:17,911 I will listen to what they want and duplicate that. 108 00:04:17,911 --> 00:04:21,201 But for me, my choice is (LISPING) this is our girl. 109 00:04:21,201 --> 00:04:22,611 She's like this. 110 00:04:22,611 --> 00:04:23,741 And she's got this thing. 111 00:04:23,741 --> 00:04:26,091 And she says exactly, I didn't ask 112 00:04:26,091 --> 00:04:29,811 to be born with super strength, x-ray vision, and the ability 113 00:04:29,811 --> 00:04:30,021 to fly! 114 00:04:30,021 --> 00:04:30,891 to fly! 115 00:04:30,891 --> 00:04:32,431 Ugh. 116 00:04:32,431 --> 00:04:38,541 I'll save the whole world, just like, give me a second. 117 00:04:38,541 --> 00:04:41,211 I think I read something about, she rolls her eyes. 118 00:04:41,211 --> 00:04:43,401 She groans, "but groans and rolls 119 00:04:43,401 --> 00:04:45,241 her eyes the entire time." 120 00:04:45,241 --> 00:04:48,411 It's like, yes, I can save the day. 121 00:04:48,411 --> 00:04:49,431 I've got it. 122 00:04:49,431 --> 00:04:51,141 Okay! 123 00:04:51,141 --> 00:04:52,641 Ugh, let's get on with it. 124 00:04:52,641 --> 00:04:54,531 All right, let's go! 125 00:04:54,531 --> 00:04:58,171 All those cues there-- "precocious," "lay off of her," 126 00:04:58,171 --> 00:05:00,021 "she's got a retainer" --she's gonna do it, 127 00:05:00,021 --> 00:05:00,921 "she's got a retainer" --she's gonna do it, 128 00:05:00,921 --> 00:05:03,261 but she kind of complains a little bit. 129 00:05:03,261 --> 00:05:04,851 But she gets the job done. 130 00:05:04,851 --> 00:05:08,323 [ROCK MUSIC PLAYING] 131 00:05:15,781 --> 00:05:18,784 I love Yikes the Dragon. 132 00:05:18,784 --> 00:05:19,951 Let's see what it says here. 133 00:05:19,951 --> 00:05:23,371 In the description it says, "If we're being honest, 134 00:05:23,371 --> 00:05:25,886 that's probably not his name." 135 00:05:25,886 --> 00:05:28,711 It's Yikes the Dragon, "but 'Yikes!' 136 00:05:28,711 --> 00:05:30,021 is the first thing anyone says when 137 00:05:30,021 --> 00:05:30,541 is the first thing anyone says when 138 00:05:30,541 --> 00:05:35,041 they notice this surprisingly sweet-voiced teenage dragon 139 00:05:35,041 --> 00:05:37,801 and the nickname stuck." 140 00:05:37,801 --> 00:05:38,921 Okay, so that's good. 141 00:05:38,921 --> 00:05:41,041 So he's a sweet-voiced teenage-- 142 00:05:41,041 --> 00:05:42,811 he's a teenager. 143 00:05:42,811 --> 00:05:46,201 "As the station manager at the local radio station, 144 00:05:46,201 --> 00:05:48,871 Yikes" --okay, so there's another clue right there. 145 00:05:48,871 --> 00:05:50,491 You can highlight that. 146 00:05:50,491 --> 00:05:51,691 He's the station manager. 147 00:05:51,691 --> 00:05:53,701 "Yikes does all the work from engineering 148 00:05:53,701 --> 00:05:55,591 to cleaning the bathrooms." 149 00:05:55,591 --> 00:05:57,511 [LAUGHTER] 150 00:05:57,511 --> 00:05:58,951 Kind of like what I used to do. 151 00:05:58,951 --> 00:06:00,021 "He one day dreams of being on air, 152 00:06:00,021 --> 00:06:01,351 "He one day dreams of being on air, 153 00:06:01,351 --> 00:06:03,721 but the station's bitter host, Two Mouth, 154 00:06:03,721 --> 00:06:07,051 is going to make sure that dream never comes true. 155 00:06:07,051 --> 00:06:10,771 He oozes southern charm, is very optimistic, 156 00:06:10,771 --> 00:06:13,471 and wears his heart on his sleeve." 157 00:06:13,471 --> 00:06:14,701 Okay, there you go. 158 00:06:14,701 --> 00:06:18,751 "His purple eyes glow with sincerity and his roar 159 00:06:18,751 --> 00:06:21,991 is more syrupy than terrifying." 160 00:06:21,991 --> 00:06:22,861 Okay, great. 161 00:06:22,861 --> 00:06:24,901 This last line, this is awesome. 162 00:06:24,901 --> 00:06:28,381 Think Leslie Jordan as an adolescent dragon. 163 00:06:28,381 --> 00:06:30,021 I'm having to "rememberize." 164 00:06:30,021 --> 00:06:31,891 I'm having to "rememberize." 165 00:06:31,891 --> 00:06:34,051 That's what friend of mine said one time. 166 00:06:34,051 --> 00:06:35,646 I said, it's not "rememberize." 167 00:06:35,646 --> 00:06:37,441 It's memorize! 168 00:06:37,441 --> 00:06:40,981 But oh, my lord, pages and pages of dialogue, 169 00:06:40,981 --> 00:06:42,871 look, I got to memorize it all. 170 00:06:42,871 --> 00:06:44,491 Whoo! 171 00:06:44,491 --> 00:06:46,921 That's almost like all I need. 172 00:06:46,921 --> 00:06:52,831 That is such a major, major key clue in this whole-- 173 00:06:52,831 --> 00:06:55,171 this whole description of Yikes. 174 00:06:55,171 --> 00:06:57,901 So that, that just tells tomes he's earnest. 175 00:06:57,901 --> 00:07:00,021 He has a good work ethic. 176 00:07:00,021 --> 00:07:00,061 He has a good work ethic. 177 00:07:00,061 --> 00:07:01,231 He's clean. 178 00:07:01,231 --> 00:07:03,961 His heart is in the right place. 179 00:07:03,961 --> 00:07:06,301 To me, it also could indicate that he 180 00:07:06,301 --> 00:07:08,371 could get hurt because people that 181 00:07:08,371 --> 00:07:11,761 are vulnerable and sometimes people that are very, very 182 00:07:11,761 --> 00:07:15,121 helpful, they tend to be a little bit more fragile. 183 00:07:15,121 --> 00:07:16,711 Their skin, even though he's tough, 184 00:07:16,711 --> 00:07:19,711 he has the appearance of being tough like a dragon, 185 00:07:19,711 --> 00:07:23,551 so "Yikes," he's actually a little bit of a softy. 186 00:07:23,551 --> 00:07:26,131 So let's talk about what he looks like here. 187 00:07:26,131 --> 00:07:29,431 He's got a microphone on his chest. 188 00:07:29,431 --> 00:07:30,021 On his T-shirt, he's got a microphone. 189 00:07:30,021 --> 00:07:31,621 On his T-shirt, he's got a microphone. 190 00:07:31,621 --> 00:07:36,271 So there's something about sound that he really, really loves. 191 00:07:36,271 --> 00:07:37,771 He's smiling. 192 00:07:37,771 --> 00:07:40,831 He's not-- he doesn't seem to be an angry guy. 193 00:07:40,831 --> 00:07:42,781 He looks like a happy little dude. 194 00:07:42,781 --> 00:07:44,881 He's got little eyebrows. 195 00:07:44,881 --> 00:07:45,391 They're up. 196 00:07:45,391 --> 00:07:46,391 They're not on his head. 197 00:07:46,391 --> 00:07:47,941 It's kind of Picasso-esque. 198 00:07:47,941 --> 00:07:49,891 But it's got-- he's got these little eyebrows, 199 00:07:49,891 --> 00:07:51,761 and he probably uses them. 200 00:07:51,761 --> 00:07:54,301 But he uses them for charm. 201 00:07:54,301 --> 00:07:56,783 So this is kind of what I came up with for Yikes. 202 00:07:56,783 --> 00:07:58,741 (SOUTHERN ACCENT) And that Leslie Jordan thing, 203 00:07:58,741 --> 00:08:00,021 and as I'm starting to do this, I'm getting-- 204 00:08:00,021 --> 00:08:00,616 and as I'm starting to do this, I'm getting-- 205 00:08:00,616 --> 00:08:01,711 I'm kind of beaming. 206 00:08:01,711 --> 00:08:05,041 I am zeroing in on Leslie Jordan. 207 00:08:05,041 --> 00:08:07,771 It's like, girl, girl, hear how I do that? 208 00:08:07,771 --> 00:08:10,411 Girl, I am so nervous, I feel like my stomach 209 00:08:10,411 --> 00:08:13,071 is coming out of my tail. 210 00:08:13,071 --> 00:08:15,351 Look at that. 211 00:08:15,351 --> 00:08:18,771 This situation is worse than my dragon breath! 212 00:08:18,771 --> 00:08:21,081 Keeping these things in mind and these tools 213 00:08:21,081 --> 00:08:25,221 about taking one word and spreading that one word out, 214 00:08:25,221 --> 00:08:30,021 emphasis, taking some pauses when you lay down 215 00:08:30,021 --> 00:08:30,801 emphasis, taking some pauses when you lay down 216 00:08:30,801 --> 00:08:35,266 your audition or your character or just doing a reading at a-- 217 00:08:35,266 --> 00:08:36,891 when you're actually hired for the job, 218 00:08:36,891 --> 00:08:38,183 and you're actually reading it. 219 00:08:38,183 --> 00:08:39,341 It's just like, girl! 220 00:08:39,341 --> 00:08:40,611 You see how I do that? 221 00:08:40,611 --> 00:08:42,291 Just like, this is the character. 222 00:08:42,291 --> 00:08:45,381 This would be-- I sort of feel like I have to get-- 223 00:08:45,381 --> 00:08:46,761 I got to giddy into it. 224 00:08:46,761 --> 00:08:49,131 I got to sort of don't even look at the words. 225 00:08:49,131 --> 00:08:51,501 I'm just talking to you, and I find myself 226 00:08:51,501 --> 00:08:53,241 getting into [INAUDIBLE]. 227 00:08:53,241 --> 00:08:55,731 He's a sweet-voiced teenage boy. 228 00:08:55,731 --> 00:08:58,641 He's like-- I get the idea he's a boy. 229 00:08:58,641 --> 00:08:59,961 What was the clue there? 230 00:08:59,961 --> 00:09:00,021 Oh, because it says "he." 231 00:09:00,021 --> 00:09:01,071 Oh, because it says "he." 232 00:09:01,071 --> 00:09:02,511 "He oozes southern charm." 233 00:09:02,511 --> 00:09:04,131 Okay. 234 00:09:04,131 --> 00:09:05,451 Sometimes it doesn't matter. 235 00:09:05,451 --> 00:09:07,341 A girl-- a lot of my-- 236 00:09:07,341 --> 00:09:10,581 animal characters, they're kind of androgynous. 237 00:09:10,581 --> 00:09:13,491 Whether they're male or female, it 238 00:09:13,491 --> 00:09:15,861 has to do more with an attitude. 239 00:09:15,861 --> 00:09:20,211 Unless the relationship is that he is a brother or a sister. 240 00:09:20,211 --> 00:09:22,551 But anyway, he oozes southern charm. 241 00:09:22,551 --> 00:09:24,441 He's very optimistic! 242 00:09:24,441 --> 00:09:26,241 This is gonna-- we're gonna make it! 243 00:09:26,241 --> 00:09:27,891 I know it's impossible. 244 00:09:27,891 --> 00:09:29,211 Now, listen. 245 00:09:29,211 --> 00:09:30,021 Listen, now, see what I'm doing here? 246 00:09:30,021 --> 00:09:30,811 Listen, now, see what I'm doing here? 247 00:09:30,811 --> 00:09:34,011 I'm slowing him down just a little bit 248 00:09:34,011 --> 00:09:37,381 because when Yikes the Dragon talks to you, 249 00:09:37,381 --> 00:09:41,181 as I'm talking to you right now, listen to me, here. 250 00:09:41,181 --> 00:09:44,031 Because you got to do it this way, or we're 251 00:09:44,031 --> 00:09:45,471 never gonna get that-- we're never 252 00:09:45,471 --> 00:09:46,671 gonna meet that-- oh, my gosh! 253 00:09:46,671 --> 00:09:47,451 It's almost 2 o'clock! 254 00:09:47,451 --> 00:09:48,171 We got to get going! 255 00:09:48,171 --> 00:09:48,741 Keep on going! 256 00:09:48,741 --> 00:09:49,311 We got to go finish! 257 00:09:49,311 --> 00:09:50,436 We've got a deadline to do! 258 00:09:50,436 --> 00:09:51,801 Let's go! 259 00:09:51,801 --> 00:09:52,546 You see that? 260 00:09:52,546 --> 00:09:53,421 We're talking about-- 261 00:09:53,421 --> 00:09:54,387 [LAUGHTER] 262 00:09:54,387 --> 00:09:55,071 It's fun! 263 00:09:55,071 --> 00:09:56,121 It's totally fun. 264 00:09:56,121 --> 00:09:59,516 [ROCK MUSIC PLAYING] 265 00:10:06,268 --> 00:10:08,601 The last character that I would like to introduce to you 266 00:10:08,601 --> 00:10:10,671 is named Two Mouth. 267 00:10:10,671 --> 00:10:13,401 And here's the description. 268 00:10:13,401 --> 00:10:15,111 "Two Mouth" is a little bit of a clue. 269 00:10:15,111 --> 00:10:16,221 I'm just saying. 270 00:10:16,221 --> 00:10:20,511 "Two Mouth is a monster radio host with six arms 271 00:10:20,511 --> 00:10:23,551 and, you guessed it, two mouths." 272 00:10:23,551 --> 00:10:25,191 That's a pretty good clue. 273 00:10:25,191 --> 00:10:30,021 "By day, they host the number one talk show on radio 274 00:10:30,021 --> 00:10:30,591 "By day, they host the number one talk show on radio 275 00:10:30,591 --> 00:10:34,011 and by night, they wreak havoc as the world's most dangerous 276 00:10:34,011 --> 00:10:35,931 super villain." 277 00:10:35,931 --> 00:10:39,051 Okay, "There's Radio Mouth, who leads the radio 278 00:10:39,051 --> 00:10:42,801 show with her endless shock jock swagger, 279 00:10:42,801 --> 00:10:46,401 and there's Bad Mouth, who acts as the grumpy sidekick 280 00:10:46,401 --> 00:10:48,831 on the show but is the mastermind 281 00:10:48,831 --> 00:10:51,861 behind their evil exploits. 282 00:10:51,861 --> 00:10:56,331 With their very public personas, they hide in plain sight. 283 00:10:56,331 --> 00:11:00,021 After all, who would ever expect that a celebrated DJ who 284 00:11:00,021 --> 00:11:00,141 After all, who would ever expect that a celebrated DJ who 285 00:11:00,141 --> 00:11:04,221 gives away free concert tickets could be so evil?" 286 00:11:04,221 --> 00:11:06,801 Okay, so here's the deal on this guy. 287 00:11:06,801 --> 00:11:12,021 And it seems so obvious that, I think, 288 00:11:12,021 --> 00:11:14,151 I wonder if this is a way of saying 289 00:11:14,151 --> 00:11:16,211 it's really one character. 290 00:11:16,211 --> 00:11:19,071 It's like, paying an actor to do one character, 291 00:11:19,071 --> 00:11:20,196 but really it's two voices. 292 00:11:20,196 --> 00:11:22,581 [LAUGHTER] 293 00:11:22,581 --> 00:11:25,311 It's actually-- it's two totally different characters. 294 00:11:25,311 --> 00:11:28,881 But as you can see from the artwork, it's one-- it's one. 295 00:11:28,881 --> 00:11:30,021 It's one character. 296 00:11:30,021 --> 00:11:30,411 It's one character. 297 00:11:30,411 --> 00:11:31,371 And it's split. 298 00:11:31,371 --> 00:11:34,131 It's sort of like a Siamese twin. 299 00:11:34,131 --> 00:11:38,211 And one is the evil twin, and one is the good twin. 300 00:11:38,211 --> 00:11:40,911 But there are some hints in here that they're very different. 301 00:11:40,911 --> 00:11:45,441 Radio Mouth is-- she's got this endless shock jock swagger. 302 00:11:45,441 --> 00:11:47,181 It's a female. 303 00:11:47,181 --> 00:11:51,861 Okay, this is-- to me, the challenge 304 00:11:51,861 --> 00:11:55,071 is, how do I make these two characters really, 305 00:11:55,071 --> 00:11:56,691 really distinct? 306 00:11:56,691 --> 00:12:00,021 So you've got one that's got endless shock jock swagger. 307 00:12:00,021 --> 00:12:01,701 So you've got one that's got endless shock jock swagger. 308 00:12:01,701 --> 00:12:02,661 And it's a female. 309 00:12:02,661 --> 00:12:06,241 And the other one, Bad Mouth, acts as the grumpy sidekick. 310 00:12:06,241 --> 00:12:11,881 So to me, I think, what I chose to do was create them-- 311 00:12:11,881 --> 00:12:15,111 I took a little artistic creativity here. 312 00:12:15,111 --> 00:12:18,441 And this is what I would present with no apology 313 00:12:18,441 --> 00:12:21,471 because, honestly, a lot of producers, 314 00:12:21,471 --> 00:12:23,281 they just want you to give them-- 315 00:12:23,281 --> 00:12:25,771 they want you to solve their problem. 316 00:12:25,771 --> 00:12:27,211 So this is a way to do it. 317 00:12:27,211 --> 00:12:30,021 And with Radio Mouth, what I did was, I kind of combined-- 318 00:12:30,021 --> 00:12:33,841 And with Radio Mouth, what I did was, I kind of combined-- 319 00:12:33,841 --> 00:12:36,061 she's sort of like-- 320 00:12:36,061 --> 00:12:38,671 she's got this-- 321 00:12:38,671 --> 00:12:42,211 I like to put in her in kind of a, she's a female, 322 00:12:42,211 --> 00:12:44,431 but she's connected to a male. 323 00:12:44,431 --> 00:12:48,841 So it's sort of like that testosterone has sort of like 324 00:12:48,841 --> 00:12:51,361 affected her voice a little bit. 325 00:12:51,361 --> 00:12:54,211 But there's a little breathy quality to her. 326 00:12:54,211 --> 00:12:58,681 And she's kind of down in this Rosalind Russell range 327 00:12:58,681 --> 00:12:59,941 as a woman. 328 00:12:59,941 --> 00:13:00,021 But she can use this voice. 329 00:13:00,021 --> 00:13:02,941 But she can use this voice. 330 00:13:02,941 --> 00:13:07,081 You don't surprise me one little bit, kind of a thing. 331 00:13:07,081 --> 00:13:11,221 Whereas her counterpart, her-- 332 00:13:11,221 --> 00:13:14,506 the other evil twin, he is, (RASPY) 333 00:13:14,506 --> 00:13:19,231 I kind of get this idea that if I sort of put him like, 334 00:13:19,231 --> 00:13:21,631 this is a tough guy and make him-- 335 00:13:21,631 --> 00:13:25,021 she's sort of like silky smooth. 336 00:13:25,021 --> 00:13:27,811 And there's sort of a sexy quality to her. 337 00:13:27,811 --> 00:13:30,021 But at nighttime on the radio, it's like, for all my listeners 338 00:13:30,021 --> 00:13:31,381 But at nighttime on the radio, it's like, for all my listeners 339 00:13:31,381 --> 00:13:36,421 out there, I just want to tell you, you're listening to-- 340 00:13:36,421 --> 00:13:40,171 you're listening to Radio Mouth, mouth on the radio, 341 00:13:40,171 --> 00:13:42,571 K, K whatever. 342 00:13:42,571 --> 00:13:43,931 You're listening to me. 343 00:13:43,931 --> 00:13:44,951 Thank you. 344 00:13:44,951 --> 00:13:46,141 Mwah. 345 00:13:46,141 --> 00:13:47,221 That's her. 346 00:13:47,221 --> 00:13:50,701 Now, the other guy, you're listening-- 347 00:13:50,701 --> 00:13:54,331 Bad Mouth, just by definition, by "Bad Mouth," 348 00:13:54,331 --> 00:13:59,441 I kind of want to make him more overtly evil. 349 00:13:59,441 --> 00:14:00,021 He's not so covert maybe as Radio Mouth is. 350 00:14:00,021 --> 00:14:03,821 He's not so covert maybe as Radio Mouth is. 351 00:14:03,821 --> 00:14:06,271 But he's (RASPY) right out there. 352 00:14:06,271 --> 00:14:14,131 I kind of beamed in a Harvey, Harvey Fierstein 353 00:14:14,131 --> 00:14:19,771 kind of a sound from New York. 354 00:14:19,771 --> 00:14:22,741 He's sort of a tough guy sort of like this. 355 00:14:22,741 --> 00:14:25,291 He's like, yeah, what-- what are you talking about? 356 00:14:25,291 --> 00:14:26,371 Would you mind? 357 00:14:26,371 --> 00:14:28,051 You're spitting all over me? 358 00:14:28,051 --> 00:14:29,431 Do you mind? 359 00:14:29,431 --> 00:14:30,021 Please, have some couth! 360 00:14:30,021 --> 00:14:33,631 Please, have some couth! 361 00:14:33,631 --> 00:14:34,801 Let's have a shot at this. 362 00:14:34,801 --> 00:14:40,041 This is like, Radio Mouth, she'd say things like, warning, 363 00:14:40,041 --> 00:14:45,451 warning, my microphone is totally off limits. 364 00:14:45,451 --> 00:14:49,441 She means, if you touch my mic, I'll kill ya! 365 00:14:49,441 --> 00:14:51,601 Welcome back to Two Mouth in the Morning. 366 00:14:51,601 --> 00:14:56,731 Here with me as always, my beloved cohost, Bad Mouth. 367 00:14:56,731 --> 00:15:00,021 God, I hate being here! 368 00:15:00,021 --> 00:15:00,271 God, I hate being here! 369 00:15:00,271 --> 00:15:03,271 Like this, two for one. 370 00:15:03,271 --> 00:15:06,736 [ROCK MUSIC PLAYING] 371 00:15:15,351 --> 00:15:18,471 Here's the deal is that your challenge as a voice actor 372 00:15:18,471 --> 00:15:21,501 is to make these characters that you come up 373 00:15:21,501 --> 00:15:25,341 with 100% out of whole cloth. 374 00:15:25,341 --> 00:15:28,881 Each one of them, there's an attitude. 375 00:15:28,881 --> 00:15:29,961 There's an energy. 376 00:15:29,961 --> 00:15:30,021 There's a viewpoint. 377 00:15:30,021 --> 00:15:31,431 There's a viewpoint. 378 00:15:31,431 --> 00:15:33,201 There's a relationship. 379 00:15:33,201 --> 00:15:34,563 There's a pitch. 380 00:15:34,563 --> 00:15:36,021 There's a placement in your throat. 381 00:15:36,021 --> 00:15:40,701 All of them have to be specific, just like as individual, 382 00:15:40,701 --> 00:15:45,441 as we all are, like snowflakes are, like thumbprints are, 383 00:15:45,441 --> 00:15:50,631 all these characters have to be clearly delineated and defined. 384 00:15:50,631 --> 00:15:53,361 You've got the ability to make a character 385 00:15:53,361 --> 00:15:57,861 gruff or sweet or silky-smooth-voiced. 386 00:15:57,861 --> 00:15:59,271 You can find your own-- 387 00:15:59,271 --> 00:16:00,021 you should find your own wheelhouse. 388 00:16:00,021 --> 00:16:01,911 you should find your own wheelhouse. 389 00:16:01,911 --> 00:16:05,361 All of these things will help you to develop and become 390 00:16:05,361 --> 00:16:08,361 an amazing voice-over actor. 391 00:16:08,361 --> 00:16:10,881 Okay, so I'm gonna work on polishing these characters up. 392 00:16:10,881 --> 00:16:13,921 So my animated self is gonna take over from here. 393 00:16:13,921 --> 00:16:15,171 Thanks, real Nancy. 394 00:16:15,171 --> 00:16:19,491 Fun fact-- the cup of coffee on my side table is just a prop. 395 00:16:19,491 --> 00:16:21,711 As an animated character, I don't need 396 00:16:21,711 --> 00:16:24,771 to eat, drink, or sleep at all. 397 00:16:24,771 --> 00:16:28,121 I'm the Energizer Bunny, baby. 1 00:00:00,021 --> 00:00:01,969 2 00:00:07,174 --> 00:00:08,591 One of the most important things 3 00:00:08,591 --> 00:00:10,691 I'd like to leave with you is how 4 00:00:10,691 --> 00:00:12,991 to differentiate amongst your characters. 5 00:00:12,991 --> 00:00:16,391 You know, it's key, really, to getting 6 00:00:16,391 --> 00:00:20,201 hired, is how flexible you are, your versatility. 7 00:00:20,201 --> 00:00:21,821 They're going to want to hire somebody 8 00:00:21,821 --> 00:00:25,511 that can do multiple voices as opposed to just one voice. 9 00:00:25,511 --> 00:00:28,751 And not saying that you can't succeed if you have a special-- 10 00:00:28,751 --> 00:00:30,021 a unique voice, but making a living doing this, 11 00:00:30,021 --> 00:00:33,041 a unique voice, but making a living doing this, 12 00:00:33,041 --> 00:00:35,681 and doing lots of shows, I want you all 13 00:00:35,681 --> 00:00:38,111 to get cast in lots of shows. 14 00:00:38,111 --> 00:00:40,611 You know, versatility is the name of the game. 15 00:00:40,611 --> 00:00:42,431 So let's touch on that. 16 00:00:49,353 --> 00:00:51,311 I got called in to do this little show called 17 00:00:51,311 --> 00:00:55,941 My Little Pony, and man, I've got such fond memories of that. 18 00:00:55,941 --> 00:01:00,021 That was so early in my career, and we were doing 65 episodes, 19 00:01:00,021 --> 00:01:01,691 That was so early in my career, and we were doing 65 episodes, 20 00:01:01,691 --> 00:01:03,551 and there was singing. 21 00:01:03,551 --> 00:01:06,011 So singing sessions took place separate 22 00:01:06,011 --> 00:01:08,061 from the record sessions. 23 00:01:08,061 --> 00:01:10,751 So this was like, wow, I am making 24 00:01:10,751 --> 00:01:13,781 a living doing My Little Pony. 25 00:01:13,781 --> 00:01:17,651 When I went in for the audition, there were so many ponies. 26 00:01:17,651 --> 00:01:20,201 It was just a stable of just-- 27 00:01:20,201 --> 00:01:25,421 Surf Rider, Baby Pony, Snuggles, Buttercup. 28 00:01:25,421 --> 00:01:29,171 And they were all about the same age, and some were males, 29 00:01:29,171 --> 00:01:30,021 and some were females. 30 00:01:30,021 --> 00:01:30,641 and some were females. 31 00:01:30,641 --> 00:01:33,761 And I came across this reference tape, 32 00:01:33,761 --> 00:01:36,281 and the differences are so subtle, 33 00:01:36,281 --> 00:01:38,111 but they're definitely different. 34 00:01:54,961 --> 00:01:57,321 So when I was on that job, I got 35 00:01:57,321 --> 00:02:00,021 the description of the character that was written out, 36 00:02:00,021 --> 00:02:00,051 the description of the character that was written out, 37 00:02:00,051 --> 00:02:00,951 and I saw that. 38 00:02:00,951 --> 00:02:03,831 And I kind of tried out a voice, and they 39 00:02:03,831 --> 00:02:07,731 were so similar in tone and pitch 40 00:02:07,731 --> 00:02:09,470 that there was a little bit of a leeway 41 00:02:09,470 --> 00:02:11,271 that I could lift this one up a little bit 42 00:02:11,271 --> 00:02:14,901 higher, higher pitch, take this one down a little lower 43 00:02:14,901 --> 00:02:16,611 and talk slower. 44 00:02:16,611 --> 00:02:19,461 Maybe keep it down there, and then I gave it 45 00:02:19,461 --> 00:02:21,561 a little Southern accent. 46 00:02:21,561 --> 00:02:23,811 Then I brought it even lower than that 47 00:02:23,811 --> 00:02:26,001 and slowed him way down. 48 00:02:26,001 --> 00:02:28,911 It made him be more like, I'm bored, 49 00:02:28,911 --> 00:02:30,021 I don't really like being a pony, that attitude, you know. 50 00:02:30,021 --> 00:02:33,831 I don't really like being a pony, that attitude, you know. 51 00:02:33,831 --> 00:02:35,511 And next thing you know, I've got 52 00:02:35,511 --> 00:02:38,301 seven, eight, 11 characters. 53 00:02:38,301 --> 00:02:40,461 But I guess my point is, they gave me a reference 54 00:02:40,461 --> 00:02:43,521 tape that I got to take home, and that 55 00:02:43,521 --> 00:02:45,901 was my training ground. 56 00:02:45,901 --> 00:02:49,341 And as you do it, you will become more and more familiar 57 00:02:49,341 --> 00:02:50,761 with those characters. 58 00:02:50,761 --> 00:02:54,931 So they will-- it's like, you can then do them in your sleep. 59 00:02:54,931 --> 00:02:58,171 So then when the time comes when you have to play a scene, 60 00:02:58,171 --> 00:03:00,021 and you're playing two, three, four characters, 61 00:03:00,021 --> 00:03:01,071 and you're playing two, three, four characters, 62 00:03:01,071 --> 00:03:05,674 and they're your characters, you will-- 63 00:03:05,674 --> 00:03:08,091 well, the first time you do it, it's gonna be a challenge, 64 00:03:08,091 --> 00:03:09,081 but you'll do it. 65 00:03:09,081 --> 00:03:11,781 You'll definitely do it, because you will rehearse. 66 00:03:11,781 --> 00:03:14,751 Like you will drill, drill, drill, until you get it right. 67 00:03:14,751 --> 00:03:16,170 68 00:03:21,381 --> 00:03:23,661 We did this episode-- 69 00:03:23,661 --> 00:03:25,251 I think it's called Bible Stories, now 70 00:03:25,251 --> 00:03:26,168 that I think about it. 71 00:03:26,168 --> 00:03:30,021 And I was doing, I think, three characters in it, 72 00:03:30,021 --> 00:03:32,571 and I remember doing this reading. 73 00:03:32,571 --> 00:03:33,561 And there's-- look. 74 00:03:33,561 --> 00:03:36,381 There's no rehearsal for the reading of the script. 75 00:03:36,381 --> 00:03:39,561 It's like, you go in there, you do your homework on your own. 76 00:03:39,561 --> 00:03:41,291 You come in, and we do the reading. 77 00:03:41,291 --> 00:03:43,611 Somebody is reading all the direction. 78 00:03:43,611 --> 00:03:45,561 And there I am, and I just started doing it. 79 00:03:45,561 --> 00:03:47,781 And this particular scene, it's like I'm 80 00:03:47,781 --> 00:03:50,661 talking to myself, which is-- 81 00:03:50,661 --> 00:03:51,951 that's what I'm paid to do. 82 00:03:51,951 --> 00:03:54,021 You're paid to talk to yourself. 83 00:03:54,021 --> 00:03:57,351 I'll tell you, trying to keep the s separated-- like I said, 84 00:03:57,351 --> 00:03:58,371 I highlighted. 85 00:03:58,371 --> 00:04:00,021 You know, Bart was in yellow, Nelson Muntz was in orange, 86 00:04:00,021 --> 00:04:02,721 You know, Bart was in yellow, Nelson Muntz was in orange, 87 00:04:02,721 --> 00:04:04,935 Ralph Wiggum, I think, is in it. 88 00:04:04,935 --> 00:04:05,435 Whoa! 89 00:04:10,511 --> 00:04:13,471 Let my proclamation go out across the land. 90 00:04:13,471 --> 00:04:15,319 Ha-ha! 91 00:04:15,319 --> 00:04:16,243 CROWD: Ha-ha! 92 00:04:19,021 --> 00:04:19,800 Oh. 93 00:04:19,800 --> 00:04:22,246 I hope this doesn't get into the Bible. 94 00:04:22,246 --> 00:04:23,821 You're King David. 95 00:04:23,821 --> 00:04:26,581 I love you, because you kill people. 96 00:04:26,581 --> 00:04:28,921 Get yourself another hero, kid. 97 00:04:28,921 --> 00:04:30,021 It was 10 whole pages, this particular scene. 98 00:04:30,021 --> 00:04:31,951 It was 10 whole pages, this particular scene. 99 00:04:31,951 --> 00:04:34,801 It got cut way down, by the way, in editing. 100 00:04:34,801 --> 00:04:36,181 It was changed. 101 00:04:36,181 --> 00:04:39,631 But it was during the table read that was the most challenging, 102 00:04:39,631 --> 00:04:43,351 and you want to do a great job, you know, for the reading, 103 00:04:43,351 --> 00:04:45,901 because the writers are taking notes. 104 00:04:45,901 --> 00:04:47,581 So this is kind of added. 105 00:04:47,581 --> 00:04:50,371 And somebody that really wants to be prepared 106 00:04:50,371 --> 00:04:52,801 will make sure that they know what they're reading 107 00:04:52,801 --> 00:04:56,011 and who's who and what's what so that you walk out of there, 108 00:04:56,011 --> 00:04:58,051 and I know, I'm Nancy Cartwright. 109 00:04:58,051 --> 00:05:00,021 I'm not these other boys that I do. 110 00:05:00,021 --> 00:05:00,565 I'm not these other boys that I do. 111 00:05:00,565 --> 00:05:02,533 112 00:05:06,481 --> 00:05:08,941 When you create characters, make 113 00:05:08,941 --> 00:05:11,671 sure that your character is going 114 00:05:11,671 --> 00:05:15,691 to be able to have a special, unique quality. 115 00:05:15,691 --> 00:05:17,231 Let me give you an example. 116 00:05:17,231 --> 00:05:19,681 One night, I was delivered my script, 117 00:05:19,681 --> 00:05:21,781 and I read the script, and all of a sudden, 118 00:05:21,781 --> 00:05:24,601 I was cast as this character named Nelson Muntz. 119 00:05:24,601 --> 00:05:29,046 He was a very minor character, but I gave him this voice. 120 00:05:29,046 --> 00:05:30,021 Ha-ha! 121 00:05:30,021 --> 00:05:31,171 Ha-ha! 122 00:05:31,171 --> 00:05:38,461 That ha-ha-- it was written, H-A-W, H-A-W, in parentheses. 123 00:05:38,461 --> 00:05:40,411 And it just said to me it was a laugh, 124 00:05:40,411 --> 00:05:44,011 but that could have been up to anybody's interpretation 125 00:05:44,011 --> 00:05:47,821 as to what that sounded like, and just on the top of my head, 126 00:05:47,821 --> 00:05:50,401 I don't even think I made a decision on it. 127 00:05:50,401 --> 00:05:52,351 It was, ha-ha! 128 00:05:52,351 --> 00:05:53,941 Which is-- (IN NELSON'S VOICE) this 129 00:05:53,941 --> 00:05:55,951 is Nelson's voice like this, (NORMAL VOICE) 130 00:05:55,951 --> 00:05:59,761 but the ha-ha is airy. 131 00:05:59,761 --> 00:06:00,021 You'd think he'd go ha-ha. 132 00:06:00,021 --> 00:06:02,581 You'd think he'd go ha-ha. 133 00:06:02,581 --> 00:06:06,901 You know, but that is the voice that stuck, and that I did it. 134 00:06:06,901 --> 00:06:08,551 And it got a huge laugh. 135 00:06:08,551 --> 00:06:12,571 And he started recurring more and more in the show, 136 00:06:12,571 --> 00:06:15,721 until I realized he was a semi-regular character. 137 00:06:15,721 --> 00:06:19,021 He's in a lot of the scripts, but he's not in every script. 138 00:06:19,021 --> 00:06:21,211 But sometimes the show features-- 139 00:06:21,211 --> 00:06:25,771 it's all about Nelson Muntz, and those are-- oh, I just 140 00:06:25,771 --> 00:06:26,761 love Nelson. 141 00:06:26,761 --> 00:06:27,571 I love him. 142 00:06:27,571 --> 00:06:30,021 His character arc, to me, is the greatest of all the characters 143 00:06:30,021 --> 00:06:31,861 His character arc, to me, is the greatest of all the characters 144 00:06:31,861 --> 00:06:35,401 on the show, because he started out just as this bully, 145 00:06:35,401 --> 00:06:38,071 but then he evolved into this kind 146 00:06:38,071 --> 00:06:40,441 of a bully that was misunderstood, 147 00:06:40,441 --> 00:06:42,301 which probably they are. 148 00:06:42,301 --> 00:06:44,581 Most bullies are really misunderstood. 149 00:06:44,581 --> 00:06:47,731 But you find out that he plays the guitar. 150 00:06:47,731 --> 00:06:48,811 He sings. 151 00:06:48,811 --> 00:06:51,151 He kind of wants to be a rock star. 152 00:06:51,151 --> 00:06:54,601 You know, he's got a crush on Mrs. Simpson. 153 00:06:54,601 --> 00:06:57,331 You know, he's got a crush on Marge. 154 00:06:57,331 --> 00:07:00,021 But he's got this soft part that just melts my heart. 155 00:07:00,021 --> 00:07:01,531 But he's got this soft part that just melts my heart. 156 00:07:01,531 --> 00:07:05,491 The thing about huckleberries is, once you've had fresh, 157 00:07:05,491 --> 00:07:08,281 you'll never go back to canned. 158 00:07:08,281 --> 00:07:08,961 Nah! 159 00:07:08,961 --> 00:07:11,611 Um, so anyway, I kicked the guy's ass. 160 00:07:14,461 --> 00:07:17,291 Now, if the berries are too tart, 161 00:07:17,291 --> 00:07:19,451 I just dust them with confectioners sugar. 162 00:07:19,451 --> 00:07:19,951 Oh. 163 00:07:19,951 --> 00:07:21,501 Oh. 1 00:00:00,021 --> 00:00:02,471 2 00:00:06,453 --> 00:00:08,411 NANCY CARTWRIGHT (VOICEOVER): For voice actors, 3 00:00:08,411 --> 00:00:11,711 breaking down your script means going through your lines 4 00:00:11,711 --> 00:00:13,541 to plan your performance. 5 00:00:13,541 --> 00:00:16,871 Preparation is everything, and I thought I could walk you 6 00:00:16,871 --> 00:00:18,606 through how I go about it. 7 00:00:18,606 --> 00:00:20,231 NANCY CARTWRIGHT: So let's say that you 8 00:00:20,231 --> 00:00:22,571 have a script emailed to you. 9 00:00:22,571 --> 00:00:24,641 First thing I would do is print it out. 10 00:00:24,641 --> 00:00:27,611 I prefer to have a hard copy, and I'll tell you why. 11 00:00:27,611 --> 00:00:30,021 Because you're going to want to use your handy tools-- 12 00:00:30,021 --> 00:00:31,691 Because you're going to want to use your handy tools-- 13 00:00:31,691 --> 00:00:36,251 a pencil and a highlighter-- 14 00:00:36,251 --> 00:00:37,901 these are my nifty tools. 15 00:00:37,901 --> 00:00:39,431 Don't leave home without them. 16 00:00:39,431 --> 00:00:43,461 Because you'll want to mark your script. 17 00:00:43,461 --> 00:00:46,151 So then I read the script. 18 00:00:46,151 --> 00:00:47,681 Kind of makes sense, right? 19 00:00:47,681 --> 00:00:50,741 I'm reading it generally for content. 20 00:00:50,741 --> 00:00:52,331 What's the script about? 21 00:00:52,331 --> 00:00:55,781 But while I'm doing that, I'm also noticing some things 22 00:00:55,781 --> 00:00:57,101 and marking it. 23 00:00:57,101 --> 00:01:00,021 Like, for example, I will come across words or references 24 00:01:00,021 --> 00:01:01,151 Like, for example, I will come across words or references 25 00:01:01,151 --> 00:01:02,741 that I don't understand. 26 00:01:02,741 --> 00:01:06,461 So I stop immediately, actually, and look them up. 27 00:01:06,461 --> 00:01:09,201 Because I want to know what these things are. 28 00:01:09,201 --> 00:01:11,911 So let the dictionary be your friend 29 00:01:11,911 --> 00:01:13,661 because seriously, if you don't understand 30 00:01:13,661 --> 00:01:15,974 what you're talking about, nobody's going to-- nobody's 31 00:01:15,974 --> 00:01:16,641 going to get it. 32 00:01:16,641 --> 00:01:18,561 You have to know everything about it. 33 00:01:18,561 --> 00:01:20,591 So look for words that you don't understand. 34 00:01:20,591 --> 00:01:23,951 The other thing I look at is, is there any singing? 35 00:01:23,951 --> 00:01:25,301 Are there any songs in here? 36 00:01:25,301 --> 00:01:26,831 If there are songs, are they going 37 00:01:26,831 --> 00:01:29,951 to send me a reference tape of the tune to that song, 38 00:01:29,951 --> 00:01:30,021 or is it just sung to the tune of "Happy Birthday" 39 00:01:30,021 --> 00:01:33,551 or is it just sung to the tune of "Happy Birthday" 40 00:01:33,551 --> 00:01:37,444 or "Mary Had a Little Lamb" or something like that? 41 00:01:37,444 --> 00:01:39,611 If that's the case, if there's references in there-- 42 00:01:39,611 --> 00:01:41,531 sometimes they have YouTube references, 43 00:01:41,531 --> 00:01:43,001 so I can get the YouTube reference 44 00:01:43,001 --> 00:01:45,731 and look at what they're needing and wanting. 45 00:01:45,731 --> 00:01:47,291 So that's the first thing that I do. 46 00:01:47,291 --> 00:01:50,561 Get the general idea about what the story is, 47 00:01:50,561 --> 00:01:53,711 what the scene is, the relationship of your character, 48 00:01:53,711 --> 00:01:55,841 how many characters you're playing in this, 49 00:01:55,841 --> 00:01:57,101 make note of all that. 50 00:01:57,101 --> 00:02:00,021 Then I go back to the beginning, and then I use Mr. Highlighter, 51 00:02:00,021 --> 00:02:01,781 Then I go back to the beginning, and then I use Mr. Highlighter, 52 00:02:01,781 --> 00:02:03,911 and I highlight all my lines. 53 00:02:03,911 --> 00:02:06,221 I've saved every Simpsons script, 54 00:02:06,221 --> 00:02:08,891 and I used to use a different color highlighter 55 00:02:08,891 --> 00:02:10,690 for every different character. 56 00:02:10,690 --> 00:02:11,471 And you know what? 57 00:02:11,471 --> 00:02:14,411 Starting out, that's what I had to do. 58 00:02:14,411 --> 00:02:17,321 I had to do that because sometimes these characters were 59 00:02:17,321 --> 00:02:18,951 right next to each other. 60 00:02:18,951 --> 00:02:22,451 And if I don't do that and they're all in yellow, 61 00:02:22,451 --> 00:02:24,891 it could get a little confusing. 62 00:02:24,891 --> 00:02:28,421 So sometimes it's-- you can either put a circle around it, 63 00:02:28,421 --> 00:02:30,021 you can put a square around it, but identify your lines. 64 00:02:30,021 --> 00:02:32,831 you can put a square around it, but identify your lines. 65 00:02:32,831 --> 00:02:36,161 OK, so when I get a script and I've read it 66 00:02:36,161 --> 00:02:37,631 and I understand what's going on, 67 00:02:37,631 --> 00:02:43,031 I go take my magic helpful pen or pencil and I start to mark. 68 00:02:43,031 --> 00:02:46,301 And I orchestrate my script, if you will. 69 00:02:46,301 --> 00:02:48,911 It's like I make notes for myself. 70 00:02:48,911 --> 00:02:51,551 I identify who the character is. 71 00:02:51,551 --> 00:02:53,951 I put some emotional range there. 72 00:02:53,951 --> 00:02:57,161 I use some symbols, like lines, and I circle things 73 00:02:57,161 --> 00:02:59,261 and I do more exclamation points. 74 00:02:59,261 --> 00:03:00,021 I make it so that as I'm reading it, 75 00:03:00,021 --> 00:03:01,421 I make it so that as I'm reading it, 76 00:03:01,421 --> 00:03:03,791 these symbols will indicate to me how 77 00:03:03,791 --> 00:03:06,701 I need to then communicate these words that the writer has 78 00:03:06,701 --> 00:03:07,481 written. 79 00:03:07,481 --> 00:03:11,111 And then-- I learned this from my mentor, from Daws Butler-- 80 00:03:11,111 --> 00:03:14,201 you can even get some ideas the second time through, 81 00:03:14,201 --> 00:03:16,421 of how to orchestrate your script. 82 00:03:16,421 --> 00:03:18,191 And that's taking your pencil-- 83 00:03:18,191 --> 00:03:19,811 I would do it in pencil, because ink 84 00:03:19,811 --> 00:03:22,811 is too permanent because you could change your mind-- 85 00:03:22,811 --> 00:03:26,321 but mark your script about where you see a pause might happen, 86 00:03:26,321 --> 00:03:29,201 or where you might want to draw out the word. 87 00:03:29,201 --> 00:03:30,021 So I just draw a line on top of the word. 88 00:03:30,021 --> 00:03:31,451 So I just draw a line on top of the word. 89 00:03:31,451 --> 00:03:34,901 That, to me, symbolizes to draw out the word. 90 00:03:34,901 --> 00:03:37,541 One line between words is a short break, 91 00:03:37,541 --> 00:03:41,471 two lines is a long pause. 92 00:03:41,471 --> 00:03:43,151 What else do I do? 93 00:03:43,151 --> 00:03:44,621 I think that wraps it up. 94 00:03:44,621 --> 00:03:46,721 That's about all you really need to look 95 00:03:46,721 --> 00:03:49,931 at when you're first starting out, those basic things there. 96 00:03:57,061 --> 00:03:58,916 Sometimes you might get in a position 97 00:03:58,916 --> 00:04:00,021 where actually, you don't know how to speak the language. 98 00:04:00,021 --> 00:04:01,291 where actually, you don't know how to speak the language. 99 00:04:01,291 --> 00:04:04,171 There was this Simpsons episode called "Crepes of Wrath" 100 00:04:04,171 --> 00:04:06,901 where Bart gets sent off to France to be a foreign exchange 101 00:04:06,901 --> 00:04:07,531 student. 102 00:04:07,531 --> 00:04:10,231 And he's like, he's so trapped. 103 00:04:10,231 --> 00:04:11,711 He can't get away from these guys. 104 00:04:11,711 --> 00:04:14,341 He was kind of kidnapped by these two guys. 105 00:04:14,341 --> 00:04:17,221 He's living in a barn with a donkey 106 00:04:17,221 --> 00:04:18,871 and having to sleep in there, and it's 107 00:04:18,871 --> 00:04:20,790 just-- it's a disaster. 108 00:04:20,790 --> 00:04:25,081 And Bart runs and tries to escape. 109 00:04:25,081 --> 00:04:30,021 And all the dialogue, it was it was written in there in French, 110 00:04:30,021 --> 00:04:30,811 And all the dialogue, it was it was written in there in French, 111 00:04:30,811 --> 00:04:32,611 and I don't speak French. 112 00:04:32,611 --> 00:04:35,581 And so, they needed to bring in somebody 113 00:04:35,581 --> 00:04:38,881 to help me get the correct dialect. 114 00:04:38,881 --> 00:04:40,711 I mean, if I'm going to speak French, 115 00:04:40,711 --> 00:04:43,921 I can sort of mock up a French thing here as Nancy 116 00:04:43,921 --> 00:04:46,801 and I can sort of do a French accent like that. 117 00:04:46,801 --> 00:04:48,661 But they wanted a dialectician to be 118 00:04:48,661 --> 00:04:51,731 in there so I get it even a little bit better than that. 119 00:04:51,731 --> 00:04:53,401 But the problem was, I didn't know 120 00:04:53,401 --> 00:04:56,521 how to pronounce the words, and it's all written in French. 121 00:04:56,521 --> 00:04:58,771 But I had taken a phonetics class 122 00:04:58,771 --> 00:05:00,021 when I was at Ohio University, so I wrote phonetically 123 00:05:00,021 --> 00:05:02,341 when I was at Ohio University, so I wrote phonetically 124 00:05:02,341 --> 00:05:07,261 how to pronounce the words right above the French words. 125 00:05:07,261 --> 00:05:09,871 And then I have to know emotionally 126 00:05:09,871 --> 00:05:13,111 what I'm saying so I could get the acting emotion correct. 127 00:05:13,111 --> 00:05:15,901 So I had to write English on top of French 128 00:05:15,901 --> 00:05:18,991 so I know what I'm saying as I'm reading it and saying it 129 00:05:18,991 --> 00:05:19,861 in French. 130 00:05:19,861 --> 00:05:21,371 It's like [FRENCH SPEECH]. 131 00:05:25,471 --> 00:05:29,041 So it was very complicated, and it took a little bit of time 132 00:05:29,041 --> 00:05:29,641 to do it. 133 00:05:29,641 --> 00:05:30,021 But I finally got it down. 134 00:05:30,021 --> 00:05:31,951 But I finally got it down. 135 00:05:31,951 --> 00:05:34,561 To have Bart start off by saying, "I'm so stupid. 136 00:05:34,561 --> 00:05:37,021 Anybody could have learned this dumb language by now, 137 00:05:37,021 --> 00:05:38,611 and I've got to speak French." 138 00:05:38,611 --> 00:05:41,011 And he goes on, and then as he's doing it, 139 00:05:41,011 --> 00:05:44,851 then it eases into him actually speaking in French. 140 00:05:44,851 --> 00:05:47,527 Here, I've listened to nothing but French for the past two 141 00:05:47,527 --> 00:05:48,361 months. 142 00:05:48,361 --> 00:05:50,196 [FRENCH SPEECH] 143 00:05:54,901 --> 00:05:56,551 Oh my gosh. 144 00:05:56,551 --> 00:05:59,011 That was my biggest career challenge, to date. 145 00:05:59,011 --> 00:06:00,021 Incredible. 146 00:06:00,021 --> 00:06:00,481 Incredible. 147 00:06:00,481 --> 00:06:02,941 So let me give you guys a little demonstration 148 00:06:02,941 --> 00:06:04,051 of what I'm talking about. 149 00:06:04,051 --> 00:06:06,241 I'd show you here, but the script is all the way 150 00:06:06,241 --> 00:06:08,641 over in reality, so I'd have to figure out 151 00:06:08,641 --> 00:06:10,501 how to turn into a real person, go 152 00:06:10,501 --> 00:06:13,141 all the way to the audio studio, get the script, 153 00:06:13,141 --> 00:06:15,361 turn myself back into an animated character, 154 00:06:15,361 --> 00:06:17,591 come back here, and it would be a whole thing. 155 00:06:17,591 --> 00:06:19,831 So take it away, Nancy. 156 00:06:19,831 --> 00:06:21,151 Thanks, animated me. 157 00:06:21,151 --> 00:06:24,449 I'm glad I saved you that animated schlep. 158 00:06:24,449 --> 00:06:26,919 159 00:06:30,881 --> 00:06:33,941 So what happens is, when you get a scene like this 160 00:06:33,941 --> 00:06:35,861 for, say, an audition, you're also 161 00:06:35,861 --> 00:06:39,011 going to get a description of who this character is. 162 00:06:39,011 --> 00:06:40,481 So like we covered earlier, you're 163 00:06:40,481 --> 00:06:41,291 going to go through that. 164 00:06:41,291 --> 00:06:43,341 You're going to find the clues that are in the writing. 165 00:06:43,341 --> 00:06:44,716 You're going to find out the age, 166 00:06:44,716 --> 00:06:46,481 the relationship that this character has 167 00:06:46,481 --> 00:06:48,281 with the other characters. 168 00:06:48,281 --> 00:06:50,231 You're going to get hints about the attitude, 169 00:06:50,231 --> 00:06:52,091 about the emotion, things like that. 170 00:06:52,091 --> 00:06:53,801 So now, here are the lines. 171 00:06:53,801 --> 00:06:56,391 Now what's the writer give you here? 172 00:06:56,391 --> 00:06:59,206 So as I'm reading this here, she starts out 173 00:06:59,206 --> 00:07:00,021 by singing this- song (SINGING) I'm no-effort girl. 174 00:07:00,021 --> 00:07:01,331 by singing this- song (SINGING) I'm no-effort girl. 175 00:07:01,331 --> 00:07:02,831 I'm no-- (CHARACTER VOICE) see, I've 176 00:07:02,831 --> 00:07:05,261 already made this sort of decision about this girl. 177 00:07:05,261 --> 00:07:06,251 I'm no-effort girl. 178 00:07:06,251 --> 00:07:07,101 I'm no-effort girl. 179 00:07:07,101 --> 00:07:09,506 And it's easy and it's boring to save the whole world. 180 00:07:09,506 --> 00:07:11,381 (NORMAL VOICE) And I don't have the tune yet. 181 00:07:11,381 --> 00:07:15,021 They didn't send me the music for this just yet. 182 00:07:15,021 --> 00:07:17,004 But the phone rings and she picks up. 183 00:07:17,004 --> 00:07:19,421 (CHARACTER VOICE) No-effort girl headquarters or whatever. 184 00:07:19,421 --> 00:07:20,231 (NORMAL VOICE) She listens. 185 00:07:20,231 --> 00:07:21,131 She rolls her eyes. 186 00:07:21,131 --> 00:07:21,738 Typical. 187 00:07:21,738 --> 00:07:23,321 (CHARACTER VOICE) Well, have you tried 188 00:07:23,321 --> 00:07:25,943 calling any other superheroes? 189 00:07:25,943 --> 00:07:27,401 (NORMAL VOICE) Another phone rings. 190 00:07:27,401 --> 00:07:29,263 She reaches out, flies into her hand. 191 00:07:29,263 --> 00:07:30,021 (CHARACTER VOICE) Jeez. 192 00:07:30,021 --> 00:07:30,221 (CHARACTER VOICE) Jeez. 193 00:07:30,221 --> 00:07:31,691 Hello? 194 00:07:31,691 --> 00:07:33,311 Your boat's sinking? 195 00:07:33,311 --> 00:07:35,001 How fast? 196 00:07:35,001 --> 00:07:36,741 Oh, that's not an emergency. 197 00:07:36,741 --> 00:07:39,591 Call me when your shoes are wet, and cool it 198 00:07:39,591 --> 00:07:41,598 with the histrionics. 199 00:07:41,598 --> 00:07:42,931 (NORMAL VOICE) More phones ring. 200 00:07:42,931 --> 00:07:44,119 She yells at all the phones. 201 00:07:44,119 --> 00:07:45,411 (CHARACTER VOICE) Listen, stop. 202 00:07:45,411 --> 00:07:45,911 Listen. 203 00:07:45,911 --> 00:07:48,171 I'm coming to, like, save you all. 204 00:07:48,171 --> 00:07:52,571 And just please, chill out. 205 00:07:52,571 --> 00:07:55,291 (NORMAL VOICE) So then there's this montage. 206 00:07:55,291 --> 00:07:58,351 A cute baby monster is tied to a train track 207 00:07:58,351 --> 00:08:00,021 as a train barrels down on it. 208 00:08:00,021 --> 00:08:00,841 as a train barrels down on it. 209 00:08:00,841 --> 00:08:04,381 The moment before the train steam rolls the baby, 210 00:08:04,381 --> 00:08:06,841 No-Effort Girl saves the baby in one 211 00:08:06,841 --> 00:08:10,021 hand while texting with the other. 212 00:08:10,021 --> 00:08:14,341 She hands the baby to its mom while continuing to text. 213 00:08:14,341 --> 00:08:16,251 She's distracted by the phone. 214 00:08:16,251 --> 00:08:18,001 (CHARACTER VOICE) I know kids love trains, 215 00:08:18,001 --> 00:08:20,131 but that was a bit much. 216 00:08:20,131 --> 00:08:21,631 (NORMAL VOICE) The wing of the plane 217 00:08:21,631 --> 00:08:23,881 catches fire and the plane begins to plummet. 218 00:08:23,881 --> 00:08:27,211 No-Effort Girl props up the playing while eating a sandwich 219 00:08:27,211 --> 00:08:30,021 and liking pictures on social media. 220 00:08:30,021 --> 00:08:30,571 and liking pictures on social media. 221 00:08:30,571 --> 00:08:31,951 She is busy, man. 222 00:08:31,951 --> 00:08:35,921 She holds up the phone to a scared passenger 223 00:08:35,921 --> 00:08:37,751 with her mouth full of food. 224 00:08:37,751 --> 00:08:39,731 OK, so that's curious. 225 00:08:39,731 --> 00:08:42,891 She's got her mouth full of food here. 226 00:08:42,891 --> 00:08:46,228 Sometimes on The Simpsons, we actually use real food. 227 00:08:46,228 --> 00:08:47,061 That's a good thing. 228 00:08:47,061 --> 00:08:49,191 It sounds authentic. 229 00:08:49,191 --> 00:08:52,231 However, you could choke, so that's not a good thing. 230 00:08:52,231 --> 00:08:54,411 So you can learn how to fake this. 231 00:08:54,411 --> 00:08:56,001 You just kind of puff-- 232 00:08:56,001 --> 00:08:59,571 get the idea that you've got food in your mouth and-- 233 00:08:59,571 --> 00:09:00,021 (CHARACTER VOICE) Should I heart this-- 234 00:09:00,021 --> 00:09:01,371 (CHARACTER VOICE) Should I heart this-- 235 00:09:01,371 --> 00:09:03,951 should I heart this picture of Brandon, 236 00:09:03,951 --> 00:09:07,761 or is that too thirsty? 237 00:09:07,761 --> 00:09:10,071 (NORMAL VOICE) You know, you can just wing it. 238 00:09:10,071 --> 00:09:14,991 Then it moves on to the Galleria dell'Accademia di Firenze. 239 00:09:14,991 --> 00:09:16,541 Where is that? 240 00:09:16,541 --> 00:09:17,541 I think I've been there. 241 00:09:17,541 --> 00:09:18,351 That's in Florence. 242 00:09:18,351 --> 00:09:19,684 It's the-- it's the Academy of-- 243 00:09:19,684 --> 00:09:21,021 OK, I'm going to look that up. 244 00:09:21,021 --> 00:09:22,011 The David is there. 245 00:09:22,011 --> 00:09:24,261 That's-- that's all about Michelangelo. 246 00:09:24,261 --> 00:09:26,851 So I get the idea, now, where she is. 247 00:09:26,851 --> 00:09:28,851 OK. 248 00:09:28,851 --> 00:09:30,021 It's still missing it's art. 249 00:09:30,021 --> 00:09:31,071 It's still missing it's art. 250 00:09:31,071 --> 00:09:32,871 The Galleria is missing it's art. 251 00:09:32,871 --> 00:09:37,701 No-Effort paints her fingernails and cuffs the robbers who carry 252 00:09:37,701 --> 00:09:41,591 paintings of Dominico Giraland-- 253 00:09:41,591 --> 00:09:44,831 I don't even know how to say it. 254 00:09:44,831 --> 00:09:47,441 This name, I should know who this person is. 255 00:09:47,441 --> 00:09:50,141 It's an artist, clearly, because it's paintings of him. 256 00:09:50,141 --> 00:09:52,061 So we're going to look him up. 257 00:09:52,061 --> 00:09:54,461 OK, so these paintings are being stolen 258 00:09:54,461 --> 00:09:56,801 and a reporter approaches. 259 00:09:56,801 --> 00:09:58,991 Red flag, boop, boop, boop. 260 00:09:58,991 --> 00:10:00,021 This is written in Italian. 261 00:10:00,021 --> 00:10:01,121 This is written in Italian. 262 00:10:01,121 --> 00:10:04,151 I don't speak Italian, OK? 263 00:10:04,151 --> 00:10:06,731 No challenge here. 264 00:10:06,731 --> 00:10:10,871 But what I did for MasterClass is, 265 00:10:10,871 --> 00:10:15,671 I insisted that they send me somebody doing this in Italian. 266 00:10:15,671 --> 00:10:18,791 So say it like normal speaking, and then I 267 00:10:18,791 --> 00:10:22,781 want you to say it also very slowly for me. 268 00:10:22,781 --> 00:10:25,811 So what I did is I put that on my-- 269 00:10:25,811 --> 00:10:29,441 another tool-- put that on my phone. 270 00:10:29,441 --> 00:10:30,021 OK, so there's Italian reporter that's 271 00:10:30,021 --> 00:10:32,381 OK, so there's Italian reporter that's 272 00:10:32,381 --> 00:10:35,141 saying in Italian, with the subtitles, "How do you 273 00:10:35,141 --> 00:10:38,441 feel after having saved the world's greatest work of art?" 274 00:10:38,441 --> 00:10:43,511 And No-Effort Girl responds, "In Italian, with English 275 00:10:43,511 --> 00:10:44,696 subtitles." 276 00:10:44,696 --> 00:10:45,701 Well, it was-- 277 00:10:45,701 --> 00:10:47,493 (CHARACTER VOICE) Well, it was easy for me, 278 00:10:47,493 --> 00:10:48,716 and also a huge imposition. 279 00:10:48,716 --> 00:10:49,991 [ITALIAN SPEECH] 280 00:11:01,841 --> 00:11:05,141 That's like, "Well, it was easy for me and also 281 00:11:05,141 --> 00:11:07,211 a huge imposition." 282 00:11:07,211 --> 00:11:10,031 It's a little-- it's a little choppy, 283 00:11:10,031 --> 00:11:13,811 so this is just a matter of rehearsal. 284 00:11:13,811 --> 00:11:17,201 So then when I get it down and my confidence level 285 00:11:17,201 --> 00:11:21,681 is high enough, I feel like I need to do it one more time. 286 00:11:21,681 --> 00:11:23,131 [ITALIAN SPEECH] 287 00:11:27,231 --> 00:11:28,161 OK, good. 288 00:11:28,161 --> 00:11:30,021 So now it's just a matter of doing it over and over 289 00:11:30,021 --> 00:11:30,951 So now it's just a matter of doing it over and over 290 00:11:30,951 --> 00:11:33,111 to get the flow just right. 291 00:11:33,111 --> 00:11:34,501 [ITALIAN SPEECH] 292 00:11:37,881 --> 00:11:40,161 That's pretty good, in my opinion. 293 00:11:40,161 --> 00:11:41,091 OK. 294 00:11:41,091 --> 00:11:43,251 (CHARACTER VOICE) So we're going to add-- 295 00:11:43,251 --> 00:11:44,571 going to add a little attitude. 296 00:11:44,571 --> 00:11:45,779 This is going to be our girl. 297 00:11:45,779 --> 00:11:48,201 This is No-Effort Girl in Italian, with the subtitle, 298 00:11:48,201 --> 00:11:54,218 "Well, it was easy for me, and also, a huge imposition." 299 00:11:54,218 --> 00:11:55,671 [ITALIAN SPEECH] 300 00:12:00,561 --> 00:12:03,021 (NORMAL VOICE) There you go. 301 00:12:03,021 --> 00:12:05,361 And then later on in the evening, 302 00:12:05,361 --> 00:12:09,651 No-Effort Girl checks her phone and sees 27 voicemails 303 00:12:09,651 --> 00:12:11,089 from Yikes the Dragon. 304 00:12:11,089 --> 00:12:12,381 (CHARACTER VOICE) That's weird. 305 00:12:12,381 --> 00:12:14,781 He usually only leaves seven messages. 306 00:12:17,511 --> 00:12:18,601 (NORMAL VOICE) So cute. 307 00:12:18,601 --> 00:12:19,431 I love this scene. 308 00:12:19,431 --> 00:12:21,851 309 00:12:28,151 --> 00:12:30,021 OK, guys, to wrap up this chapter, first thing you 310 00:12:30,021 --> 00:12:31,301 OK, guys, to wrap up this chapter, first thing you 311 00:12:31,301 --> 00:12:32,981 need to do is read the script. 312 00:12:32,981 --> 00:12:34,946 That's a little bit of a clue. 313 00:12:34,946 --> 00:12:36,401 It's a big hint. 314 00:12:36,401 --> 00:12:38,831 Read the script for full understanding conceptually 315 00:12:38,831 --> 00:12:41,021 of what it is that you're communicating about. 316 00:12:41,021 --> 00:12:42,791 Second pass through, you're going 317 00:12:42,791 --> 00:12:45,371 to look for clues that are in there. 318 00:12:45,371 --> 00:12:47,321 You'll find things that you need to look up, 319 00:12:47,321 --> 00:12:50,141 like, if there's words or references about people 320 00:12:50,141 --> 00:12:53,171 or locations, historical people. 321 00:12:53,171 --> 00:12:57,281 So you'll find your own way to symbolize how to orchestrate 322 00:12:57,281 --> 00:12:58,911 or mark your script. 323 00:12:58,911 --> 00:13:00,021 So when you're reading it, it will help you 324 00:13:00,021 --> 00:13:01,391 So when you're reading it, it will help you 325 00:13:01,391 --> 00:13:05,501 in interpreting what the writer has put there in front of you. 326 00:13:05,501 --> 00:13:07,781 If you have a coach, if you have a friend that you 327 00:13:07,781 --> 00:13:10,451 can bounce ideas off of, that's really good. 328 00:13:10,451 --> 00:13:12,431 Use YouTube. 329 00:13:12,431 --> 00:13:14,771 YouTube is an amazing reference tool 330 00:13:14,771 --> 00:13:17,195 to get foreign language sounds. 331 00:13:17,195 --> 00:13:18,971 (OVER BULLHORN) Drill drill, drill, drill. 332 00:13:18,971 --> 00:13:22,961 Get it down, get it perfect, and don't stop until you actually 333 00:13:22,961 --> 00:13:27,641 have it so you feel completely confident and good about what 334 00:13:27,641 --> 00:13:29,371 you do. 1 00:00:00,021 --> 00:00:01,506 2 00:00:07,053 --> 00:00:09,011 NANCY CARTWRIGHT: The same recording techniques 3 00:00:09,011 --> 00:00:11,831 can be used whether you're in a closet at home working 4 00:00:11,831 --> 00:00:15,311 on a demo tape or in a professional studio working 5 00:00:15,311 --> 00:00:18,311 on a multimillion dollar TV show. 6 00:00:18,311 --> 00:00:20,621 For The Simpsons, we actually started out 7 00:00:20,621 --> 00:00:23,501 in a small little booth where they filmed The Tracey Ullman 8 00:00:23,501 --> 00:00:24,581 Show. 9 00:00:24,581 --> 00:00:26,861 They put, like, moving carpets up on the walls, 10 00:00:26,861 --> 00:00:30,021 because there was so much glass that when we spoke, 11 00:00:30,021 --> 00:00:30,371 because there was so much glass that when we spoke, 12 00:00:30,371 --> 00:00:31,691 it vibrated. 13 00:00:31,691 --> 00:00:34,391 It was not a good facility for recording. 14 00:00:34,391 --> 00:00:38,471 So shortly after that, they gave us a studio, 15 00:00:38,471 --> 00:00:40,241 and it was downstairs-- 16 00:00:40,241 --> 00:00:42,011 the Darryl Zanuck Theater, I think-- 17 00:00:42,011 --> 00:00:44,861 and it was a big soundstage. 18 00:00:44,861 --> 00:00:48,341 And we each had our own areas, if you will. 19 00:00:48,341 --> 00:00:51,281 Like Yeardley is to my right, Tress MacNeille 20 00:00:51,281 --> 00:00:52,631 is to my immediate left. 21 00:00:52,631 --> 00:00:54,251 Julie is beside her. 22 00:00:54,251 --> 00:00:55,871 Dan's over there. 23 00:00:55,871 --> 00:00:57,071 Hank is in the room. 24 00:00:57,071 --> 00:01:00,021 Everybody was there, and that's kind of how it is now, 25 00:01:00,021 --> 00:01:00,641 Everybody was there, and that's kind of how it is now, 26 00:01:00,641 --> 00:01:02,141 that we have our own stations. 27 00:01:02,141 --> 00:01:04,361 We have high chairs, and we have low chairs. 28 00:01:04,361 --> 00:01:05,711 Some people prefer to stand. 29 00:01:05,711 --> 00:01:07,151 I prefer to stand. 30 00:01:07,151 --> 00:01:10,263 So once we get our station and the microphones set up, 31 00:01:10,263 --> 00:01:11,221 you've got your script. 32 00:01:11,221 --> 00:01:13,391 You take the brads out of the script. 33 00:01:13,391 --> 00:01:14,366 You line up the pages. 34 00:01:14,366 --> 00:01:16,661 You ask the script supervisor, which scene are 35 00:01:16,661 --> 00:01:17,869 we going to start with today? 36 00:01:17,869 --> 00:01:20,536 She'll say, we're going to start from the top, scene number one. 37 00:01:20,536 --> 00:01:22,571 We're going to try to go all the way through. 38 00:01:22,571 --> 00:01:25,001 And everybody's like, yay, this is good. 39 00:01:25,001 --> 00:01:27,371 When we do it consecutively, that's 40 00:01:27,371 --> 00:01:29,111 nice, because you get to track. 41 00:01:29,111 --> 00:01:30,021 You get to track the emotional changes in the show. 42 00:01:30,021 --> 00:01:31,901 You get to track the emotional changes in the show. 43 00:01:31,901 --> 00:01:34,241 It's so much easier that way. 44 00:01:34,241 --> 00:01:37,741 But all too often, somebody will have to leave, 45 00:01:37,741 --> 00:01:39,491 or somebody is not there, and they kind of 46 00:01:39,491 --> 00:01:40,991 bounce around a bit. 47 00:01:40,991 --> 00:01:42,191 That's fine, too. 48 00:01:42,191 --> 00:01:46,781 It works, because you just get yourself right in that moment 49 00:01:46,781 --> 00:01:48,731 and deliver the goods. 50 00:01:48,731 --> 00:01:49,841 Everybody's quiet. 51 00:01:49,841 --> 00:01:50,891 Roll sound. 52 00:01:50,891 --> 00:01:52,157 Sound's rolling. 53 00:01:52,157 --> 00:01:53,615 54 00:01:58,001 --> 00:02:00,021 Welcome to my 3D audio booth with my personal 3D engineer. 55 00:02:00,021 --> 00:02:03,671 Welcome to my 3D audio booth with my personal 3D engineer. 56 00:02:03,671 --> 00:02:05,231 He's in the control room in the back, 57 00:02:05,231 --> 00:02:08,261 and I can see him through a window, even though you can't. 58 00:02:08,261 --> 00:02:09,970 He's still rendering. 59 00:02:09,970 --> 00:02:10,750 Hi, Jeff! 60 00:02:10,750 --> 00:02:12,491 JEFF: Hey, Nancy. 61 00:02:12,491 --> 00:02:14,381 When you go in for your first record, 62 00:02:14,381 --> 00:02:16,031 and you're in a professional studio, 63 00:02:16,031 --> 00:02:19,211 you might be a little nervous, but I have a few tips for you 64 00:02:19,211 --> 00:02:20,801 to keep in mind. 65 00:02:20,801 --> 00:02:25,361 For example, just be aware of where you position yourself. 66 00:02:25,361 --> 00:02:27,236 The distance between you-- right now, I'm 67 00:02:27,236 --> 00:02:29,471 about maybe six or so inches from the microphone. 68 00:02:29,471 --> 00:02:30,021 That's a pretty safe distance. 69 00:02:30,021 --> 00:02:31,058 That's a pretty safe distance. 70 00:02:31,058 --> 00:02:33,641 To give you an idea of what that is, you take your baby finger 71 00:02:33,641 --> 00:02:35,621 and stick it out and your thumb, and it's 72 00:02:35,621 --> 00:02:37,189 that hang loose sort of a thing. 73 00:02:37,189 --> 00:02:38,981 And you just put your baby finger up there, 74 00:02:38,981 --> 00:02:42,041 and that's where the normal placement is. 75 00:02:42,041 --> 00:02:45,371 If you pull yourself too far away, like I'm doing right now, 76 00:02:45,371 --> 00:02:47,111 I have to call out a little bit more, 77 00:02:47,111 --> 00:02:49,163 but it sounds like I'm calling out. 78 00:02:49,163 --> 00:02:51,371 Or if you're going to be talking a little bit closer, 79 00:02:51,371 --> 00:02:53,111 and I get a little bit closer to the mic, 80 00:02:53,111 --> 00:02:55,899 I've got the-- the pop screen is right in the way, 81 00:02:55,899 --> 00:02:57,941 but I've got to bring my voice down a little bit, 82 00:02:57,941 --> 00:03:00,021 so I don't blow you out of the water. 83 00:03:00,021 --> 00:03:00,371 so I don't blow you out of the water. 84 00:03:00,371 --> 00:03:02,321 And likewise, if you're going to-- hey! 85 00:03:02,321 --> 00:03:04,001 Hey over there! 86 00:03:04,001 --> 00:03:05,171 You hear me? 87 00:03:05,171 --> 00:03:06,941 You got to go off mic. 88 00:03:06,941 --> 00:03:08,601 Very simple. 89 00:03:08,601 --> 00:03:10,381 That's mic technique, right, Jeff? 90 00:03:10,381 --> 00:03:14,781 JEFF: That is 100% mic technique. 91 00:03:14,781 --> 00:03:16,821 Here's the deal with the audio engineer. 92 00:03:16,821 --> 00:03:18,991 It is really, really simple. 93 00:03:18,991 --> 00:03:21,471 This is the guy or gal whose job it 94 00:03:21,471 --> 00:03:23,931 is to make you sound great technically. 95 00:03:23,931 --> 00:03:26,181 Sometimes, the engineer wants you to give a mic check, 96 00:03:26,181 --> 00:03:27,681 and they say, just say the alphabet. 97 00:03:27,681 --> 00:03:28,821 I like to do it backwards. 98 00:03:28,821 --> 00:03:30,021 Z Y X W V U T S R Q P O N M L K J I H G F E D C B A. 99 00:03:30,021 --> 00:03:33,141 Z Y X W V U T S R Q P O N M L K J I H G F E D C B A. 100 00:03:33,141 --> 00:03:35,751 And people are like, whoa! 101 00:03:35,751 --> 00:03:37,551 That's amazing! 102 00:03:37,551 --> 00:03:39,261 Change it up a little bit. 103 00:03:39,261 --> 00:03:40,911 Sometimes, I'll say, hey, Jeff, can you 104 00:03:40,911 --> 00:03:42,711 bring up the gain in my headset? 105 00:03:42,711 --> 00:03:43,881 That just means the volume. 106 00:03:43,881 --> 00:03:45,471 It's a little bit more volume. 107 00:03:45,471 --> 00:03:47,811 I want to hear myself a little bit more. 108 00:03:47,811 --> 00:03:52,101 If it's a long record session and I start out standing 109 00:03:52,101 --> 00:03:55,251 and then I decide to sit in a high chair, 110 00:03:55,251 --> 00:03:57,501 there's still going to be a little bit of a difference 111 00:03:57,501 --> 00:04:00,021 in my relationship with that microphone sitting 112 00:04:00,021 --> 00:04:00,441 in my relationship with that microphone sitting 113 00:04:00,441 --> 00:04:02,611 in a high chair than I would be standing. 114 00:04:02,611 --> 00:04:04,761 That's his job to come in here and help you out 115 00:04:04,761 --> 00:04:06,798 with that, just to get comfortable, 116 00:04:06,798 --> 00:04:08,631 to make sure, again, that the sound is going 117 00:04:08,631 --> 00:04:11,181 to be clean and pure and make you sound as good as you 118 00:04:11,181 --> 00:04:11,773 can sound. 119 00:04:11,773 --> 00:04:14,231 Sometimes, you'll come into a scene where you have to yell, 120 00:04:14,231 --> 00:04:16,971 or you have to scream, or you're calling out. 121 00:04:16,971 --> 00:04:18,651 Screaming is one thing. 122 00:04:18,651 --> 00:04:20,181 Calling out is another. 123 00:04:20,181 --> 00:04:22,491 Calling out is a little bit more controlled, 124 00:04:22,491 --> 00:04:25,581 but you might want to give the engineer a little warning. 125 00:04:25,581 --> 00:04:27,741 Say, do you want me to do this for you, Jeff, 126 00:04:27,741 --> 00:04:30,021 or is it something that you can do technically for me? 127 00:04:30,021 --> 00:04:30,533 or is it something that you can do technically for me? 128 00:04:30,533 --> 00:04:32,241 And sometimes, the engineer will say, no, 129 00:04:32,241 --> 00:04:33,696 I got you covered, Nance. 130 00:04:33,696 --> 00:04:35,221 But go ahead and give me a volume. 131 00:04:35,221 --> 00:04:36,711 Let me hear you calling out. 132 00:04:36,711 --> 00:04:37,671 And then I would-- 133 00:04:37,671 --> 00:04:39,501 you know-- hey, Jeff! 134 00:04:39,501 --> 00:04:41,571 I'm going to call out right now! 135 00:04:41,571 --> 00:04:42,801 See, I took myself off mic. 136 00:04:42,801 --> 00:04:44,091 I didn't want to hurt any eardrums. 137 00:04:44,091 --> 00:04:45,231 Jeff, are you still alive? 138 00:04:45,231 --> 00:04:46,801 JEFF: Yeah, definitely. 139 00:04:46,801 --> 00:04:47,301 All right. 140 00:04:47,301 --> 00:04:48,321 We're good. 141 00:04:48,321 --> 00:04:51,951 It's little mic techniques that you're going to learn about. 142 00:04:51,951 --> 00:04:54,741 Now, personally, I'm an animated character, 143 00:04:54,741 --> 00:04:57,201 so I will live forever in perfect health, 144 00:04:57,201 --> 00:04:59,181 but all of you regular people out 145 00:04:59,181 --> 00:05:00,021 there have to take care of your vocal cords, 146 00:05:00,021 --> 00:05:01,851 there have to take care of your vocal cords, 147 00:05:01,851 --> 00:05:05,781 and I think I know just the regular human lady to explain 148 00:05:05,781 --> 00:05:06,801 that to you. 149 00:05:06,801 --> 00:05:09,651 Take it away you, you dulcet siren. 150 00:05:09,651 --> 00:05:11,811 Oh, stop it, you. 151 00:05:11,811 --> 00:05:12,981 She's such a flirt. 152 00:05:12,981 --> 00:05:14,901 153 00:05:19,711 --> 00:05:21,271 I want to talk about how to prepare 154 00:05:21,271 --> 00:05:22,951 your voice for doing a record. 155 00:05:22,951 --> 00:05:26,371 Honestly, for me, it's a very personal decision. 156 00:05:26,371 --> 00:05:29,731 I know that I don't drink a glass of milk before I go in. 157 00:05:29,731 --> 00:05:30,021 Milk chocolate tends to coat my throat. 158 00:05:30,021 --> 00:05:33,691 Milk chocolate tends to coat my throat. 159 00:05:33,691 --> 00:05:40,411 Warm beverages are good, but sometimes I also just 160 00:05:40,411 --> 00:05:43,681 like, on a daily routine for my own health purposes, 161 00:05:43,681 --> 00:05:46,651 I like to have cranberry, like raw cranberry, 162 00:05:46,651 --> 00:05:49,291 and water with a little stevia, because it just 163 00:05:49,291 --> 00:05:50,971 keeps the liver healthy. 164 00:05:50,971 --> 00:05:53,371 You'll find out through experience, if you're going 165 00:05:53,371 --> 00:05:55,531 [CLEARS THROAT] and you're finding 166 00:05:55,531 --> 00:05:58,021 that you have to clear your throat a lot, 167 00:05:58,021 --> 00:06:00,021 I would just sort of like, you know, inspect 168 00:06:00,021 --> 00:06:00,811 I would just sort of like, you know, inspect 169 00:06:00,811 --> 00:06:02,521 your own diet, what it is that you're 170 00:06:02,521 --> 00:06:06,421 doing that's making you have to clear your throat a bit. 171 00:06:06,421 --> 00:06:09,121 If you do feel like you have to clear your throat a bit, 172 00:06:09,121 --> 00:06:10,591 take a drink of water. 173 00:06:10,591 --> 00:06:13,171 It's better than [CLEARS THROAT] doing that, 174 00:06:13,171 --> 00:06:15,391 because doing that is actually kind 175 00:06:15,391 --> 00:06:17,351 of tough on your vocal cords. 176 00:06:17,351 --> 00:06:19,381 You know, sometimes I'll find that there's 177 00:06:19,381 --> 00:06:21,361 a scene where there's a lot of yelling, 178 00:06:21,361 --> 00:06:24,721 and if there is a lot of yelling in the beginning 179 00:06:24,721 --> 00:06:27,871 or middle of the scene, I will tend 180 00:06:27,871 --> 00:06:30,021 to want to save that til the end, because I want 181 00:06:30,021 --> 00:06:30,871 to want to save that til the end, because I want 182 00:06:30,871 --> 00:06:33,781 to have my pipes really healthy for the rest of the scene 183 00:06:33,781 --> 00:06:35,581 or the rest of the day, even. 184 00:06:35,581 --> 00:06:40,171 And sometimes I've had times when Nelson-- 185 00:06:40,171 --> 00:06:41,431 it's kind of tough. 186 00:06:41,431 --> 00:06:44,611 He's what I call a throat scratcher, 187 00:06:44,611 --> 00:06:48,511 and doing that voice a lot irritates my throat. 188 00:06:48,511 --> 00:06:49,681 It's not ruined it. 189 00:06:49,681 --> 00:06:50,919 I've never had nodes. 190 00:06:50,919 --> 00:06:51,961 I'm not going to have it. 191 00:06:51,961 --> 00:06:53,671 He's not on enough. 192 00:06:53,671 --> 00:06:57,211 But by the end of the day, my throat is tired. 193 00:06:57,211 --> 00:06:59,881 You know, the larynx and all the equipment 194 00:06:59,881 --> 00:07:00,021 down there has been stressed, so I 195 00:07:00,021 --> 00:07:01,981 down there has been stressed, so I 196 00:07:01,981 --> 00:07:06,721 have to sort of chill it for the night and take it easy. 197 00:07:06,721 --> 00:07:09,991 And it repairs very quickly, but it's something to be aware of, 198 00:07:09,991 --> 00:07:12,361 and something there's nothing wrong for you to mention. 199 00:07:12,361 --> 00:07:13,548 Hey, can we save this? 200 00:07:13,548 --> 00:07:14,881 Save the screaming till the end? 201 00:07:14,881 --> 00:07:16,111 They're like, absolutely. 202 00:07:16,111 --> 00:07:16,651 No problem. 203 00:07:16,651 --> 00:07:18,001 They want you to be good, too. 204 00:07:18,001 --> 00:07:19,751 They want you to be able to deliver. 205 00:07:19,751 --> 00:07:21,531 So do that. 1 00:00:00,021 --> 00:00:01,611 ANIMATED NANCY: When you voice act, 2 00:00:01,611 --> 00:00:02,986 you need to keep your character's 3 00:00:02,986 --> 00:00:05,991 voice consistent through all sorts of situations. 4 00:00:05,991 --> 00:00:08,341 Real Nancy is going to show you how to do that, 5 00:00:08,341 --> 00:00:11,751 because if I did it, it'd be an animated character showing you 6 00:00:11,751 --> 00:00:14,061 how to do another animated character, 7 00:00:14,061 --> 00:00:15,831 and everyone's heads would explode. 8 00:00:15,831 --> 00:00:17,061 So, Nancy? 9 00:00:17,061 --> 00:00:19,401 Thanks, animated me, and thanks 10 00:00:19,401 --> 00:00:20,751 for saving us that headache. 11 00:00:20,751 --> 00:00:22,747 12 00:00:27,737 --> 00:00:28,851 OK, guys. 13 00:00:28,851 --> 00:00:30,021 So I thought I'd just take a moment here and show you 14 00:00:30,021 --> 00:00:32,320 So I thought I'd just take a moment here and show you 15 00:00:32,320 --> 00:00:38,501 how I set up maintaining a voice through a record 16 00:00:38,501 --> 00:00:40,241 or through an audition, and there's 17 00:00:40,241 --> 00:00:42,311 all kinds of things that come into play here, 18 00:00:42,311 --> 00:00:44,291 because sometimes there's music. 19 00:00:44,291 --> 00:00:48,551 Sometimes there are sound effects 20 00:00:48,551 --> 00:00:51,761 of somebody jumping and landing or falling, kind of 21 00:00:51,761 --> 00:00:54,191 like extraneous noises that will have to be picked 22 00:00:54,191 --> 00:00:56,471 up later, things like that. 23 00:00:56,471 --> 00:00:57,929 24 00:01:02,801 --> 00:01:05,260 In this particular scene, this is with No-Effort Girl. 25 00:01:05,260 --> 00:01:06,161 She's in her bedroom. 26 00:01:06,161 --> 00:01:09,431 It's in the daytime, and the room is messy. 27 00:01:09,431 --> 00:01:11,141 The messy room of a tween superhero. 28 00:01:11,141 --> 00:01:14,051 No-Effort Girl, a punk rock adolescent 29 00:01:14,051 --> 00:01:17,831 with a honking Hawley retainer stands 30 00:01:17,831 --> 00:01:21,641 in the center of her room, singing her theme song. 31 00:01:21,641 --> 00:01:23,501 Because everybody knows, a superhero 32 00:01:23,501 --> 00:01:25,781 has to have a theme song. 33 00:01:25,781 --> 00:01:30,021 OK, so with that, normally what happens is I'm going to listen. 34 00:01:30,021 --> 00:01:32,231 OK, so with that, normally what happens is I'm going to listen. 35 00:01:32,231 --> 00:01:37,511 The sound engineer is going to be playing a temporary track, 36 00:01:37,511 --> 00:01:41,141 called a temp track, for me, so I can hear the music 37 00:01:41,141 --> 00:01:44,891 with somebody else that has done a temporary voice for me, 38 00:01:44,891 --> 00:01:47,301 so I can learn this little song. 39 00:01:47,301 --> 00:01:48,250 So let's do that. 40 00:01:48,250 --> 00:01:50,083 [MUSIC PLAYING- "NO EFFORT GIRL THEME SONG] 41 00:01:50,083 --> 00:01:52,671 TEMP TRACK SINGER: (SINGING) I'm No-Effort Girl. 42 00:01:52,671 --> 00:01:57,381 I'm No-Effort Girl, and it's easy and boring to save 43 00:01:57,381 --> 00:01:59,031 the whole world. 44 00:01:59,031 --> 00:02:00,021 Like, whatever. 45 00:02:00,021 --> 00:02:00,961 Like, whatever. 46 00:02:00,961 --> 00:02:02,331 OK. 47 00:02:02,331 --> 00:02:03,321 OK, so good. 48 00:02:03,321 --> 00:02:06,441 So what I find out here, first time 49 00:02:06,441 --> 00:02:08,780 out, is that, like, whatever, is not part of the song. 50 00:02:08,780 --> 00:02:10,826 It's a comment. 51 00:02:10,826 --> 00:02:12,201 It's a little attitude that she's 52 00:02:12,201 --> 00:02:14,871 got that they've included that into her theme song, which 53 00:02:14,871 --> 00:02:17,181 is totally appropriate. 54 00:02:17,181 --> 00:02:19,131 So (SINGING) I'm no-effort-- so I don't quite 55 00:02:19,131 --> 00:02:20,043 have that tune again. 56 00:02:20,043 --> 00:02:21,501 Can we play it one more time, Jeff? 57 00:02:21,501 --> 00:02:22,459 JEFF: Sure, no problem. 58 00:02:22,459 --> 00:02:23,864 Stand by. 59 00:02:23,864 --> 00:02:25,697 [MUSIC PLAYING- "NO EFFORT GIRL THEME SONG] 60 00:02:25,697 --> 00:02:26,191 TEMP TRACK SINGER AND NANCY CARTWRIGHT: 61 00:02:26,191 --> 00:02:28,201 (SINGING) I'm No-Effort Girl. 62 00:02:28,201 --> 00:02:30,021 I'm No-Effort Girl, and it's easy and boring to save 63 00:02:30,021 --> 00:02:33,001 I'm No-Effort Girl, and it's easy and boring to save 64 00:02:33,001 --> 00:02:34,104 the whole world. 65 00:02:34,104 --> 00:02:35,521 TEMP TRACK SINGER: Like, whatever. 66 00:02:35,521 --> 00:02:38,161 (SINGING) To save the whole world. 67 00:02:38,161 --> 00:02:40,431 (SPEAKING) OK, good. 68 00:02:40,431 --> 00:02:41,426 I think we're good. 69 00:02:41,426 --> 00:02:42,801 [LISPING HEAVILY] And so now, I'm 70 00:02:42,801 --> 00:02:45,871 just going to turn her into No-Effort Girl, 71 00:02:45,871 --> 00:02:47,361 and we're gonna try this. 72 00:02:47,361 --> 00:02:48,403 Let's try it. 73 00:02:48,403 --> 00:02:51,831 [NORMAL VOICE] Can we just kind of rehearse on tape, 74 00:02:51,831 --> 00:02:52,611 as they say? 75 00:02:52,611 --> 00:02:53,151 JEFF: Sure. 76 00:02:53,151 --> 00:02:55,401 Do you want the temp vocals still in there, or-- 77 00:02:55,401 --> 00:02:55,461 Yeah. 78 00:02:55,461 --> 00:02:56,901 JEFF: --Do you want to hear just the instrumental. 79 00:02:56,901 --> 00:02:57,401 Yeah. 80 00:02:57,401 --> 00:03:00,021 Let's keep the temp vocal, and let's see how we do here. 81 00:03:00,021 --> 00:03:01,521 Let's keep the temp vocal, and let's see how we do here. 82 00:03:01,521 --> 00:03:02,281 JEFF: Stand by. 83 00:03:02,281 --> 00:03:03,998 Coming at you. 84 00:03:03,998 --> 00:03:05,831 [MUSIC PLAYING- "NO EFFORT GIRL THEME SONG] 85 00:03:05,831 --> 00:03:06,331 TEMP TRACK SINGER AND NANCY CARTWRIGHT: 86 00:03:06,331 --> 00:03:08,431 (SINGING) I'm No-Effort Girl. 87 00:03:08,431 --> 00:03:13,171 I'm No-Effort Girl, and it's easy and boring to save 88 00:03:13,171 --> 00:03:14,851 the whole world. 89 00:03:14,851 --> 00:03:17,737 Like, whatever. 90 00:03:17,737 --> 00:03:20,111 That is-- so at this point-- 91 00:03:20,111 --> 00:03:22,351 JEFF: So a little hot there at the end. 92 00:03:22,351 --> 00:03:23,551 Oh, yeah? 93 00:03:23,551 --> 00:03:24,831 OK. 94 00:03:24,831 --> 00:03:25,861 Let's do another tape. 95 00:03:25,861 --> 00:03:28,681 See, at this point in time, I am totally 96 00:03:28,681 --> 00:03:30,021 dependent on the director. 97 00:03:30,021 --> 00:03:30,391 dependent on the director. 98 00:03:30,391 --> 00:03:33,931 I am such not my own judge on this. 99 00:03:33,931 --> 00:03:38,251 It's kind of like they will have a composer, 100 00:03:38,251 --> 00:03:43,411 or the arranger usually will conduct me, 101 00:03:43,411 --> 00:03:45,091 and it's very specific. 102 00:03:45,091 --> 00:03:47,461 And a lot of times, most of the time, these 103 00:03:47,461 --> 00:03:51,271 are done separately, but sometimes they buddy them up, 104 00:03:51,271 --> 00:03:54,301 and it's done at the same time during the record 105 00:03:54,301 --> 00:03:55,621 of the script. 106 00:03:55,621 --> 00:03:58,621 So either way, though, it's like working with somebody 107 00:03:58,621 --> 00:04:00,021 else who's going to be directing you, 108 00:04:00,021 --> 00:04:00,661 else who's going to be directing you, 109 00:04:00,661 --> 00:04:02,131 and it's incredibly helpful. 110 00:04:02,131 --> 00:04:06,331 And they're looking for timing, that your timing 111 00:04:06,331 --> 00:04:07,741 has to be perfect on this. 112 00:04:07,741 --> 00:04:10,741 Because it's going to be animated, and it all 113 00:04:10,741 --> 00:04:14,011 has to do, believe it or not, with math. 114 00:04:14,011 --> 00:04:15,461 Math and timing. 115 00:04:15,461 --> 00:04:18,480 So the animators have to know how long a piece is in order 116 00:04:18,480 --> 00:04:21,211 to animate it correctly, and it just is 117 00:04:21,211 --> 00:04:22,781 a very collaborative art form. 118 00:04:22,781 --> 00:04:25,201 So this is how we work together. 119 00:04:25,201 --> 00:04:27,271 Now, let's remove the vocal in my ear, 120 00:04:27,271 --> 00:04:29,416 and I'm just going to have some fun with this. 121 00:04:29,416 --> 00:04:30,021 JEFF: OK, no vocal. 122 00:04:30,021 --> 00:04:30,691 JEFF: OK, no vocal. 123 00:04:30,691 --> 00:04:31,411 Standby. 124 00:04:31,411 --> 00:04:33,480 Coming at you. 125 00:04:33,480 --> 00:04:35,313 [MUSIC PLAYING- "NO EFFORT GIRL THEME SONG] 126 00:04:35,313 --> 00:04:38,361 (SINGING) I'm No-Effort Girl. 127 00:04:38,361 --> 00:04:43,131 I'm No-Effort Girl, and it's easy and boring to save 128 00:04:43,131 --> 00:04:44,846 the whole world. 129 00:04:44,846 --> 00:04:45,471 Like, whatever. 130 00:04:49,521 --> 00:04:51,263 Super fun. 131 00:04:51,263 --> 00:04:54,021 [NORMAL VOICE] So I have an idea, 132 00:04:54,021 --> 00:04:56,481 and this is what I would do with a director. 133 00:04:56,481 --> 00:04:57,351 I would say, listen. 134 00:04:57,351 --> 00:04:58,341 I have an idea. 135 00:04:58,341 --> 00:05:00,021 Can we do it one more time, just for fun? 136 00:05:00,021 --> 00:05:01,101 Can we do it one more time, just for fun? 137 00:05:01,101 --> 00:05:04,739 Because I feel like it's missing a little bit of her personality 138 00:05:04,739 --> 00:05:05,781 on those first two lines. 139 00:05:05,781 --> 00:05:07,198 [LISPING HEAVILY] Cause you really 140 00:05:07,198 --> 00:05:10,281 get who she is with those Ss, and there's no Ss in I'm 141 00:05:10,281 --> 00:05:11,241 No-Effort Girl. 142 00:05:14,351 --> 00:05:16,101 [NORMAL VOICE] Can we just play with this? 143 00:05:16,101 --> 00:05:17,393 Let's just play with this once. 144 00:05:17,393 --> 00:05:19,226 [MUSIC PLAYING- "NO EFFORT GIRL THEME SONG] 145 00:05:19,226 --> 00:05:21,791 (SINGING) [LISPING HEAVILY] So, I'm No-Effort Girl. 146 00:05:21,791 --> 00:05:26,581 I'm No-Effort Girl, and it's easy and boring to save 147 00:05:26,581 --> 00:05:28,171 the whole world. 148 00:05:28,171 --> 00:05:29,811 Like, whatever. 149 00:05:29,811 --> 00:05:30,021 [NORMAL VOICE] Now, we're going to take that one 150 00:05:30,021 --> 00:05:31,811 [NORMAL VOICE] Now, we're going to take that one 151 00:05:31,811 --> 00:05:34,406 and add a little bit more of the tune. 152 00:05:34,406 --> 00:05:35,613 JEFF: Stand by. 153 00:05:35,613 --> 00:05:37,446 [MUSIC PLAYING- "NO EFFORT GIRL THEME SONG] 154 00:05:37,446 --> 00:05:40,211 (SINGING) [LISPING HEAVILY] So, I'm No-Effort Girl. 155 00:05:40,211 --> 00:05:42,531 Yes, I'm No-Effort Girl. 156 00:05:42,531 --> 00:05:47,631 And it's easy and boring to save the whole world. 157 00:05:47,631 --> 00:05:49,791 Oh, like, whatever. 158 00:05:49,791 --> 00:05:52,991 [NORMAL VOICE] And world was totally flat, 159 00:05:52,991 --> 00:05:54,669 but I think it's funny. 160 00:05:54,669 --> 00:05:56,585 161 00:06:01,856 --> 00:06:03,481 What happens next is the phone rings, 162 00:06:03,481 --> 00:06:05,731 and No-Effort Girl picks it up. 163 00:06:05,731 --> 00:06:08,901 [LISPING HEAVILY] No-Effort Girl headquarters or whatever. 164 00:06:08,901 --> 00:06:11,684 [NORMAL VOICE] So she rolls her eyes. 165 00:06:11,684 --> 00:06:13,351 [LISPING HEAVILY] Well, have you tried-- 166 00:06:13,351 --> 00:06:14,809 [NORMAL VOICE] And she's listening. 167 00:06:14,809 --> 00:06:16,718 Somebody's saying something to her. 168 00:06:16,718 --> 00:06:18,301 [LISPING HEAVILY] Well, have you tried 169 00:06:18,301 --> 00:06:21,343 calling any other superheroes? 170 00:06:21,343 --> 00:06:22,801 [NORMAL VOICE] Another phone rings. 171 00:06:22,801 --> 00:06:23,853 [LISPING HEAVILY] Oh. 172 00:06:23,853 --> 00:06:26,311 [NORMAL VOICE] She reaches out, and it flies into her hand. 173 00:06:26,311 --> 00:06:28,443 The phone flies into her hand. 174 00:06:28,443 --> 00:06:29,401 [LISPING HEAVILY] Whoa! 175 00:06:29,401 --> 00:06:30,021 Jeez! 176 00:06:30,021 --> 00:06:30,201 Jeez! 177 00:06:30,201 --> 00:06:32,641 Hello? 178 00:06:32,641 --> 00:06:34,411 Your boat is sinking? 179 00:06:34,411 --> 00:06:36,291 How fast? 180 00:06:36,291 --> 00:06:37,791 That's not an emergency. 181 00:06:37,791 --> 00:06:40,611 Call me when your shoes are wet, and cool it 182 00:06:40,611 --> 00:06:42,476 with the histrionics. 183 00:06:42,476 --> 00:06:45,381 [NORMAL VOICE] So what's happened here 184 00:06:45,381 --> 00:06:47,691 is that she's having a conversation, 185 00:06:47,691 --> 00:06:49,311 so I've got to give just a moment 186 00:06:49,311 --> 00:06:52,851 to be able to hear whatever the other person is saying 187 00:06:52,851 --> 00:06:54,741 to me on the phone, right? 188 00:06:54,741 --> 00:06:56,429 So more phones ring. 189 00:06:56,429 --> 00:06:57,471 They're ringing all over. 190 00:06:57,471 --> 00:06:58,701 It's ringing, ringing. 191 00:06:58,701 --> 00:07:00,021 She's yelling at all the phones. 192 00:07:00,021 --> 00:07:00,071 She's yelling at all the phones. 193 00:07:00,071 --> 00:07:01,161 [LISPING HEAVILY] Listen! 194 00:07:01,161 --> 00:07:08,833 I'm coming to, like, save you all, so just please chill out! 195 00:07:08,833 --> 00:07:12,961 [NORMAL VOICE] So there, her frustration, she is, 196 00:07:12,961 --> 00:07:15,901 like, at the end of her line, to me. 197 00:07:15,901 --> 00:07:18,811 She's like, [LISPING HEAVILY] whoa, you guys, cool it. 198 00:07:18,811 --> 00:07:20,329 Everybody just chill. 199 00:07:20,329 --> 00:07:22,621 [NORMAL VOICE] That's another way to do it, by the way. 200 00:07:22,621 --> 00:07:25,121 [LISPING HEAVILY] Listen, I'm coming, like, to save you all, 201 00:07:25,121 --> 00:07:30,021 so please just chill out. 202 00:07:30,021 --> 00:07:31,141 so please just chill out. 203 00:07:31,141 --> 00:07:33,681 [NORMAL VOICE] So it's an opinion, 204 00:07:33,681 --> 00:07:35,781 whatever is needed and wanted. 205 00:07:35,781 --> 00:07:37,161 Here's another way to do it. 206 00:07:37,161 --> 00:07:40,551 [LISPING HEAVILY] Listen, I'm coming to, like, save you all. 207 00:07:40,551 --> 00:07:44,231 So please just chill out. 208 00:07:44,231 --> 00:07:45,541 So that was harder to say. 209 00:07:45,541 --> 00:07:48,711 [NORMAL VOICE] The chill didn't come out quite so clear. 210 00:07:48,711 --> 00:07:52,581 One of those choices that I made is like, something 211 00:07:52,581 --> 00:07:54,031 that I have to be aware of. 212 00:07:54,031 --> 00:07:57,111 It's a choice that I made for this character that almost 213 00:07:57,111 --> 00:08:00,021 creates a problem for me, but honestly, I like it, 214 00:08:00,021 --> 00:08:00,351 creates a problem for me, but honestly, I like it, 215 00:08:00,351 --> 00:08:01,986 because it's a nice challenge. 216 00:08:01,986 --> 00:08:04,836 [LISPING HEAVILY] Or she would say it's a nice challenge. 217 00:08:04,836 --> 00:08:07,581 [NORMAL VOICE] Some of those words are hard to say! 218 00:08:07,581 --> 00:08:09,501 219 00:08:13,821 --> 00:08:17,451 By the way, an effort is some sort 220 00:08:17,451 --> 00:08:20,811 of a sound that is showing that you're 221 00:08:20,811 --> 00:08:24,711 putting some energy into a motion that would create 222 00:08:24,711 --> 00:08:26,571 some kind of a sound from you. 223 00:08:26,571 --> 00:08:28,191 Like falling and landing. 224 00:08:28,191 --> 00:08:29,841 You'd fall-- aah. 225 00:08:29,841 --> 00:08:30,021 You'd land, and then there's the after sound. 226 00:08:30,021 --> 00:08:32,871 You'd land, and then there's the after sound. 227 00:08:32,871 --> 00:08:34,310 You go, huh, ugh. 228 00:08:34,310 --> 00:08:36,771 Ahhhh ugh. 229 00:08:36,771 --> 00:08:37,971 Like that. 230 00:08:37,971 --> 00:08:40,011 So now there's this montage. 231 00:08:40,011 --> 00:08:42,651 A cute baby monster is tied to a train track 232 00:08:42,651 --> 00:08:44,781 as the train barrels down on it. 233 00:08:44,781 --> 00:08:47,661 The moment before the train steamrolls the baby, 234 00:08:47,661 --> 00:08:50,181 No-Effort Girl saves the baby in one 235 00:08:50,181 --> 00:08:53,751 hand while texting with the other. 236 00:08:53,751 --> 00:08:57,931 She hands the baby to its mom while continuing to text. 237 00:08:57,931 --> 00:09:00,021 So those kinds of sounds, by the way, 238 00:09:00,021 --> 00:09:00,051 So those kinds of sounds, by the way, 239 00:09:00,051 --> 00:09:03,951 would be picked up after all the dialogue. 240 00:09:03,951 --> 00:09:07,161 The dialogue is done first, then we go back, 241 00:09:07,161 --> 00:09:11,221 and we pick up these effort sounds. 242 00:09:11,221 --> 00:09:12,061 So we can go back. 243 00:09:12,061 --> 00:09:14,821 So I know that what's happened here 244 00:09:14,821 --> 00:09:17,428 is the train's barreling down the track. 245 00:09:17,428 --> 00:09:19,261 Moment before the baby's hit, No-Effort Girl 246 00:09:19,261 --> 00:09:21,691 saves the baby in one hand while texting in the other. 247 00:09:21,691 --> 00:09:23,551 So she would go eugh! 248 00:09:23,551 --> 00:09:27,661 [PANTING] And I guess she's texting. 249 00:09:27,661 --> 00:09:30,021 She's got the baby in this hand and the phone in this hand, 250 00:09:30,021 --> 00:09:30,811 She's got the baby in this hand and the phone in this hand, 251 00:09:30,811 --> 00:09:33,601 and I don't know how anybody does that. 252 00:09:33,601 --> 00:09:36,751 But if she's like, No-Effort Girl, somehow, she 253 00:09:36,751 --> 00:09:40,621 can do that with her fingers, and she's going mm-mm-mm. 254 00:09:40,621 --> 00:09:43,381 So she might go mm-mm-mm-mm. 255 00:09:43,381 --> 00:09:47,071 But probably, there's music under all of this, 256 00:09:47,071 --> 00:09:48,961 and the music is going to drown this out. 257 00:09:48,961 --> 00:09:50,041 But it doesn't matter. 258 00:09:50,041 --> 00:09:53,581 You still have to do it, because you let them decide. 259 00:09:53,581 --> 00:09:57,121 Let the producer, let the editor decide. 260 00:09:57,121 --> 00:10:00,021 So No-Effort Girl is like flying through the air. 261 00:10:00,021 --> 00:10:00,331 So No-Effort Girl is like flying through the air. 262 00:10:00,331 --> 00:10:01,881 She's soaring through the air. 263 00:10:01,881 --> 00:10:02,881 Whee! 264 00:10:02,881 --> 00:10:05,461 All of a sudden, a wind comes along and blows her-- 265 00:10:05,461 --> 00:10:06,811 Whoa! 266 00:10:06,811 --> 00:10:08,581 That's an effort sound, whoa! 267 00:10:08,581 --> 00:10:11,401 Or something hits her in the gut-- ugh! 268 00:10:11,401 --> 00:10:12,691 That's an effort. 269 00:10:12,691 --> 00:10:17,861 Or she's lifting something really heavy-- 270 00:10:17,861 --> 00:10:20,111 uuugh. 271 00:10:20,111 --> 00:10:22,331 Lifting and then dropping it-- uugh-- 272 00:10:22,331 --> 00:10:24,073 on her foot. 273 00:10:24,073 --> 00:10:24,628 Uugh-- oof. 274 00:10:24,628 --> 00:10:25,128 Ow! 275 00:10:27,751 --> 00:10:29,059 You see I pulled off mic there. 276 00:10:29,059 --> 00:10:29,851 How was that, Jeff? 277 00:10:29,851 --> 00:10:30,021 Was that hot? 278 00:10:30,021 --> 00:10:30,459 Was that hot? 279 00:10:30,459 --> 00:10:31,501 JEFF: No, that was clean. 280 00:10:31,501 --> 00:10:32,891 Clean. 281 00:10:32,891 --> 00:10:34,391 Good. 282 00:10:34,391 --> 00:10:36,641 So then the wing of the plane catches fire, 283 00:10:36,641 --> 00:10:38,231 and the plane begins to plummet. 284 00:10:38,231 --> 00:10:40,121 [WHISTLING] It's coming down. 285 00:10:40,121 --> 00:10:42,101 No-Effort Girl props up the plane. 286 00:10:42,101 --> 00:10:45,236 [GRUNTING] While eating a sandwich. 287 00:10:45,236 --> 00:10:48,791 [GRUNTING and SMACKING] And liking 288 00:10:48,791 --> 00:10:50,711 pictures on social media. 289 00:10:50,711 --> 00:10:56,381 She holds up the phone to a scared passenger 290 00:10:56,381 --> 00:10:58,061 with food in her mouth. 291 00:10:58,061 --> 00:11:00,021 [LISPING HEAVILY] Should I heart this picture of Brandon, 292 00:11:00,021 --> 00:11:01,991 [LISPING HEAVILY] Should I heart this picture of Brandon, 293 00:11:01,991 --> 00:11:04,751 or is that too thirsty? 294 00:11:04,751 --> 00:11:08,651 OK, so then, the Galleria dell'Accademia di Firenze is 295 00:11:08,651 --> 00:11:09,641 missing its art. 296 00:11:09,641 --> 00:11:12,491 No-Effort paints her fingernails and cuffs 297 00:11:12,491 --> 00:11:15,641 the robbers, who carry paintings of Domenicos. 298 00:11:15,641 --> 00:11:16,781 A reporter approaches. 299 00:11:16,781 --> 00:11:19,331 OK, so in this one, there's a little effort here, 300 00:11:19,331 --> 00:11:23,351 where she's painting her nails. 301 00:11:23,351 --> 00:11:28,361 She might just be going [HUMS SOFTLY] [GRUNTS] like 302 00:11:28,361 --> 00:11:28,961 that. 303 00:11:28,961 --> 00:11:29,981 That's an effort, too. 304 00:11:29,981 --> 00:11:30,021 [GRUNTS] Or [GRUNTS LOUDLY] or [GRUNTS QUICKLY].. 305 00:11:30,021 --> 00:11:34,691 [GRUNTS] Or [GRUNTS LOUDLY] or [GRUNTS QUICKLY].. 306 00:11:34,691 --> 00:11:37,734 Lots of different ways to do all kinds of efforts. 307 00:11:37,734 --> 00:11:38,720 [GRUNTS] 308 00:11:38,720 --> 00:11:40,199 309 00:11:44,641 --> 00:11:48,378 So the montage ends, and then we're inside No-Effort 310 00:11:48,378 --> 00:11:50,211 Girl's bedroom again, and it's at nighttime, 311 00:11:50,211 --> 00:11:51,831 so this is the end of the day. 312 00:11:51,831 --> 00:11:55,521 No-Effort Girl checks her phone and sees 27 missed calls 313 00:11:55,521 --> 00:11:57,951 from Yikes the Dragon, and she says, 314 00:11:57,951 --> 00:11:59,601 [LISPING HEAVILY] oh, yes. 315 00:11:59,601 --> 00:12:00,021 That's weird. 316 00:12:00,021 --> 00:12:00,394 That's weird. 317 00:12:00,394 --> 00:12:02,061 [NORMAL VOICE] I think I'd like to say-- 318 00:12:02,061 --> 00:12:03,771 [LISPING HEAVILY] Oh, that's so weird. 319 00:12:03,771 --> 00:12:06,776 He usually only leaves seven messages. 320 00:12:06,776 --> 00:12:08,401 [NORMAL VOICE] But if we could do this, 321 00:12:08,401 --> 00:12:10,441 I think this would really be funny, if she said, 322 00:12:10,441 --> 00:12:12,024 [LISPING HEAVILY] Oh, that's so weird. 323 00:12:12,024 --> 00:12:16,323 He usually leaves only 67 messages. 324 00:12:16,323 --> 00:12:18,281 [NORMAL VOICE] You know, sometimes in a script, 325 00:12:18,281 --> 00:12:20,274 there's a little bit of time, and the director 326 00:12:20,274 --> 00:12:21,691 might say, yeah, have fun with it. 327 00:12:21,691 --> 00:12:24,233 Do whatever you want to, because I have an idea here that I'd 328 00:12:24,233 --> 00:12:25,181 like to just try out. 329 00:12:25,181 --> 00:12:26,251 So, yeah, go for it. 330 00:12:26,251 --> 00:12:28,351 But like improvisationally, sometimes you 331 00:12:28,351 --> 00:12:30,021 just throw caution to the wind and just have fun 332 00:12:30,021 --> 00:12:32,101 just throw caution to the wind and just have fun 333 00:12:32,101 --> 00:12:35,701 with the very last take that you give and make it 334 00:12:35,701 --> 00:12:36,491 fun for yourself. 335 00:12:36,491 --> 00:12:36,991 Who knows? 336 00:12:36,991 --> 00:12:39,131 That may be the one that's chosen. 337 00:12:39,131 --> 00:12:41,971 NANCY CARTWRIGHT: OK, folks I have a real treat for you. 338 00:12:41,971 --> 00:12:44,191 Now that we've recorded our first scene, 339 00:12:44,191 --> 00:12:46,381 we're going to add some storyboards to create what 340 00:12:46,381 --> 00:12:49,711 is called an animatic, rough black and white sketches that 341 00:12:49,711 --> 00:12:52,471 guide the animator to the final animation. 342 00:12:52,471 --> 00:12:53,710 So let's check it out. 343 00:12:53,710 --> 00:12:55,543 [MUSIC PLAYING- "NO EFFORT GIRL THEME SONG] 344 00:12:55,543 --> 00:12:58,221 (SINGING) So, I'm No-Effort Girl. 345 00:12:58,221 --> 00:13:00,021 Yes, I'm No-Effort Girl. 346 00:13:00,021 --> 00:13:00,511 Yes, I'm No-Effort Girl. 347 00:13:00,511 --> 00:13:04,941 And it's easy and boring to save the whole world. 348 00:13:04,941 --> 00:13:06,891 Like, whatever. 349 00:13:06,891 --> 00:13:08,789 [PHONE RINGING] 350 00:13:08,789 --> 00:13:10,581 No-Effort Girl Headquarters, or whatever. 351 00:13:10,581 --> 00:13:11,914 CALLER: [HIGH PITCHED GIBBERISH] 352 00:13:11,914 --> 00:13:15,086 Well, have you tried calling any other superheroes? 353 00:13:15,086 --> 00:13:15,711 [PHONE RINGING] 354 00:13:15,711 --> 00:13:16,211 Oof. 355 00:13:16,211 --> 00:13:16,811 Whoa. 356 00:13:16,811 --> 00:13:17,601 Jeez, hello? 357 00:13:17,601 --> 00:13:18,938 CALLER: [GIBBERISH] 358 00:13:18,938 --> 00:13:19,896 Your boat is sinking? 359 00:13:19,896 --> 00:13:20,751 CALLER: [GIBBERISH] 360 00:13:20,751 --> 00:13:21,186 How fast? 361 00:13:21,186 --> 00:13:21,978 CALLER: [GIBBERISH] 362 00:13:21,978 --> 00:13:23,961 NO-EFFORT GIRL: That's not an emergency. 363 00:13:23,961 --> 00:13:26,736 Call me when your shoes are wet, and cool it 364 00:13:26,736 --> 00:13:27,611 with the histrionics. 365 00:13:27,611 --> 00:13:28,886 [PHONES RINGING] 366 00:13:28,886 --> 00:13:30,021 (SHOUTING) Listen! 367 00:13:30,021 --> 00:13:30,251 (SHOUTING) Listen! 368 00:13:30,251 --> 00:13:36,831 I'm coming to, like, save you all, so just please chill out! 369 00:13:36,831 --> 00:13:38,190 370 00:13:40,002 --> 00:13:44,495 [GRUNTING] I know kids love trains, but that was-- 371 00:13:44,495 --> 00:13:45,429 that was a bit much. 372 00:13:45,429 --> 00:13:51,461 [GRUNTING] Should I heart this picture of Brandon, 373 00:13:51,461 --> 00:13:53,681 or is that too thirsty? 374 00:13:53,681 --> 00:13:55,227 He he he. 375 00:13:55,227 --> 00:13:56,787 [GRUNTING] 376 00:14:09,993 --> 00:14:12,258 [PHONE BEEPING] 377 00:14:12,258 --> 00:14:13,791 Hold on a second. 378 00:14:13,791 --> 00:14:15,451 That is so weird. 379 00:14:15,451 --> 00:14:19,491 He usually only leaves 67 messages! 380 00:14:19,491 --> 00:14:29,091 381 00:14:29,091 --> 00:14:30,021 Let me tell you something about ad libs. 382 00:14:30,021 --> 00:14:31,331 Let me tell you something about ad libs. 383 00:14:31,331 --> 00:14:33,341 Ad libs are little golden nuggets 384 00:14:33,341 --> 00:14:36,371 that you have like as an ace up your sleeve. 385 00:14:36,371 --> 00:14:38,891 If you are open to it, and you're very good, 386 00:14:38,891 --> 00:14:41,471 and you trust yourself in terms of improvisation, 387 00:14:41,471 --> 00:14:42,881 don't hold back. 388 00:14:42,881 --> 00:14:45,911 You know, there's a story that goes-- and it's the truth, 389 00:14:45,911 --> 00:14:47,651 because it happened to me-- 390 00:14:47,651 --> 00:14:50,711 is that geez, when I was way back in high school, 391 00:14:50,711 --> 00:14:52,151 I was in the marching band. 392 00:14:52,151 --> 00:14:55,481 And we would march from the high school to the football stadium. 393 00:14:55,481 --> 00:14:56,561 Dun-dun-dun-dun-dun. 394 00:14:56,561 --> 00:14:57,311 Fairmont West. 395 00:14:57,311 --> 00:14:58,091 Dun-dun-dun-dun. 396 00:14:58,091 --> 00:14:59,021 Fairmont West. 397 00:14:59,021 --> 00:15:00,021 And it was a drum cadence, and we would say these words. 398 00:15:00,021 --> 00:15:02,561 And it was a drum cadence, and we would say these words. 399 00:15:02,561 --> 00:15:04,744 Well, it changed my senior year. 400 00:15:04,744 --> 00:15:06,161 It changed to dun-dun-dun-dun-dun, 401 00:15:06,161 --> 00:15:07,541 eat my shorts. 402 00:15:07,541 --> 00:15:12,671 And d the people along the route to the football stadium 403 00:15:12,671 --> 00:15:15,341 had no idea what we were saying, because there were 200 404 00:15:15,341 --> 00:15:17,201 of us saying, eat my shorts. 405 00:15:17,201 --> 00:15:19,031 And they're like, kind of confused, 406 00:15:19,031 --> 00:15:20,848 but it was our own private joke. 407 00:15:20,848 --> 00:15:22,931 And we loved that, because we were in high school. 408 00:15:22,931 --> 00:15:26,291 All these years later, like 13 years later, 409 00:15:26,291 --> 00:15:27,881 I'm cast in this part. 410 00:15:27,881 --> 00:15:30,021 And it was just an ad lib at a table read. 411 00:15:30,021 --> 00:15:30,539 And it was just an ad lib at a table read. 412 00:15:30,539 --> 00:15:32,831 All of a sudden, I just threw out, [BART SIMPSON VOICE] 413 00:15:32,831 --> 00:15:34,031 eat my shorts! 414 00:15:34,031 --> 00:15:38,771 And next thing I know, it's on, like, billions of t-shirts, 415 00:15:38,771 --> 00:15:40,631 and it became like the number one 416 00:15:40,631 --> 00:15:43,661 catchphrase for Bart Simpson. 417 00:15:43,661 --> 00:15:46,901 Improv often just comes at the spur of the moment. 418 00:15:46,901 --> 00:15:49,241 All of a sudden, you're hit with an idea. 419 00:15:49,241 --> 00:15:51,881 And I do it usually on the fourth take. 420 00:15:51,881 --> 00:15:56,651 Like when I'm recording, I'll give it as an idea. 421 00:15:56,651 --> 00:15:58,871 And I just sort of trust in myself, 422 00:15:58,871 --> 00:16:00,021 and either they're going to use it 423 00:16:00,021 --> 00:16:00,401 and either they're going to use it 424 00:16:00,401 --> 00:16:01,693 or they're not going to use it. 425 00:16:01,693 --> 00:16:04,244 I don't put any attention on, this is the best one. 426 00:16:04,244 --> 00:16:06,161 You should totally use it, because it's mine-- 427 00:16:06,161 --> 00:16:07,841 has nothing to do with that. 428 00:16:07,841 --> 00:16:10,451 Ego, that has nothing to do with this. 429 00:16:10,451 --> 00:16:13,661 It just has to do with the idea of trusting yourself, 430 00:16:13,661 --> 00:16:16,541 and that you should be able to do that as an artist, 431 00:16:16,541 --> 00:16:17,861 express yourself. 432 00:16:17,861 --> 00:16:18,671 And you know what? 433 00:16:18,671 --> 00:16:21,221 They appreciate it, because sometimes, 434 00:16:21,221 --> 00:16:25,701 it is better, because it is organic. 435 00:16:25,701 --> 00:16:29,341 So always trust yourself, because you're right. 1 00:00:00,021 --> 00:00:03,388 2 00:00:06,654 --> 00:00:08,321 NANCY CARTWRIGHT: In addition to keeping 3 00:00:08,321 --> 00:00:10,391 their voices consistent, voice actors 4 00:00:10,391 --> 00:00:14,051 also need to showcase a huge range of emotion, 5 00:00:14,051 --> 00:00:16,150 sometimes even in the same scene. 6 00:00:16,150 --> 00:00:19,241 7 00:00:19,241 --> 00:00:22,211 For example, in one of "The Simpsons" episodes, 8 00:00:22,211 --> 00:00:28,431 Bart gets an F. There is a huge emotional range that Bart has. 9 00:00:28,431 --> 00:00:30,021 So when Bart finds out that he gets an F, 10 00:00:30,021 --> 00:00:31,991 So when Bart finds out that he gets an F, 11 00:00:31,991 --> 00:00:36,215 he gets so incredibly frustrated. 12 00:00:36,215 --> 00:00:37,621 [FOOTSTEPS ON TV] 13 00:00:37,621 --> 00:00:39,431 Please turn in your exam, Bart. 14 00:00:39,431 --> 00:00:41,974 Class is over. 15 00:00:41,974 --> 00:00:43,891 Do you think you could grade it now, please? 16 00:00:43,891 --> 00:00:45,511 Well, all right. 17 00:00:45,511 --> 00:00:47,566 Let me get Old Red. 18 00:00:47,566 --> 00:00:49,511 [SQUEAKING] 19 00:00:49,511 --> 00:00:50,011 Mm-hmm. 20 00:00:50,011 --> 00:00:51,971 [SQUEAKING] 21 00:00:51,971 --> 00:00:53,491 Mm-hmm. 22 00:00:53,491 --> 00:00:54,751 Well, Bart, it's a 59. 23 00:00:54,751 --> 00:00:56,221 That's another F. 24 00:00:56,221 --> 00:00:57,511 Oh, no. 25 00:00:57,511 --> 00:00:59,011 I can't believe it. 26 00:00:59,011 --> 00:01:00,021 I know, I know. 27 00:01:00,021 --> 00:01:00,211 I know, I know. 28 00:01:00,211 --> 00:01:01,591 Another year together. 29 00:01:01,591 --> 00:01:04,899 Oh, it's going to be hell. 30 00:01:04,899 --> 00:01:06,807 [WHIMPERING] 31 00:01:06,807 --> 00:01:08,715 32 00:01:08,715 --> 00:01:09,681 [SOBBING] 33 00:01:09,681 --> 00:01:10,521 What's the matter? 34 00:01:10,521 --> 00:01:13,931 Well, I would think you'd be used to failing by now. 35 00:01:13,931 --> 00:01:16,131 No, you don't understand. 36 00:01:16,131 --> 00:01:17,991 I really tried this time. 37 00:01:17,991 --> 00:01:19,671 I mean, I really tried. 38 00:01:19,671 --> 00:01:22,011 There, there. 39 00:01:22,011 --> 00:01:25,111 This is as good as I can do, and I still failed. 40 00:01:25,111 --> 00:01:28,011 Well, a 59, it's a high F. 41 00:01:28,011 --> 00:01:29,451 Who am I kidding? 42 00:01:29,451 --> 00:01:30,021 I really am a failure. 43 00:01:30,021 --> 00:01:30,636 I really am a failure. 44 00:01:30,636 --> 00:01:35,661 [SOBBING] Oh, now I know how George Washington 45 00:01:35,661 --> 00:01:38,031 felt when he surrendered Fort Necessity to the French 46 00:01:38,031 --> 00:01:39,411 in 1754. 47 00:01:39,411 --> 00:01:40,311 What? 48 00:01:40,311 --> 00:01:44,271 Oh, you know 1754, the famous defeat to the French. 49 00:01:44,271 --> 00:01:46,391 My god, Bart, you're right. 50 00:01:46,391 --> 00:01:46,941 So? 51 00:01:46,941 --> 00:01:49,611 You just demonstrated applied knowledge. 52 00:01:49,611 --> 00:01:51,921 And due to the difficulty and relative obscurity 53 00:01:51,921 --> 00:01:54,651 of the reference, you deserve an extra point on your exam. 54 00:01:54,651 --> 00:01:56,271 Hey, it's only fair. 55 00:01:56,271 --> 00:01:58,251 You mean, I passed? 56 00:01:58,251 --> 00:01:59,221 Just barely. 57 00:01:59,221 --> 00:02:00,021 [GASPS] I passed. 58 00:02:00,021 --> 00:02:00,741 [GASPS] I passed. 59 00:02:00,741 --> 00:02:02,441 I got a D-minus. 60 00:02:02,441 --> 00:02:03,234 I passed. 61 00:02:03,234 --> 00:02:05,206 [LAUGHS] 62 00:02:05,206 --> 00:02:06,191 [SMOOCH] 63 00:02:06,191 --> 00:02:06,691 I passed. 64 00:02:06,691 --> 00:02:07,311 I passed. 65 00:02:07,311 --> 00:02:07,891 I passed. 66 00:02:07,891 --> 00:02:09,335 I got a D-minus. 67 00:02:09,335 --> 00:02:09,835 I passed. 68 00:02:09,835 --> 00:02:11,279 I got a D-minus. 69 00:02:11,279 --> 00:02:11,779 I passed. 70 00:02:11,779 --> 00:02:12,751 I got a D-minus. 71 00:02:12,751 --> 00:02:13,723 I passed. 72 00:02:13,723 --> 00:02:14,695 I passed. 73 00:02:14,695 --> 00:02:18,511 I-- kissed the teacher. 74 00:02:18,511 --> 00:02:21,331 [SPITS] 75 00:02:21,331 --> 00:02:24,781 When I did that, honestly, I really 76 00:02:24,781 --> 00:02:26,081 wasn't thinking about it. 77 00:02:26,081 --> 00:02:28,411 I'm just hired as a performer, and I'm just 78 00:02:28,411 --> 00:02:30,021 delivering the goods. 79 00:02:30,021 --> 00:02:30,211 delivering the goods. 80 00:02:30,211 --> 00:02:33,331 But I allowed myself to really feel, 81 00:02:33,331 --> 00:02:39,001 and really I backed up the emotional stress 82 00:02:39,001 --> 00:02:40,531 that Bart was having. 83 00:02:40,531 --> 00:02:43,051 It was for real for me when I did it. 84 00:02:43,051 --> 00:02:45,211 It's like I wasn't really acting. 85 00:02:45,211 --> 00:02:48,291 I just made it some truth. 86 00:02:48,291 --> 00:02:50,801 Here's the deal, is that when you are doing these scenes, 87 00:02:50,801 --> 00:02:53,134 you're going to be creating a lot of different emotions. 88 00:02:53,134 --> 00:02:55,091 You're doing all kinds of things from being 89 00:02:55,091 --> 00:02:58,001 super exhilarated to being depressed to being 90 00:02:58,001 --> 00:02:59,861 you don't know what to say anymore 91 00:02:59,861 --> 00:03:00,021 to being angry to being completely bored with life. 92 00:03:00,021 --> 00:03:03,911 to being angry to being completely bored with life. 93 00:03:03,911 --> 00:03:07,271 All this stuff, you got to trust your instincts, guys. 94 00:03:07,271 --> 00:03:09,701 Trust your instincts emotionally, and don't 95 00:03:09,701 --> 00:03:11,321 be afraid to go there. 96 00:03:11,321 --> 00:03:13,091 Because when you use the emotions 97 00:03:13,091 --> 00:03:16,031 and use all the things that I gave you in your little tool 98 00:03:16,031 --> 00:03:19,481 kit, don't hold back on gesturing, 99 00:03:19,481 --> 00:03:22,964 on furrowing your brow, on pursing your lips, 100 00:03:22,964 --> 00:03:24,881 something like-- because these kinds of things 101 00:03:24,881 --> 00:03:28,841 help to define who these individual characters are. 102 00:03:28,841 --> 00:03:30,021 So I have a scene here from "No-Effort Girl" 103 00:03:30,021 --> 00:03:31,211 So I have a scene here from "No-Effort Girl" 104 00:03:31,211 --> 00:03:35,201 where I am going to take you on an emotional journey. 105 00:03:35,201 --> 00:03:36,161 Ready? 106 00:03:36,161 --> 00:03:38,711 Let's get emotional. 107 00:03:38,711 --> 00:03:41,351 I don't think anyone has ever said those words like that 108 00:03:41,351 --> 00:03:43,001 before animated me. 109 00:03:43,001 --> 00:03:43,856 You're an innovator. 110 00:03:43,856 --> 00:03:47,261 111 00:03:50,701 --> 00:03:54,571 I'm going to demonstrate to you a scene to show some emotional 112 00:03:54,571 --> 00:03:56,701 change with two of the characters from "No-Effort 113 00:03:56,701 --> 00:03:57,258 Girl." 114 00:03:57,258 --> 00:03:59,341 One of them is Yikes the Dragon, and the other one 115 00:03:59,341 --> 00:04:00,021 is our leading girl, No-Effort Girl. 116 00:04:00,021 --> 00:04:02,131 is our leading girl, No-Effort Girl. 117 00:04:02,131 --> 00:04:04,321 So you're going to see some emotional changes 118 00:04:04,321 --> 00:04:07,741 in especially Yikes the Dragon. 119 00:04:07,741 --> 00:04:09,961 What I did at the very top, when I got the script, 120 00:04:09,961 --> 00:04:13,741 I wrote out of breath, optimistic, southern, slow, 121 00:04:13,741 --> 00:04:16,350 up/down emotion, just meaning the range 122 00:04:16,350 --> 00:04:19,561 in this particular scene is very-- 123 00:04:19,561 --> 00:04:23,461 it's super exciting and super angry, way high and low. 124 00:04:23,461 --> 00:04:27,331 And for this character, for Yikes the Dragon, I say-- 125 00:04:27,331 --> 00:04:28,831 I pull words. 126 00:04:28,831 --> 00:04:30,021 What that means is like, "Yikes, Two Mouth. 127 00:04:30,021 --> 00:04:32,881 What that means is like, "Yikes, Two Mouth. 128 00:04:32,881 --> 00:04:36,071 Two Mouth, we're best friends." 129 00:04:36,071 --> 00:04:39,001 I pull that word out, so that's a quality 130 00:04:39,001 --> 00:04:42,511 that this character has, that he has a tendency 131 00:04:42,511 --> 00:04:46,831 to sometimes draw out words and to emphasize them. 132 00:04:46,831 --> 00:04:48,481 And that's emphasizes there. 133 00:04:48,481 --> 00:04:53,521 Then in the margins I have frustrated, apology. 134 00:04:53,521 --> 00:04:56,461 There's an arrow there that says "afterthought," 135 00:04:56,461 --> 00:04:58,801 because No-Effort Girl. 136 00:04:58,801 --> 00:05:00,021 I've got it in parentheses, like, "Yes, 137 00:05:00,021 --> 00:05:01,111 I've got it in parentheses, like, "Yes, 138 00:05:01,111 --> 00:05:02,521 whatever, do whatever you want." 139 00:05:02,521 --> 00:05:03,721 It's an afterthought. 140 00:05:03,721 --> 00:05:05,281 It's like a throwaway. 141 00:05:05,281 --> 00:05:08,281 It's not a super significant line. 142 00:05:08,281 --> 00:05:11,791 More significant is, "Obviously, you haven't reached 143 00:05:11,791 --> 00:05:13,011 No-Effort Girl. 144 00:05:13,011 --> 00:05:14,721 Do you want it." 145 00:05:14,721 --> 00:05:17,651 It's a-- it's throwaway. 146 00:05:17,651 --> 00:05:19,001 So those are some examples. 147 00:05:19,001 --> 00:05:23,051 Drama queen, it's all about me, he's confused, 148 00:05:23,051 --> 00:05:26,631 things like this, these notes that will help you. 149 00:05:26,631 --> 00:05:29,181 All right, so it's exterior of the radio station, 150 00:05:29,181 --> 00:05:30,021 and Yikes the Dragon parks in a compact car in a parking 151 00:05:30,021 --> 00:05:33,021 and Yikes the Dragon parks in a compact car in a parking 152 00:05:33,021 --> 00:05:34,401 spot labeled, Yikes! 153 00:05:34,401 --> 00:05:37,341 The Dragon, Station Manager. 154 00:05:37,341 --> 00:05:40,521 It's in the daytime, and now it's inside the radio station. 155 00:05:40,521 --> 00:05:45,131 And Yikes stands in the middle of an empty radio station. 156 00:05:45,131 --> 00:05:46,601 "Two Mouth! 157 00:05:46,601 --> 00:05:49,781 Two Mouth, where are you?! 158 00:05:49,781 --> 00:05:52,631 Oh no, you're not here. 159 00:05:52,631 --> 00:05:56,621 We got a radio show and no radio host!" 160 00:05:56,621 --> 00:05:58,301 So he starts pacing. 161 00:05:58,301 --> 00:05:59,651 "Wait! 162 00:05:59,651 --> 00:06:00,021 I'm best friends with a superhero. 163 00:06:00,021 --> 00:06:03,941 I'm best friends with a superhero. 164 00:06:03,941 --> 00:06:06,221 She can find them!" 165 00:06:06,221 --> 00:06:08,321 He calls for No-Effort Girl on his phone. 166 00:06:08,321 --> 00:06:12,081 It goes directly to voicemail. 167 00:06:12,081 --> 00:06:15,411 "Obviously, you haven't reached No-Effort Girl, 168 00:06:15,411 --> 00:06:18,501 so eh, do whatever you want." 169 00:06:18,501 --> 00:06:20,121 Beep. 170 00:06:20,121 --> 00:06:23,151 "Hey, Girl, you didn't pick up, which 171 00:06:23,151 --> 00:06:25,581 to be honest is pretty frustrating, because I 172 00:06:25,581 --> 00:06:26,781 need your help. 173 00:06:26,781 --> 00:06:28,851 I feel like you're blowing me off. 174 00:06:28,851 --> 00:06:30,021 So are you too good for my phone calls now?" 175 00:06:30,021 --> 00:06:31,941 So are you too good for my phone calls now?" 176 00:06:31,941 --> 00:06:33,691 He hangs up. 177 00:06:33,691 --> 00:06:34,281 "Whoops. 178 00:06:34,281 --> 00:06:36,171 I should probably call back." 179 00:06:36,171 --> 00:06:37,761 So there's a series of shots. 180 00:06:37,761 --> 00:06:39,801 Yikes leaves many messages. 181 00:06:39,801 --> 00:06:42,111 "Eh, do whatever you want." 182 00:06:42,111 --> 00:06:43,731 Beep. 183 00:06:43,731 --> 00:06:44,481 "Oh, my. 184 00:06:44,481 --> 00:06:46,791 My, oh my, is there in an erase button? 185 00:06:46,791 --> 00:06:49,711 I am so embarrassed, so embarrassed that I'm 186 00:06:49,711 --> 00:06:50,211 hanging up. 187 00:06:50,211 --> 00:06:51,231 Bye!" 188 00:06:51,231 --> 00:06:53,091 Beep. 189 00:06:53,091 --> 00:06:54,381 "You know what? 190 00:06:54,381 --> 00:06:55,761 This situation is great! 191 00:06:55,761 --> 00:06:58,281 [LAUGHS] It's character building. 192 00:06:58,281 --> 00:07:00,021 And adversity makes you stronger. 193 00:07:00,021 --> 00:07:00,181 And adversity makes you stronger. 194 00:07:00,181 --> 00:07:02,301 So it's probably the best part of my life. 195 00:07:02,301 --> 00:07:03,261 Bye!" 196 00:07:03,261 --> 00:07:04,131 Beep. 197 00:07:04,131 --> 00:07:06,531 [SOBBING] 198 00:07:06,531 --> 00:07:09,801 "I'm all alone, and it's all your fault! 199 00:07:09,801 --> 00:07:13,501 And to top it off, I have athlete's foot, 200 00:07:13,501 --> 00:07:15,586 which is insane, because I'm not an athlete." 201 00:07:15,586 --> 00:07:16,086 Beep. 202 00:07:17,946 --> 00:07:21,261 "You just roll out of bed and save the world. 203 00:07:21,261 --> 00:07:24,171 You have no idea what it's like to go shoe shopping 204 00:07:24,171 --> 00:07:26,841 and ask if they have a size 47 wide. 205 00:07:26,841 --> 00:07:30,021 They never do, but they always say 'Check in the back.'" 206 00:07:30,021 --> 00:07:30,751 They never do, but they always say 'Check in the back.'" 207 00:07:30,751 --> 00:07:33,011 Just then, his phone rings. 208 00:07:33,011 --> 00:07:34,951 It's No-Effort Girl. 209 00:07:34,951 --> 00:07:36,271 "Hey! 210 00:07:36,271 --> 00:07:38,581 Did you listen to my messages? 211 00:07:38,581 --> 00:07:39,811 Of course not. 212 00:07:39,811 --> 00:07:41,791 What am I like 90? 213 00:07:41,791 --> 00:07:43,664 So what's up?" 214 00:07:43,664 --> 00:07:44,831 That's the end of the scene. 215 00:07:44,831 --> 00:07:48,114 216 00:07:51,871 --> 00:07:55,041 So you guys, I want to talk a little bit about the writing. 217 00:07:55,041 --> 00:07:57,681 You get this genius. 218 00:07:57,681 --> 00:08:00,021 It's black on white, and this is a writer's idea. 219 00:08:00,021 --> 00:08:00,801 It's black on white, and this is a writer's idea. 220 00:08:00,801 --> 00:08:03,501 It's the whole concept of not only a whole character 221 00:08:03,501 --> 00:08:05,961 and all these characters that make the show, 222 00:08:05,961 --> 00:08:07,881 but he's trying to-- he or she-- is 223 00:08:07,881 --> 00:08:09,831 trying to put a message there. 224 00:08:09,831 --> 00:08:11,961 There is something that is being communicated. 225 00:08:11,961 --> 00:08:17,061 So your job as the actor is to take those words off the page 226 00:08:17,061 --> 00:08:19,501 and make them your own. 227 00:08:19,501 --> 00:08:23,271 So in order to do that, I can see little hints in here 228 00:08:23,271 --> 00:08:27,021 like embarrassed, denial, heavy crying, jealous. 229 00:08:27,021 --> 00:08:30,021 That's fine that the writer puts that in there, 230 00:08:30,021 --> 00:08:30,201 That's fine that the writer puts that in there, 231 00:08:30,201 --> 00:08:35,200 but honestly, the writing itself tells me what that is. 232 00:08:35,200 --> 00:08:38,180 It's obvious to me what that is. 233 00:08:38,180 --> 00:08:39,981 Sometimes they'll even-- they'll say things 234 00:08:39,981 --> 00:08:44,241 like "a little understated" or "to herself." 235 00:08:44,241 --> 00:08:46,671 As an actor, that's a choice that you can make. 236 00:08:46,671 --> 00:08:50,661 You don't have to be married to those words. 237 00:08:50,661 --> 00:08:52,491 Leave that up to the director. 238 00:08:52,491 --> 00:08:54,471 The director will guide you in the way 239 00:08:54,471 --> 00:08:56,361 he or she wants it to come out. 240 00:08:56,361 --> 00:08:59,571 And by giving three or four options, 241 00:08:59,571 --> 00:09:00,021 they can make that decision. 242 00:09:00,021 --> 00:09:01,501 they can make that decision. 243 00:09:01,501 --> 00:09:05,361 So let's see, I'm going to show you how I can take one line 244 00:09:05,361 --> 00:09:07,501 and make it a little bit different, 245 00:09:07,501 --> 00:09:09,231 and then I leave that up to them. 246 00:09:09,231 --> 00:09:11,301 This is their show. 247 00:09:11,301 --> 00:09:13,911 OK, so here-- I'm going to just take this line. 248 00:09:13,911 --> 00:09:17,871 You can-- it's a second line in the script. 249 00:09:17,871 --> 00:09:18,921 The line is, "Wait! 250 00:09:18,921 --> 00:09:21,021 I'm best friends with a superhero. 251 00:09:21,021 --> 00:09:22,401 She can find them!" 252 00:09:22,401 --> 00:09:24,021 And it's Yikes the Dragon. 253 00:09:24,021 --> 00:09:27,261 So here's-- my first instinct is to say, "Wait! 254 00:09:27,261 --> 00:09:29,601 I'm best friends with a superhero. 255 00:09:29,601 --> 00:09:30,021 She can find them!" 256 00:09:30,021 --> 00:09:31,531 She can find them!" 257 00:09:31,531 --> 00:09:33,231 So here's another way. 258 00:09:33,231 --> 00:09:37,671 "Wait, I'm best friends with a superhero. 259 00:09:37,671 --> 00:09:39,501 She can find them!" 260 00:09:39,501 --> 00:09:40,911 You see the difference there? 261 00:09:40,911 --> 00:09:44,001 That second way was like her discovering. 262 00:09:44,001 --> 00:09:47,421 While she's saying the line, she's realizing, 263 00:09:47,421 --> 00:09:48,591 "I could do this!" 264 00:09:48,591 --> 00:09:50,571 So it changes it just a little bit. 265 00:09:50,571 --> 00:09:55,691 And here's a third way right off the top of my head. 266 00:09:55,691 --> 00:10:00,021 "Wait, I'm best friends with a superhero. 267 00:10:00,021 --> 00:10:00,041 "Wait, I'm best friends with a superhero. 268 00:10:00,041 --> 00:10:02,171 She can find them." 269 00:10:02,171 --> 00:10:05,711 So that's taking that second idea 270 00:10:05,711 --> 00:10:08,201 and bringing it down just a little bit. 271 00:10:08,201 --> 00:10:11,681 Not so much effort is put into it. 272 00:10:11,681 --> 00:10:14,451 It's a little more subtle. 273 00:10:14,451 --> 00:10:17,661 I could probably go on and do four, five, six, eight, nine, 274 00:10:17,661 --> 00:10:18,501 10. 275 00:10:18,501 --> 00:10:19,991 But that gives you an idea. 276 00:10:19,991 --> 00:10:21,561 277 00:10:21,561 --> 00:10:25,521 Now that we've gone through that emotional roller coaster, 278 00:10:25,521 --> 00:10:28,011 let's see how my performance is enhanced by adding 279 00:10:28,011 --> 00:10:30,021 some art movement and styling. 280 00:10:30,021 --> 00:10:30,141 some art movement and styling. 281 00:10:30,141 --> 00:10:32,691 And let's get some color in there while we're at it. 282 00:10:32,691 --> 00:10:33,461 Roll picture. 283 00:10:33,461 --> 00:10:34,865 284 00:10:34,865 --> 00:10:36,741 [ENGINE PUTTERING] 285 00:10:36,741 --> 00:10:38,211 Two Mouth! 286 00:10:38,211 --> 00:10:41,661 Two mouth, where are you? 287 00:10:41,661 --> 00:10:44,151 Oh no, they're not here. 288 00:10:44,151 --> 00:10:47,421 We got a radio show and no radio host. 289 00:10:47,421 --> 00:10:49,941 [RAPID FOOTSTEPS] 290 00:10:49,941 --> 00:10:51,291 Wait! 291 00:10:51,291 --> 00:10:54,291 I'm best friends with a superhero. 292 00:10:54,291 --> 00:10:55,571 She can find them. 293 00:10:55,571 --> 00:10:57,507 [BUTTONS BEEPING] 294 00:10:57,507 --> 00:10:58,558 [RINGING] 295 00:10:58,558 --> 00:11:00,016 NO EFFORT GIRL (VOICEMAIL MESSAGE): 296 00:11:00,016 --> 00:11:00,021 Obviously, you haven't reached No-Effort Girl. 297 00:11:00,021 --> 00:11:03,401 Obviously, you haven't reached No-Effort Girl. 298 00:11:03,401 --> 00:11:04,751 Do whatever you want. 299 00:11:04,751 --> 00:11:05,951 [BEEP] 300 00:11:05,951 --> 00:11:09,041 Hey, Girl, you didn't pick up, which to be honest, 301 00:11:09,041 --> 00:11:11,981 it's pretty frustrating, because I need your help. 302 00:11:11,981 --> 00:11:13,721 I feel like you're blowing me off. 303 00:11:13,721 --> 00:11:15,881 Are you too good for my phone calls now? 304 00:11:15,881 --> 00:11:16,801 [SLAM] 305 00:11:16,801 --> 00:11:17,801 Oops. 306 00:11:17,801 --> 00:11:19,697 I should probably call back. 307 00:11:19,697 --> 00:11:20,431 [RINGING] 308 00:11:20,431 --> 00:11:22,806 NO EFFORT GIRL (VOICEMAIL MESSAGE): Do whatever you want. 309 00:11:22,806 --> 00:11:24,341 [BEEP] 310 00:11:24,341 --> 00:11:25,571 You know what? 311 00:11:25,571 --> 00:11:26,981 This situation is great. 312 00:11:26,981 --> 00:11:27,881 [CHUCKLES] 313 00:11:27,881 --> 00:11:29,171 It's character building. 314 00:11:29,171 --> 00:11:30,021 And adversity makes you stronger. 315 00:11:30,021 --> 00:11:31,813 And adversity makes you stronger. 316 00:11:31,813 --> 00:11:33,521 So it's probably the best day of my life. 317 00:11:33,521 --> 00:11:34,021 Bye! 318 00:11:34,021 --> 00:11:35,511 [CLICK] 319 00:11:35,511 --> 00:11:36,011 [BEEP] 320 00:11:36,011 --> 00:11:39,491 You just roll out of bed and save the world. 321 00:11:39,491 --> 00:11:42,401 You have no idea what it's like to go shoe shopping 322 00:11:42,401 --> 00:11:45,641 and ask if they have a size 47 wide. 323 00:11:45,641 --> 00:11:48,221 They never do, but they always say, "I'll check in the back." 324 00:11:48,221 --> 00:11:48,907 [BEEP] 325 00:11:48,907 --> 00:11:50,381 [SOBBING] 326 00:11:50,381 --> 00:11:54,191 I'm all alone, and it's your fault. But to top it off, 327 00:11:54,191 --> 00:11:57,161 I have athlete's foot, which is insane, because I'm not an-- 328 00:11:57,161 --> 00:11:58,271 [BEEP] 329 00:11:58,271 --> 00:12:00,021 Oh my, my oh my, is there in an erase button? 330 00:12:00,021 --> 00:12:01,301 Oh my, my oh my, is there in an erase button? 331 00:12:01,301 --> 00:12:04,251 I'm so embarrassed, so embarrassed that I'm 332 00:12:04,251 --> 00:12:04,751 hanging up. 333 00:12:04,751 --> 00:12:05,251 Bye! 334 00:12:05,251 --> 00:12:06,783 [SLAM] 335 00:12:06,783 --> 00:12:08,172 [RINGING] 336 00:12:08,172 --> 00:12:10,031 [RAPID FOOTSTEPS] 337 00:12:10,031 --> 00:12:12,193 Hey, did you listen to my messages? 338 00:12:12,193 --> 00:12:13,901 NO-EFFORT GIRL (ON PHONE): Of course not. 339 00:12:13,901 --> 00:12:15,851 What am I, like 90? 340 00:12:15,851 --> 00:12:17,171 So what's up? 341 00:12:17,171 --> 00:12:17,771 [GROANS] 342 00:12:17,771 --> 00:12:20,521 1 00:00:00,021 --> 00:00:02,913 2 00:00:08,533 --> 00:00:10,491 ANIMATED NANCY CARTWRIGHT: All right, everyone. 3 00:00:10,491 --> 00:00:12,491 This is the culmination of everything 4 00:00:12,491 --> 00:00:13,911 we've learned so far. 5 00:00:13,911 --> 00:00:16,061 We've created our voices. 6 00:00:16,061 --> 00:00:18,971 We've learned how to keep them consistent. 7 00:00:18,971 --> 00:00:22,481 We know how to utilize our mic. 8 00:00:22,481 --> 00:00:26,291 So let's take all of that and voice all of the main 9 00:00:26,291 --> 00:00:30,021 characters for "No-Effort Girl" at the same time. 10 00:00:30,021 --> 00:00:30,071 characters for "No-Effort Girl" at the same time. 11 00:00:30,071 --> 00:00:32,081 And then after the readthrough, we'll 12 00:00:32,081 --> 00:00:34,931 show you how a director can be your collaborator. 13 00:00:34,931 --> 00:00:37,061 And when we're done, we'll see it all 14 00:00:37,061 --> 00:00:40,991 come together in No-Effort Girl's first ever fully 15 00:00:40,991 --> 00:00:42,851 animated scene. 16 00:00:42,851 --> 00:00:43,451 I know. 17 00:00:43,451 --> 00:00:43,961 I know. 18 00:00:43,961 --> 00:00:45,101 It's a lot. 19 00:00:45,101 --> 00:00:47,301 But it's totally doable. 20 00:00:47,301 --> 00:00:52,721 So let's send it to the blonde lady in a tiny booth, Nancy 21 00:00:52,721 --> 00:00:53,631 Cartwright. 22 00:00:53,631 --> 00:00:56,821 [APPLAUSE] 23 00:00:56,821 --> 00:00:59,371 Very game show of you, animated me. 24 00:00:59,371 --> 00:00:59,971 Thanks. 25 00:00:59,971 --> 00:01:00,021 26 00:01:00,021 --> 00:01:02,396 27 00:01:06,281 --> 00:01:10,061 So say you've been cast, and now you've got four characters. 28 00:01:10,061 --> 00:01:12,551 And they are all in one scene. 29 00:01:12,551 --> 00:01:16,071 And it's you talking to you talking to you talking to you. 30 00:01:16,071 --> 00:01:18,311 So let's just do this, and believe me. 31 00:01:18,311 --> 00:01:20,801 They're highlighted and they're in different colors 32 00:01:20,801 --> 00:01:23,831 so I can keep these characters straight. 33 00:01:23,831 --> 00:01:25,446 Let's have a shot at this. 34 00:01:25,446 --> 00:01:26,321 MAN: OK, I'm rolling. 35 00:01:26,321 --> 00:01:27,981 This is take one. 36 00:01:27,981 --> 00:01:30,021 Exterior Earth from space, we see a blur racing 37 00:01:30,021 --> 00:01:31,361 Exterior Earth from space, we see a blur racing 38 00:01:31,361 --> 00:01:34,001 around the Earth multiple times. 39 00:01:34,001 --> 00:01:37,181 Now we cut interior to the radio station. 40 00:01:37,181 --> 00:01:38,831 Yikes stands in the hallway. 41 00:01:38,831 --> 00:01:42,161 No-Effort whips into frame. 42 00:01:42,161 --> 00:01:43,031 Shucks. 43 00:01:43,031 --> 00:01:45,981 I searched every inch of the world. 44 00:01:45,981 --> 00:01:49,331 And I didn't find Two Mouth anywhere. 45 00:01:49,331 --> 00:01:52,841 Girl, this situation is worse than my dragon breath. 46 00:01:52,841 --> 00:01:58,131 We got no host, and we're on the air in 1 minute. 47 00:01:58,131 --> 00:01:59,441 So why don't you just-- 48 00:01:59,441 --> 00:02:00,021 [GASPS] 49 00:02:00,021 --> 00:02:00,191 [GASPS] 50 00:02:00,191 --> 00:02:03,611 Why don't you just host the show? 51 00:02:03,611 --> 00:02:06,611 I mean, sure. 52 00:02:06,611 --> 00:02:09,591 It's my biggest dream to be the host instead of the station 53 00:02:09,591 --> 00:02:10,091 manager. 54 00:02:10,091 --> 00:02:13,001 But Two Mouth would kill me. 55 00:02:13,001 --> 00:02:17,051 I think that you just gotta host it, Yikes. 56 00:02:17,051 --> 00:02:19,151 You don't have another choice. 57 00:02:19,151 --> 00:02:22,031 Oh, golly, sweet baby dragon eggs. 58 00:02:22,031 --> 00:02:22,931 OK. 59 00:02:22,931 --> 00:02:26,481 You set up the booth, and I'll turn everything on. 60 00:02:26,481 --> 00:02:29,711 So now we're interior in the sound booth in the daytime. 61 00:02:29,711 --> 00:02:30,021 And No-Effort enters and finds Two Mouth. 62 00:02:30,021 --> 00:02:33,881 And No-Effort enters and finds Two Mouth. 63 00:02:33,881 --> 00:02:36,881 Uninvited visitor in the house. 64 00:02:36,881 --> 00:02:43,841 If you're not here to bring me coffee, get the hell out. 65 00:02:43,841 --> 00:02:45,871 You were here the whole time? 66 00:02:45,871 --> 00:02:49,781 Oh, something's big time super bogus. 67 00:02:49,781 --> 00:02:53,891 Pan out to reveal a sheet draped over something. 68 00:02:53,891 --> 00:02:55,181 What's this? 69 00:02:55,181 --> 00:03:00,021 No-Effort Girl pulls the sheet and reveals the David. 70 00:03:00,021 --> 00:03:01,351 No-Effort Girl pulls the sheet and reveals the David. 71 00:03:01,351 --> 00:03:03,191 A naked dude! 72 00:03:03,191 --> 00:03:03,691 Stop. 73 00:03:03,691 --> 00:03:04,111 Hold on. 74 00:03:04,111 --> 00:03:04,611 Wait. 75 00:03:04,611 --> 00:03:06,381 This is from that museum. 76 00:03:06,381 --> 00:03:08,491 Did you put a baby monster on a train track 77 00:03:08,491 --> 00:03:11,771 and blow up the wing of a plane today? 78 00:03:11,771 --> 00:03:13,408 I'm not going to say-- 79 00:03:13,408 --> 00:03:13,991 wait a minute. 80 00:03:13,991 --> 00:03:14,741 That's-- whoops. 81 00:03:14,741 --> 00:03:15,641 Wrong one. 82 00:03:15,641 --> 00:03:19,281 I'm not going to say no. 83 00:03:19,281 --> 00:03:22,341 See, if it's not highlighted in a different color, 84 00:03:22,341 --> 00:03:23,871 you may get confused. 85 00:03:23,871 --> 00:03:28,791 Anyway, realization sweeps over No-Effort Girl's face. 86 00:03:28,791 --> 00:03:30,021 You mast-- you're the mastermind behind my annoying day? 87 00:03:30,021 --> 00:03:34,371 You mast-- you're the mastermind behind my annoying day? 88 00:03:34,371 --> 00:03:35,121 You bet. 89 00:03:35,121 --> 00:03:37,521 By morning, I'm a DJ. 90 00:03:37,521 --> 00:03:42,471 And by mid-afternoon, I'm a master criminal and general 91 00:03:42,471 --> 00:03:43,236 no-goodnik. 92 00:03:46,771 --> 00:03:53,041 No-- no one suspects the shock jock, so get ready to fight. 93 00:03:53,041 --> 00:03:57,891 You messed with the wrong mouths. 94 00:03:57,891 --> 00:04:00,021 Yikes enters the booth. 95 00:04:00,021 --> 00:04:00,711 Yikes enters the booth. 96 00:04:00,711 --> 00:04:03,081 Well, what in tarnation? 97 00:04:03,081 --> 00:04:04,416 No-Effort and Two Mouth fight. 98 00:04:04,416 --> 00:04:06,891 The On Air sign lights up. 99 00:04:06,891 --> 00:04:08,001 Howdy, listeners. 100 00:04:08,001 --> 00:04:10,241 I'm Yikes the-- 101 00:04:10,241 --> 00:04:12,201 I'm going to do that again. 102 00:04:12,201 --> 00:04:13,641 Howdy, listeners. 103 00:04:13,641 --> 00:04:15,351 I'm Yikes the dragon. 104 00:04:15,351 --> 00:04:18,331 Today's show is a fight between No-Effort Girl 105 00:04:18,331 --> 00:04:23,211 and the evil voices of this station Two Mouth. 106 00:04:23,211 --> 00:04:25,371 No-Effort Girl flies behind an airplane. 107 00:04:25,371 --> 00:04:26,541 This is a new scene. 108 00:04:26,541 --> 00:04:29,511 She's holding up Two Mouth as the jet engines blow 109 00:04:29,511 --> 00:04:30,021 their two mouths open. 110 00:04:30,021 --> 00:04:31,471 their two mouths open. 111 00:04:31,471 --> 00:04:36,501 My word, they really are full of hot air. 112 00:04:36,501 --> 00:04:38,181 She holds a pair of gardening shears. 113 00:04:38,181 --> 00:04:39,591 Two Mouth stands in front of her. 114 00:04:39,591 --> 00:04:40,761 Heavens, me. 115 00:04:40,761 --> 00:04:44,751 The ever-embarrassing close shave. 116 00:04:44,751 --> 00:04:48,381 In the museum, on the David's pedestal is a toilet. 117 00:04:48,381 --> 00:04:50,151 No-Effort dunks his head and flushes. 118 00:04:50,151 --> 00:04:51,921 Police sirens blare. 119 00:04:51,921 --> 00:04:54,501 Bless her heart, the finishing move-- 120 00:04:54,501 --> 00:04:56,863 a performance art swirly. 121 00:04:56,863 --> 00:05:00,021 [LAUGHS] And we cut to the sound booth. 122 00:05:00,021 --> 00:05:00,871 [LAUGHS] And we cut to the sound booth. 123 00:05:00,871 --> 00:05:02,871 And there's Yikes the dragon again. 124 00:05:02,871 --> 00:05:04,761 And here's the hero herself. 125 00:05:04,761 --> 00:05:06,921 Girl, we have callers for days. 126 00:05:06,921 --> 00:05:10,401 Rick, you're on the air with No-Effort Girl. 127 00:05:10,401 --> 00:05:12,351 I loved today's show. 128 00:05:12,351 --> 00:05:16,401 Is No-Effort Girl always good to be your co-host. 129 00:05:16,401 --> 00:05:17,841 Another job? 130 00:05:17,841 --> 00:05:20,871 As long as I don't have to put in any effort. 131 00:05:20,871 --> 00:05:23,601 Maybe just a little effort? 132 00:05:23,601 --> 00:05:26,931 She cracks a smile for her best friend. 133 00:05:26,931 --> 00:05:27,711 OK. 134 00:05:27,711 --> 00:05:30,021 So just a little. 135 00:05:30,021 --> 00:05:30,181 So just a little. 136 00:05:30,181 --> 00:05:32,761 Let's sign off with your theme song. 137 00:05:32,761 --> 00:05:33,781 Are you ready? 138 00:05:33,781 --> 00:05:34,591 OK. 139 00:05:34,591 --> 00:05:36,421 Take it away, Girl. 140 00:05:36,421 --> 00:05:38,736 141 00:05:41,981 --> 00:05:43,241 This is all I'm going to say. 142 00:05:43,241 --> 00:05:45,541 Do not attempt to do this at home. 143 00:05:45,541 --> 00:05:47,261 [LAUGHS] I'm just kidding. 144 00:05:47,261 --> 00:05:49,331 You should totally attempt to do this at home. 145 00:05:49,331 --> 00:05:51,611 You should, like, look at this-- look at the little reference 146 00:05:51,611 --> 00:05:52,421 that I have here. 147 00:05:52,421 --> 00:05:54,431 You make notes in your script. 148 00:05:54,431 --> 00:05:56,771 And the main thing that I suggest you do 149 00:05:56,771 --> 00:05:59,351 is drill, drill, drill. 150 00:05:59,351 --> 00:06:00,021 Tape yourself. 151 00:06:00,021 --> 00:06:00,251 Tape yourself. 152 00:06:00,251 --> 00:06:03,011 Like rehearse on tape is what they call that. 153 00:06:03,011 --> 00:06:04,901 So you have your tape recorder going. 154 00:06:04,901 --> 00:06:06,431 You rehearse yourself doing it. 155 00:06:06,431 --> 00:06:07,331 You play it back. 156 00:06:07,331 --> 00:06:08,081 You listen to it. 157 00:06:08,081 --> 00:06:09,534 You make more notes. 158 00:06:09,534 --> 00:06:11,951 Anything that you can do that's going to help you, I mean, 159 00:06:11,951 --> 00:06:13,571 obviously, you don't want your script 160 00:06:13,571 --> 00:06:15,731 to be completely loaded down with notes. 161 00:06:15,731 --> 00:06:17,781 You don't have really time to read them. 162 00:06:17,781 --> 00:06:21,231 But for me, when I write them down, and I drill them, 163 00:06:21,231 --> 00:06:21,851 I get it. 164 00:06:21,851 --> 00:06:24,551 So when I finally do it, you don't have to look at the notes 165 00:06:24,551 --> 00:06:25,151 anymore. 166 00:06:25,151 --> 00:06:26,951 It's all-- it's all here. 167 00:06:26,951 --> 00:06:28,331 It's like in your heart. 168 00:06:28,331 --> 00:06:29,644 It's right there. 169 00:06:29,644 --> 00:06:30,021 170 00:06:30,021 --> 00:06:32,009 171 00:06:36,751 --> 00:06:38,941 It's really important that you listen. 172 00:06:38,941 --> 00:06:40,821 It's not just about performance. 173 00:06:40,821 --> 00:06:45,171 But it's about listening to what the director needs and wants 174 00:06:45,171 --> 00:06:47,661 because sometimes your interpretation of the script 175 00:06:47,661 --> 00:06:50,691 isn't the same as what the director or slash 176 00:06:50,691 --> 00:06:53,041 writer has in mind. 177 00:06:53,041 --> 00:06:55,221 So it's really important to not only 178 00:06:55,221 --> 00:06:56,601 be able to deliver the goods. 179 00:06:56,601 --> 00:06:58,761 You have to listen to what's needed and wanted 180 00:06:58,761 --> 00:07:00,021 and then deliver, deliver that. 181 00:07:00,021 --> 00:07:01,581 and then deliver, deliver that. 182 00:07:01,581 --> 00:07:03,301 DIRECTOR: Well, Nancy, great job. 183 00:07:03,301 --> 00:07:04,551 NANCY CARTWRIGHT: Thanks, man. 184 00:07:04,551 --> 00:07:06,381 I need some feedback. 185 00:07:06,381 --> 00:07:10,071 I want this to be perfect. 186 00:07:10,071 --> 00:07:11,841 DIRECTOR: I only have a few notes. 187 00:07:11,841 --> 00:07:15,203 On E-17, when he's saying, howdy, listeners-- 188 00:07:15,203 --> 00:07:16,161 NANCY CARTWRIGHT: Yeah. 189 00:07:16,161 --> 00:07:18,331 DIRECTOR: That's the first time that he's on air. 190 00:07:18,331 --> 00:07:21,171 Could you make him sound a little bit more nervous 191 00:07:21,171 --> 00:07:22,493 and a little bit more excited? 192 00:07:22,493 --> 00:07:23,451 NANCY CARTWRIGHT: Yeah. 193 00:07:23,451 --> 00:07:25,558 Absolutely. 194 00:07:25,558 --> 00:07:26,391 We're still rolling? 195 00:07:26,391 --> 00:07:27,751 MAN: Rolling on take three. 196 00:07:27,751 --> 00:07:29,421 OK, good. 197 00:07:29,421 --> 00:07:30,021 Howdy, listeners. 198 00:07:30,021 --> 00:07:31,061 Howdy, listeners. 199 00:07:31,061 --> 00:07:32,591 I'm Yikes the dragon. 200 00:07:32,591 --> 00:07:36,711 And today's show is a fight between No-Effort Girl 201 00:07:36,711 --> 00:07:40,721 and the evil voices of this station Two Mouth. 202 00:07:40,721 --> 00:07:41,591 DIRECTOR: That's it. 203 00:07:41,591 --> 00:07:43,961 That's exactly what we need. 204 00:07:43,961 --> 00:07:50,089 Can we try also one more pickup on line 16, what in tarnation? 205 00:07:50,089 --> 00:07:51,881 NANCY CARTWRIGHT: And how do you want that? 206 00:07:51,881 --> 00:07:54,221 DIRECTOR: Can you make it sound really surprised, 207 00:07:54,221 --> 00:07:56,261 like what the heck? 208 00:07:56,261 --> 00:07:58,451 NANCY CARTWRIGHT: Sure. 209 00:07:58,451 --> 00:08:00,021 This is Yikes the dragon. 210 00:08:00,021 --> 00:08:00,141 This is Yikes the dragon. 211 00:08:00,141 --> 00:08:02,915 What in tarnation? 212 00:08:02,915 --> 00:08:06,931 What in tarnation? 213 00:08:06,931 --> 00:08:10,151 What in tarnation? 214 00:08:10,151 --> 00:08:11,681 There's three for ya. 215 00:08:11,681 --> 00:08:13,031 DIRECTOR: That's perfect. 216 00:08:13,031 --> 00:08:17,711 In the line where Yikes is kind of emceeing the fight, 217 00:08:17,711 --> 00:08:21,593 I think it's line 18, 19, and 20, 218 00:08:21,593 --> 00:08:23,551 can you kind of make it sound a little bit more 219 00:08:23,551 --> 00:08:26,356 like he's kind of narrating the fight? 220 00:08:26,356 --> 00:08:27,481 NANCY CARTWRIGHT: Oh, yeah. 221 00:08:27,481 --> 00:08:28,564 DIRECTOR: Can we do a few? 222 00:08:28,564 --> 00:08:29,523 NANCY CARTWRIGHT: Yeah. 223 00:08:29,523 --> 00:08:30,021 See, this is good. 224 00:08:30,021 --> 00:08:30,551 See, this is good. 225 00:08:30,551 --> 00:08:33,570 This is the feedback that an artist really needs. 226 00:08:33,570 --> 00:08:36,690 It's so important to get that feedback from the director 227 00:08:36,690 --> 00:08:42,471 because sometimes you might miss what the point is in the scene. 228 00:08:42,471 --> 00:08:44,831 So you have this relationship with the director 229 00:08:44,831 --> 00:08:46,061 that will help you with that. 230 00:08:46,061 --> 00:08:47,561 Are we rolling? 231 00:08:47,561 --> 00:08:48,761 MAN: I am rolling. 232 00:08:48,761 --> 00:08:49,431 OK, good. 233 00:08:49,431 --> 00:08:49,931 Here we go. 234 00:08:49,931 --> 00:08:53,201 This is take-- take one, I guess. 235 00:08:53,201 --> 00:08:54,491 My word. 236 00:08:54,491 --> 00:08:56,801 They really are full of hot air. 237 00:08:56,801 --> 00:08:59,501 Heavens me, the ever-- 238 00:08:59,501 --> 00:09:00,021 do that again. 239 00:09:00,021 --> 00:09:00,191 do that again. 240 00:09:00,191 --> 00:09:03,281 Heavens me, the ever-embarrassing close shave. 241 00:09:03,281 --> 00:09:06,191 Bless her heart, the finishing move-- a performance art 242 00:09:06,191 --> 00:09:07,801 swirly. 243 00:09:07,801 --> 00:09:10,058 [LAUGHS] Is that more-- 244 00:09:10,058 --> 00:09:11,391 is that what you're looking for? 245 00:09:11,391 --> 00:09:11,631 DIRECTOR: Yeah. 246 00:09:11,631 --> 00:09:12,131 Yeah. 247 00:09:12,131 --> 00:09:12,773 That was great. 248 00:09:12,773 --> 00:09:13,565 Ba, ba, ba, boom. 249 00:09:13,565 --> 00:09:15,285 A performance art swirly. 250 00:09:15,285 --> 00:09:20,991 [LAUGHS] It's like choreography, you know, voice choreography. 251 00:09:20,991 --> 00:09:22,391 DIRECTOR: It really is. 252 00:09:22,391 --> 00:09:25,541 So Nancy, could we do some pickups for line 14 253 00:09:25,541 --> 00:09:27,253 and 15 of Radio Mouth and Bad Mouth? 254 00:09:27,253 --> 00:09:28,211 NANCY CARTWRIGHT: Yeah. 255 00:09:28,211 --> 00:09:30,021 DIRECTOR: I just want to make sure they sound really 256 00:09:30,021 --> 00:09:30,378 DIRECTOR: I just want to make sure they sound really 257 00:09:30,378 --> 00:09:32,601 distinct between each other. 258 00:09:32,601 --> 00:09:34,961 So I know that I gave it-- the first time I did it, 259 00:09:34,961 --> 00:09:36,221 I was kind of-- 260 00:09:36,221 --> 00:09:38,171 it was really aggressive. 261 00:09:38,171 --> 00:09:39,486 I have another idea here. 262 00:09:39,486 --> 00:09:41,919 Do you have something else in mind? 263 00:09:41,919 --> 00:09:42,461 DIRECTOR: No. 264 00:09:42,461 --> 00:09:44,051 Let's hear your interpretation. 265 00:09:44,051 --> 00:09:44,991 OK, good. 266 00:09:44,991 --> 00:09:45,491 All right. 267 00:09:45,491 --> 00:09:46,061 So here we go. 268 00:09:46,061 --> 00:09:46,561 Here we go. 269 00:09:46,561 --> 00:09:48,293 MAN: Pickups for lines 14 and 15. 270 00:09:48,293 --> 00:09:49,751 You're the mastermind behind my-- 271 00:09:49,751 --> 00:09:52,141 MAN: I am rolling. 272 00:09:52,141 --> 00:09:54,371 You bet and by morning-- 273 00:09:54,371 --> 00:09:57,541 no, no, he's-- hold on a second. 274 00:09:57,541 --> 00:09:58,041 Yeah. 275 00:09:58,041 --> 00:09:58,881 You bet. 276 00:09:58,881 --> 00:10:00,021 By morning, I'm a DJ. 277 00:10:00,021 --> 00:10:00,891 By morning, I'm a DJ. 278 00:10:00,891 --> 00:10:04,371 And by afternoon, I'm a master criminal 279 00:10:04,371 --> 00:10:07,441 and a general no-goodnik. 280 00:10:07,441 --> 00:10:10,851 No one suspects the shock jock. 281 00:10:10,851 --> 00:10:12,351 So get ready to fight. 282 00:10:12,351 --> 00:10:16,791 You messed with the wrong mouths. 283 00:10:16,791 --> 00:10:19,171 DIRECTOR: Those were both so good. 284 00:10:19,171 --> 00:10:19,671 OK. 285 00:10:19,671 --> 00:10:22,611 For consistency, we should get a similar read 286 00:10:22,611 --> 00:10:23,931 for lines seven and eight. 287 00:10:23,931 --> 00:10:24,186 NANCY CARTWRIGHT: Yeah. 288 00:10:24,186 --> 00:10:26,271 DIRECTOR: Let's make Radio Mouth really smooth 289 00:10:26,271 --> 00:10:29,471 and Bad Mouth really evil. 290 00:10:29,471 --> 00:10:30,021 NANCY CARTWRIGHT: Sure. 291 00:10:30,021 --> 00:10:30,491 NANCY CARTWRIGHT: Sure. 292 00:10:30,491 --> 00:10:30,991 OK. 293 00:10:33,541 --> 00:10:36,691 And she's calling out here Radio Mouth, or she just-- she's just 294 00:10:36,691 --> 00:10:40,141 announcing it to the room. 295 00:10:40,141 --> 00:10:41,921 DIRECTOR: She's announcing it to the room. 296 00:10:41,921 --> 00:10:42,751 Good. 297 00:10:42,751 --> 00:10:45,991 Uninvited visitor in the house. 298 00:10:45,991 --> 00:10:50,521 If you're not here to bring me coffee, get the hell-- 299 00:10:50,521 --> 00:10:51,241 oh, wow. 300 00:10:51,241 --> 00:10:52,501 That's hard. 301 00:10:52,501 --> 00:10:55,351 That's a little hard to do, man. 302 00:10:55,351 --> 00:10:57,421 Let me try-- hold on a second. 303 00:10:57,421 --> 00:10:59,831 Little beverage. 304 00:10:59,831 --> 00:11:00,021 OK. 305 00:11:00,021 --> 00:11:00,491 OK. 306 00:11:00,491 --> 00:11:01,841 I'll just do Bad Mouth again. 307 00:11:04,721 --> 00:11:11,621 If you're not here to bring me coffee, get the hell out. 308 00:11:11,621 --> 00:11:12,701 This is my bass. 309 00:11:12,701 --> 00:11:16,271 It's like my bass kind of dry-- it doesn't quite-- 310 00:11:16,271 --> 00:11:19,451 get-- if you're not here to bring me coffee, 311 00:11:19,451 --> 00:11:22,031 get the hell out. 312 00:11:22,031 --> 00:11:22,751 There you go. 313 00:11:22,751 --> 00:11:24,101 DIRECTOR: That was fantastic. 314 00:11:24,101 --> 00:11:24,981 MAN: Perfection. 315 00:11:24,981 --> 00:11:26,416 DIRECTOR: I think we can cut. 316 00:11:26,416 --> 00:11:27,041 MAN: All right. 317 00:11:27,041 --> 00:11:27,797 Cutting. 318 00:11:27,797 --> 00:11:28,591 319 00:11:28,591 --> 00:11:30,021 The key things for you to walk away with is that you come in. 320 00:11:30,021 --> 00:11:32,351 The key things for you to walk away with is that you come in. 321 00:11:32,351 --> 00:11:35,651 You have made some decisions before you arrive there. 322 00:11:35,651 --> 00:11:39,019 And you keep yourself open so you can take direction 323 00:11:39,019 --> 00:11:41,561 because they're going to want to go back and do some pickups, 324 00:11:41,561 --> 00:11:42,461 make some changes. 325 00:11:42,461 --> 00:11:46,571 And all you need to be able to do is change your decision. 326 00:11:46,571 --> 00:11:49,271 Give them, you know, give options. 327 00:11:49,271 --> 00:11:52,781 Give different takes, different versions, 328 00:11:52,781 --> 00:11:54,011 and then leave it up to them. 329 00:11:54,011 --> 00:11:55,251 You walk away. 330 00:11:55,251 --> 00:11:57,041 You can feel good. 331 00:11:57,041 --> 00:12:00,021 Go out and treat yourself to whatever your treat is. 332 00:12:00,021 --> 00:12:00,401 Go out and treat yourself to whatever your treat is. 333 00:12:00,401 --> 00:12:03,221 And celebrate the fact that you delivered the goods. 334 00:12:03,221 --> 00:12:05,009 335 00:12:06,351 --> 00:12:09,561 Now drumroll please. 336 00:12:09,561 --> 00:12:13,551 As promised, here is the first ever fully animated scene from 337 00:12:13,551 --> 00:12:16,911 your new favorite show, "No-Effort Girl." 338 00:12:16,911 --> 00:12:17,631 Take a breath. 339 00:12:17,631 --> 00:12:19,281 Sit back, and enjoy. 340 00:12:23,417 --> 00:12:25,857 341 00:12:35,641 --> 00:12:37,961 I searched every inch of the world. 342 00:12:37,961 --> 00:12:41,671 And I didn't find Two Mouth anywhere. 343 00:12:41,671 --> 00:12:45,541 Girl, this situation is worse than my dragon breath. 344 00:12:45,541 --> 00:12:50,421 We got no host, and we're on the air in 1 minute. 345 00:12:50,421 --> 00:12:53,161 Why don't you just host the show? 346 00:12:53,161 --> 00:12:55,681 I mean, sure. 347 00:12:55,681 --> 00:12:58,631 It's my biggest dream to be the host instead of the station 348 00:12:58,631 --> 00:12:59,131 manager. 349 00:12:59,131 --> 00:13:00,021 But Two Mouth would kill me. 350 00:13:00,021 --> 00:13:02,171 But Two Mouth would kill me. 351 00:13:02,171 --> 00:13:04,291 I think you gotta host, Yikes. 352 00:13:04,291 --> 00:13:06,421 We don't have another choice. 353 00:13:06,421 --> 00:13:07,211 Oh, golly. 354 00:13:07,211 --> 00:13:08,701 Sweet baby dragon eggs. 355 00:13:08,701 --> 00:13:09,391 OK. 356 00:13:09,391 --> 00:13:10,781 OK. 357 00:13:10,781 --> 00:13:12,661 You set up the booth. 358 00:13:12,661 --> 00:13:14,101 I'll turn everything on. 359 00:13:17,011 --> 00:13:19,831 Uninvited visitor in the house. 360 00:13:19,831 --> 00:13:24,931 If you're not here to bring me coffee, get the hell out. 361 00:13:24,931 --> 00:13:25,831 Wait a second. 362 00:13:25,831 --> 00:13:28,021 You were here the whole time? 363 00:13:28,021 --> 00:13:30,021 Something's big time super bogus. 364 00:13:30,021 --> 00:13:31,591 Something's big time super bogus. 365 00:13:31,591 --> 00:13:34,241 What's this? 366 00:13:34,241 --> 00:13:37,061 A naked dude? 367 00:13:37,061 --> 00:13:38,611 Wait. 368 00:13:38,611 --> 00:13:41,221 This is from that museum. 369 00:13:41,221 --> 00:13:44,008 Did you put a baby monster on a train track 370 00:13:44,008 --> 00:13:45,591 and blow up the wing of a plane today? 371 00:13:48,429 --> 00:13:52,651 You're the mastermind behind my annoying day! 372 00:13:52,651 --> 00:13:53,371 You bet. 373 00:13:53,371 --> 00:13:55,771 By morning, I'm a DJ. 374 00:13:55,771 --> 00:13:59,401 And by mid-afternoon, I'm a master criminal 375 00:13:59,401 --> 00:14:00,021 and a general no-goodnik. 376 00:14:00,021 --> 00:14:02,311 and a general no-goodnik. 377 00:14:02,311 --> 00:14:04,861 What in tarnation? 378 00:14:04,861 --> 00:14:07,591 No one suspects the shock jock. 379 00:14:07,591 --> 00:14:09,341 So get ready to fight. 380 00:14:09,341 --> 00:14:14,061 You messed with the wrong mouths. 381 00:14:14,061 --> 00:14:16,143 [GASPS] 382 00:14:17,521 --> 00:14:19,271 Howdy listeners. 383 00:14:19,271 --> 00:14:20,791 I'm Yikes the dragon. 384 00:14:20,791 --> 00:14:24,911 And today's show is a fight between No-Effort Girl 385 00:14:24,911 --> 00:14:28,862 and the evil voices of this station, Two Mouth. 386 00:14:32,231 --> 00:14:33,371 My word. 387 00:14:33,371 --> 00:14:35,771 They really are full of hot air. 388 00:14:35,771 --> 00:14:37,031 Heavens me. 389 00:14:37,031 --> 00:14:39,921 The ever-embarrassing close shave. 390 00:14:39,921 --> 00:14:42,001 Bless her heart, the finishing move-- 391 00:14:42,001 --> 00:14:44,811 a performance arts swirly. 392 00:14:44,811 --> 00:14:46,881 And here's the hero herself. 393 00:14:46,881 --> 00:14:49,611 Girl, we have callers for days. 394 00:14:49,611 --> 00:14:51,951 Rick, you're on the air with No-Effort Girl. 395 00:14:51,951 --> 00:14:53,841 I loved today's show. 396 00:14:53,841 --> 00:14:56,961 Is No-Effort Girl always going to be your co-host? 397 00:14:56,961 --> 00:14:58,521 Another job? 398 00:14:58,521 --> 00:15:00,021 As long as I don't have to put in any effort. 399 00:15:00,021 --> 00:15:01,341 As long as I don't have to put in any effort. 400 00:15:01,341 --> 00:15:03,781 Maybe just a little effort? 401 00:15:03,781 --> 00:15:04,461 OK. 402 00:15:04,461 --> 00:15:05,361 Just a little. 403 00:15:05,361 --> 00:15:07,911 Let's sign off with your theme song. 404 00:15:07,911 --> 00:15:08,901 Are you ready? 405 00:15:08,901 --> 00:15:09,771 OK. 406 00:15:09,771 --> 00:15:11,696 Take it away, Girl. 407 00:15:11,696 --> 00:15:12,321 408 00:15:12,321 --> 00:15:14,431 (SINGING) I'm No-Effort Girl. 409 00:15:14,431 --> 00:15:16,421 I'm No-Effort Girl. 410 00:15:16,421 --> 00:15:21,391 And it's easy and boring to save the whole world. 411 00:15:21,391 --> 00:15:23,271 Like whatever. 1 00:00:00,021 --> 00:00:01,977 2 00:00:07,321 --> 00:00:09,071 I want to address something that I think 3 00:00:09,071 --> 00:00:10,391 is really, really important. 4 00:00:10,391 --> 00:00:12,641 In fact, you really can't make a career 5 00:00:12,641 --> 00:00:14,981 without what it is I'm going to tell you next. 6 00:00:14,981 --> 00:00:16,851 It's about relationships. 7 00:00:16,851 --> 00:00:18,341 It's setting up networking. 8 00:00:18,341 --> 00:00:19,181 It's your agent. 9 00:00:19,181 --> 00:00:20,291 It's your manager. 10 00:00:20,291 --> 00:00:23,831 It's getting yourself ready to get hired to do the job 11 00:00:23,831 --> 00:00:27,256 and actually get paid for doing what you love. 12 00:00:27,256 --> 00:00:29,196 13 00:00:33,571 --> 00:00:36,031 So let me introduce you to a cast of characters 14 00:00:36,031 --> 00:00:38,641 that you're going to want to meet with as you develop 15 00:00:38,641 --> 00:00:39,781 your career. 16 00:00:39,781 --> 00:00:42,541 The first person that I would love for you to introduce 17 00:00:42,541 --> 00:00:45,021 yourself to would be a manager. 18 00:00:45,021 --> 00:00:47,878 A manager can actually work with you. 19 00:00:47,878 --> 00:00:49,711 The manager can hold your hand a little bit. 20 00:00:49,711 --> 00:00:51,571 They're available to do lunch with you. 21 00:00:51,571 --> 00:00:55,231 A manager can sit down and like, help you plan out, 22 00:00:55,231 --> 00:00:57,661 what's your next step that you're going to take? 23 00:00:57,661 --> 00:01:00,021 And you can write out a whole program 24 00:01:00,021 --> 00:01:00,271 And you can write out a whole program 25 00:01:00,271 --> 00:01:03,331 on what you can do that week to help your career. 26 00:01:03,331 --> 00:01:08,041 And that, by the way, is an example of a great manager. 27 00:01:08,041 --> 00:01:12,721 Also, the manager is the liaison between yourself and the agent. 28 00:01:12,721 --> 00:01:15,481 So what exactly is an agent? 29 00:01:15,481 --> 00:01:17,161 An agent is like a gatekeeper. 30 00:01:17,161 --> 00:01:20,911 They have the key in the relationships 31 00:01:20,911 --> 00:01:23,311 to the people on the other side of the door that 32 00:01:23,311 --> 00:01:26,151 have the power to cast you. 33 00:01:26,151 --> 00:01:29,001 Now, the main difference between an agent and a manager 34 00:01:29,001 --> 00:01:30,021 is an agent represents hundreds of clients. 35 00:01:30,021 --> 00:01:32,811 is an agent represents hundreds of clients. 36 00:01:32,811 --> 00:01:36,411 And it's like, how are you going to get somebody 37 00:01:36,411 --> 00:01:38,841 to believe in you and all of your passion 38 00:01:38,841 --> 00:01:42,351 and all of your talent when you are swimming in a sea of all 39 00:01:42,351 --> 00:01:43,911 this other talent? 40 00:01:43,911 --> 00:01:46,611 So how do you find a manager or an agent? 41 00:01:46,611 --> 00:01:49,011 That's the big question. 42 00:01:49,011 --> 00:01:50,451 Network with your friends. 43 00:01:50,451 --> 00:01:52,521 Find out if they have representation 44 00:01:52,521 --> 00:01:53,871 they are happy with. 45 00:01:53,871 --> 00:01:56,121 Get them to introduce you to them. 46 00:01:56,121 --> 00:01:58,281 Maybe you're exactly what they're needing 47 00:01:58,281 --> 00:02:00,021 and maybe they lost a client similar to you 48 00:02:00,021 --> 00:02:01,281 and maybe they lost a client similar to you 49 00:02:01,281 --> 00:02:02,301 and then you come along. 50 00:02:02,301 --> 00:02:05,701 And it's like, bingo, kismet. 51 00:02:05,701 --> 00:02:07,711 One specific thought I have on agents 52 00:02:07,711 --> 00:02:09,581 is that when you're first starting out, 53 00:02:09,581 --> 00:02:13,231 you might want to try to go with a boutique agency. 54 00:02:13,231 --> 00:02:15,691 They're a little more family-oriented. 55 00:02:15,691 --> 00:02:18,241 They don't have as many clients, so starting out, 56 00:02:18,241 --> 00:02:22,531 that would be kind of an ideal person to represent you, 57 00:02:22,531 --> 00:02:24,511 would be somebody that has a very small agency. 58 00:02:24,511 --> 00:02:26,371 When I say small, like, you know, 59 00:02:26,371 --> 00:02:30,021 they could have, you know, 100, a couple hundred clients. 60 00:02:30,021 --> 00:02:30,511 they could have, you know, 100, a couple hundred clients. 61 00:02:30,511 --> 00:02:33,561 Actually, I would highly recommend that. 62 00:02:33,561 --> 00:02:35,571 The other very important person that you really 63 00:02:35,571 --> 00:02:38,121 need to meet up with is a casting director. 64 00:02:38,121 --> 00:02:41,541 The casting director is the liaison between you 65 00:02:41,541 --> 00:02:42,951 and getting the job. 66 00:02:42,951 --> 00:02:45,321 He or she is hired by the producer 67 00:02:45,321 --> 00:02:48,891 to make sure that that cast is supreme. 68 00:02:48,891 --> 00:02:52,101 The manager will use the lines that he or she has, 69 00:02:52,101 --> 00:02:55,431 coordinate with the agent and set you up 70 00:02:55,431 --> 00:02:57,861 with a general meeting with a casting director. 71 00:02:57,861 --> 00:03:00,021 And believe me, they are absolutely 72 00:03:00,021 --> 00:03:00,471 And believe me, they are absolutely 73 00:03:00,471 --> 00:03:01,881 going to want to meet you. 74 00:03:01,881 --> 00:03:04,131 Since their job is trying to hire new talent, 75 00:03:04,131 --> 00:03:07,971 they are constantly wanting to be the one to find new talent, 76 00:03:07,971 --> 00:03:11,101 and that would be you. 77 00:03:11,101 --> 00:03:12,541 Let me give you an example. 78 00:03:12,541 --> 00:03:14,701 I met with this casting director. 79 00:03:14,701 --> 00:03:16,141 This was probably in '86. 80 00:03:19,711 --> 00:03:24,661 I met with Bonnie Pietila, and it was just a general meeting. 81 00:03:24,661 --> 00:03:26,571 You know, it wasn't an audition. 82 00:03:26,571 --> 00:03:28,321 But I was telling her about my background. 83 00:03:28,321 --> 00:03:30,021 She was, like, fascinated, but I kept 84 00:03:30,021 --> 00:03:30,601 She was, like, fascinated, but I kept 85 00:03:30,601 --> 00:03:33,541 wanting to tell her that I was in an acting class, 86 00:03:33,541 --> 00:03:36,121 and I'm working on A Streetcar Named Desire, 87 00:03:36,121 --> 00:03:41,101 trying to impress her with my theatrical abilities. 88 00:03:41,101 --> 00:03:44,131 See, Bonnie was a TV and film casting director, 89 00:03:44,131 --> 00:03:47,981 and I wanted to do more TV and film roles at the time. 90 00:03:47,981 --> 00:03:50,651 So I kept talking about my acting class, 91 00:03:50,651 --> 00:03:54,151 but she just kept bringing me back to voiceovers. 92 00:03:54,151 --> 00:03:56,821 Well, a year later, next thing I know, 93 00:03:56,821 --> 00:03:59,851 she is calling me up to come in to voice 94 00:03:59,851 --> 00:04:00,021 for this little character on a vignette 95 00:04:00,021 --> 00:04:02,881 for this little character on a vignette 96 00:04:02,881 --> 00:04:05,401 that they were doing on the Tracey Ullman Show. 97 00:04:05,401 --> 00:04:08,671 She remembered me, and that's why I got the phone call. 98 00:04:08,671 --> 00:04:11,581 And that led to playing Bart Simpson. 99 00:04:11,581 --> 00:04:12,691 So man, oh, man. 100 00:04:12,691 --> 00:04:15,121 Sometimes these opportunities come along. 101 00:04:15,121 --> 00:04:19,201 You don't know where something is going to take you. 102 00:04:19,201 --> 00:04:22,681 But things have changed since I was cast on The Simpsons. 103 00:04:22,681 --> 00:04:26,311 Today, you have all these online resources. 104 00:04:26,311 --> 00:04:30,021 You have Instagram Lives, Twitter, and Facebook, 105 00:04:30,021 --> 00:04:30,331 You have Instagram Lives, Twitter, and Facebook, 106 00:04:30,331 --> 00:04:33,451 and the same rules apply in the virtual world 107 00:04:33,451 --> 00:04:35,401 as in the physical world. 108 00:04:35,401 --> 00:04:37,201 Have a real conversation. 109 00:04:37,201 --> 00:04:40,561 You know, stay in touch, but don't be annoying. 110 00:04:40,561 --> 00:04:45,181 Little by little, you will have a virtual Rolodex. 111 00:04:45,181 --> 00:04:47,051 I still have one. 112 00:04:47,051 --> 00:04:49,711 So you can create legitimate relationships 113 00:04:49,711 --> 00:04:51,111 with these valuable people. 114 00:04:51,111 --> 00:04:52,512 115 00:04:57,769 --> 00:04:59,561 You know, when you're first starting out, 116 00:04:59,561 --> 00:05:00,021 my suggestion is do every single audition that you can do. 117 00:05:00,021 --> 00:05:03,611 my suggestion is do every single audition that you can do. 118 00:05:03,611 --> 00:05:05,321 Don't turn anything down. 119 00:05:05,321 --> 00:05:06,191 Not yet. 120 00:05:06,191 --> 00:05:07,001 No, no, no, no. 121 00:05:07,001 --> 00:05:07,841 Not yet. 122 00:05:07,841 --> 00:05:08,788 Do everything. 123 00:05:08,788 --> 00:05:09,371 You know what? 124 00:05:09,371 --> 00:05:10,331 It's a numbers game. 125 00:05:10,331 --> 00:05:12,971 The more that you do, the better the chances 126 00:05:12,971 --> 00:05:15,256 are that you're going to get employed. 127 00:05:15,256 --> 00:05:16,631 When you reach a different level, 128 00:05:16,631 --> 00:05:19,661 you can be more selective about what it is that you do. 129 00:05:19,661 --> 00:05:22,451 You don't have to take every single job. 130 00:05:22,451 --> 00:05:24,531 But I'm jumping ahead of myself. 131 00:05:24,531 --> 00:05:26,681 Let's just say you're going about your day, 132 00:05:26,681 --> 00:05:29,891 and your phone dings, and your agent you just signed with 133 00:05:29,891 --> 00:05:30,021 got an audition for you. 134 00:05:30,021 --> 00:05:31,721 got an audition for you. 135 00:05:31,721 --> 00:05:34,176 And you're like, oh my gosh, and your heart is pounding. 136 00:05:34,176 --> 00:05:35,051 You can't believe it. 137 00:05:35,051 --> 00:05:36,831 It's finally happening. 138 00:05:36,831 --> 00:05:38,351 You've got your first audition. 139 00:05:38,351 --> 00:05:40,091 All right, so now what? 140 00:05:40,091 --> 00:05:41,931 What do you do? 141 00:05:41,931 --> 00:05:45,011 OK, so you're going to get the script, and when I say script, 142 00:05:45,011 --> 00:05:47,561 it's not going to be-- it's not like it's a movie script. 143 00:05:47,561 --> 00:05:49,361 It's probably just going to be a scene. 144 00:05:49,361 --> 00:05:52,391 You're going to be getting one, up to maybe six scenes, 145 00:05:52,391 --> 00:05:55,901 or maybe just one line, and then you just read it. 146 00:05:55,901 --> 00:05:57,851 Read your character out loud. 147 00:05:57,851 --> 00:05:58,961 Who is this character? 148 00:05:58,961 --> 00:06:00,021 What's his relationship with the other characters in the script? 149 00:06:00,021 --> 00:06:03,251 What's his relationship with the other characters in the script? 150 00:06:03,251 --> 00:06:06,621 And the description of the character will be right there. 151 00:06:06,621 --> 00:06:10,521 It's going to describe, Sally, eight years old. 152 00:06:10,521 --> 00:06:13,931 She tends to be a little bit of a busybody. 153 00:06:13,931 --> 00:06:16,031 And then with that description, you're 154 00:06:16,031 --> 00:06:19,391 going to come up with what she sounds like. 155 00:06:19,391 --> 00:06:23,501 And then while you're rehearsing, not a bad idea 156 00:06:23,501 --> 00:06:26,081 to get somebody-- it could be your child. 157 00:06:26,081 --> 00:06:27,291 It could be your best friend. 158 00:06:27,291 --> 00:06:29,051 It could be a boyfriend, a girlfriend-- 159 00:06:29,051 --> 00:06:30,021 have somebody read and feed you the lines 160 00:06:30,021 --> 00:06:32,111 have somebody read and feed you the lines 161 00:06:32,111 --> 00:06:33,821 so that you're comfortable with it. 162 00:06:33,821 --> 00:06:34,661 Or just yourself. 163 00:06:34,661 --> 00:06:35,741 Just drill it yourself. 164 00:06:35,741 --> 00:06:37,301 Just read the lines over and over 165 00:06:37,301 --> 00:06:39,941 so that you're comfortable with what you're reading. 166 00:06:39,941 --> 00:06:42,661 Practice, practice, practice. 167 00:06:42,661 --> 00:06:45,781 All right, so most likely, you will be doing your auditions 168 00:06:45,781 --> 00:06:46,711 from home. 169 00:06:46,711 --> 00:06:48,961 Do two to three takes for each part. 170 00:06:48,961 --> 00:06:50,311 Give them options. 171 00:06:50,311 --> 00:06:54,811 Make each take different, but mostly, just have fun with it. 172 00:06:54,811 --> 00:06:57,251 173 00:07:02,131 --> 00:07:03,595 (WHISPERING) R-E-J-E-C-T-I-O-N. 174 00:07:03,595 --> 00:07:05,321 (NORMAL VOLUME) OK, there's a big word. 175 00:07:05,321 --> 00:07:07,471 It's about nine letters, called rejection. 176 00:07:07,471 --> 00:07:09,266 I'm going to tell you how to deal with it. 177 00:07:09,266 --> 00:07:10,391 This is how I deal with it. 178 00:07:10,391 --> 00:07:13,001 I actually just walk away from it. 179 00:07:13,001 --> 00:07:16,391 Rejection has nothing to do with what it is that you are doing. 180 00:07:16,391 --> 00:07:19,251 Put your attention on now and into the future. 181 00:07:19,251 --> 00:07:21,071 In other words, this is your goal, 182 00:07:21,071 --> 00:07:24,621 and this is what you're going to do to get that goal. 183 00:07:24,621 --> 00:07:27,731 So when you go in and do an audition, that's it. 184 00:07:27,731 --> 00:07:28,751 You're done. 185 00:07:28,751 --> 00:07:30,021 It's over. 186 00:07:30,021 --> 00:07:30,191 It's over. 187 00:07:30,191 --> 00:07:33,281 And I wouldn't even bother calling my agent to check up 188 00:07:33,281 --> 00:07:34,471 on, you know, what happened? 189 00:07:34,471 --> 00:07:35,471 Have you heard anything? 190 00:07:35,471 --> 00:07:36,251 No! 191 00:07:36,251 --> 00:07:38,201 She's too busy to follow up on that. 192 00:07:38,201 --> 00:07:40,721 If you get the job, she'll get the call. 193 00:07:40,721 --> 00:07:43,811 You don't want to bother her and hold her up from possibly 194 00:07:43,811 --> 00:07:45,701 getting you another audition. 195 00:07:45,701 --> 00:07:47,051 Just forget about it. 196 00:07:47,051 --> 00:07:49,141 Just move on. 197 00:07:49,141 --> 00:07:52,201 There definitely are jobs that I've lost, 198 00:07:52,201 --> 00:07:54,841 but when I reflect back on it, I go, 199 00:07:54,841 --> 00:07:58,651 golly, I can't have everything. 200 00:07:58,651 --> 00:08:00,021 I was up for the part of Babe. 201 00:08:00,021 --> 00:08:00,481 I was up for the part of Babe. 202 00:08:00,481 --> 00:08:01,591 I didn't get that job. 203 00:08:01,591 --> 00:08:04,591 I was up for the lead in Happy Feet. 204 00:08:04,591 --> 00:08:06,421 I didn't get that job. 205 00:08:06,421 --> 00:08:09,631 Two different people, incredibly talented actresses, 206 00:08:09,631 --> 00:08:11,041 that got these jobs. 207 00:08:11,041 --> 00:08:11,671 You know what? 208 00:08:11,671 --> 00:08:13,921 I look at that as fantastic. 209 00:08:13,921 --> 00:08:15,451 They got the job. 210 00:08:15,451 --> 00:08:18,791 There's so much work out there for everybody to do, 211 00:08:18,791 --> 00:08:20,851 and you can't do it all, because-- 212 00:08:20,851 --> 00:08:22,831 I mean, that would be a fantastic problem. 213 00:08:22,831 --> 00:08:25,501 Now, if you had so much work that it was 214 00:08:25,501 --> 00:08:28,741 a problem of scheduling, wow. 215 00:08:28,741 --> 00:08:30,021 That you should have that problem, go for it. 216 00:08:30,021 --> 00:08:31,109 That you should have that problem, go for it. 217 00:08:31,109 --> 00:08:33,151 That's the kind of problem that you want to have. 218 00:08:33,151 --> 00:08:34,373 219 00:08:40,091 --> 00:08:41,991 OK, so now you got the job. 220 00:08:41,991 --> 00:08:43,661 Three cheers! 221 00:08:43,661 --> 00:08:45,101 Here's the key thing. 222 00:08:45,101 --> 00:08:47,231 We are in the business of talking, 223 00:08:47,231 --> 00:08:50,931 but listening is equally important. 224 00:08:50,931 --> 00:08:53,771 You have to be a really good listener, 225 00:08:53,771 --> 00:08:58,781 because the producer is looking for something very specific, 226 00:08:58,781 --> 00:09:00,021 and it may not be at all what you thought this character was. 227 00:09:00,021 --> 00:09:03,281 and it may not be at all what you thought this character was. 228 00:09:03,281 --> 00:09:05,051 But by listening to what they want 229 00:09:05,051 --> 00:09:07,911 and getting a whole different viewpoint on it, 230 00:09:07,911 --> 00:09:11,411 you can do something you never knew you were capable of doing. 231 00:09:11,411 --> 00:09:12,731 Now, here's the other thing. 232 00:09:12,731 --> 00:09:16,101 Sometimes they have no idea what they want, 233 00:09:16,101 --> 00:09:17,961 and they're counting on you. 234 00:09:17,961 --> 00:09:20,001 But the truth of the matter is, you 235 00:09:20,001 --> 00:09:22,821 are going to be bringing your own special uniqueness 236 00:09:22,821 --> 00:09:25,761 to this game, and that is the thing 237 00:09:25,761 --> 00:09:28,641 that's going to sell you the very, very most, 238 00:09:28,641 --> 00:09:30,021 is your confidence in who you are 239 00:09:30,021 --> 00:09:32,151 is your confidence in who you are 240 00:09:32,151 --> 00:09:34,971 and how you come across when you meet these people that 241 00:09:34,971 --> 00:09:36,201 will help you. 242 00:09:36,201 --> 00:09:39,111 So when you walk in the room, virtual or otherwise, 243 00:09:39,111 --> 00:09:41,241 with all your confidence and say, 244 00:09:41,241 --> 00:09:44,661 hi, my name is Nancy Cartwright, or whatever your name is. 245 00:09:44,661 --> 00:09:45,651 I'm here. 246 00:09:45,651 --> 00:09:46,461 What have you got? 247 00:09:46,461 --> 00:09:47,481 Let's go. 248 00:09:47,481 --> 00:09:49,041 They like that. 249 00:09:49,041 --> 00:09:51,951 They like you showing up with all this confidence 250 00:09:51,951 --> 00:09:54,291 and certainty, because you're the kind of person 251 00:09:54,291 --> 00:09:56,061 that they want to work with. 252 00:09:56,061 --> 00:09:59,031 They don't need to have more problems, you know? 253 00:09:59,031 --> 00:10:00,021 They want somebody to solve their problem. 254 00:10:00,021 --> 00:10:02,211 They want somebody to solve their problem. 255 00:10:02,211 --> 00:10:06,381 This is like, super simple communication basics. 256 00:10:06,381 --> 00:10:07,341 Look them in the eye. 257 00:10:07,341 --> 00:10:08,361 Have a conversation. 258 00:10:08,361 --> 00:10:09,621 How are you doing? 259 00:10:09,621 --> 00:10:11,671 I can't tell you how glad I am to be here. 260 00:10:11,671 --> 00:10:13,521 Thanks for having me. 261 00:10:13,521 --> 00:10:15,231 You become very real. 262 00:10:15,231 --> 00:10:18,591 You're not just another actor doing a job. 263 00:10:18,591 --> 00:10:21,171 You got to put some attention on where you are 264 00:10:21,171 --> 00:10:22,911 and who you're talking to. 265 00:10:22,911 --> 00:10:25,381 You know, they're important, too. 266 00:10:25,381 --> 00:10:27,599 And the main thing is really don't be late. 267 00:10:27,599 --> 00:10:29,641 Actually, show up early, because if you're early, 268 00:10:29,641 --> 00:10:30,021 you're on time. 269 00:10:30,021 --> 00:10:30,451 you're on time. 270 00:10:30,451 --> 00:10:31,531 If you're on time, you're late. 271 00:10:31,531 --> 00:10:32,739 If you're late, you're fired. 272 00:10:32,739 --> 00:10:33,631 You won't get hired. 273 00:10:33,631 --> 00:10:34,131 Boom. 274 00:10:34,131 --> 00:10:35,269 It's as simple as that. 275 00:10:35,269 --> 00:10:36,436 That's being a professional. 276 00:10:36,436 --> 00:10:37,853 277 00:10:44,731 --> 00:10:47,761 Now I want to talk about the business relationships 278 00:10:47,761 --> 00:10:50,191 that you have once you're hired for the job. 279 00:10:50,191 --> 00:10:51,271 There's the client. 280 00:10:51,271 --> 00:10:54,361 That's the person who's paying for all this. 281 00:10:54,361 --> 00:10:58,201 That relationship with the client is so crucial, 282 00:10:58,201 --> 00:11:00,021 and it's not just the client. 283 00:11:00,021 --> 00:11:00,341 and it's not just the client. 284 00:11:00,341 --> 00:11:03,181 It's the whole team that you're working with. 285 00:11:03,181 --> 00:11:05,431 Everybody is there to deliver a job, 286 00:11:05,431 --> 00:11:08,671 and you want to be careful not to step on toes. 287 00:11:08,671 --> 00:11:13,351 You know, as the artist, you are definitely a part of the show, 288 00:11:13,351 --> 00:11:16,681 but you got to wear your hat in terms of the business, too. 289 00:11:16,681 --> 00:11:20,483 And that's respecting the other people and their jobs. 290 00:11:20,483 --> 00:11:22,191 Another thing that you've got to consider 291 00:11:22,191 --> 00:11:26,361 is your contract, because when you show up there, 292 00:11:26,361 --> 00:11:28,671 I like to take care of business first. 293 00:11:28,671 --> 00:11:29,841 I like my contract. 294 00:11:29,841 --> 00:11:30,021 I want to sign my contract right away, 295 00:11:30,021 --> 00:11:32,601 I want to sign my contract right away, 296 00:11:32,601 --> 00:11:35,841 because I have left studios without signing a contract, 297 00:11:35,841 --> 00:11:38,301 and that's not OK. 298 00:11:38,301 --> 00:11:39,981 You've got an agreement with them, 299 00:11:39,981 --> 00:11:43,851 so actually read it and make sure the contract reflects 300 00:11:43,851 --> 00:11:45,231 that agreement. 301 00:11:45,231 --> 00:11:47,421 Chances are, your agent or manager 302 00:11:47,421 --> 00:11:49,881 won't be available at a moment's notice, 303 00:11:49,881 --> 00:11:54,111 so you will have to handle this on your own and right away. 304 00:11:54,111 --> 00:11:58,481 Handle the business first, and then get into the pleasure. 305 00:11:58,481 --> 00:12:00,021 When you go into the studio, leave your personal life 306 00:12:00,021 --> 00:12:03,071 When you go into the studio, leave your personal life 307 00:12:03,071 --> 00:12:04,871 in the parking lot. 308 00:12:04,871 --> 00:12:06,851 Just do not even come in the front 309 00:12:06,851 --> 00:12:10,901 door of that studio with any of your personal problems. 310 00:12:10,901 --> 00:12:11,651 None. 311 00:12:11,651 --> 00:12:13,661 It's something that has served me very, 312 00:12:13,661 --> 00:12:15,641 very well over the years. 313 00:12:15,641 --> 00:12:18,731 They have deadlines that they have to meet. 314 00:12:18,731 --> 00:12:20,841 It's all very expensive. 315 00:12:20,841 --> 00:12:24,131 They are paying you to do a job and deliver 316 00:12:24,131 --> 00:12:26,601 your mastery to them. 317 00:12:26,601 --> 00:12:30,021 That's what you're hired for, so don't complicate it. 318 00:12:30,021 --> 00:12:30,711 That's what you're hired for, so don't complicate it. 319 00:12:30,711 --> 00:12:33,251 So in other words, instead of being a problem, 320 00:12:33,251 --> 00:12:34,721 be the problem solver. 321 00:12:34,721 --> 00:12:37,521 You will be so respected for that. 1 00:00:00,021 --> 00:00:04,377 2 00:00:07,388 --> 00:00:08,971 CHRISTINE CAVANAUGH: I'm Bart Simpson. 3 00:00:08,971 --> 00:00:10,471 Who the hell are you? 4 00:00:10,471 --> 00:00:13,831 I love sharing with people that I'm the voice of Bart Simpson, 5 00:00:13,831 --> 00:00:16,501 because it creates this instantly, 6 00:00:16,501 --> 00:00:19,213 bam, as soon as I say that, people's jaws drop 7 00:00:19,213 --> 00:00:20,671 on the floor, and they're laughing. 8 00:00:20,671 --> 00:00:21,931 They're like, wait, what? 9 00:00:21,931 --> 00:00:22,951 Like, you're him. 10 00:00:22,951 --> 00:00:24,721 And it's like they're happy. 11 00:00:24,721 --> 00:00:25,981 I'm happy. 12 00:00:25,981 --> 00:00:30,021 It's a fabulous perk of being a voiceover actor. 13 00:00:30,021 --> 00:00:30,181 It's a fabulous perk of being a voiceover actor. 14 00:00:30,181 --> 00:00:33,541 It doesn't cost a dime to do something like that. 15 00:00:33,541 --> 00:00:37,871 And just everybody walks away like, oh, man, that's so cool. 16 00:00:37,871 --> 00:00:39,841 There's so many lessons that I have learned 17 00:00:39,841 --> 00:00:42,091 and that I have applied in my life. 18 00:00:42,091 --> 00:00:46,381 So I thought this would be kind of fun to share some lessons 19 00:00:46,381 --> 00:00:47,611 from this 10-year-old boy. 20 00:00:47,611 --> 00:00:51,850 21 00:00:55,151 --> 00:00:57,621 I had this teacher once who was an acting teacher. 22 00:00:57,621 --> 00:00:59,361 And he said something that was brilliant. 23 00:00:59,361 --> 00:01:00,021 He said attitude is everything. 24 00:01:00,021 --> 00:01:01,101 He said attitude is everything. 25 00:01:01,101 --> 00:01:02,991 And I thought that was fantastic. 26 00:01:02,991 --> 00:01:04,961 And he's right, it's like you can 27 00:01:04,961 --> 00:01:08,921 have all the talent in the world and just kind of 28 00:01:08,921 --> 00:01:10,901 have a suck attitude about it. 29 00:01:10,901 --> 00:01:14,021 With all that talent and with a bad attitude, 30 00:01:14,021 --> 00:01:16,571 I don't think you're going to get the job. 31 00:01:16,571 --> 00:01:20,561 You can have not as much talent, but you could 32 00:01:20,561 --> 00:01:22,901 be such a passionate person. 33 00:01:22,901 --> 00:01:25,331 And somebody who really is there as a problem 34 00:01:25,331 --> 00:01:28,511 solver instead of a problem, that's number one. 35 00:01:28,511 --> 00:01:30,021 Do what you love. 36 00:01:30,021 --> 00:01:30,111 Do what you love. 37 00:01:30,111 --> 00:01:31,481 It's about passion. 38 00:01:31,481 --> 00:01:33,381 You know if you're not passionate about it, 39 00:01:33,381 --> 00:01:34,646 why bother? 40 00:01:34,646 --> 00:01:38,261 It is a motto that I live by that if it isn't fun, 41 00:01:38,261 --> 00:01:39,791 I don't even want to do it. 42 00:01:39,791 --> 00:01:43,301 You know, have a good attitude and share all of your talent. 43 00:01:43,301 --> 00:01:43,826 Do both. 44 00:01:50,801 --> 00:01:53,261 I used to think that the definition of a professional 45 00:01:53,261 --> 00:01:56,111 was somebody who gets paid to do a job. 46 00:01:56,111 --> 00:01:59,201 That isn't what I believe a professional is. 47 00:01:59,201 --> 00:02:00,021 You are expected to deliver the highest quality of work 48 00:02:00,021 --> 00:02:04,781 You are expected to deliver the highest quality of work 49 00:02:04,781 --> 00:02:06,191 that you can do. 50 00:02:06,191 --> 00:02:07,691 You know, a professional is somebody 51 00:02:07,691 --> 00:02:10,030 who delivers the goods in a big, big way. 52 00:02:10,030 --> 00:02:14,111 And in fact, delivers even more than what's expected. 53 00:02:14,111 --> 00:02:20,651 I like the idea of leaving a job knowing that not only did 54 00:02:20,651 --> 00:02:24,641 I do what they wanted me to do, but I gave them 55 00:02:24,641 --> 00:02:26,991 even a little bit more. 56 00:02:26,991 --> 00:02:28,901 Here's a perfect example. 57 00:02:28,901 --> 00:02:30,021 Working with Meryl Streep, I will tell you this, 58 00:02:30,021 --> 00:02:31,791 Working with Meryl Streep, I will tell you this, 59 00:02:31,791 --> 00:02:33,791 she is this consummate professional. 60 00:02:33,791 --> 00:02:36,221 I was so excited to work with her 61 00:02:36,221 --> 00:02:37,721 to see what she was going to come up 62 00:02:37,721 --> 00:02:39,281 playing this Jessica Lovejoy. 63 00:02:39,281 --> 00:02:42,011 And I'm telling you, we normally do four takes. 64 00:02:42,011 --> 00:02:45,701 She did 4, 5, 6, 7, 8 9, 10 takes. 65 00:02:45,701 --> 00:02:48,521 She just kept giving option after option. 66 00:02:48,521 --> 00:02:51,641 I mean, that to me was, bam. 67 00:02:51,641 --> 00:02:54,431 Just nobody has delivered the goods like she did. 68 00:02:54,431 --> 00:02:57,071 That was so impressive, to the point where it's like, 69 00:02:57,071 --> 00:02:58,211 OK, Meryl, we're done. 70 00:02:58,211 --> 00:03:00,021 We're going to lock the door and turn out the lights now. 71 00:03:00,021 --> 00:03:01,161 We're going to lock the door and turn out the lights now. 72 00:03:01,161 --> 00:03:02,036 It was amazing. 73 00:03:08,881 --> 00:03:12,361 Another really valuable lesson that I found along the way 74 00:03:12,361 --> 00:03:15,421 is surround yourself with people who respect you, 75 00:03:15,421 --> 00:03:17,461 who appreciate you, who love what you're doing 76 00:03:17,461 --> 00:03:18,811 and they support you. 77 00:03:18,811 --> 00:03:21,391 I can't tell you how important that is. 78 00:03:21,391 --> 00:03:24,301 Sometimes people will make a little comment 79 00:03:24,301 --> 00:03:27,751 that can really sort of stick with you in a bad way. 80 00:03:27,751 --> 00:03:30,021 And it's so important that as an artist 81 00:03:30,021 --> 00:03:30,481 And it's so important that as an artist 82 00:03:30,481 --> 00:03:32,191 you surround yourself with people 83 00:03:32,191 --> 00:03:36,421 who believe in you, because people who truly believe in you 84 00:03:36,421 --> 00:03:38,641 will give you confidence. 85 00:03:38,641 --> 00:03:41,101 And that confidence is what allows 86 00:03:41,101 --> 00:03:43,621 you to do your best work. 87 00:03:43,621 --> 00:03:46,051 And I'm not talking about yes, men. 88 00:03:46,051 --> 00:03:50,761 My friends are people who they communicate some truth to me 89 00:03:50,761 --> 00:03:53,641 about sometimes things that are a little bit awkward. 90 00:03:53,641 --> 00:03:55,591 If somebody is just saying yes to me 91 00:03:55,591 --> 00:03:58,291 because they think I'm going to be happy about it 92 00:03:58,291 --> 00:04:00,021 and it really was something that was not right, 93 00:04:00,021 --> 00:04:02,941 and it really was something that was not right, 94 00:04:02,941 --> 00:04:04,901 that's not a good thing. 95 00:04:04,901 --> 00:04:08,221 The challenge is going to be who do you trust? 96 00:04:08,221 --> 00:04:12,931 Which leads me to my next point, trust your instincts. 97 00:04:12,931 --> 00:04:15,151 Because you know what, when it comes right down to it 98 00:04:15,151 --> 00:04:17,581 you are right. 99 00:04:17,581 --> 00:04:19,261 You are correct. 100 00:04:19,261 --> 00:04:22,050 Say you walk away from an audition, 101 00:04:22,050 --> 00:04:25,261 or say you walk away from a job interview, 102 00:04:25,261 --> 00:04:28,081 or say you had a date with someone 103 00:04:28,081 --> 00:04:30,021 and you're saying goodbye and you're on your way out. 104 00:04:30,021 --> 00:04:30,511 and you're saying goodbye and you're on your way out. 105 00:04:30,511 --> 00:04:33,731 But as you're reaching the handle for your door, 106 00:04:33,731 --> 00:04:35,921 you're going, oh, man, I should have given them 107 00:04:35,921 --> 00:04:36,961 my phone number. 108 00:04:36,961 --> 00:04:39,631 I should have done one more take. 109 00:04:39,631 --> 00:04:41,821 You know, you are right. 110 00:04:41,821 --> 00:04:42,931 Go back. 111 00:04:42,931 --> 00:04:43,621 Do it. 112 00:04:43,621 --> 00:04:44,261 Do it. 113 00:04:44,261 --> 00:04:45,571 And do it now. 114 00:04:45,571 --> 00:04:48,771 Because as soon as you get in that car, I'm telling you, 115 00:04:48,771 --> 00:04:50,431 and you're on your way home, you don't 116 00:04:50,431 --> 00:04:54,661 want to be driving in your car or riding on a bus saying, 117 00:04:54,661 --> 00:04:57,031 oh, man, I should have done it. 118 00:04:57,031 --> 00:04:59,521 That is the worst feeling in the world. 119 00:04:59,521 --> 00:05:00,021 So trust your instincts, you are correct. 120 00:05:00,021 --> 00:05:02,191 So trust your instincts, you are correct. 121 00:05:02,191 --> 00:05:05,503 122 00:05:09,401 --> 00:05:11,221 One of the questions that people like 123 00:05:11,221 --> 00:05:14,461 to ask me is, how do you do it all? 124 00:05:14,461 --> 00:05:17,731 And I guess it all boils down to really what is it 125 00:05:17,731 --> 00:05:18,461 that you want. 126 00:05:18,461 --> 00:05:20,131 And you have to prioritize it. 127 00:05:20,131 --> 00:05:22,951 You can't make everybody happy all the time. 128 00:05:22,951 --> 00:05:25,121 There's a little bit of a give and take. 129 00:05:25,121 --> 00:05:27,901 So if you're putting attention over here on the family, 130 00:05:27,901 --> 00:05:30,021 your career could feel like it's going down a little bit. 131 00:05:30,021 --> 00:05:31,513 your career could feel like it's going down a little bit. 132 00:05:31,513 --> 00:05:32,971 Well, you got to go back over there 133 00:05:32,971 --> 00:05:35,561 and put a little bit more attention on the career, 134 00:05:35,561 --> 00:05:38,161 whether it's reading something or being with a group 135 00:05:38,161 --> 00:05:42,061 and taking an acting class or a voice class. 136 00:05:42,061 --> 00:05:44,171 And then you feel like, gosh, I just need a break. 137 00:05:44,171 --> 00:05:45,421 I need a vacation. 138 00:05:45,421 --> 00:05:46,621 Well, you deserve that. 139 00:05:46,621 --> 00:05:48,931 You should do that too. 140 00:05:48,931 --> 00:05:51,013 Or you know, it makes me feel good to volunteer 141 00:05:51,013 --> 00:05:51,721 in the community. 142 00:05:51,721 --> 00:05:54,841 But I think I can do that on Saturday mornings. 143 00:05:54,841 --> 00:05:57,301 But then you got to work that out with the family. 144 00:05:57,301 --> 00:06:00,021 It's all about kind of like spinning the plates, 145 00:06:00,021 --> 00:06:00,181 It's all about kind of like spinning the plates, 146 00:06:00,181 --> 00:06:02,071 like on "The Ed Sullivan Show." 147 00:06:02,071 --> 00:06:04,171 Plate number one is falling. 148 00:06:04,171 --> 00:06:05,011 That's my family. 149 00:06:05,011 --> 00:06:06,751 I got to go down and spin that plate. 150 00:06:06,751 --> 00:06:08,551 Oh no, my career. 151 00:06:08,551 --> 00:06:10,749 I think I just lost an opportunity for a job. 152 00:06:10,749 --> 00:06:13,291 I've got to go back down there and make a phone call and say, 153 00:06:13,291 --> 00:06:14,411 look, I really blew it. 154 00:06:14,411 --> 00:06:14,971 I'm so sorry. 155 00:06:14,971 --> 00:06:17,461 Bam, bam, bam-- spin that play a little bit more. 156 00:06:17,461 --> 00:06:20,101 If you can get all those plates going at the same time, 157 00:06:20,101 --> 00:06:21,731 I'd say you're doing fantastic. 158 00:06:28,931 --> 00:06:30,021 Probably the biggest career obstacle 159 00:06:30,021 --> 00:06:31,371 Probably the biggest career obstacle 160 00:06:31,371 --> 00:06:35,381 that I've had to overcome was with a show 161 00:06:35,381 --> 00:06:37,421 called "The Rugrats." 162 00:06:37,421 --> 00:06:39,671 So I was a big fan of that show. 163 00:06:39,671 --> 00:06:40,721 I knew it was going on. 164 00:06:40,721 --> 00:06:42,431 It was the cutest animation. 165 00:06:42,431 --> 00:06:44,741 It was so adorable. 166 00:06:44,741 --> 00:06:48,821 Somehow, I missed out on the audition for that. 167 00:06:48,821 --> 00:06:51,101 But years later, I it was like about eight-- 168 00:06:51,101 --> 00:06:53,231 eight-- seven, eight years later, 169 00:06:53,231 --> 00:06:56,951 Chris Kavanaugh, who was the voice of Chuckie was retiring. 170 00:06:56,951 --> 00:06:59,771 And they needed to replace her. 171 00:06:59,771 --> 00:07:00,021 So they called me up. 172 00:07:00,021 --> 00:07:01,661 So they called me up. 173 00:07:01,661 --> 00:07:05,691 And I had this opportunity to go in and do this. 174 00:07:05,691 --> 00:07:08,381 But I was scared to death, because Chris 175 00:07:08,381 --> 00:07:12,491 had done such an amazing job creating this little guy. 176 00:07:12,491 --> 00:07:15,221 And Chuckie, the little guy, he's 177 00:07:15,221 --> 00:07:17,681 supposed to be two-years-old. 178 00:07:17,681 --> 00:07:19,121 He's so scared. 179 00:07:19,121 --> 00:07:20,861 He's afraid of clowns. 180 00:07:20,861 --> 00:07:22,811 He's afraid of Angelica. 181 00:07:22,811 --> 00:07:25,151 He's got an adenoidal problem. 182 00:07:25,151 --> 00:07:26,621 He's got bad eyes. 183 00:07:26,621 --> 00:07:29,411 He's got these big square glasses with like Coke bottle 184 00:07:29,411 --> 00:07:30,021 glasses. 185 00:07:30,021 --> 00:07:30,731 glasses. 186 00:07:30,731 --> 00:07:32,141 There's all kinds of things. 187 00:07:32,141 --> 00:07:37,251 And she created this amazing, amazing little guy. 188 00:07:37,251 --> 00:07:38,391 What was that? 189 00:07:38,391 --> 00:07:40,881 There's something down there. 190 00:07:40,881 --> 00:07:43,581 No, that can't be. 191 00:07:43,581 --> 00:07:46,421 Things don't live under beds. 192 00:07:46,421 --> 00:07:48,921 CHRISTINE CAVANAUGH: It was kind of like one of those things 193 00:07:48,921 --> 00:07:53,801 where it was quite daunting and a little bit 194 00:07:53,801 --> 00:07:58,001 of a strange situation like to come in and replace somebody. 195 00:07:58,001 --> 00:08:00,021 That's like how am I ever going to sound like him? 196 00:08:00,021 --> 00:08:01,541 That's like how am I ever going to sound like him? 197 00:08:01,541 --> 00:08:06,611 So what I did was I hired the director, Charlie. 198 00:08:06,611 --> 00:08:09,631 And so I said, Charlie, I want you to help me with this. 199 00:08:09,631 --> 00:08:10,301 He said, OK. 200 00:08:10,301 --> 00:08:14,471 So the casting director, Barbara Wright, 201 00:08:14,471 --> 00:08:17,713 she gave me a reference tape so I could hear Chuckie. 202 00:08:17,713 --> 00:08:18,671 And so I called her up. 203 00:08:18,671 --> 00:08:19,921 I said, can you do me a favor? 204 00:08:19,921 --> 00:08:21,461 Send me the script. 205 00:08:21,461 --> 00:08:23,171 I need it in writing too. 206 00:08:23,171 --> 00:08:27,461 So she sent me the script of that particular episode. 207 00:08:27,461 --> 00:08:29,013 So I got that. 208 00:08:29,013 --> 00:08:30,021 And then I went to Charlie's house. 209 00:08:30,021 --> 00:08:30,471 And then I went to Charlie's house. 210 00:08:30,471 --> 00:08:31,804 And he had a studio right there. 211 00:08:31,804 --> 00:08:33,491 So we worked, I mean, all day. 212 00:08:33,491 --> 00:08:36,430 We worked maybe four hours I guess on it. 213 00:08:36,430 --> 00:08:37,481 And I just kept doing it. 214 00:08:37,481 --> 00:08:38,381 And he's tweaking me. 215 00:08:38,381 --> 00:08:40,060 And we just worked it and worked it. 216 00:08:40,060 --> 00:08:43,901 And then I was hired to do the job. 217 00:08:43,901 --> 00:08:45,641 They wanted to hear me do it. 218 00:08:45,641 --> 00:08:47,981 And on that particular day, there 219 00:08:47,981 --> 00:08:51,911 must have been a dozen people in the engineer booth. 220 00:08:51,911 --> 00:08:54,011 no pressure at all. 221 00:08:54,011 --> 00:08:55,796 And I'm doing this voicing. 222 00:08:55,796 --> 00:08:57,671 And it's like-- (STARTS TALKING LIKE CHUCKIE) 223 00:08:57,671 --> 00:08:59,411 because, like, when Chuckie talks, 224 00:08:59,411 --> 00:09:00,021 he's got this whole thing going on here. 225 00:09:00,021 --> 00:09:01,781 he's got this whole thing going on here. 226 00:09:01,781 --> 00:09:03,341 And you listen to that. 227 00:09:03,341 --> 00:09:05,891 He's placed in the back of my throat. 228 00:09:05,891 --> 00:09:06,551 And-- 229 00:09:06,551 --> 00:09:07,521 [GROWLING] 230 00:09:07,521 --> 00:09:08,921 I don't like clowns. 231 00:09:08,921 --> 00:09:10,211 [GROWLING] 232 00:09:10,211 --> 00:09:13,031 And just like listening to that over and over again so 233 00:09:13,031 --> 00:09:15,431 I could sort of get that same essence 234 00:09:15,431 --> 00:09:17,771 that she had established so beautifully. 235 00:09:17,771 --> 00:09:20,891 Anyway, they're in there and they're listening to it. 236 00:09:20,891 --> 00:09:22,371 And I did the job. 237 00:09:22,371 --> 00:09:23,561 And I was a little anxious. 238 00:09:23,561 --> 00:09:26,681 And, OK-- no, they're like, no, it's great. 239 00:09:26,681 --> 00:09:28,061 I started to walk out. 240 00:09:28,061 --> 00:09:30,021 And one of the best compliments I ever 241 00:09:30,021 --> 00:09:30,191 And one of the best compliments I ever 242 00:09:30,191 --> 00:09:33,311 got was somebody was walking down the hall and said, 243 00:09:33,311 --> 00:09:34,941 was that you? 244 00:09:34,941 --> 00:09:36,026 I said, yeah. 245 00:09:36,026 --> 00:09:39,371 And this person said to me, oh my God, I 246 00:09:39,371 --> 00:09:41,621 thought Chris came back. 247 00:09:41,621 --> 00:09:43,211 That felt amazing. 248 00:09:43,211 --> 00:09:45,401 I'm scared Tommy. 249 00:09:45,401 --> 00:09:49,061 What if I'm allergic to giant bugs. 250 00:09:49,061 --> 00:09:51,491 Why would you be allergic to giant buggies? 251 00:09:51,491 --> 00:09:55,911 Because I'm allergic to everything. 252 00:09:55,911 --> 00:09:58,581 CHRISTINE CAVANAUGH: Sometimes you're presented with something 253 00:09:58,581 --> 00:10:00,021 that could appear to be unsurmountable. 254 00:10:00,021 --> 00:10:03,758 that could appear to be unsurmountable. 255 00:10:03,758 --> 00:10:05,091 You know, it's like I'll never-- 256 00:10:05,091 --> 00:10:07,258 I don't know how I'm ever going to get through this. 257 00:10:07,258 --> 00:10:08,241 How am I going to-- 258 00:10:08,241 --> 00:10:09,561 how am I going to survive that? 259 00:10:09,561 --> 00:10:11,561 It's the worst thing that could possibly happen. 260 00:10:11,561 --> 00:10:14,221 I'll never make it kind of a thing. 261 00:10:14,221 --> 00:10:16,791 But you'll never know till you try. 262 00:10:16,791 --> 00:10:19,701 You know, I went in there and I hired Charlie. 263 00:10:19,701 --> 00:10:23,511 I insisted on having the text, not just the tape. 264 00:10:23,511 --> 00:10:26,671 I wanted to do this the best that I could do it. 265 00:10:26,671 --> 00:10:29,001 I gave it all my all. 266 00:10:29,001 --> 00:10:30,021 Then I started to add my own elements to Chuckie that 267 00:10:30,021 --> 00:10:33,231 Then I started to add my own elements to Chuckie that 268 00:10:33,231 --> 00:10:34,864 are mine, that weren't hers. 269 00:10:34,864 --> 00:10:36,781 You know, feel-- (STARTS TALKING LIKE CHUCKIE) 270 00:10:36,781 --> 00:10:40,101 so when I do Chuckie and I say she says Phil and Lil. 271 00:10:40,101 --> 00:10:41,901 I say "feel" and "leal." 272 00:10:41,901 --> 00:10:45,171 I make a diphthong, like it's two syllables almost, 273 00:10:45,171 --> 00:10:45,891 those words. 274 00:10:45,891 --> 00:10:47,091 And it's funny. 275 00:10:47,091 --> 00:10:48,951 And it's just another little element 276 00:10:48,951 --> 00:10:53,086 that I got to do to add to it to make him now he's mine. 277 00:10:53,086 --> 00:10:53,961 He's definitely mine. 278 00:10:53,961 --> 00:10:55,761 That feels good. 279 00:10:55,761 --> 00:10:58,591 You know, I've been doing this for like 40 years. 280 00:10:58,591 --> 00:11:00,021 And honestly, I see me doing it another 40 years. 281 00:11:00,021 --> 00:11:01,951 And honestly, I see me doing it another 40 years. 282 00:11:01,951 --> 00:11:03,771 And if you can take any of these lessons 283 00:11:03,771 --> 00:11:07,581 that I've given you on any aspect of it, 284 00:11:07,581 --> 00:11:11,281 then that's awesome, because it's a long journey 285 00:11:11,281 --> 00:11:13,401 we got going here, folks. 286 00:11:13,401 --> 00:11:16,341 If it can make it fun for you along the way, 287 00:11:16,341 --> 00:11:19,521 then by all means, go for it. 1 00:00:07,731 --> 00:00:09,981 Everyone has a voice. 2 00:00:09,981 --> 00:00:12,051 But it's up to you to decide how you want 3 00:00:12,051 --> 00:00:14,421 to use your voice in your life. 4 00:00:14,421 --> 00:00:17,361 You can use your voice to put forth a unique point of view, 5 00:00:17,361 --> 00:00:20,091 to try to bring about change in your community, 6 00:00:20,091 --> 00:00:24,081 or you can use it to bring a little joy to those around you. 7 00:00:24,081 --> 00:00:27,111 I'm going to share a few stories of how I've learned to harness 8 00:00:27,111 --> 00:00:28,851 the power of my voice. 9 00:00:28,851 --> 00:00:30,021 And I challenge you to think about how you, too, 10 00:00:30,021 --> 00:00:32,151 And I challenge you to think about how you, too, 11 00:00:32,151 --> 00:00:33,936 can go get vocal. 12 00:00:40,881 --> 00:00:43,371 I was auditioning to do the commencement speech 13 00:00:43,371 --> 00:00:45,051 at my high school graduation. 14 00:00:45,051 --> 00:00:48,241 And they were picking five students to do it. 15 00:00:48,241 --> 00:00:50,751 I thought, OK, so what I want to do my speech about? 16 00:00:50,751 --> 00:00:53,331 I talked to my teacher about it, my-- my favorite teacher 17 00:00:53,331 --> 00:00:54,201 of all time. 18 00:00:54,201 --> 00:00:57,081 And he gave me this poem by Henry Wadsworth Longfellow, 19 00:00:57,081 --> 00:01:00,021 "lives of great men remind us we can make our lives sublime 20 00:01:00,021 --> 00:01:01,821 "lives of great men remind us we can make our lives sublime 21 00:01:01,821 --> 00:01:06,471 and in departing leave behind us footprints 22 00:01:06,471 --> 00:01:09,171 on the sands of time." 23 00:01:09,171 --> 00:01:11,361 I thought, wow. 24 00:01:11,361 --> 00:01:13,191 I love that. 25 00:01:13,191 --> 00:01:15,831 It put, like, a dream there for me. 26 00:01:15,831 --> 00:01:19,681 It was like a vision that I had for myself for my future. 27 00:01:19,681 --> 00:01:21,411 So I wrote this whole speech. 28 00:01:21,411 --> 00:01:23,781 So in front of the class, in front of the senior class, 29 00:01:23,781 --> 00:01:24,591 we had auditions. 30 00:01:24,591 --> 00:01:27,951 And there were about maybe 12 of us all together. 31 00:01:27,951 --> 00:01:30,021 And we one at a time went up there and we gave our speeches. 32 00:01:30,021 --> 00:01:31,071 And we one at a time went up there and we gave our speeches. 33 00:01:31,071 --> 00:01:33,631 So then later on in the day, they announced the winner. 34 00:01:33,631 --> 00:01:35,631 And I did not make the finalists. 35 00:01:35,631 --> 00:01:37,041 I didn't get selected. 36 00:01:37,041 --> 00:01:38,493 And I was devastated. 37 00:01:38,493 --> 00:01:40,201 So now I'm not going to be able to do it. 38 00:01:40,201 --> 00:01:42,801 I didn't even tell my mom and dad I had written the speech. 39 00:01:42,801 --> 00:01:46,791 I wanted to surprise them at the actual commencement. 40 00:01:46,791 --> 00:01:49,791 I told my mom on the day of the graduation 41 00:01:49,791 --> 00:01:51,471 that I had written the speech. 42 00:01:51,471 --> 00:01:53,751 I said, but, Mom, I didn't get selected. 43 00:01:53,751 --> 00:01:55,311 I messed up. 44 00:01:55,311 --> 00:01:57,044 She goes, no, you are going to do it. 45 00:01:57,044 --> 00:01:57,961 You're going to do it. 46 00:01:57,961 --> 00:01:59,581 Let's do it right now. 47 00:01:59,581 --> 00:02:00,021 So in our den, I stood up there. 48 00:02:00,021 --> 00:02:02,391 So in our den, I stood up there. 49 00:02:02,391 --> 00:02:04,271 There's my Aunt Millie and my cousin. 50 00:02:04,271 --> 00:02:07,281 There's Peggy and Suzy, and some of my siblings were there. 51 00:02:07,281 --> 00:02:09,591 And I did my speech, and I did it perfect. 52 00:02:09,591 --> 00:02:11,811 And I got a nice round of applause. 53 00:02:11,811 --> 00:02:13,911 And you know what? 54 00:02:13,911 --> 00:02:16,771 It was the best feeling that I got. 55 00:02:16,771 --> 00:02:18,381 I kept my integrity. 56 00:02:18,381 --> 00:02:20,331 And my mom said to me, you know what? 57 00:02:20,331 --> 00:02:22,231 That's the best speech. 58 00:02:22,231 --> 00:02:24,561 Yours is the best speech of all. 59 00:02:24,561 --> 00:02:26,481 And she gave me a big hug and said 60 00:02:26,481 --> 00:02:28,461 that I would have plenty of opportunities 61 00:02:28,461 --> 00:02:30,021 to make my mark on the world. 62 00:02:30,021 --> 00:02:31,269 to make my mark on the world. 63 00:02:31,269 --> 00:02:34,113 [APPLAUSE] 64 00:02:35,541 --> 00:02:37,881 I actually believe that it's the artist that makes 65 00:02:37,881 --> 00:02:40,467 the difference in the world. 66 00:02:40,467 --> 00:02:43,419 [CHEERING] 67 00:02:44,411 --> 00:02:47,221 It's the artist who is putting the future there 68 00:02:47,221 --> 00:02:51,821 through films, photography, theater, dance, sculpture, 69 00:02:51,821 --> 00:02:56,241 music, and animation. 70 00:02:56,241 --> 00:03:00,021 It's the artist who gives hope in a troubled world. 71 00:03:00,021 --> 00:03:00,351 It's the artist who gives hope in a troubled world. 72 00:03:00,351 --> 00:03:03,121 Not everyone has the luxury to be paid as an artist. 73 00:03:03,121 --> 00:03:05,841 But it's very important that you find an outlet for yourself 74 00:03:05,841 --> 00:03:07,811 as an artist. 75 00:03:07,811 --> 00:03:10,701 And I encourage all of you seniors, underclassman, 76 00:03:10,701 --> 00:03:15,141 10-year-old boys, your brothers and sisters, moms and dads 77 00:03:15,141 --> 00:03:17,521 to follow your passion. 78 00:03:17,521 --> 00:03:24,221 Life is an art, so make it beautiful and make it your own. 79 00:03:24,221 --> 00:03:26,981 [APPLAUSE] 80 00:03:27,901 --> 00:03:30,021 You just never know how big the stage will be 81 00:03:30,021 --> 00:03:30,931 You just never know how big the stage will be 82 00:03:30,931 --> 00:03:32,971 or when the curtains will part. 83 00:03:32,971 --> 00:03:36,451 But if you treat every opportunity with intention, 84 00:03:36,451 --> 00:03:39,991 you'll be ready when it's time to step up to the mic. 85 00:03:39,991 --> 00:03:42,871 [UPBEAT MUSIC] 86 00:03:45,751 --> 00:03:49,951 When I started out in the early '80s doing voiceovers, 87 00:03:49,951 --> 00:03:52,711 I never considered that I was doing 88 00:03:52,711 --> 00:03:57,031 something that was unusual or not particularly done 89 00:03:57,031 --> 00:03:58,991 a lot by women. 90 00:03:58,991 --> 00:04:00,021 But when I go back in the day and I 91 00:04:00,021 --> 00:04:00,541 But when I go back in the day and I 92 00:04:00,541 --> 00:04:02,221 look at the history of animation, 93 00:04:02,221 --> 00:04:05,371 in particular voiceovers for animation, 94 00:04:05,371 --> 00:04:08,341 there weren't a lot of women that were doing it. 95 00:04:08,341 --> 00:04:13,561 It was a small group of women, Lucille Bliss, June Foray, 96 00:04:13,561 --> 00:04:15,181 Annie Singleton. 97 00:04:15,181 --> 00:04:19,711 But the characters were mostly written for men, 98 00:04:19,711 --> 00:04:23,161 and there weren't that many actresses 99 00:04:23,161 --> 00:04:25,321 that were lending their voices. 100 00:04:25,321 --> 00:04:29,401 It was a small cadre of women that did that. 101 00:04:29,401 --> 00:04:30,021 And by the way, they didn't get credit for it. 102 00:04:30,021 --> 00:04:32,581 And by the way, they didn't get credit for it. 103 00:04:32,581 --> 00:04:34,681 Mel Blanc who was the only one that was actually 104 00:04:34,681 --> 00:04:36,421 getting credit for it. 105 00:04:36,421 --> 00:04:39,931 So it was an industry that was mostly run by men. 106 00:04:39,931 --> 00:04:42,241 And the writers were men. 107 00:04:42,241 --> 00:04:44,851 And there were exceptions to the rule, 108 00:04:44,851 --> 00:04:47,641 but it wasn't broadly promoted. 109 00:04:47,641 --> 00:04:52,681 So as the years went by, more and more writers were women, 110 00:04:52,681 --> 00:04:55,141 and they became more vocal. 111 00:04:55,141 --> 00:04:59,311 And as time changed and more women spoke up 112 00:04:59,311 --> 00:05:00,021 about how they contributed, there was more agreement 113 00:05:00,021 --> 00:05:04,201 about how they contributed, there was more agreement 114 00:05:04,201 --> 00:05:06,721 that women can do this. 115 00:05:06,721 --> 00:05:09,751 So at the time that I got into the business, 116 00:05:09,751 --> 00:05:12,871 I started, then, playing with the other women that 117 00:05:12,871 --> 00:05:15,421 were doing it successfully. 118 00:05:15,421 --> 00:05:19,441 These women who came before me left 119 00:05:19,441 --> 00:05:22,351 footprints in the sand for me to follow. 120 00:05:22,351 --> 00:05:24,661 And gee whiz, it's-- it's-- 121 00:05:24,661 --> 00:05:27,461 it's been the joy of my life. 122 00:05:27,461 --> 00:05:29,551 So whatever the situation, don't ever 123 00:05:29,551 --> 00:05:30,021 be afraid to speak up and speak your mind about what 124 00:05:30,021 --> 00:05:32,491 be afraid to speak up and speak your mind about what 125 00:05:32,491 --> 00:05:34,066 you feel is right. 126 00:05:34,066 --> 00:05:36,541 [UPBEAT MUSIC] 127 00:05:40,501 --> 00:05:45,121 You know, creating voices for characters, whether they're 128 00:05:45,121 --> 00:05:48,961 yours or it's a picture that you bring life to, it just-- 129 00:05:48,961 --> 00:05:50,251 it's for fun. 130 00:05:50,251 --> 00:05:51,481 You just do it for fun. 131 00:05:51,481 --> 00:05:55,531 And people, you know, they enjoy that. 132 00:05:55,531 --> 00:05:58,081 I get a lot of packages delivered to my house, 133 00:05:58,081 --> 00:06:00,021 you know, whether it's through the mail or some delivery 134 00:06:00,021 --> 00:06:00,781 you know, whether it's through the mail or some delivery 135 00:06:00,781 --> 00:06:01,981 service or whatever. 136 00:06:01,981 --> 00:06:05,791 And to be honest with you, they have found out 137 00:06:05,791 --> 00:06:08,761 that it's me, that it's Nancy Cartwright, voice of Bart 138 00:06:08,761 --> 00:06:10,721 Simpson, blah, blah, blah. 139 00:06:10,721 --> 00:06:13,171 And I kind of like to have fun with that. 140 00:06:13,171 --> 00:06:15,961 You know, if I'm home and I know that somebody's delivering 141 00:06:15,961 --> 00:06:18,961 something, I will go out and speak in a character voice 142 00:06:18,961 --> 00:06:20,836 and just make them smile. 143 00:06:24,391 --> 00:06:25,141 Hi, Nancy. 144 00:06:25,141 --> 00:06:27,174 Looks like there's one for you today 145 00:06:27,174 --> 00:06:28,591 (IN CHARACTER VOICE) Oh, thanks. 146 00:06:28,591 --> 00:06:30,021 I've been waiting for my pickleball paddle for a month. 147 00:06:30,021 --> 00:06:31,591 I've been waiting for my pickleball paddle for a month. 148 00:06:31,591 --> 00:06:34,211 [CHUCKLING] You'll have to teach me how to play. 149 00:06:34,211 --> 00:06:36,241 And I love doing that. 150 00:06:36,241 --> 00:06:39,001 It makes people happy, you know? 151 00:06:39,001 --> 00:06:41,401 And we could use more of that. 152 00:06:41,401 --> 00:06:43,371 So if you're wondering, how can I 153 00:06:43,371 --> 00:06:46,251 use this voice acting in my life, how 154 00:06:46,251 --> 00:06:48,321 can I use it to, like, have fun with it, 155 00:06:48,321 --> 00:06:50,071 I've got some ideas for you. 156 00:06:50,071 --> 00:06:53,031 One thing that you can do is to, like, create these characters, 157 00:06:53,031 --> 00:06:55,371 and you can call up people, like, on their birthday 158 00:06:55,371 --> 00:06:58,881 or their anniversary or congratulations, you know, 159 00:06:58,881 --> 00:07:00,021 glad to hear you have a baby boy or a baby girl or, you know, 160 00:07:00,021 --> 00:07:02,661 glad to hear you have a baby boy or a baby girl or, you know, 161 00:07:02,661 --> 00:07:04,851 some recognition of something and do 162 00:07:04,851 --> 00:07:07,476 it-- do it as a character that you've created. 163 00:07:07,476 --> 00:07:09,241 (IN BRITISH ACCENT) Hello, popsicle. 164 00:07:09,241 --> 00:07:11,511 This is your number four giving you 165 00:07:11,511 --> 00:07:18,371 a call to wish you an extremely happy 92nd birthday. 166 00:07:18,371 --> 00:07:21,883 Happy, happy birthday, popsicle! 167 00:07:21,883 --> 00:07:23,841 (REGULAR VOICE) Another thing you can do is you 168 00:07:23,841 --> 00:07:25,191 can voice emojis. 169 00:07:25,191 --> 00:07:27,801 My cell phone has these cute little characters. 170 00:07:27,801 --> 00:07:30,021 You just come up with different voices for the giraffe 171 00:07:30,021 --> 00:07:31,281 You just come up with different voices for the giraffe 172 00:07:31,281 --> 00:07:34,581 or for the elephant or for the little panda bear. 173 00:07:34,581 --> 00:07:38,571 Or there's even one of me, and I just talk to my granddaughter. 174 00:07:38,571 --> 00:07:41,031 And, oh, man, she loves that! 175 00:07:41,031 --> 00:07:43,191 (IN CHARACTER VOICE) This is your Nana speaking. 176 00:07:43,191 --> 00:07:45,381 I know I don't look like Nana. 177 00:07:45,381 --> 00:07:47,841 I don't even sound like Nana, now, do I? 178 00:07:47,841 --> 00:07:49,731 But this is Nana speaking to you. 179 00:07:49,731 --> 00:07:52,231 And I've got a long, long neck. 180 00:07:52,231 --> 00:07:55,251 (REGULAR VOICE) She loves it and it just brings a little-- 181 00:07:55,251 --> 00:07:56,331 [LAUGHING] a little joy. 182 00:07:56,331 --> 00:07:58,941 I'm not sure who's happier, if she's happier or me, 183 00:07:58,941 --> 00:08:00,021 because I know I'm making her smile. 184 00:08:00,021 --> 00:08:02,181 because I know I'm making her smile. 185 00:08:02,181 --> 00:08:06,321 You can share some anecdote, and you can share a voice just 186 00:08:06,321 --> 00:08:09,801 off the top of your head and make somebody laugh 187 00:08:09,801 --> 00:08:11,301 and surprise somebody. 188 00:08:11,301 --> 00:08:13,101 And they can-- you can pop them out 189 00:08:13,101 --> 00:08:15,441 of whatever funk they might be in. 190 00:08:15,441 --> 00:08:17,781 So you don't have to be a star. 191 00:08:17,781 --> 00:08:20,031 You don't have to be a celebrity to make 192 00:08:20,031 --> 00:08:21,831 a difference on this planet. 193 00:08:21,831 --> 00:08:25,671 And that's-- honest to God, that is why I am here. 194 00:08:25,671 --> 00:08:30,021 [LAUGHING] So I burp and fart in order to change the world. 195 00:08:30,021 --> 00:08:32,762 [LAUGHING] So I burp and fart in order to change the world. 196 00:08:32,762 --> 00:08:36,981 [BURPS] [LAUGHING] But it's true. 197 00:08:36,981 --> 00:08:38,301 You have to start somewhere. 198 00:08:38,301 --> 00:08:41,265 [LAUGHING] 199 00:08:48,191 --> 00:08:50,831 I've been so fortunate to have had people in my life 200 00:08:50,831 --> 00:08:52,871 to teach me the tools of the trade. 201 00:08:52,871 --> 00:08:56,621 So now I want to give you three final tools to put 202 00:08:56,621 --> 00:09:00,021 into your tool belt. And that would be number one, 203 00:09:00,021 --> 00:09:02,951 into your tool belt. And that would be number one, 204 00:09:02,951 --> 00:09:05,651 don't be afraid to make mistakes because honestly, 205 00:09:05,651 --> 00:09:08,181 you cannot make mistakes when you're just learning how to do 206 00:09:08,181 --> 00:09:08,681 this. 207 00:09:08,681 --> 00:09:11,471 Just goof up as much as you want because you know what? 208 00:09:11,471 --> 00:09:14,776 It's all yours, and you can edit as much as you like. 209 00:09:14,776 --> 00:09:16,151 Practice, practice, practice, but 210 00:09:16,151 --> 00:09:18,221 don't be afraid of goofing up. 211 00:09:18,221 --> 00:09:21,041 Second thing is make strong choices 212 00:09:21,041 --> 00:09:22,721 on who your characters are. 213 00:09:22,721 --> 00:09:24,881 You know, make sure there's a differentiation 214 00:09:24,881 --> 00:09:26,231 between your characters. 215 00:09:26,231 --> 00:09:29,081 Don't have them blending into each other. 216 00:09:29,081 --> 00:09:30,021 Make them very individual. 217 00:09:30,021 --> 00:09:32,061 Make them very individual. 218 00:09:32,061 --> 00:09:35,531 And finally, don't ever think that you're not 219 00:09:35,531 --> 00:09:38,291 going to get the job because you haven't done it 220 00:09:38,291 --> 00:09:40,701 before, you don't have any connections, 221 00:09:40,701 --> 00:09:42,131 you don't know how to do it. 222 00:09:42,131 --> 00:09:45,341 Don't let those thoughts enter your mind. 223 00:09:45,341 --> 00:09:47,221 Go for it. 224 00:09:47,221 --> 00:09:50,401 And if you get your first job because of Master Class, 225 00:09:50,401 --> 00:09:51,871 you got to let me know. 226 00:09:51,871 --> 00:09:54,941 I'm there for you, man. 227 00:09:54,941 --> 00:09:58,141 [LAUGHING] I hope that you take with you 228 00:09:58,141 --> 00:10:00,021 all these tools and all these techniques and ideas 229 00:10:00,021 --> 00:10:02,641 all these tools and all these techniques and ideas 230 00:10:02,641 --> 00:10:04,951 and tips and tricks that I have given you. 231 00:10:04,951 --> 00:10:08,401 I got a lot of this from my mentor, from Daws Butler. 232 00:10:08,401 --> 00:10:10,471 And now I'm going to pass my tool belt, 233 00:10:10,471 --> 00:10:12,061 take my tool belt off. 234 00:10:12,061 --> 00:10:14,011 I'm going to pass it over to you guys 235 00:10:14,011 --> 00:10:17,551 so that you can carry on and have the luck and fun that I've 236 00:10:17,551 --> 00:10:19,321 had my whole career. 237 00:10:19,321 --> 00:10:22,123 Here's to you guys. 238 00:10:22,123 --> 00:10:23,581 Can we play it one more time, Jeff? 239 00:10:23,581 --> 00:10:24,091 JEFF: Sure. 240 00:10:24,091 --> 00:10:24,481 No problem. 241 00:10:24,481 --> 00:10:24,981 Stand by. 242 00:10:28,201 --> 00:10:29,161 Come on, everyone. 243 00:10:29,161 --> 00:10:30,021 Hop in. 244 00:10:30,021 --> 00:10:30,751 Hop in. 245 00:10:30,751 --> 00:10:32,521 See you later or whatever. 246 00:10:32,521 --> 00:10:33,421 Ugh. 247 00:10:33,421 --> 00:10:35,431 Signing off. 248 00:10:35,431 --> 00:10:38,621 Oh, and don't let the door hit you on the way out. 249 00:10:38,621 --> 00:10:40,975 Oh! 250 00:10:40,975 --> 00:10:42,963 [ENGINE STARTING] 251 00:10:42,963 --> 00:10:44,461 Good luck, everyone! 252 00:10:44,461 --> 00:10:48,691 Y'all stay out of trouble and check your messages. 253 00:10:48,691 --> 00:10:50,231 Onto the next record. 254 00:10:50,231 --> 00:10:52,411 Let's go! 255 00:10:52,411 --> 00:10:53,921 (SINGING) I'm no-effort girl. 256 00:10:53,921 --> 00:10:54,421 Ugh. 257 00:10:54,421 --> 00:10:56,221 (SINGING) I'm no-effort girl. 258 00:10:56,221 --> 00:11:00,021 And she, she, and boring to save the whole world. 259 00:11:00,021 --> 00:11:01,381 And she, she, and boring to save the whole world.