The Voice of…Will & Christy

without me? I barely did? Everyone used you so much? No, really, you have no idea how. The fans were really bummed you weren't there, and we're so looking forward to it and really wanted to see you. So, not to make you feel guilty, but you ruined lots of people's lives more garbage on top of garbage, just throwing garbage on a dumpster fire. Everybody understood. Everybody, of course understood. That's what you do when you have, you know, little kids

and family and everything going on around you. I totally understand that. But there were people were bummed. You couldn't be there. Yeah, people were bumping, but tell so, tell me. Let's review. So you went to San Francisco. I went to fan Expo San Francisco, which was the first year convention. And sometimes first year conventions are hit or miss. You know, they're trying to find their audience. Sometimes it was great.

The people were so I mean, like every convention we've been to, the people were incredibly friendly, um so accepting and loving. I've always said I wish the entire world could be like a convention. I recorded an episode with Steeve Blue. It was so much fun. We had the live, a giant live podcast room. It was, i would say, by the end full once again, the audience stepped up, Joe Wos drawing for us live, everybody doing the voices.

It was We had I'm not gonna say who, but a very special voice over guest who popped in in the audience who then jumped in line. Uh, we had. It was a ridiculous amount of fun. Not to make pile even more hot garbage on top of your hot garbage, but I'm just happy for the It was great, No, it was great. It went and we we we gave you several shoutouts in that we were mean to you

saying we were glad you weren't there. I'm sure I can't expect that that's what happens if you don't know, we missed you a ton, but it was, it was don't we'll figure we'll figure out. We always do your you know, it's it's it's not a problem, but we um it was. It was really a lot of fun. It really, that's really but that's seriously, that's so good. It's it's really like we're in this place right now with our podcast here that we're trying to get the word out. And so you know, I don't know if

you've been an avid listener. If you have, you are, yes, you're ting. And if they're avid listeners out there that do want to like you know, promoted and throw up a hashtag and at and get the word out. I mean, we really appreciate that. I appreciate a good review right like on Apple or wherever. But it was no, I mean, the whole thing was nuts. For instance, and you'll hear this in the interview, but Steve Bloom holds four Guinness Book of World Records when it comes to sober what. Yeah,

and he didn't know three of them really. Oh yeah, because his man, no, I did my work. But then his manager also came up was like, you know he holds it was like most times ever playing Wolverine in in video games and blah blah blah. Most prolific voice actor. He's done something like six voiceover roles. I mean it's it's insane. Yeah, So he held all these kinds he was And of course I've also known him for fifteen twenty years and he's my D and D buddy. So um.

And his real life wife is my D and D wife. But our characters on Critical Role are married and have kids. Um so uh. But he married her in real life as a as a woman, a beautiful woman. I married her on D n D as a tie fling um, which is a lf for something Christine. Okay, I don't know. You have to do when you see that, look, you know what? I am in love with Critical Role and

what they're doing. I actually, um, I've known Sam Recal like my whole life, and his sister Eden that we she was my Spanish tutor and Sam was like always this like really cool older brother type. And Sam Recal doesn't have that. He totally does. I mean, he went to Harvard and he was such a smart guy and just such a good person, always always, always, always, and it's so great to see him. Like literally we're talking about a guy who was like I went to Harvard,

like I said, really wonderful son, really wonderful brother. And then on top of that, he was like in the Acapella cup like group at Harvard and they were like really they were like almost famous, they were so good. So it's so weird to me that Sam's got this whole new life as not that, but he's not just the role, but he's an incredible voiceover director. That's I was saying, like it's that was what was really strange to me that I just bumped into him and I'm like,

this is really weird. He's a director. I saw him at the studios, not l A studios, but those other studios that they're using now Magnolia. Which ones are the that is it called Magnolia. There's some that are Magnolia Studios, there's some that are Bang Zoom, there's some that Outlook.

But there's there's you know, there's probably seven or eight that you go to mostly ye know, it's usually you'll get it's like you're going to Out Loud or you're going to Magnolia, or you're going to Bang Zoom or you're going and it's like, um, yeah, after a while, you're kind of like at the same five or six.

But there's hundreds, you know, there's it's always and then you'll always hear you'll do some project that you don't know about it, and it's like you end up in somebody's kind of garage and you're like, this is certainly interesting. Um but no, it's yeah, the whole thing they're doing over there, critical role and and everything that's going on. Um but no, we're it was fun. It was fun. We miss We certainly missed you. The fans certainly missed you. Um,

but we had a blast. But so here's the thing we wanted to talk about a little bit on this very special episode of I Hear Voices, not like a very special episode of Different Strokes, but a very special episode of I Hear Voices, um where for the first time we realized Christine and I have never really talked to each other about our voiceover gigs. If you don't mind, I'd like to start Christie with the spotlight pointed at you.

Oh man, Okay, sure, that's cool. We'll do we'll we'll be we know each other well, enough will be brief for both of us. This will be well, those are plants. Your plants are going well, he made he makes fun of me because we do zooms as well here and so I I usually I've moved into a new house, and I didn't have any pictures on the wall, and then I put pictures on the wall one week and

then I literally put this tree behind me. It's this fake ficus tree and um hashtag fake ficus and now I'm getting my head caught in it as an attempt to make it home. It's good because when you first the first time you recorded in there, it looked like you're being held against your will. So this is and I don't even have the light on anymore. Got anyway,

we're good. I think we're good. So Christy Carlson Romano, I'm very curious what was the first voiceover gig you ever did, and how did you get into the world a voice over? Interestingly enough, I started doing voice acting when I was very young. Um, I have still to this day, I have a recording of me doing my first audio book when I was about twelve. Wow, do you remember the book? What was the book? M I think it was Junie B. Jones Um And I think it's like, I think it's like a children's like it

was some sort of a children's history anthology. And I remember a lot about that experience because I had done a lot of theater, and I had done a lot of even some independent films and stuff like that, twelve thirteen, but being caught in sort of this little room, this padded room, where it's so quiet and it's so calm. Yeah, isn't it wonderful? It was a really interesting experience and introduction.

And then like you you're very you know, when you're a little performer, like you've got a lot of energy, you've got a lot of thoughts, and then, like you said, you're put into a room and your task with reading an entire book. Now, mind you. I guess I was a pretty good reader to be like twelve and doing like you know, sure, but it was I don't think it was advanced enough. And I had been reading scripts my whole life since you know, I was like seven

or so. So I think that I think about my kids and she's just about to turn six, and I'm like, we're not there yet. She couldn't possibly she's not reading really, Um, so yeah, I think, um, you know, twelve is a really good age. I think as a as an early introduction to even something as simple as, you know, some sort of small book reading experience or I here's the thing. So when people ask me about like, okay on camera, are you gonna put your kids in the business and

all that stuff, obviously it's a complex issue. But at the same time, I think when it comes to voice acting, and we've talked about this in the past, the voiceover community is so positive and it's very very sweet. Like I remember Tim Ditlow, I'm going to say a specific name. He was the head of Random House Books on tape and they had just started to emerge as a sort of force for audio books. Audiobooks started to become something real.

And so you know, we're going back how many years, I'm thirty eight, you know, Um, And so this was new, you know, this was kind of a new technology. The voice recording was not, but for the purposes and the protocols of sitting down and reading a book that was sort of becoming a booming business at that point. So anyway, I just remember sitting there and drinking tea because I drank a lot of tea even from a young age, from being like a singer and doing theater, and I

just remember, I think somebody got me a croissant. So here's the interesting thing, right, Like I think there's this saying of like I think a therapist on me this once up at a time, when you go into a room and you sit in a certain chair, you're more than likely when you re enter that room, even if it's a different day, to sit back in that chair, that same chair, you tend to like repeat. I've noticed that that that you know, people are creatures have have it.

So for me, the tea and like a croissant, if it's like a long record, there's certain things that actually help that may not help say your voice, um, but they help sort of activate my abilities to like focus

on the work. So it's almost Pavlovian for you, where it's like you sit down, you're in the chair, you've got the tea, you've got the questal as they say it, and with the perfect lamination because the butter has been folded in just right or right or something hells to pay, you know exactly, and so that brings you right into like like like voice over mind. I think so. I think that like when I'm in the booth, which we really have never talked about, UM, I feel very safe.

I feel very almost like um, I'm in in Uteroe. No, that makes sense, it kind of. It kind of makes sense because it is in a way, it's almost like a working sensory deprivation tank because it's it's you know, usually not really bright. Sometimes it is, but usually not really bright, especially now after the pandemic, when I'm one of those people were even during the pandemic, I went to the studio. I observe all the protocols, but I

do not like recording from my house. I like recording podcasts from my house because there's a homey, comfy feeling about being in my room in my booth here and recording. But when I'm working, I want to feel like I'm working, and I don't feel like I'm working when I'm working from home. That's what I like about the podcast because

I don't want a podcast to feel like work. I wanted to feel like a conversation when I'm getting I want to work, and so I want to put on pants, I want to put on shoes, I want to get in my car, I want to drive to a place. I want to get out. I want to put on my headphones. I want to work. I think that do you think that Kevin um conroy, who has since passed, do you think that that sort of protocol and sort of do you think that that influenced you in terms

of very much? I think not only that, but it's also it was before I even met Kevin, who was obviously my my my voiceover guru. Um. I've been working with William Daniels, Mr Feeney on on Boyd's World, and and he he taught us professionalism, Like you are a professional. You are there early, you are prepared to go. You do not keep other actors waiting. It does not matter if you are twelve. This this is what you do. This is you are a professional. So I took that

to every aspect of the industry. So voiceover, I mean voiceover so of the greatest actors in the world, but you do meet some that can show up a little late. I haven't read the script um that kind of stuff, and it's like, okay, that's one way to look at it. It's just not how I look at it. Um so I But I get what you're saying exactly about that feeling,

especially now, as I was saying with the pandemic. I'm still going to the studio, but you're no longer in the giant studios that they're used to house fifteen actors. Now you're in a much smaller studio and they shut that door behind you, and there's like it's like part of the air gets sucked into the room and you're like and you're like, oh, I'm here to work now, I'm here in the door shuts and all the sound

goes away. You're focused on the screen in front of you, or the pages in front of you, the microphones in front of you. The only voice you hear comes through your headphones. It's like a distant kind of echo. And I get exactly what you're saying. If you are in utero, it's the doctor. You hear the doctor through you know, as you're being born, going like all right, get ready to push, Like that's the voice and your head um. But the joy is when it's all done. You don't

have a stupid kid. You've got a great car um. So that's the that's the awesomeness. So yeah, I was very young when when we think back to it, and it's like I just have a very visceral memory of what that felt like because and and then and and honoring my love of that experience, I was, I felt even more and more blessed to be in rooms in l A. Because where I was doing this was all in New York. I was doing a lot of my recording and yeah, where I was living, well, where we

were Connecticut kids. So that's that's where you went. That's where you went to work. You went to New York. Well, and I also went to performing arts school, so I was already in New York. So it would be like, Okay, I'm going to cut school or I leave early and I go to my recording session, um, you know, down on ninth or tenth or wherever the because like the recording area is in the valley in Los Angeles, but

it's very different where they'll record in New York City. Yeah, Like soho had a lot of voice kitchen did too, write like around like that whole kind of area. Yeah, yeah, that unitel video around there, all that kind of stuff. You did a lot of stuff around there too. Yeah it got a bit more scattered, but yeah, absolutely, yeah, you know, and and also to in New York, it's

more like ad mad Men kind of add stuff. I remember going on voice acting auditions which were mostly not jingles, but they were mostly commercials and stuff like that for a long time. I think that's what my introduction to voice acting was. But we've talked about it a lot on the podcast, and I think that my initial way in two turning a phrase or trying to get a job, which I started to get pretty good at UM, even in my younger years before going to l a UM. I think it it's just a matter of being a

singer and knowing that intonation is helpful. It's like a one for one. It's a song and it's and there's another thing that when I started acting, they say, well, reach your script as many times as possible, right like at least ten times before you even start trying to memorize the lines or perform it. And I'm sure that's some method, but I don't know which one it is, And so I didn't necessarily read a ton of times, but I think I had a natural inclination to sort

of honor the sing song nous of a script. So I think even if you don't have a ton of training, you can in your singer. I think you can probably approach, you know, points acting easier. Yeah, that's yeah, I didn't that whole read your script ten times that I read my script obviously every time. But I don't want to overread. I don't want to over rehearse. I don't want to read a script ten times. I want to read it once and then I want to keep it fresh. I

was gonna say, do you stop? Do you stop at a certain point, and you're saying, I'm doing this too much. Oh yeah. There's times where some of the worst auditions I've ever had in my life were things that I over rehearsed. It's just, oh my god, I want this so bad, so I'm gonna I'm gonna rehearse fifteen times. And then you get in there and your mind is like, wait, I didn't do that in the rehearsal I wanted to do. Why did I Why is that beat different? Why? And

then you start second guessing yourself. For is if it's still fresh, you're still finding the beats and you know, that's like one of the the first um pieces of advice I was given as an on camera actor as a kid. I was, you know, eleven, whatever it was was. I don't care how many times your audition for something. Always hold your script because in the mind of the people watching your audition, it means you are not yet

off book. So there's more places to go with the performance than just what you see in the room, as opposed to you walk in your off book. Hey, this is what I got there. In their minds, they're like, this is all we're ever going to get because this is as rehearsed as we're gonna get with this kid. Um. So that kind of always hold your script always resonated with me because it is it's that psychological like, oh, there's still more to come from this actor because they

have yet to reach the potential of this character. You can tell they're still on book. Wait, so but are you actually off book holding the paper? It would depend on the role. It would get anxiety when I hold the paper. Oh really, I love holding something. I love not having to think about my hands. So having something to occupy my I'm a I'm a big fan of that too. You know what, I'm actually interested. What is one of your worst auditions? I know my exact worst

audition ever. It wasn't it was for on camera though, it wasn't for mine was for theater, and okay, I have I have to one that was funny, one that was horrifying, so funny, okay, good. So the funny one was. I was a huge Family Ties fan, like I love my Michael J. Foxon Family Ties was all I ever wanted to be. Michael J. Foxon Family Ties and and Alan Alda and mac in Mash were like the reasons

I became an actor. So Gary David Goldberg, who created um uh Family Ties, was creating a new show called Brooklyn Bridge, and I was going to New York to audition for Gary David Goldberg himself. And I was mortified, excited, every superlative you could think of. And in my audition piece, I had to walk downstairs and the character playing my mom said, Hey, what do you want for dinner? And I was supposed to say, come on, it's eight o'clock in the morning. It's a little hard to get excited

about dinner. So I'm rehearsing and rehearsing and rehearsing, and I get walked out, you know, get into the room and they say action and the woman reading from my mom says, hey, what do you want for dinner? And I say, it's eight o'clock in the morning. I can't get hard about dinner. And the room was dead, silent, and it was thank you very much, and I walked out. That was it. And I was like, that was my one shot in front of Gary David Goldberg, and that's

the line that came out of my mouth. I can't get hard about dinner. Oh no. And it was because of that that they did it well, no, I don't know, it was just but it was just it was so out of left field, and so like, what the hell was that rehearsed? No. I went through the rest of the scene, but by that point it was the room was dead. Um, there was no air left in the room. Um. So that was my worst funny one worst as a kid,

but my worst audition ever. And it was strictly and it didn't even want this role all that badly, if I'm honest. Um, it was strictly from over rehearsing. It was I rehearsed and rehearsed and rehearsed because I wanted to walk in and nail it. I didn't care about the role. It was more about me wanting to nail it. And it was for a role in that really turned out to be not great. UM disaster movie The Core o the where the Earth, the core of the Earth stopped spinning so they have to go to like the

center of the Earth. Stanley Tucci was brilliant, but you know, it wasn't the best movie in the world. Um. And I read for the part of a rat who was the computer hacker guy. And the guy they ended up casting has always played the computer hacker and is brilliant, so they would have cast him anyway even if I went in and nailed this thing. This was obviously the guy that was supposed to play the role. UM. But

I just I couldn't get through it. I kept stopping and starting myself to the point where the woman, the casting director, stopped the recording and walked up to me and was like, are you okay, Like you need to relax, and I and this, but I had already done Boy Meets World, Like I've been an actor for years by this, But I had so overrehearsed it that I just I couldn't get through that, and I remember going kind of like thank you, and like, I'm not sure I ever

even finished the audition. UM, it was just harsh. So those are my two. What do you got? Cool? So yeah, I mean I'm trying to think of if I've ever had a bad voice over audition, and I can't say that I have because I really feel like when you go in UM, especially if you go into a studio and they have a director there and they really are rooting for you to do a good audition, Whereas I feel like when you go into a theater audition or a in person camera whatever audition, I feel like you're

wasting their time, you know. And it's like I can see that that's kind of an interesting way to look at it. Yeah, you do get that vibe sometimes totally. I mean it's like they've got a problem. And then I say, in an acting class, they're always like cool, just act as if you're there to solve their problem. It's like I can't do the mental gymnastics. It's hard.

So that's why voice acting is so freeing even in the it's it's also so validating even in the process, the audition process, it's it's like, you know what, I did my best work, And I think when you take out the stress of all that for me in particular, I can give my best performance or a better performance more consistently, or at least that's what I think. Um, oh,

you know what I think. Okay, trying to think. There was only one time I did a voice acting audition with the lady who is a big she casts for

all like the McFarland shows. Anyway, she she was very um, she was very specific about me coming in and auditioning for something, and she was really trying to help me, but it almost seemed like she was almost trying to reinvent my voice talent, and she was trying to kind of really quote unquote dig deep into me becoming a sort of a different voice or finding a voice inside

me bringing out. Now that being said, I appreciate that she took the time to do that on a casting level, But when you think about somebody who's trying to cast versus somebody like Andrea Romano who's literally able to pull something out of you, Because I don't know if it's her philosophy about life. It's a different style. It's just a different You get that with on camera actors too. I mean you get some on camera directors, you know,

they just have different styles. And know George Lucas, who does all the Star Wars movies and everything else, famously does not like actors, has said if I could replace all actors with robots, I would. So there's some people that just they don't have the It's not even a talent, it's just the the capacity to pull that out of an actor. I mean there's certain I always use it is, but it's also how you have to work with him.

I I use Arnold Schwartzenegger as an example. Like Arnold Schwartzenegger, people are like, God, he's really not that great an actor. But if you watch Arnold Schwartzenegger in a James Cameron movie, he's awesome. So it's like, for some reason, James Cameron can pull a performance out of Arnold Schwarzenegger. So there's certain directors and certain actors that when they work together, you're like, that's that's great chemistry, that works really well.

And Andrea has that, you know, Lisa Lisa Shaefer has that. So I would argue Sam Regal has that Collette Sunderman has that there are some people that you just when you when you work with them, they are supportive and they know you as an actor well enough to maybe say what you need to hear, maybe say what you don't need to hear, but need to hear, if that makes any sense. Um, and they can they can get what they need from you. Yeah, I'm still I'm still

dying to know, though, what you're bad. Show audition was to have one, and actually both of them were theater. Okay, so that's interesting. The first one was Westport Playhouse, right, They in Connecticut where we're from. They have Shakespeare there and they have they had Romeo and Juliet, and I was so excited and I really tried to understand. I've never done Shakespeare. I wasn't trained in this whole different beast, dude,

so hard to remember those lines. Oh yeah, Shakespeare. Yeah, and I've been doing and I had done you know, Broadway productions and theaters and stuff like I've done a different thing. Yeah, I go, and I try so hard, and just like you said about that one audition, I stumbled through the entire Juliet. You know a balcony scene and I literally light through window breaks. No, I can see that's not English, that's not the East. And Juliet has the sun arise fair Son, and you can do Shakespeare.

I can do that scene. I mean that's it. I can't do Shakespeare at all. No, I can't. I cannot do Shakespeare at all. And it is it is a different language. I mean it's quite it's a different language. Yeah. That I basically walked into another country and tried to speak the language like I've been speaking it osionally. That's a perfect way to that's a perfect analogy for Shakespeare.

It was devastating and also humbling. I think it was really humbling, and it gave me so much more respect for people because I think that I had thought as a young performer, I must have been like sixteen seventeen. It was before Disney, though, so maybe what's it before Disney? I think it was about sixteen, and I was just cocky and I was like, you know, I've done theater, and then you go and you try and do the Shakespeare thing and they're like, oh no, this is not

this is not the same. Totally different, totally different things. And then I also was super humbled on my birthday of all days, I know, happy birthday. There was this play called Vanityes that was really popular and ended up going I think, like the Broadway something like years ago. I think I was turning like twenty four and it was my birthday, and I hadn't really gone out for

a lot of musical theater auditions. Like just being in l A, you don't get a ton of them, and so I was like, Okay, this is a big deal. They're out here in l A. I'm gonna go ahead and I'm gonna I'm gonna go to the juice bar and I'm gonna get like a special drink or whatever and make sure my voice is all good while I get this special drink. And it's my birthday, right, So I'm like, okay, I'll get this drink. It'll just put me in the mood to really like have energy and

I'll feel like clean. Well, it has cayenne pepper in it, oh no, and some people, I think in terms of their vocal like working, some people do really well with kyenne pepper. But it has to be I think a certain amount, and I think it has to be counterbalanced in terms of the acidity or the you know, like you have to have slippery elm mixed in with you know, a throat coat or whatever with a little kayenne pepper.

Maybe because I think I had remembered there was a really amazing singer on a show I did called Parade on Broadway, and he had this throat coat that he would mix with some kay and pepper, and I was like, oh, kay and pepper will help. And it turns out that it took my voice like completely away from me. I tried to do my best and I just botched that whole audition. I botched the music. I botched music I prepared, I forgot the words. It was like just such a

cluster f and um. And I think, I don't know. I think maybe in retrospect it humbles you and in terms of being an artist, and I think there's something to be said for you know, being an artist is a very like um, it's not the best. You are tortured in one way or another. Yeah, again, it depends. There's obviously certain things in my career that I look back at and would do differently and everything, But to me,

being an artist is the best. I love it. Um, even the horrible parts of it I love, but I have to imagine that's life, you know, it's it's there's there's good and bad and everything you do. Um. I always joked about never wanting children. I'm guessing since so many people are doing it, there's good parts in that as well. UM. I don't know what they are, but

they're they're they're probably there. Uh So, I mean I think you know, it's one of those things where I was never see It's so funny because I never considered myself an actor, if that sounds strange, but I didn't. I always consider myself an entertainer because I like to entertain people. The idea that I'm going to go off and my goal is to go star in some movie to try to win an Academy Award. That ain't never gonna happen, nor was it ever gonna happen, nor was

that every my goal. I don't have those skills to go in Wow, like you say Shakespeare, I don't have I can do Shakespeare. That's not your calling. It's a whole different interesting um. And I can't wait for you to hear the Steve Steve Bloom interview about how he got started and his first job he literally worked went from a mail room and he worked did this voiceover job for a friend of his, making sounds for pizza. That's what he got paid. He got paid pizza to

go to go to do his first job ever. Yeah, so it's uh, you know, it's in some good pizza. You don't know where where people can start or what they can do. But but then it's interesting, like when you say, like, in terms of what your goal was, your calling, so to speak, like you knew you had a relationship to your art form in a very intimate way. My art form consisted of until I really learned how to how to make people laugh the right way. My art form as a kid consisted of walking to a

room and essentially yelling everyone look at me. That was that was my art form. I wanted to be the center of attention. I wanted to make people laugh. I wanted to use the comedy I saw on TV and the Michael J. Fox's timing and al and all this timing.

That was until I until I really got on the set of Boy Means World and had an opportunity to work at the craft every week, and to find out that it was a you know, it was comedy as a song, and and so the second I started to hear it and not only could play on beat, but play off beat, that's when I was like, oh, I get this now, But that took me years. I was

twenty by the time I figured that out. Um so, uh yeah, it's and then and then there's a whole different song with voiceover to bring it back to video, there's a whole different song with vo And you see people you stand next to, men and women that hear the song louder than you do, can interpret it better than you do, can play it better than you I mean, it's just if you're in any talent business, talent related business, there will always come a time where you're standing between

two people who are better at whatever you're doing the way it is. But I guess that's what you do with that humility, Like it seems like you had the stick tutiveness, especially having been contracted to continue to show up and be on that show that you had to fill upwards. Oh yeah, well, I'm I just loved it. And it's to me, I never saw it as failing,

even though it was. I mean, you know, you you every we always talk about how in this industry you're you're you say no with everyone says no a thousand times before you hear yes. Um it was you know, there was a I've talked about this kid. His name was Mike Moran. He was like my my commercial nemesis when I was growing up, because he booked every single commercial in New York named it, and this kid booked it.

And I'd walk in and I'd see Mike Moran and I'd be like, well, there's no point in me staying here anymore. He's gonna be I have not. Oh my god, I love doing that sometimes where I'm like, where are they now? Where are the people that I grew up now? I want to look at Mike Moran? What what what state was he in? Well? This was in New York at the time. I don't know where he was from, but he booked Were you guys like friendly? Did you just have ye? It was always kind of like the hey,

how you doing thing? But he was always booking like he got the big Michael Jordan's coke commercials, Like Mike signed in on the chart. Yes, You'd see the signing sheet and be like, oh, Mike Moran, I'm twelve years old. How do I have a nemesis already? But it was

so funny. A sheet or not a signing sheet is what you do when you walk in and I was just a sheet that you have to sign in your name agent, and you look at you do you look at everybody else, and you have to keep in mind for a lot of the stuff I was auditioning for back in the late eighties early nineties in New York. The names on the list were Leonardo DiCaprio, maybe McGuire. It was that whole crew really, so you saw them

in the I didn't know that. Of course, these were all you know, we were all auditioning for all the same thing, the same age. Yeah, I don't know. I don't know Leo at all. I'm not sure I've ever other than hey, what's up. I don't never shook the man's hand or set, you know, been in the same room with you know, oh, sure of that same kind of crew. So weird, wacky world. So we would be remiss though, Christie if we because unfortunately we've got this. This episode is not gonna be very long, um, but

we need to talk about some very important things. Oh yeah, we have someday we'll have to talk about, like how we got Kim and Ron and all we'll get. We're gonna do an entire episode about Kim and Ron. That's another one we're gonna do. But but when you know we're you know when we're gonna do that. We're gonna do that. We're gonna do an episode. We're gonna bring on as many people from Kim Possible as possible, and we're gonna all talk about Kim Possible, so everyone will

be here. Yeah, we'd like to talk about the super awesome contest to become the next big voice over actor because we're still, as you must imagine, figuring out all the legal stuff because um, there's so many moving parts. You say, why is it so legal, Well, it's legal because there's so many things you're gonna win. We've talked about. You get flown out to Los Angeles, you're having lunch with us, you win a thousand dollars, you're recording stuff for I hear voices, you win And this is just

the most insane thing in the world. A one year contract. And any time I talked to another voice over actor and I tell them that that's one of the prizes. They freak out, are you kidding me? You are giving away uh one year contract with a voiceover agency. Getting an agent in Hollywood is the most difficult thing to do in any part of the business. Look, I want to call it a big break, but Will doesn't want

to call it a big break. It's because it's it's a possibility of your big break, because you've got to still make your break. We can, that's sure, but he can't give you your big break. You've got to earn your big break. There's no such thing as a big break. But if there were, we are you. You're gonna earn your your stripes. But we're going to open the door. That's how I look, and I think I'm doing. The contest is part part of the earning. Absolutely absolutely, it's

going to be so much fun. But until then, as Christie was saying, first of all, I think I can speak for everybody in the audience Christie when I say feel better. Um, you are a super mom and super wife and you had everything going on and so you still you did it all while being sick. But now you need to take care of yourself a little bit because we've got big things happening, you know, so you gotta you gotta take care of your health. I'm bouncing

back and we're gonna. We're gonna. We're gonna find a star. We're gonna find we are, we are. We're going to find the next big voice actor. We really are. We were. We are not looking for a contest winner. We are looking for a colleague. So that is what we are out there trying to find and we will So until then, if you think you have what it takes to step up to the microphone, then put your voices where your mouth is. It's coming people, get ready. I Hear Voices

as hosted by Wilfred l and Christy Carlson Romano. Executive produced by Wilfredel, Brendan Rooney, Amy Sugarman and Vicky Ernst Chang. Our executive in charge of production is Danielle Romo. Our producer is Lorraine Vera Weez and our editor slash engineer is Brian Burton. And that was my announcer voice. Some side effects of listening to I Hear Voices are sore abs from hilarity falling down the Coco melon rabbit hole,

sneezing due to mass nostalgia and hugs. Follow I Hear Voices wherever you listen to podcasts so you don't miss any of the amazing voices. Be sure to follow us on Instagram and TikTok at I Hear Voices podcast. You can also check us out on my space omeigal Vine, lime Wire. Hey I'm a napster. Okay, well let's teach you about the Internet, the who