Tamara Johnson Meets World

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

00:00:24
Speaker 2: Wow.

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

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

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

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

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

00:01:07
Speaker 3: These are these are.

00:01:07
Speaker 4: The most remarkable fans I've ever seen in my life. They're like battery charged. They fold down into a little circle and then they can become a floor fan. They can become a small fan. They oscillate, they have a remote control, they hold a charge for like forty eight hours so you can have them on.

00:01:24
Speaker 3: It was and it saved our life in the in the van.

00:01:26
Speaker 1: Why have you not already thought about putting one of these fans in your off?

00:01:31
Speaker 5: And now I'm gonna need you to send me the link because I need to get one for mine too.

00:01:33
Speaker 3: Yeah, they're amazed. I guess, I guess. I don't know.

00:01:36
Speaker 4: I didn't even think about that. I was just like, it's going to be too hot, I'll just have to record. But I guess it's just a.

00:01:41
Speaker 3: Regular fan and it's one hundred and four like it is today. Is that gonna make a different funny?

00:01:45
Speaker 5: So Danielle, Danielle and I we both walked down from I forget what hotel it was, and Jensen looked pretty well rested, and Danielle and I looked like we hadn't slept all night. And we looked at each other and she was like she sleep.

00:01:57
Speaker 3: She's like nope.

00:01:57
Speaker 5: She's like did I sleep? Like nope, And she's like why, I said, well, there was avent. She's like right over the bed that was pointing right at your face while we were trying to sleep, and so you're like under the covers trying to block the air.

00:02:09
Speaker 3: It was horrifying. It was awful.

00:02:12
Speaker 1: And the option of do of sleeping like that or sleeping with it hot, well, there's no doubt I'm choosing freezing cold air blasting on my face.

00:02:21
Speaker 3: But it did not help.

00:02:23
Speaker 1: It was literally the air conditioning vent was maybe at five five and a half yeah, five feet maybe five and a half feet maybe put on the wall and then just directly in front of the bed, angled right down right at.

00:02:36
Speaker 3: Your face the whole time.

00:02:37
Speaker 5: So we do, Sue and I do not only the air conditioning at sixty five at night, but also a fan. Yeah, that's what we because we need the air. We can't it can't just be cold. It has to be moving, has to be circulating. So we have the cold and the fan going. You also require a fan to be standing at the edge of the applauding.

00:02:52
Speaker 2: Yeah.

00:02:54
Speaker 1: And when he says a fan, you mean an actual person who.

00:02:57
Speaker 3: Lovest I love that.

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

00:03:04
Speaker 3: So good doing are great? God have you lost weight in the middle of the night. Yeah, okay, so can we go back to be an Instagram scam for I?

00:03:14
Speaker 4: For whatever reason, they have nailed me of course, because the algorithm has figured us all out. And I get advertised movie props constantly, like like Reenac movie Jurassic Park one. No, I wanted to buy the draft of the drafts Park one for one. I thought you bought the Indiana Jones one, but it was already being marketed to me, like crazy, Yeah, I got the the Indiana Jones Grail Diary, which is like this video and it shows this guy who like handmade it and like and I was like, oh my god, I need this because I actually dressed as doctor Jones his father for Halloween last year, as like an in joke with because my kid's name is Indy. So I was like, and when I was walking around as this old man, everybody kept just thinking I was dressed as an old man, like nobody got the eye was who I was. And I was talking to a friend, He's like, well, you needed the Grail Diary. So I saw this ad and I bought it, and of course, like what I get is like a magazine like it's the cheapest, it's a complete scam. And if i'd read the comments, because you know, Instagram users actually comment on those times they say like, don't buy this, that's total bull And I was like, oh, I should have read the comments.

00:04:15
Speaker 3: But anyway, yeah, I get movie profits. Do you guys what targeted ads?

00:04:18
Speaker 2: I know?

00:04:19
Speaker 4: Will you're a lurker now you don't actually use social media, but what I do?

00:04:22
Speaker 5: I do still get ads. I get video So I bought. The one thing I did buy from Instagram, which I thought was a scam because it took like thirty eight weeks to get to me, was the small video game console that holds one hundred thousand of your classic games that you have. So I bought that for like one hundred and nine bucks, and by like the eighth week, I just emailed them as is this a scam?

00:04:45
Speaker 3: I was like, you can just tell me at this point you won. Yeah, yeah, I've let it go.

00:04:50
Speaker 1: At this point, I just want to know if I should still be excited about my games exactly.

00:04:55
Speaker 3: And finally they're like, no, no, no, it's real. And it showed up.

00:04:57
Speaker 5: I did exactly what Sue said I was going to do, played it for half an hour and then I've never played it again.

00:05:02
Speaker 3: Yep, never touched you played like the three games that you remember.

00:05:05
Speaker 5: I played Street Fighter two, there you go, and couldn't even get the guy that get a contract code? Did you ever play Contrary? Down down, left, right, left right, BA start? Yeah, let's start, well select start is for two players, but the yeah, that's so yeah. No, I'm what I want is my old and Tendo sixty four to work.

00:05:24
Speaker 3: That's what I want.

00:05:24
Speaker 5: And I just found I we cleaned out a big portion of our home and I found all this stuff. But I doubt it a work. But that's what I want. I don't these console things like it's just like old school.

00:05:32
Speaker 3: No, it's not at all.

00:05:33
Speaker 5: I'm miss blowing on the game and it's not working and me yelling at the screen and all that kind of stuff.

00:05:38
Speaker 1: I once bought a pair of shoes on Instagram, and I've bought I mean, let's be honest, I shop.

00:05:45
Speaker 3: I liked a shop. That's the shopping shoulders. It's the it's the same dance I do me too, it's awful.

00:05:56
Speaker 1: Oh well, you know what I think my shopping habit become such that now I even enjoy shopping in person. There's a whole I'm becoming a new person. Let me say this. I'm transforming, I don't know, having fun, and I'm doing.

00:06:11
Speaker 3: Things a sweet sleep of death.

00:06:13
Speaker 1: Are you listen. I'm constantly resisting it. I'm not asking for it. I'm just saying, as we could argue that I might be the happiest person ever, because even the idea of death just sounds nice.

00:06:28
Speaker 3: I'll be happy. I'm happy alive. I'll be happy dead. I will be happy.

00:06:34
Speaker 1: But I didn't used to like to shop at all outside of my house. I was like, a real let's just stay home.

00:06:42
Speaker 3: And I do you know.

00:06:43
Speaker 1: I use Instacart, I use Amazon, I use the Nordstrom app. I shop at Anthropology online like I shop online, and anything I have to go out and get I don't want to do. But recently I wanted a lipliner. I was like, I don't wear lipstick, but I've been doing my makeup for our live shows that we've been doing, and I was like, I need some sort of lip color. I wanted to be a lip liner. And randomly I thought.

00:07:11
Speaker 6: I'm just gonna go to the mall, but go to s arml yeah, arm go to hootgog on a stick, well pandamic.

00:07:22
Speaker 1: So, actually, writer, it's funny you say that we were in a movie and we were watching Teenage Mutant Ninja Turtles Mutant Mayhem, and Keaton can only watch for about he watches all the previews and then he watches the first thirty minutes of a movie, and then he's like done, done. I'm really announces to everybody done done, And I go, okay, all right.

00:07:39
Speaker 2: Let's go.

00:07:39
Speaker 1: So I get him up and we walked the mall and I was like, wow, I have this moment. I'm just gonna pop into Sephora. Let me tell you, even with a two year old who you know, doesn't understand what shopping is and so therefore is making my life miserable while running around trying to rip everything off the counter, sticking his finger in the makeup samples. I thoroughly enjoyed picking out a lipliner.

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

00:08:01
Speaker 5: But anyway, going back to you, just you just described me shopping with Sue by the way, yeah, literally just sticking my finger in the samples Like I'm like, I don't want.

00:08:11
Speaker 3: To be You're done, We're done. I am you done with this?

00:08:15
Speaker 5: Literally just described me with Sue, so she just doesn't take me shopping anymore.

00:08:19
Speaker 3: It's the worst.

00:08:21
Speaker 1: I love thinking of you as another little two year old. But the one thing I say I definitely got scammed with was Instagram shoes. I ordered a pair of shoes and they they also took thirty eight weeks to arrive, and I thought, I'm just never going to see these. Then they arrived and they were beautiful, and I was like, wow, worth the weight.

00:08:39
Speaker 3: Wore them once.

00:08:40
Speaker 1: Thankfully they lasted the length of my event, and on the drive home, stepping into the car, the snaps, the snaps. The straps just snapped and ripped off, broken, and I immediately threw them in the trash. All right, I waited thirty eight weeks for a one wear pair of shoes, and now I feel very wasteful.

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

00:09:11
Speaker 3: Ooh wow.

00:09:14
Speaker 5: So she got me the green ones and I had to I don't know if he told you, but I had to text producer Jensen Karr, husband of this podcast, to ask how to tie them properly? Oh, if I was just supposed to tie them, if I was supposed to slip them on, And he sent me a YouTube video about how I was supposed to do it.

00:09:29
Speaker 1: Yeah, I need I actually need help with lacing. Lacing too. There is an art to lacing. And my feet are pretty small, and so I have to like if I if I can't most of my laces, I have to tie in a bow because if I let them dangle, I step on them. But there is like a time I know there's there's also there's an art to lacing. I recently did a video about my shoes because I love shoes, and one of the very sweet comments and there was, all right, now, let's teach my good sis how to lace, and I was like, you know, I don't have I don't have that much time. I'm really just grabbing a pair of shoes, sliding them all my feet and running out the door.

00:10:05
Speaker 5: That's what Jensen at the end of the day kind of said. He's like, just tie them and go Okay, that's probably the best.

00:10:10
Speaker 1: Time, But those are great. Writer, you are not super into tennis shoes. You're a boot guy.

00:10:14
Speaker 3: But you did recently comment on a pair of my dunks.

00:10:16
Speaker 1: Remember the shoes I was wearing on tour once where you recently said, I like those, those were dunks.

00:10:20
Speaker 3: I like most of your shoes. I'm always impressed.

00:10:23
Speaker 5: We should go all go shopping together at them all. I think that'd be a ton of fun.

00:10:27
Speaker 3: Yeah, that's a good idea. I'll bring Keaton, you'll need too, I'll be there. That's right. We have our two year old, the Pod Meets World two old quickly. Welcome to Pod Meets World. I'm Daniel Fischel, I'm right strong, and I'm WILFORDE.

00:10:45
Speaker 1: Hey everybody, we are going on the road and we want you to join us for Pod Meets World Live. Will Ryder and myself are taking the show to over a dozen cities in twenty twenty three, and we have stories, games, and a costume contest where your outfit can and when you a legit nineties shooting script signed by us. Let's start with Philadelphia, where we just announced three guests that will be joining us on September thirtieth at the Met in the city the Matthews family called home. We will be joined by Tony Quinn, Trina McGhee and Matthew Lawrence talk about a trio of unforgettable guest stars. There are tickets still available, Phillies, so go to Pod Meets Worldshow dot com now. Also, we are in Orlando this Sunday at the hard Rock Live with just a handful of tickets left. And let's break down where else you can see us soon Cleveland, Toronto, Pittsburgh, Washington, DC, New York, Boston, Los Angeles, Chicago, New Orleans, Atlanta and Durham.

00:11:36
Speaker 3: Whoo. You can go to Pod Meets Worldshow.

00:11:38
Speaker 1: Dot com right now for more info and acclaim yourself a ticket to the coolest party since The Exits played John Adams High. When Sarah Markowitz first came up with the idea for Pod Meets World, who one thing that we wanted to do on the show was shine a spotlight on some of the crew members and production jobs that helped Boy Meets World become the show it was, but rarely get kudos week in and week out. We may have gotten most of the attention, but we were just the script reading cogs in a much larger and smarter machine. There were dozens and dozens of hard working and lovely professionals who did most of the work, and we knew that if we could introduce you to really any of them in between our episode recaps, well we could finally give them the credit they deserve. And this week we're honored to do just that. Sound mixer Tomara Johnson has just under get ready for this three hundred and fifty credits to her name. She's It is a resume that includes work on Fresh, Prince of bel Air, Married with Children, Who's the Boss, Sister, Sister, the Nanny, the Parkers, Everybody Loves Raymond, Zoe won On One, and Wizards of Waverley Place, Oh, and also every single episode of Boy Meets World and then later Girl Meets World.

00:12:58
Speaker 3: She's now.

00:12:59
Speaker 1: There are really only a handful of people who worked on every episode of both shows. We're looking at you, Jeff Manel and Tamara is part of that exclusive club. And she was an Emmy nominee for Outstanding Sound Mixing for a Variety Series, Music Series or Special for David Copperfield's nineteen ninety five show Unexplained Forces. Maybe she can explain David Blaine's plane trick for us. So today we get to ask her many questions about her extensive time on the show, including what is a sound mixer. Let's welcome with what I can only guess will be impeccable sound prolific to Maria Johnson.

00:13:38
Speaker 2: There, I am wow, nice to see.

00:13:43
Speaker 4: You again, Nice to see you care And you're in a professional boot in my studio at home.

00:13:49
Speaker 5: That's fair in my happy place right in a booth.

00:13:51
Speaker 3: Perfect. I love it. Love that is so cool.

00:13:54
Speaker 2: Yes, I fortunately I have this. I can do projects during the strike, which is good. Yes, that does help. Yeah, So this is so exciting to be with all of you. It really is.

00:14:06
Speaker 1: We are so excited to have you, and you are truthfully our first guest with the type of resume where we could say that you have worked on like the entire history of television.

00:14:15
Speaker 2: Not really but okay.

00:14:18
Speaker 1: So we wanted to ask you this and you have to answer very quickly without thinking it over.

00:14:22
Speaker 3: What was your favorite show you ever worked on?

00:14:25
Speaker 2: I'm not saying when it's World.

00:14:26
Speaker 3: No, No, you don't have to say that, but really.

00:14:28
Speaker 2: I don't have to. But there's so many elements of the show besides the show. That just made it a wonderful experience. All the writers, Michael, the cast, the stories, the scripts. It's just it was a wonderful, wonderful show.

00:14:43
Speaker 3: Wow. I love that. I know, that's so cool.

00:14:46
Speaker 1: Anytime somebody says that, I'm always like, yeah, yeah, yeah, it was.

00:14:51
Speaker 3: Well, you were there for the whole time, right, and the.

00:14:53
Speaker 2: Whole time pilot, first pilot, first show pilot, all the way through the end, and then all the way through the end girl, which was very sad.

00:15:01
Speaker 3: Yeah yeah, yeah.

00:15:03
Speaker 5: Only one meaning none of us were on all the boy Metroll episodes and all the Girl Meetroll episodes. So the only one of the four of us here who's done them all.

00:15:10
Speaker 3: Was yeah, wow, so cool, so cool.

00:15:14
Speaker 1: Now, we know many of our listeners and most of our hosts probably uh don't really know exactly what goes into sound mixing and re recording. So let's start with that. What is it exactly? What is the process.

00:15:29
Speaker 2: Well, when when they shoot the show, then the editor picture editor gets all the all the takes, everything puts together the show and includes the sound that goes with each one of those takes. Then I get that and my editor's dialogue editor will go through and clean everything up. Sound effects editor goes in and adds all the sounds that we need. I get the music from the composer, and then I mix all those elements, including a laugh track. The laugh guy comes in and there is a laugh guy, I believe it or not. He comes in and laughs, and that's how we that's how we do the show. And then Michael and and everybody would come in and we play it back and he gives notes and then they leave.

00:16:12
Speaker 1: Hold on a minute, there's a laugh guy.

00:16:17
Speaker 2: There is a laugh guy.

00:16:20
Speaker 1: Okay, okay, they pay they pay a guy to laugh, and does he come in and do different laughs?

00:16:27
Speaker 2: Well, he has a machine that has laughs. Okay himself.

00:16:32
Speaker 3: I thought there was a guy just sitting in front of the microphone. Thought different.

00:16:41
Speaker 2: More than it's way more than sixty laughs. He has libraries from many different stages, very many different shows, because you know, like Boy Meets World would have a younger sounding audience, you know, older audiences, African American audiences, you know, just all sorts of different choices. So yeah, wow, that's a whole that's a whole thing into itself.

00:17:02
Speaker 5: That will and then probably combinations of that. So we need young African American, we need older Wow, that's crazy.

00:17:09
Speaker 2: Michael would often say, oh, I want to hear I want to hear a woman laugh there.

00:17:14
Speaker 3: You know, or like different oos like this should be this should be a playful.

00:17:22
Speaker 1: So did they add some of the audience.

00:17:27
Speaker 2: No, Actually, Michael is too fond of the woze. If it was real and they really you really earned it, then yes, but he wouldn't necessarily add to it. But this is my favorite laugh note of all time. Do you have a sad laugh? A sad lad from Michael from another show? But it was like no, I don't.

00:17:48
Speaker 3: Oh wow.

00:17:48
Speaker 5: There was the one ask for that never happened was the sad laugh.

00:17:52
Speaker 3: And here's I think, will could you do a sad level?

00:17:54
Speaker 5: Here?

00:17:54
Speaker 3: I was just gonna say, well, could do it from a Will cool? A sad laugh would be like, you know, yes, pretty pretty darn good.

00:18:04
Speaker 1: The trailing off is what gives it away where I'm actually bummed about this.

00:18:08
Speaker 2: And the other best laugh note, second best was h It was the scene was in sort of mid Middle Ages medieval and they said the laugh didn't match the wardrobe.

00:18:20
Speaker 1: Oh my hand, we need that laugh to sound like it's behind more tin.

00:18:29
Speaker 2: It's a laugh.

00:18:31
Speaker 4: This is old school, this is laugh doesn't match the we want abonic plaguey.

00:18:36
Speaker 3: It doesn't sound like that. Cele it needs English, that British right exactly.

00:18:43
Speaker 5: I think the British laugh in the thirteen hundreds, just halfway through became a cough.

00:18:47
Speaker 1: So I think that it would be perfect going back to this laugh guy. Where do we think he gathered the laughs? Did he have to travel the world and then the cord people laughing? Where did they get him.

00:19:00
Speaker 2: All the shows that have a live audience. If they want their own library, then they give him all the shows and then he goes through. It's a very painful process go through. I've done this. I've built libraries, and it's just ough. You just have to Yeah, you know, you have a great start, but then you know, not a good ending, or somebody talks in the middle, or there's something, so you know, out have probably a thousand takes of laughs. I will maybe be able to get a hundred. Maybe it's very very very tea perfect.

00:19:32
Speaker 5: Yeah, we do that. We do that with voiceover too. We do oof and egg libraries where it's just small, small impacts, large impacts, medium impacts, getting hit in the leg, getting hit in the shoulder, and you just build your own personal library the whole time. So they just have it for a show.

00:19:45
Speaker 1: Yeah, it's crazy, so that not every episode you're having to go right.

00:19:51
Speaker 3: Not a laugh person.

00:19:52
Speaker 1: Oh man, how did you first get into sound mixing? And this is a this is an honest question. Do you have better he than us?

00:20:02
Speaker 2: I think I have different hearing than you do. Okay, you know I will pick up like, oh there's a problem here. I hear this, I hear that. So I wouldn't say I necessarily have better hearing. It's just my ears more trained to listen to stuff. And the way I got into it is my parents bought me a little real real tape recorder when I was ten years old for Christmas, and I just started recording, you know, dinner, you know, talk at dinner. I hold the speaker up to the microphone up to the speaker and record a show that I'd take scissors and scotch tape and I edited.

00:20:37
Speaker 3: And I didn't love your own stuff.

00:20:39
Speaker 2: Yeah, I was a little quarter inch step just really really really primitive. But that's how that's how I got into it. I just love sound. I always have, And originally I wanted to be in music, you know, and then I then I realized I needed to make money, so.

00:20:54
Speaker 3: That I would switch to post you excited.

00:20:58
Speaker 1: Yeah, being being an artist, which is not the way to make a living.

00:21:01
Speaker 2: No, that's what I did. That's what I do in my studio. My studio gives me the creative exactly, but not the monetary flow. And then I have my my union job that you know, pays the bills and you know, but I have like four hours to do an episode, so I don't have the time to like here at home, I could spend an hour listening to for the right gun shot, you know. I did that just Sunday. Actually nope, nope, all, okay, I'll take that one. Can't do that when you're under You got four hours to do your job.

00:21:30
Speaker 3: So so where were you physically? Like, did you move with us from studio to studio or no.

00:21:37
Speaker 2: I I usually work at a studio. So we started boy at what was the thing of that place? It was Compact Video and then it became four MC, and then I moved to another facility and they, uh, that's just everyone just followed over and they just usually come wherever, whoever the person like a colorist, let's say, you know, or somebody you know post people that kind of set up home in one place and then clients follow you to that. So that's what happened. And I've actually done I've actually done an episode a girl in this studio because I had in twenty fifteen, I had back surgery and I couldn't drive and I couldn't get There's the place where we mixed was in Burbank. So the Brenda tegu which I'm sure you all Brenda, came to my studio and so did the laugh guy, and then we shipped off the mix so Michael and everybody could hear it. But that's only one time that happened.

00:22:37
Speaker 3: So how much were you on set?

00:22:39
Speaker 1: If ever?

00:22:39
Speaker 2: Never? Wow, I don't think I ever ever came.

00:22:43
Speaker 5: You did?

00:22:44
Speaker 3: You never came to like a tape night? Believe I did.

00:22:46
Speaker 2: I don't believe I ever did.

00:22:48
Speaker 5: Your most favorite show ever? You come to a televie she said, favorite show to work on.

00:22:55
Speaker 3: We don't need to clarify that.

00:22:57
Speaker 2: I just called you Eric. And that's the point I'm going to make here, is that when you're in post, I don't know you as Danielle and Will and right, I don't know you. I know you as Tapanga and Eric, you know, and it's like, uh, in a way, I don't want to break the fourth wall, sure, you know. I Like one time, Will, you came in in the Burbank studio to loop a line and it was after you had you had you had a beard, and you'd been gone for a while and you came back with this large book that you'd written, you finished your manifesto, and you take a pod I mean a cane that and he opened it up. One page had something written on it and then you go, dun dund done, I'm done. Well, all of us in post just grabbed onto that. So whenever we'd be working, dun dundune, I'm done. So you came into the studio and like three of us said it to you, and you looked at us like we, hut, what God, Eric's coming in. Oh, this is so fun, Okay, we'll do this and yeah, so that's why.

00:24:08
Speaker 3: And you had no idea that it had become a catchphrase, Will, Yeah, that's so funny.

00:24:15
Speaker 2: Yeah.

00:24:15
Speaker 3: And so was that from boy or Girl?

00:24:17
Speaker 2: No, that was from Boy. That was like the last season of Boy made me.

00:24:20
Speaker 3: Yeah.

00:24:20
Speaker 5: I think Plays with Squirrels was the last season of World, So, oh my god, that's so funny.

00:24:26
Speaker 2: But the look on your face was like, who are these people and what are they doing? I'm sure you didn't even remember.

00:24:32
Speaker 1: No context, done, done, done, I'm done.

00:24:36
Speaker 3: Yeah, exact Wait what yeah? Okay, So here's a question.

00:24:39
Speaker 5: If you don't like to break the fourth wall with your actors, with all the shows you've done, are there characters other than actors? Are their characters that are better at sound than others? I don't know how else to say it.

00:24:52
Speaker 2: No, I wouldn't say that, but there are, there are, and I'm not going to name names, but there are some actors that are very very, very very good at adr. I can say the positive ones.

00:25:04
Speaker 5: Gary Coleman from Awesome, one of my idols of all time, from Different Strokes, Different strokes.

00:25:11
Speaker 2: He would come in, I'd play the line for him and he'd do it one take.

00:25:15
Speaker 3: Out, amazing.

00:25:17
Speaker 2: And then I have had other actors who I don't care. I've made a mistake. No, you can't fix it. That's too bad. That's too bad. That's what it is, and it is a real art to be able to.

00:25:29
Speaker 5: Do it is ADR, and voiceover is a whole different game. It's just an absolutely different game, and you have to be able to dissect yourself from it and listen to the line as a separate person and try to mimic it back.

00:25:41
Speaker 3: It's a whole different thing.

00:25:42
Speaker 2: Right, And you have to hear the line before in the line after so that you blend into it, and then the mic has to be in the right place. So some ADR can be perfect, and if I get ADR that someone else's shot not so much most of the time.

00:25:58
Speaker 5: Can you tell us what ADR stands for, just for all our dear listeners out there.

00:26:01
Speaker 2: I believe it stands for automatic dialogue replacement. And it's also referred to as looping. And how that came into being was way back in the day before pro tools or anything like that. They would take the line on film. They would take the line that you have to say, and then they would loop it over and over and over for the actor to listen to and then okay, got it. Then they go into record record it and that's how they would do that. So that's how it was known as looping. Yeah, but ADR is very interchangeable, you know.

00:26:34
Speaker 3: An additional dialogue recording could be that.

00:26:36
Speaker 2: It could be that too, I don't know really well.

00:26:39
Speaker 3: It's also interesting like.

00:26:41
Speaker 4: The way they have to so if you have to replace the line, they have to put the beeps.

00:26:47
Speaker 3: And then they also do visuals because it depends on who the actor like. Sometimes actors need it to be visual.

00:26:52
Speaker 4: The lines cross the screen right at the moment when you're supposed to start the line right, and then other people are audio and you need the be to know when to start, and then you have to.

00:27:01
Speaker 3: Like watch your lips.

00:27:02
Speaker 4: Sometimes it is such a weird art form. I'm a complete audio person, so I need to like basically, if I hear it, I can repeat it exactly the way I did it. But if I try and watch and match, I get all screwed up and I get out of my head. But if I'm like, if I'm just close my eyes listen to it, I can repeat a line exactly the way I said.

00:27:22
Speaker 5: Yeah you'll There's times like for the visual people out there, it literally looks like Luke Skywalker is making the run to blow up the Death Star, and he's looking at a screen and those two lines are coming, and then he when it hits the middle, he's got to hit the button for the photon torpedoes, and everyone just went.

00:27:36
Speaker 3: They're not photon torpedoes. But that's what it is.

00:27:39
Speaker 5: And what makes it even more difficult is when you're doing ADR and you have to eight R project that, for instance, has already been animated. So we'll do things where it's like it's a you know, when I did Howl's Moving castle there, the lip flaps are already done for the Japanese animation, so you have to go in and try to fit the English dialogue into these mouthflaps.

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

00:28:04
Speaker 5: Again.

00:28:04
Speaker 1: I don't don't ever say lip flaps or mouth.

00:28:08
Speaker 3: You've got to again. I never want to hear it again.

00:28:14
Speaker 5: Just on the beep, put it in the mouth flaps. That's just the way it is.

00:28:18
Speaker 1: Please, I beg of you. I never want to hear it again. You said, you said it twice. You changed lip flaps, which is the worst to mouth. It's what it's called. It's what it's called. It's them literally literally shivering every time.

00:28:31
Speaker 5: It's just if I just keep saying moist moist mouth, moist mouth flaps, most moist mouthflow.

00:28:37
Speaker 1: I'm one of the only people in the world who doesn't get bothered by moist.

00:28:40
Speaker 5: But yeah, I'm getting Danielle a shirt that just says mouth flaps is the worst Number one.

00:28:49
Speaker 3: Merch.

00:28:51
Speaker 5: Have another question for you, because a lot of people, I think when they go on like the Universal Tour or one of these kind of things, one of the things they will learn about is fully and so can you explain to us a little bit what folly is and how that's different than what you do?

00:29:03
Speaker 2: Well, actually, I will get it depends on the show and the show's budget. Like a single camera show will always have a fully fully department walk it and do it something like for Boy. You know, multicams don't really have that kind of budget. So if we needed something that wasn't footsteps, then that's something I just do on the stage And I do my own folly here in my studium. Except footsteps. They are the worst. They are so hard to get those. Oh yeah, because it has to be matched the environment it's in so with. As a matter of fact, I have a library of Boy and Girl Meets World footsteps that I've pulled from all of the episodes that because it's on a sound stage. I can those will blend in on an interior shot really well. I use them all the time, but exterior footsteps is a whole other story. That's just my nightmare. But anyway, So but what fully is I'm trying to see the best way to say this. Sometimes it's faster to fully something, so you're recreating a sound in sync with the picture. And if there's a lot of like like, for instance, I just finished a show that had somebody had a pistol and they were moving it around a lot. So rather than get my pistol sound effects out, I say, oh, this one goes here, blah blah, I just folly it. I just got a pistol from a prop shop, came home and just I just emulated the action and it was like ten minutes versus probably an hour and a half, so you know. And then there's also another point of folly, which kind of goes into matching lips a little bit, is international distribution. So every show, every show that Disney puts out, goes out into the world in those languages. So that's a whole again, that's a whole nother world. Oh oh my god, is it? Ever, it's more work to do a foreign mix than it is to do a domestic one, because if you're sitting here talking and you hear this while I'm talking, well, we're going to replace that voice, but now we have to also match. I have the sounds every time, and then also when people are moving and in English, in a regular one, it's like, Danielle, if you moved back in your chair, we wouldn't expect to hear that, But if it's completely being rebuilt and you move back, it's like you miss the sound that there. I should hear a little creek or something there.

00:31:32
Speaker 3: Right, you know.

00:31:33
Speaker 2: And yeah, and then the worst part of all is what you finished with it. Then it goes to QC Quality Control and they are just like have microscopes trying to find mistakes, and it's just I would rather get a root canal than do em. Andy. Seriously, Wow, I have a friend.

00:31:54
Speaker 4: I have a friend who's in quality control, who's one of my CLI and he's been in it for at this point, like fifteen years, and it's you know, he's a position, you know, so I think he has one of those ears too, like but yeah, it seems like a nightmare. I mean, and when when he first started, he would just always be at home watching DVDs in like three languages, Like he would have to watch a movie in every language with different.

00:32:13
Speaker 3: Subtitles just to be quality.

00:32:15
Speaker 4: From now he runs the company, but he started just being a watcher, like that was his job. I'm like, oh my god, he'd have to watch Die Hard like fourteen times, you know, fourteen different languages with the different stuff.

00:32:25
Speaker 3: It's like, oh my.

00:32:26
Speaker 4: But I think the most fun part about Foley is when things sound better with different objects, so you're not just recreated, but like you know, like I know, you know, it's like punch sounds will be like hitting a wet piece of paper, or like you know, like a bullet going into something would be like a watermelon squishing. You know, like all these weird sounds that they have to recreate.

00:32:47
Speaker 3: That's the famous one. Find his videos that are amazing.

00:32:50
Speaker 5: The famous one is the is the Psycho shower scene where he's stabbing the water It's he's stabbing a watermelon over and over, which gives the sound of sounding I mean it's just like so creepy. Yeah, that's the that's it's the famous breaking well.

00:33:02
Speaker 2: That's you know, that's because they did it with an extra first, but then the extra died so that they got the watermelon finished.

00:33:10
Speaker 3: There's a few people you only few people know that story. That's right, that's right.

00:33:14
Speaker 1: It's we talked about the perils of being a background actor sometimes you have.

00:33:20
Speaker 2: It's only one thing to be concerned about. That.

00:33:34
Speaker 1: So you you mentioned will coming in for a d R. Did we have to do a lot of ADR on Boy Meets World In Girmeys World?

00:33:41
Speaker 2: No? Uh, and Boy the year that you went to Disney World, you and Ben had a scene out in front of a big water fountain.

00:33:50
Speaker 3: How could I forget it? So so we looped.

00:33:53
Speaker 2: That whole thing and you came in. You both came in for that.

00:33:55
Speaker 3: Yeah.

00:33:55
Speaker 2: But my favorite, actually my favorite Boy Meets World story is for the pilot. We need to bend him to loop something. And so he came in. I got him set up in his chair and put his headphones on him and he was just like why I, Oh my god, this is so cool. Can I go get my mom? You know, it's the cutest thing ever. And like you know, he will he will always be that little I don't know how old he wasn't ten, maybe he will always in my mind be that little awestruck boy that he was doing this, you know, so sweet. Yeah, it's very cute.

00:34:33
Speaker 1: So how many sound techs or engineers are usually working on a TV show at once? And then how many shows are you usually working on it once? Like are you working you know how many different shoes?

00:34:44
Speaker 2: Do you mean, like on a weekly schedule?

00:34:47
Speaker 3: Schedule?

00:34:47
Speaker 2: Yeah, it really varies. I've had years that I've had fourteen series, so I'd either do like three a day and then two on the weekends, or you know that four she only I haven't had that a long time. But you know, money is only good for so much, and then you go, you know what I will pay you to let me not do this. As a matter of fact, during pilot season, I usually have one hundred dollars bill that I put hide away and then if it's like, okay, it's four in the morning, here's one hundred dollars, I want to go and it doesn't work, I still have the same hundred dollars. But yeah, so as far as as you know, again, it depends on the type of show. So a multi kit budget, a multi camera show will have a dialogue editor and Oftentimes that editor also does the effects, but sometimes it's split up depending on how involved it is. Then, so that's two. And then there's the music composer music editor. Usually they are not the same person. So the music the music editor goes through and you know, the composer, I say I want this queue here, this queue here, this queue here, and then and he'll he or she will make it fit. Then there's myself and the supervising editor, who is usually the dialogue or music effects editor. He sits with in the room with me, the laugh guy. And then there's a tech that our pro tools tech was in another room, but if I have any kind of problems or anything, he's there to figure it out real quick. So that's about EAT people.

00:36:24
Speaker 3: So were you working with Ray Colecord?

00:36:26
Speaker 2: Yeah?

00:36:27
Speaker 5: Yeah, so you worked directly with Ray who did our music for all of Boy.

00:36:31
Speaker 3: Yeah Girl too.

00:36:33
Speaker 2: Yes, until he got.

00:36:35
Speaker 3: Yeah, we lost Ray, but he was a great guy.

00:36:37
Speaker 2: Amazing talent, wonderful person. It was that I could. I couldn't go to the funeral because I was working. I was so sad, you know, it's like, oh man, yeah, And I stay in touch with his wife. She moved to New York. But we're friends. But that was that was yeah. And you know, one of the fun things is when Ray and Michael would get into a fight, which.

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

00:37:08
Speaker 2: And they would you know, well, Ray would feel strongly it needs to be this, and he would argue and he would stand up and blah blah blah, and I would just get my chair and I just just like, Okay, let me know when you're ready.

00:37:22
Speaker 1: Who would usually win those fights Michael Michael, of course, and I went.

00:37:29
Speaker 4: He would get obsessed with music line readings. I can imagine going, you.

00:37:36
Speaker 1: Have a literal music genius with Ray gold Gord, and you're gonna argue about how should be flexible.

00:37:45
Speaker 3: He could do anything like and remember just like we would be.

00:37:48
Speaker 4: We would he would like throw like something would be in the script, like we need a jazz number, and he would have it within like a day.

00:37:54
Speaker 3: It would be the best song you've ever heard, or.

00:37:56
Speaker 4: We have a hip hop song we need to dance. It was just like he would just effortlessly produced it. The one episode we did of the first episode I directed of Girlman's World was the nineteen sixty whatever.

00:38:08
Speaker 3: Yes, that's the same to the table read.

00:38:11
Speaker 4: And Sabrina just sang a song like like jazzy acapella. She just sang a song and he wrote down what notes she was singing and then composed a song based on what she sang. And he just heard her. He's like, oh yeah, she's got perfect pitch. And she sang this note, this note, this note, so I wrote he wrote a song based on her table spontaneous performance was amazing.

00:38:31
Speaker 1: Yeah, wow, so cool.

00:38:33
Speaker 5: He also would come to the set to teach us if we ever had to do anything even slightly musical. You know, Ben, when Ben was directing with the with the foam finger, he took the time to come down to the set and he taught Ben with a baton, no you want to do this, you want to do that?

00:38:44
Speaker 3: I mean it was Yeah. He was a great guy, great guy.

00:38:47
Speaker 2: Just completely involved. Yes, And when they would would have their disagreements, it was both of them was for the best of the show. It's just Ray thought this and Michael thought this. And I remember there was once really I might have been for the first or the pilot of Girl where my supervisor. She and I both just like duck down, and she just looked at me and she went because she had never worked with Michael before. And I said, it'll be okay. Just don't worry.

00:39:15
Speaker 3: They don't need each other.

00:39:16
Speaker 2: It's just they're just trying to work this out. But it was entertaining. Yeah, it is.

00:39:21
Speaker 3: It is funny.

00:39:22
Speaker 1: I will say that because you think, like you hear those stories that Michael and Ray would fight and probably regularly, and then you think, well, I wonder why Michael, who has entire power to fire Ray and say I'm not going to have you on the show. I will say that Michael really respects men who will fight back with him. Yeah, because he did know that Ray fighting with him was because Ray really was fighting for what he thought was best for the show. And Michael did respect that, even if he disagreed with what He liked the fact that somebody was willing to stand up to him and say, no, you're wrong, and here's why and here's what's better. And he likes that. He likes that because it means you're passionate, and he wants that.

00:40:08
Speaker 3: He also respected talent.

00:40:11
Speaker 5: I think anybody who met Ray knew that Ray was just just phenomenal at what he did.

00:40:16
Speaker 1: Michael spoke so highly of him, like the most talented, the most incredible, just the absolute best. So, speaking of Michael, how did you get hired? On Boy Meets World?

00:40:26
Speaker 2: The first show I did with Michael was Almost Home I think, Okay, it was like a follow up to the Torko Sun I believe, just before Boy and then yeah, I think that only went one, maybe two seasons. So then we did Boy and it just you know, we all just clicked. It was it was just that's what I said. I just looked forward to those mixes so much because and Michael is, without a doubt, the best joke tiller of anybody in the world. There's nobody, matter of fact, the voice mamals recording him doing a joke. I still have one. I still have one about the parrot, uh, just because it's just you just you just marvel at his ability to just take a very simple story and just turn it into this. You know, and the people that know Michael, like Jack is the laugh guy. Jack and I will Jack and I tell jokes a lot, and then we both Michael tells that better and we still do that.

00:41:28
Speaker 3: Amazing he really was an amazing joke teller.

00:41:30
Speaker 5: He could build a joke on a joke, he'd do a callback in the middle of a joke.

00:41:33
Speaker 3: I mean, he really is.

00:41:34
Speaker 4: I remember one time, man, we were on set and somebody brought up a stand up comedian too Michael. They were like, do you know this stand up And He's like, I know them all. I watched them all he was and that verson was like, well do you know this bit? And Michael was able to remember exactly which comedian the guy was talking about which bit. I was like, wow, he studies. Yes, he watches every stand up comedian, knows every single story.

00:41:56
Speaker 1: It was yeah, yeah, Well, when you think about it, like it requires more to be a comedian than this, But the base of it is you have to be able to tell a good story, and then on top of that you have to be there are other skills you need, but like, if you can't tell a good story, you're not going to be a good comedian.

00:42:11
Speaker 3: It's true.

00:42:12
Speaker 5: And then for people are usually musical, I mean, there's a musicality to joke telling.

00:42:17
Speaker 4: And Might always had that comedians are musicians exactly. But he would always point to like the fact that Woody Allen plays jazz, you know, like people are like they actually are.

00:42:28
Speaker 3: Usually musicians first, or drummers.

00:42:30
Speaker 5: I mean, Steve Martin, everybody, all these kind of people. But it's also the best ones are the ones that like I always go to Chandler on Friends to Matthew Perry. And one of the reasons he was so funny is that sitcom you can always get into the same rhythm. It can be very much that Dunda set up jo And the reason he was so good is that you never knew where he was going to go.

00:42:51
Speaker 3: It was like jazz.

00:42:52
Speaker 5: It was like he played completely offbeat and it was like whoa that came out of nowhere. And that was one of the things where you find some of these men and women that can kill it where it's just you think they're going one place with a joke and it goes to completely different, right, which yeah, Michael definitely has.

00:43:06
Speaker 2: So yeah, whatever he'd start up, you know, because every week he'd come in with a new joke, and whenever he starts to start up, I'd go, Okay, where is this going? Where is this? Yeah, I'm gonna try to go It was never right never, you know.

00:43:18
Speaker 1: So while you were working on Boy and you saw it go through so many changes over the years.

00:43:23
Speaker 3: Did you think this show is going to be a.

00:43:25
Speaker 2: Hit Boy Meets World Initially, Well, because it was in the TGIF lineup, I thought that it would be it would be popular. I didn't. I didn't foresee it going seven seasons. No, you know, and I'm so glad it did because it just went the whole, you know, the whole run from very young to college and getting married and all of that. And then Girl. I thought Girl was just brilliant, and you know, all the There was a lot of location shots in uh Girl, because they were in New York, and I go to New York frequently, so I would say, I know where that fountain is. I'm going to get that fountain, and I go and I record the fount because iways put my gear with me record the fountain or all the subway stuff, all the subway sounds like, especially in that first episode of the Girl, that's all from my library, and it's just like that means so much to me. It doesn't I don't charge anybody for that. It's just for me. It's like, that's not how that train sounds, this is how it sounds, and you know, like I get very I get very picky with like phone rings, Like I don't know if you guys remember what a princess phone looks like. Of course, of course they have a very distinct ring, completely different than like a regular.

00:44:35
Speaker 5: Desk phone and still talks about it.

00:44:38
Speaker 2: Yeah. So if I see if there's a princess phone in my editor puts in a regular phone ring, I'm like, uh uh uh uh no here, and I'll send them a princess phone ring. Put that in.

00:44:47
Speaker 5: You know, you gotta be do you do you think you hear the world more than you see the world.

00:44:52
Speaker 2: I think so, Yeah, I think so.

00:44:55
Speaker 3: Sot it's so cool.

00:44:56
Speaker 1: I would never I would never think that's an What that fountain sounds like? I would to me, you went to New York and recorded the right fountain.

00:45:08
Speaker 2: I was in New York. I know where that is.

00:45:10
Speaker 3: I'm going to record it.

00:45:11
Speaker 2: We're going to put it in, you know, and then three people in the world know about this, but there we are. So it's just my little quirk, my little quirk. Another thing, another thing that used to really bug me to death, which you don't have anymore's payphones, because when when you had. When you were done talking and you put down the receiver, the coins that you would put in would then go through into the little hold.

00:45:34
Speaker 3: I remember that.

00:45:36
Speaker 2: Well, you watch old movies and you will never hear that. And so I was working at a studio called Metromedia back in the day. UH that's now that was torn down and now it's a high school. And there was a pay phone up but two floors up from where the sound where I was working. So that was way before having phones that you could record. Unless you had a nog Brother, there's no way you could remotely record anything. So my assistant and I found a really long mike cable and we ran it all the way up to that up to where that payphone was, and we recorded that and then we had it and it's like, Okay, now we're going to do that because I can't stand that. Another thing to listen for anything Like back in UH, anything that was mixed at Universal back in the sixties and seventies, they always had the same phone ring, Like in the opening title of UH. The Rockford Files, the phone rings and then it's just answering machine. The answers. This is James rock Jim Rockford leave a message. I'll get back to you. That phone ring is in every every everything that you know, any TV thing from Universal, I'd hear the phone Oh I bet this is Universal. Oh yeah it is.

00:46:49
Speaker 3: So it's like.

00:46:52
Speaker 4: Which my son recognized. He called it out one day we were watching Yes. He was like, Dad, have you ever noticed that whenever people fall in a movie they sound exactly the same?

00:47:01
Speaker 3: I was like, and we watched like it was in Indiana Jones. I was like this one. I was like, that's the Wilhelm screen.

00:47:08
Speaker 2: I was like, oh my god, yeah, it's it's an all. Actually it's said twice in the Two Towers, the blur of the ring stuff, but it's in every Oh.

00:47:19
Speaker 3: Yeah, and we tried.

00:47:22
Speaker 2: You know, I have one producer who's like, got to find a place for the Wilhelm screen. Got to find a place, you know.

00:47:27
Speaker 1: And so it's just it's like, yeah, it's a tribute, like writer said, yeah, So I think I'm going to know the answer to this, But I have to ask it. Are you even able to watch TV or movies without just focusing on the sound and it's small issues?

00:47:39
Speaker 2: Well, you know, if it's engaging, yes, okay, But like I remember the first time seeing Raiders of the Lost Arc at the Chinese I was so enthralled with the sound that I kept going in and out of the story and I'll be like, where are we? How do we get here? Because I was listening to because that that the sound in that movie is amazing, and uh, I had to go back and see it the next day. Okay, now I want to see what really helpens because I couldn't pay attention to now and if something if it's not appropriate, the sound isn't appropriate, or if the adr really stands out, that'll totally pull me out of it.

00:48:15
Speaker 3: It does me too, situation totally.

00:48:16
Speaker 2: Good, Oh what was that? Or something's out of sync, like over over the shoulder shots so you know the camera's behind me and I'm talking here and you can see my mouth moving. Well, if that's not in sync with what you.

00:48:29
Speaker 5: Hear, yes, crazy, I do the same crazy, And you can do when you can tell that a line has been looped when it just doesn't match and it's like, Okay, they just threw that, that's adr they grab that from another take.

00:48:42
Speaker 3: That drives me nuts.

00:48:44
Speaker 2: Or put a different person said it, that's not even the same person sounds horrible.

00:48:47
Speaker 5: Yes, yeah, oh man, it's not the If you want to have some fun, go back. If you want to just well, for you, it wouldn't be fun to be infuriating. Some of the old eighties cartoons. Oh really, Transformer's Mask. There were times where just they would lip flaps wouldn't be moving at all.

00:49:07
Speaker 2: Claps you do flaps, not mouth flaps.

00:49:09
Speaker 3: Slip slip.

00:49:10
Speaker 5: She loves it, you can tell by her face, or just another actor would be speaking and they go, we don't have time to reanimate it, so just keep it as the wrong actor in the wrong character.

00:49:20
Speaker 3: It's so amazing. It's like they don't even try at this point.

00:49:24
Speaker 2: Wow. I've been really honing in on fully lately. I'm working on a spoof, a spoof for Batman fires the Justice League, and it's like, if you guys ever go to college humor, look up uh Batman Joker Interrogation, look that up, and it's those actors and seen that director, that those writers. That was like ten years ago that we did that. Now he's he's got this thing. So we have six four to six minute bits that are Batman. Oh my god, it is so funny.

00:50:01
Speaker 3: But anyway, it's a Christian Bale Batman, it is, but they do a.

00:50:06
Speaker 2: Spoof on on the Robert Pattison one, so he's the Batman versus Batman. So we have Aquaman, Cyborg, Wonder Woman, the Batman, Superman, and the Joker. Who's anyway. So I had never seen any of the any of those movies because I just don't have time to also my head. I'm into Harry Potter and Lord of the Rings and a little bit of Game of Thrones, and I just don't have anyone. I don't have any more ruined my head to know stuff, you know. I mean, we can talk silly really and all you want, but I don't know what comes in America is So I thought, if I'm going to be if I'm going to be doing this, you know, because they have, you know, the Lasso of Truth for wonder Woman. They have like every every character has their own little thing and we can't steal that sound, but they want to come as close as possible. So I okay, Well, so I'm watching Justice League. I just I got zoned into the folly in that movie. I was just like, holy, oh my god. I mean these are features so they can spend a day trying to get a sound. I mean, it's not like you got two hours to do this movie. It's not like that. It's they can just feature Folly is incredible, and I'll just you know, every now and then I'll just get hooked into one thing and then everything I watch, I'm I'm watching that playing attention tonight. So that's just the life.

00:51:27
Speaker 3: Of my world.

00:51:29
Speaker 1: So what advice would you give to someone wanting to get into this career, especially if they're just learning about it right now from this podcast episode.

00:51:38
Speaker 2: Well, the first thing is somebody who wants to get that, I'd say, choose another path because there are hundred thousands of people that know pro tools. You know, it's not unique now like it once was so then once it's so much of it is luck and being getting into the right place at the right time, you know. Like when I first started, all of the Norman Laar shows were shot at Metromedia where I recorded the phone hanging up and I came in as an overnight person to help the people in post production sound. So I worked on you know, All in the Family, the Jefferson's Good Times, you know, all of the Norman lay shows.

00:52:23
Speaker 3: Well that was.

00:52:23
Speaker 2: I mean, what an incredible beginning. So then as people in that there are only three of us in that department. So then the first person that left was the laugh guy. So then I became the laugh guy for a year, and then the next year the mixer left, so that I became the mixer. So that was like very you know, right place, right time, you know, I mean, you could have the most amazing qualities as a mixer, but if you aren't in the right place, if you don't know how to get in there, it's it's I don't know how I would tell anybody to even pursue that really was. It was an incredible You think about my very first experience orients in Hollywood was working with Norman Lair and his his shows. I think, does it get much better than that?

00:53:07
Speaker 5: Some of the best shows ever in the history of television right there.

00:53:10
Speaker 2: So yeah, amazing, absolutely groundbreaking.

00:53:13
Speaker 3: Yeah, you know, and then go.

00:53:14
Speaker 2: To rap parties and I would talk to him and just tell him how much it meant to me. You know. I remember telling Carol o' connor how much how much I loved his character and loved him, and he was just like, oh, sweetie, and kind of of my face, just like crazy and going to a One Day to Time rap party when Valerie and Eddie were just dating. They had just started really and it was so cute because they're like holding hands. They kind of walked around. He had on a powder blue tuxedo with like a ruffled shirt.

00:53:45
Speaker 3: You know, I mean, just Eddie van Helen. He can wear whatever you want, I know, but it.

00:53:49
Speaker 2: Was, you know, it was just so sweet. It just watching them together. Everybody nobody, you know, bothered them, but everybody was just like, oh, that's so cute. Uh So, yeah, it was a great beginning. And I still work. There's one producer actually, the One Day to Time producer, Patricia Palmer. I still I still work with her. I did One Day at Time, was a reboot that we've just finished. Then I did another series earlier last year called How We Roll with Pete Holmes, who is the guy that plays the Batman and Maget and stuff. So time. Yeah, yeah, and you know, she and I have lunch together frequently, and we've known each other since nineteen seventy seven and I was only two. The ones that makes sense of course, of course, they made special allowances for child labor.

00:54:44
Speaker 1: You worked on so many shows on TV, from Seinfeld to Punky Brewster, to news radio to Motown forty to just shoot me. Did you ever think you would be here thirty years later talking about Boy Meets World? And what are your feelings about boy and Girl Meets World?

00:55:03
Speaker 2: Now, let's see first of all those lists that you that you laid off, that you did, I only did a couple of episodes of Seinfeld. I did the pilot news Radio about the series.

00:55:13
Speaker 3: And there's one more that you said, great.

00:55:16
Speaker 2: Yeah, yeah, that was that was crazy though. There there was one more that you mentioned that I only worked on a couple. So I just want to clear that up.

00:55:24
Speaker 1: So right in case people think you did all of that, give.

00:55:26
Speaker 2: Those mixers their props because they deserve it. Uh No, I would not. I couldn't even have imagined. When I was in San Diego working at a recording studio, you know, I just wanted to make more than a dollar seventy five an hour, you know, and and then I thought, you know, well, the only way I'm going to make any money at this is I got to get up to LA. So I got up to LA and then my career just you know, just took off, and for me to think, now, in twenty twenty seven, I will have been here fifty years. Wow, And that's that's my I'm holding out for twenty twenty seven before I say, okay, I'm going to cut back a little bit, you know, because I've always wanted That's just been a goal of mine to say I did this for fifty years.

00:56:14
Speaker 3: Yeah, that makes sense, you know.

00:56:15
Speaker 2: So I look back so fondly on Girl and Boy. You know the people we've lost, like Arlen and Grayson, which was horrible. Ray Yeah, just recently Matt Nelson. I mean, these were people I loved. Yeah, and you know there were you know, Michael has this posse that comes with him to everything, and so the posse would come in and uh, you know, I just those sessions were just the highlight of my week. And I'll tell you something else. My mom died in nineteen ninety two, and all of the show shows I was working on, I'll set flowers she my parents were in Missouri, and so Boy sent flowers. But then Michael told Karen McCain, who took Arlene's place, that he wanted to send me flowers, and so he sent me a dozen white roses just in sympathy for having lost my mom. Had nothing to do with that. It was just for me. It's just like the most.

00:57:17
Speaker 1: And that was from when you were on Almost Home. Because if your mom died in ninety two, boy didn't start until ninety three, so.

00:57:23
Speaker 2: Really, so then okay, then that's when it was You're.

00:57:25
Speaker 1: Right, it was Almost Home and that's the first thing you had ever worked with him on. So it's not even like he did that because well, she's been a part of my team for years and years.

00:57:34
Speaker 3: That was just something he just cared.

00:57:36
Speaker 2: Yeah, so I totally lied about the rest of that. I can't remember. I remember way, who are you a kain? No?

00:57:43
Speaker 3: I I remember in.

00:57:45
Speaker 2: My own way, you know, whether it's I always tell to people just you know, get the gist of what I'm saying, not the details.

00:57:52
Speaker 5: Yeah, well, we're gonna have to go to lunch sometime because I want to hear those news radio stories. Oh, I would have to go. I would love to go those. That was one of my favorite shows, So I would. And then I worked with that whole crew right after Boy Me to World.

00:58:04
Speaker 3: So, oh did you on this on the show?

00:58:06
Speaker 5: Yeah, we did, We did a show with that. I did a show with Andy Dick and Everyone was not a good show called Go Fish, but it was the whole. A lot of the crew coming off of news radio. So yeah, I would love to hear some of that stuff.

00:58:16
Speaker 2: Yeah, you know it was challenging.

00:58:20
Speaker 3: And mostly because of the TV like that.

00:58:22
Speaker 2: Mostly because of the technology. If we had had what we have now with pro Tools, it would have been so much easier. But this is everything's being played back on tape. Well, if you want to move something, you know, five frames earlier, got a coffee it, copy it off from the tape to another tape, then the tape five frames and then he gets back of it. I mean.

00:58:44
Speaker 3: So cool.

00:58:45
Speaker 2: Well, pro Tools changed everybody's lives for the better. Definitely.

00:58:49
Speaker 1: Well, Tamara, we can't thank you enough for being here and sharing your time with us. You were an absolutely wonderful guest. Thank you for educating not just our dear listeners.

00:58:58
Speaker 3: But all of us.

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

00:59:07
Speaker 2: Much as my pleasure. Don't we made like Grandchild Meats World?

00:59:12
Speaker 1: You never know you know, I'd like I'd like a contact for Jack the laugh Guy, please, I want to tell you more to Jack.

00:59:20
Speaker 2: Okay, okay, I don't know if he would, if he would, come.

00:59:25
Speaker 3: On, Jack may refuse to talk to us. Guy's answering machine.

00:59:28
Speaker 2: They're very it's nothing, Hi, this is Jack. Leave a message. But you know, I mean, I think everybody knows now that shows are left, you know, oh yeah, right, but you know, twenty years ago it was sort of like, no, we don't know. And I have worked with producers that they shoot in front of a live audience. But if that joke didn't get a laugh, he's.

00:59:51
Speaker 3: Like, they're not going to put it didn't.

00:59:53
Speaker 2: Get a laugh, Nope, don't put anything in there. And in that case he uses the laugh Guy to smooth edits. Mostly know, like, you know, this has applause and then we cut and it cuts off, so we need to smooth that. And uh, you know. So there are those with integrity that say, nope, we didn't earn it, so we're not doing it. Not doing that. But I will tell you, well, all.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

01:03:00
Speaker 2: Count