From Gimli to Sallah LIVE in Orlando | John Rhys-Davies Live at MegaCon (Indiana Jones, Lord of the Rings)

<v Speaker 1>If you're a fan of everything we do here at
<v Speaker 1>tuned In with Jim Cummings, you could support the show
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<v Speaker 2>Do it now?
<v Speaker 3>How you doing out there? It's me Tigger, I am.
<v Speaker 1>Doc Wayne Duck.
<v Speaker 2>It's me Bunkers.
<v Speaker 1>Keep bobcat all right, y'all?
<v Speaker 2>Is it rate your favorite firefly you desire? Hold old
<v Speaker 2>knock Gud.
<v Speaker 1>My name is Jim Cummings and welcome to tuned In.
<v Speaker 4>How's everybody doing today? Welcome to another live recording of
<v Speaker 4>Tuned In with Jim Cummings. We have a very special
<v Speaker 4>guest for you today. Are you guys excited? I love
<v Speaker 4>to hear it, love to hear it. Well, first, let
<v Speaker 4>me introduce our guest. You know him well, very talented actor,
<v Speaker 4>numerous numerous credits, Lord of the Rings, Indiana Jones, among
<v Speaker 4>many many more, none other than John Rhe's Davies.
<v Speaker 2>Where keep it going?
<v Speaker 3>We end up.
<v Speaker 2>Well e'standably kind of you to to to get up
<v Speaker 2>this early in the morning and come on to that.
<v Speaker 2>We've just we've only been traveling for two and a
<v Speaker 2>half days on a golf cart to get here. I
<v Speaker 2>don't know what happened to your travels, but mine will
<v Speaker 2>hell so strended. Is anyone going to come and sit?
<v Speaker 4>Yeh, they sure are.
<v Speaker 2>Come on.
<v Speaker 4>Who let me introduce you to our legendary host, Winnie
<v Speaker 4>the Pooh and take her to mister Jim Comics.
<v Speaker 3>Yes you, sir?
<v Speaker 2>Is this me?
<v Speaker 4>That's you?
<v Speaker 3>Alrighty, all right?
<v Speaker 2>Eternally grateful to Winnie the Pooh because I'm a member
<v Speaker 2>of the Garrick Club and Milne who wrote Winnie the Pooh,
<v Speaker 2>I was a member of the Garret Club many years ago,
<v Speaker 2>and he left the rights to Winnie the Pooh to
<v Speaker 2>the Garrick Club and they sold it to Disney I
<v Speaker 2>think about nineteen eighty odd for about twenty million dollars
<v Speaker 2>and Thomas put it to good use.
<v Speaker 1>Wow, I only got half that.
<v Speaker 3>That's terrible? Is this on me?
<v Speaker 1>Oh? Okay, because we don't have monitors, I can't tell
<v Speaker 1>And yeah, turn it out there you go, Yeah, turn
<v Speaker 1>it up what he said. First of all, thank you
<v Speaker 1>so very very much for being here.
<v Speaker 5>Thank you for having fantastic and I'm glad they didn't
<v Speaker 5>record our conversation in the car door, didn't you?
<v Speaker 6>Oh yeah, yeah, yeah, never mind.
<v Speaker 3>Yeah, well well, well, well where were we?
<v Speaker 2>Gosh, look at the look at the time.
<v Speaker 3>Yeah.
<v Speaker 4>Now, a lot of a lot of people in this
<v Speaker 4>room probably know each of your credits individually. Maybe maybe
<v Speaker 4>you're thinking to yourselves, what is this crossover? I'll have
<v Speaker 4>you know that you guys have worked on quite a
<v Speaker 4>few projects together. Are you aware of that? No, it's
<v Speaker 4>been a while, so I felt that might be the answer.
<v Speaker 4>There was a little project called The Jungle Book two
<v Speaker 4>where Jim you played don't well.
<v Speaker 3>I'm the King of the swing as well. Don't worry,
<v Speaker 3>I won't sing the whole song. Somebody has to do it.
<v Speaker 2>Who did you play?
<v Speaker 5>Uh?
<v Speaker 1>Well, I was in not in the original movie because
<v Speaker 1>you know I was ten, but I was King Louis.
<v Speaker 1>I was King Louie in uh in the series. And
<v Speaker 1>there was a series Tailspin in which they were.
<v Speaker 4>As well as car in the Jungle Book two choicesting me.
<v Speaker 1>I see I inherited all of God bless him, rest
<v Speaker 1>the soul, Sterling ha, thank you. Bye, there's this Guy's
<v Speaker 1>got it all of Sterling Holloway's roles, Car and Winnie
<v Speaker 1>the Pooh. I think I think that was for him, right,
<v Speaker 1>and uh and Chesure Cat, who was a pretty tricky guy.
<v Speaker 3>Yeah, so anybody's it was quite tricky.
<v Speaker 1>Well, he vanishes and and and then lies to you
<v Speaker 1>and then you know he's a cat, so you know
<v Speaker 1>you can you can fill in that blank. And he
<v Speaker 1>doesn't have a kitty litter. So anyway, and.
<v Speaker 4>John, you played Ron John's father. Do you remember that role? No?
<v Speaker 3>No, you were great.
<v Speaker 4>It was a while ago, so we'll give you a pass.
<v Speaker 4>How many years was that all of them? I want
<v Speaker 4>to say it was ninety four. I believe I should
<v Speaker 4>somebody correct me if I'm wrong on that.
<v Speaker 2>Should be able to remember that two thousand.
<v Speaker 4>And three, thank you. I was only nine years off.
<v Speaker 3>Oh yeah, yeah the right time.
<v Speaker 2>I was working with a good dad at that time,
<v Speaker 2>wasn't I probably that could be. That's right, absolutely, Well,
<v Speaker 2>now we've established that he knows and I don't. Why
<v Speaker 2>didn't you guys just carry on?
<v Speaker 4>Okay, I'll give another one to you, another another project
<v Speaker 4>that you were both in Booty you too, Winnie the Pooh, Yes,
<v Speaker 4>I remember when you were the narrator. Do you remember
<v Speaker 4>that one?
<v Speaker 2>Yes, of course.
<v Speaker 3>You were the word sayer. Ah, yes, yes, you're very
<v Speaker 3>very good.
<v Speaker 1>Well, you know, I can't imagine you being in anything
<v Speaker 1>on camera or off camera with with this incredibly Shakespearean
<v Speaker 1>actor stentorian voice.
<v Speaker 2>And come on, that's not being five bucks, I owe you.
<v Speaker 3>That's right.
<v Speaker 1>I mean it's You've got a hell of a signature
<v Speaker 1>and a lot of British actors. Is that come from
<v Speaker 1>theater projecting? Because I would imagine you. Well, it does help.
<v Speaker 1>The theatre does help. Basically, it helps a young actor
<v Speaker 1>because he can make his mistakes in front of three
<v Speaker 1>hundred people rather than thirty million people.
<v Speaker 4>Well that's true, like we have here.
<v Speaker 2>Yes, but but my generation listened to radio a lot,
<v Speaker 2>and we heard lots of funny voices and tried to
<v Speaker 2>copy them. We had the Goon Show and we had
<v Speaker 2>brilliantly funny There was a god he would be world
<v Speaker 2>famous and I probably nobody here has heard of him.
<v Speaker 2>Peter Sellers and Hardie Sekum and they all did funny
<v Speaker 2>voices and came up with with wonderful phrases that we
<v Speaker 2>all giggled at. And I don't know why we came
<v Speaker 2>up to this place. It had steaming French gravel. Somehow,
<v Speaker 2>it's sort of it was strangely erotic to hear that
<v Speaker 2>steaming French gravel.
<v Speaker 3>Well, two out of three steaming French gravel.
<v Speaker 2>But that's where we that's where we copied all our
<v Speaker 2>voices from and and and try to make our own
<v Speaker 2>little invitations.
<v Speaker 1>Did you always know when? When did you know that
<v Speaker 1>this is what you were going to do?
<v Speaker 3>Well?
<v Speaker 2>I saw the very first play I saw where I
<v Speaker 2>was eleven years old and knew at a boarding school
<v Speaker 2>that I hated, and the school had a great dramatic
<v Speaker 2>tradition and it always put on classical plays. And the
<v Speaker 2>first play I ever saw at the age of eleven
<v Speaker 2>was Edipus Rex right, that's doctor Seuss right, And I
<v Speaker 2>at that moment when Edipus comes on to the stage
<v Speaker 2>in the beginning of the second act and he has
<v Speaker 2>put his eyes out and they're hanging down his face
<v Speaker 2>like that, I knew at that moment, that moment that
<v Speaker 2>there was some special effect that great tragedy has. And
<v Speaker 2>I went to the school library, where I wasn't allowed
<v Speaker 2>to go because I was not a fourth former, And
<v Speaker 2>I knew exactly what I was looking for because I'd
<v Speaker 2>heard about it, and I found Aristotle on tragedy. Tragedy, then,
<v Speaker 2>is the imitation of an action, complete and of some importance,
<v Speaker 2>acted not narrated, in language enhanced by distinct and varying means,
<v Speaker 2>and through pity and fear affecting its purgation of these emotions.
<v Speaker 2>I learned it then, I know it now I don't
<v Speaker 2>understand it.
<v Speaker 1>Still, Wow, well said I couldn't repeat a word of it,
<v Speaker 1>but it was.
<v Speaker 2>Oh, my goodness, Well I know that.
<v Speaker 3>Yeah, that's amazing.
<v Speaker 2>But you know, when you're young, when you're up until
<v Speaker 2>the age of twenty, you can remember everything. It's a
<v Speaker 2>lot harder the older you get. But there are certain
<v Speaker 2>There are certain numbers that you can remember because you
<v Speaker 2>find them. For instance, I happen to know my global
<v Speaker 2>entry number because because it is the opening of the
<v Speaker 2>theater Royal Haymarket in sixteen sixty three, with a number
<v Speaker 2>in between, which I shan't tell you because otherwise you'll
<v Speaker 2>all be using my global entry. I'll be at be
<v Speaker 2>banned from the world, and then and then the birthday
<v Speaker 2>of Christopher Columbus. So if you can get sixteen sixty
<v Speaker 2>three and fourteen fifty one together, you can you can
<v Speaker 2>remember that one other I've got another one that is
<v Speaker 2>the is the year that the Black Prince married the
<v Speaker 2>fair Maid of Kent? Or is that yes? I think
<v Speaker 2>that's I think that's my manager's post code with a
<v Speaker 2>nine in front of it. But the Elizabethans, for instance,
<v Speaker 2>would only see a book perhaps once in their lives.
<v Speaker 2>That they there weren't that many books around, and they
<v Speaker 2>belonged to rather wealthy people. But if you were keen
<v Speaker 2>to read a book and you got lent it, then
<v Speaker 2>you really had to read it, look after it, and
<v Speaker 2>learn from it. And what they did they envisioned a
<v Speaker 2>big house, and to each room they would ascribe a
<v Speaker 2>subject like philosophy or history or something like that, and
<v Speaker 2>then they would put a cabinet in it and put
<v Speaker 2>an idea in one drawer of that cabinet, or hang
<v Speaker 2>a picture on the wall, which and the art of
<v Speaker 2>memory that they created by visualization like that really is
<v Speaker 2>a very still a very useful way of memorizing things.
<v Speaker 2>I'm sorry that was really boring. That that was really good.
<v Speaker 2>That was really good.
<v Speaker 1>You know, I always I was in a million plays
<v Speaker 1>as a kid, you know, and I ended up doing
<v Speaker 1>because you don't have to memorize you can just read it.
<v Speaker 3>And yeah, who said that. Yes, you're right, thank you,
<v Speaker 3>wise guy. Yeah, but you know it's true.
<v Speaker 1>And uh, I'm sure you don't have a preference, but
<v Speaker 1>if you do, it's it's got to be, is it stage?
<v Speaker 3>Is that your first love? It's probably what brought you
<v Speaker 3>the favorite.
<v Speaker 2>Yes, you think by the time I'd left school, i'd
<v Speaker 2>played Othello. I wouldn't be allowed to now I played Othello.
<v Speaker 2>I've been played Troytis in I played I played Ulysseson,
<v Speaker 2>Troytis and Cressida. I played volpone h And I think
<v Speaker 2>I've done one or two other things as well. But
<v Speaker 2>by the time you're seventeen and you've done that, you
<v Speaker 2>begin to have some idea about books, I would think,
<v Speaker 2>and it's it's it's useful. Shakespeare is still the most
<v Speaker 2>vital talent of all time. He is he is He's
<v Speaker 2>just extraordinary, the way he can string those simple phrases together.
<v Speaker 2>Never mind the great speeches. We all know the great speeches.
<v Speaker 2>Oh by the way, I have to say that I
<v Speaker 2>played the Scotsman. We try not to call it the
<v Speaker 2>Scottish play. We do not refer to by its name.
<v Speaker 2>But I was playing the eponymous hero and good word,
<v Speaker 2>and that very first night I started doing that remarkable
<v Speaker 2>speech that I much not repeat, but it begins with tomorrow.
<v Speaker 2>And as I did it, members of the audience were
<v Speaker 2>saying it with me, and I got complete. I got
<v Speaker 2>completely lost with him because I was thinking, oh does
<v Speaker 2>that come? I was very nervous stick to plays that
<v Speaker 2>the audience don't know.
<v Speaker 5>By kidding that would be a little bit Oh, yes,
<v Speaker 5>there you are.
<v Speaker 2>I mean imagine doing to be or not to be?
<v Speaker 2>And you've got everyone in the room saying that is
<v Speaker 2>the question. And now now these days, these days, I'd
<v Speaker 2>probably get up and go, all right, that would do it?
<v Speaker 2>What is it next to die? And by asleep? Yes,
<v Speaker 2>And that is the worst performance of Hamlet that you
<v Speaker 2>will ever see. By the way, the first printed version
<v Speaker 2>of that is a pirated version. It's the It's the
<v Speaker 2>bad Quarto. The Duke of Devonshire's Quarto is published in
<v Speaker 2>sixteen hundred and two. It is shorter, and we know
<v Speaker 2>who stole the thing because the parts of the player
<v Speaker 2>King and who else the player King, and I think
<v Speaker 2>the grave digger they are they are, they are perfectly
<v Speaker 2>as described in the Better Quarto. And you see, in
<v Speaker 2>those days there was no copyright. If you went to
<v Speaker 2>the stationer and said, I've got William Shakespeare's new play,
<v Speaker 2>yeah boy, give us, give us five pounds and you
<v Speaker 2>can have it right, sign on the dotted line, right,
<v Speaker 2>and and that's how they got pirated. But the players
<v Speaker 2>had a way of uh, I hate this damn thing
<v Speaker 2>sitting down here, but it's a lifelong struggle. Yeah, yeah,
<v Speaker 2>there we go there. Yeah, the players, the players had
<v Speaker 2>a way of getting around this because they would only
<v Speaker 2>have the senior members of the company. Shakespeare would write
<v Speaker 2>his play and and and that pile of paperwork was
<v Speaker 2>called the foul papers, and then a scrivener or a
<v Speaker 2>scribe would draw up the entire play. The four or
<v Speaker 2>five leading members of the company would get to read that,
<v Speaker 2>and then there were their parts would be written out.
<v Speaker 2>You know, you come in here, you do this, listen
<v Speaker 2>and these the words for those copies of the play
<v Speaker 2>or bits of the play were called sides. And we
<v Speaker 2>still use the word sides when we are we when
<v Speaker 2>we're filming or anything. I'd give me my sides for
<v Speaker 2>the day, we say, But they would have just cues
<v Speaker 2>and their speeches, cues and their speeches, and then later
<v Speaker 2>on the day men would come in and they would
<v Speaker 2>just have their sides with just you know, you come
<v Speaker 2>in here, you come in there. Then they would rehearse,
<v Speaker 2>maybe once or twice their cues, because otherwise you couldn't
<v Speaker 2>trust the bloody actors, because they'd run off and publish
<v Speaker 2>the damn script if they so. That that is how
<v Speaker 2>And the band quarto, and he said, finally getting around
<v Speaker 2>to the point he was making the band quarto of
<v Speaker 2>to be or not to be? Goes to be or
<v Speaker 2>not to be? Is that all all for? In that
<v Speaker 2>sleep of death? What dreams may come?
<v Speaker 4>It?
<v Speaker 5>You know?
<v Speaker 2>There were they only listened to.
<v Speaker 5>It four or five times perhaps, but those certain phrases
<v Speaker 5>they just grabbed.
<v Speaker 2>To be or not to be old, that's a good one.
<v Speaker 2>I can't remember what comes after that. Then. Oh but
<v Speaker 2>then he said to sleep perchance to dream. I there's
<v Speaker 2>the rub oh little highlights of it. They managed to
<v Speaker 2>get done, and they managed to cover the whole plane
<v Speaker 2>very badly. That is the first printed version of Hamlet
<v Speaker 2>in two hours traffic on the stage, which may indicate
<v Speaker 2>that actually the performance was shorter than the full length version.
<v Speaker 2>But you can't tell. The the Elizabethans because they hungered
<v Speaker 2>for words and ideas. A priest, a minister who preached
<v Speaker 2>a someone that was merely an hour or two hours
<v Speaker 2>long was often booed. You know, we want words, you know,
<v Speaker 2>we want the holy inspiration to come to us. We
<v Speaker 2>want knowledge and learning. This is how we learn. The
<v Speaker 2>ordinary people do not get to read books. We don't
<v Speaker 2>know how to read. Shakespeare's daughters didn't know how to
<v Speaker 2>read and write. Well, they certainly didn't know how to write.
<v Speaker 2>We can't really tell whether they knew how to read.
<v Speaker 5>But as distinct from the play in the film that
<v Speaker 5>you're probably good to see sometime.
<v Speaker 2>Which is sweet and it's nice, but it's got nothing
<v Speaker 2>to do with Shakespeare. Of course, it's missus Shakespeare's story.
<v Speaker 2>The fact that she was probably a literate herself, and
<v Speaker 2>was an orphan and obliged to marry the what was he,
<v Speaker 2>eighteen seventeen eighteen year old boy?
<v Speaker 1>She was oh yeah for back then, yeah yeah.
<v Speaker 6>A shotgun wedding by the way, Oh really, yes, William
<v Speaker 6>you Rascal, Well you know it's all home Owes when
<v Speaker 6>you're seventeen.
<v Speaker 3>Yes, it is.
<v Speaker 4>I you.
<v Speaker 3>See.
<v Speaker 1>If you're a fan of everything we do here at
<v Speaker 1>tuned In with Jim Cummings, you could support the show
<v Speaker 1>on Patreon for bonus exclusive podcasts, as well as early
<v Speaker 1>in ad free access to the show itself, prize drawings,
<v Speaker 1>and more. You'll feel the difference, So go ahead and
<v Speaker 1>join the tuned In family today at patreon dot com
<v Speaker 1>slash Jim Cummings Podcast.
<v Speaker 2>Do it now.
<v Speaker 4>I have a question for you, John, as an actor
<v Speaker 4>with somebody with such a reverence for the theater, you
<v Speaker 4>were working on a project called Squadron forty two that's
<v Speaker 4>all motion capture. I believe that was your first experience
<v Speaker 4>with motion capture. How does the theater translate to your
<v Speaker 4>experience with that wearing a camera on your head and
<v Speaker 4>dots all over your body? Is that? Is that a
<v Speaker 4>foreign experience? Is that an exciting creative challenge?
<v Speaker 5>Well, Spandex and I, there's the quote for you right there,
<v Speaker 5>John Resby Spandex and I his auto autobiography. I want
<v Speaker 5>to see you promising around you, I've got some under
<v Speaker 5>my genes. Well, yeah, yeah, all acting is really the same.
<v Speaker 5>It's the projection of thought and energy in the right
<v Speaker 5>way through the through the medium. When when you're on
<v Speaker 5>the stage you can do great gestures like that.
<v Speaker 2>When you're on a long shot or a medium shot
<v Speaker 2>on a film, you can nod your head. If it's
<v Speaker 2>a close happ and you're doing your head, you.
<v Speaker 3>Know, it looks like exercise.
<v Speaker 2>It's it's it's it's it's conveying the power or the weakness,
<v Speaker 2>or telling the story or helping the story be told,
<v Speaker 2>or assisting the leading person to pace the thing that
<v Speaker 2>is the thing demanded. And and even if.
<v Speaker 5>It is you know, squat on forty two, and it's
<v Speaker 5>it's selling telling a story.
<v Speaker 2>It's all. It's all the same. It's just different slightly
<v Speaker 2>different approaches by different medium. Yeah. Well, you know, absolutely,
<v Speaker 2>I've told enough.
<v Speaker 3>You got no no.
<v Speaker 1>Enjoying being in the audience right here. This is good stuff,
<v Speaker 1>This is great.
<v Speaker 4>Well, one question I had for both of you that
<v Speaker 4>I was thinking about. You've both done a number of
<v Speaker 4>obviously voice acting roles, but also narration, and I was
<v Speaker 4>curious to ask both of you how if at all.
<v Speaker 4>Narration differs from creating a character. Is the narrator that
<v Speaker 4>you're playing for whatever project? Is that a character? Is
<v Speaker 4>that a version of yourself? What would you differentiate the
<v Speaker 4>two approaches.
<v Speaker 2>I think it's a character.
<v Speaker 1>It feels like a character to me, you know, because
<v Speaker 1>you know, you're commenting on what's going on in the
<v Speaker 1>in the scene, and it gives it gives context, I think,
<v Speaker 1>and it gives people something.
<v Speaker 3>To think about.
<v Speaker 1>And and if you don't know a big word, he
<v Speaker 1>can explain it to you, the narrator. U. Oh yeah,
<v Speaker 1>but it's it's definitely a character, I would think, don't
<v Speaker 1>don't you agree? I mean, you got to have some
<v Speaker 1>juice because you're part storyteller, and a storyteller is very
<v Speaker 1>much a character.
<v Speaker 4>Okay, I could be.
<v Speaker 2>Wrong, No, no, you're You're not wrong, but you're not
<v Speaker 2>right all the time. I did a religious work. I
<v Speaker 2>don't think I'm going to name it, but it had
<v Speaker 2>to be Every word had to be right, and obviously
<v Speaker 2>the intonation had to be right. It was written by
<v Speaker 2>a lady and it was really one of the hardest
<v Speaker 2>things I've ever done. You know, it goes along the
<v Speaker 2>lines of you have done this, and you have done this,
<v Speaker 2>and you you you feel that you have served Christ
<v Speaker 2>in doing it, but you haven't actually done it that way,
<v Speaker 2>because you have thought about this when you did this,
<v Speaker 2>and this is itself. It just it was. It was
<v Speaker 2>a sort of mind bending theological discussion of such minute
<v Speaker 2>detail that that it almost broke my spirit, to be
<v Speaker 2>honest with him, it was. It was interminably long. I
<v Speaker 2>have no idea whether it was every ever any good.
<v Speaker 4>And dear me, it's so you didn't feel like you
<v Speaker 4>were playing a character.
<v Speaker 2>No, I felt I was. I felt I was dis
<v Speaker 2>I was engaging with an argument in an argument which
<v Speaker 2>very much was sort of almost a medieval tract on
<v Speaker 2>how many angels could dance on the head of a pin.
<v Speaker 2>But that actually is a cosmological question as well as
<v Speaker 2>anything else, and that could be quite an interesting argument.
<v Speaker 2>But I completely failed in this one. And I don't
<v Speaker 2>think I will ever do a narration like that again.
<v Speaker 2>I mean, it just took too much time. And and
<v Speaker 2>then you, you know, your own human brain says, wait
<v Speaker 2>a minute, that can't be right. It has to be
<v Speaker 2>an illogical jump there. But you've got to continue in
<v Speaker 2>that certain vein, and yeah, but he is right.
<v Speaker 1>Yeah, there you go. I was just going to ask
<v Speaker 1>that that we cleared that up.
<v Speaker 4>I have another question for both of you, working with
<v Speaker 4>so many prolific actors and being such prolific actors yourselves,
<v Speaker 4>who is one person that you've worked with that really
<v Speaker 4>inspired you in your own career?
<v Speaker 2>M wow, Well I can tell you who I missed
<v Speaker 2>and cried when he died, and that was Robin Williams.
<v Speaker 3>Yeah, yeah, yeah, boy. Yeah.
<v Speaker 2>You know.
<v Speaker 1>It's funny because I worked with him but never met
<v Speaker 1>him because it was animation, and animation you don't necessarily
<v Speaker 1>meet your your castmates. They're not you know, as you know,
<v Speaker 1>you're usually you're kind of flying solo. But one of
<v Speaker 1>my proudest moments is he kind of almost gave me
<v Speaker 1>the finger. And it was in the Aladdin series, which
<v Speaker 1>you know all about.
<v Speaker 3>I was, I was, I was resu you will have
<v Speaker 3>to take it up with Joe.
<v Speaker 7>I was the bad get that guy, and and uh
<v Speaker 7>and so oh yeah, I'm right yeah, And so I
<v Speaker 7>was kind of giving some grief there and and Robin
<v Speaker 7>snapped his fingers as the genie and everything turned into
<v Speaker 7>a giant courtroom and I was the witness bound in
<v Speaker 7>the chair there, and he goes, I'm sorry, but I
<v Speaker 7>will not be upstairs by tertiar already character and he and.
<v Speaker 1>He and he leaned over, grabbed my toes, rolled me
<v Speaker 1>up like a window blind and boom vamished me out
<v Speaker 1>of the room. So one of my proudest moments was
<v Speaker 1>Robin Williams gave me the finger. Thank you good night
<v Speaker 1>everybody anyway, So that yeah, that's my story and I'm
<v Speaker 1>sticking to it.
<v Speaker 4>Speaking of the finger, though, I wanted to ask you
<v Speaker 4>this job. You played a pretty good prank on Peter
<v Speaker 4>Jackson with a middle finger. Do you think you could
<v Speaker 4>tell us that story?
<v Speaker 3>You remember, old p D. Don't you?
<v Speaker 2>My very first school report when I was five years
<v Speaker 2>old predicted my sorry future John could do well as
<v Speaker 2>soon as he learns that life is not a joke.
<v Speaker 2>And I never did make it.
<v Speaker 3>Yeah, so cut too.
<v Speaker 2>And I use the word cut advisedly.
<v Speaker 5>I would like to give you a wonderful story about
<v Speaker 5>how I lost the tip of my finger.
<v Speaker 2>You know, how the Germans came out of the hun
<v Speaker 2>came out of the sun.
<v Speaker 5>I you know, I chopped down five of them, and
<v Speaker 5>you know the sixth one I had, or the crocodile
<v Speaker 5>crocodile version.
<v Speaker 2>The triple matter is I had an old van and
<v Speaker 2>my son blew the engine up, and I was doing
<v Speaker 2>an engine swap. Didn't get finished, and so I got
<v Speaker 2>the engine in and I was going to LA the
<v Speaker 2>next day, and I was working on Wednesday, and I
<v Speaker 2>just didn't have time to finish it. So I towed
<v Speaker 2>it around. I would tow it around a friend of
<v Speaker 2>mine's place because he was going to do the rest
<v Speaker 2>for me. So we started towing, and I had to
<v Speaker 2>flag my tower.
<v Speaker 5>Down a little bit because the prop shaft is whipping
<v Speaker 5>it a little bit.
<v Speaker 2>And so I get the old coach hager steel and
<v Speaker 2>the wiring up a little bit more than I not.
<v Speaker 2>And he's getting into the car and I think I won,
<v Speaker 2>and he takes off without me, and it takes the
<v Speaker 2>top of the finger off into the metal work. Then
<v Speaker 2>you have to go to.
<v Speaker 4>Then go to the local.
<v Speaker 2>Hospital and the island man where I live, you know,
<v Speaker 2>and you've got grease on your hands, and you've got
<v Speaker 2>the tip of your finger here, and oh, mister Davis,
<v Speaker 2>oh how wonderful to see you. I wanted to We
<v Speaker 2>have your autograph and of course actors. Actors are so
<v Speaker 2>bloody dumb, that's what we do. So you know, I yes,
<v Speaker 2>of course, yes, yes to Divina and Seth yes, yes, okay,
<v Speaker 2>oh yes, yes. I don't think we can do anything
<v Speaker 2>about it. Yeah, you'll have to go to the big
<v Speaker 2>hospital anyway. Anyway, So in the end, in the end,
<v Speaker 2>what I should just have done is wrap the dawn
<v Speaker 2>thing up and got on the plane greasy as I
<v Speaker 2>was flew into the flown to New York, and they
<v Speaker 2>had to put it back on. In the end, it
<v Speaker 2>was just easier to cut it off anyway.
<v Speaker 3>Caps too good thing it was all on your finger.
<v Speaker 2>Yeah. Then then they then New Zealand. Yes, so so
<v Speaker 2>we decided to play the plank on Peter Jackson. So
<v Speaker 2>my my brilliant uh sort of makeup man creates from
<v Speaker 2>this finger, creates another one there that we can stick on.
<v Speaker 2>We put a tiny bit of white for the bone
<v Speaker 2>in there, and then we put a little bit of
<v Speaker 2>white of red round there. And I go up to
<v Speaker 2>Peter and say a pierod boy I seem to have
<v Speaker 2>and I started pushing it back, oh wow, and and
<v Speaker 2>Peter goes, oh johnthy god, you order as you can
<v Speaker 2>see my Oh my, my, my, My early school mistress
<v Speaker 2>really knew what she was talking about.
<v Speaker 3>Oh god, but that's pretty good.
<v Speaker 2>That's pretty good. Wow.
<v Speaker 3>So you really did give him the finger?
<v Speaker 2>Yes?
<v Speaker 5>Wow.
<v Speaker 2>Actually I put my finger into a jar of alcohol
<v Speaker 2>and stuck it in the fridge. But I had a
<v Speaker 2>guest who came along who was so frightened and disgusted
<v Speaker 2>about it that he threw it out. I wanted to
<v Speaker 2>be buried with that finger, I think, you know, I mean,
<v Speaker 2>you expect to turn up there or probably down there
<v Speaker 2>for me, you know, and say, come on, come on,
<v Speaker 2>make it all happen and again. And now he's gonna
<v Speaker 2>they're gonna have to say I'm sorry. There's so many
<v Speaker 2>fingers down that we can't even begin to look for. Yeah,
<v Speaker 2>all right, glad.
<v Speaker 3>You weren't going to the bathroom at that time. Oh yeah, yay.
<v Speaker 1>If you're a fan of everything we do here at
<v Speaker 1>Tuned In with Jim Cummings, you could support the show
<v Speaker 1>on Patreon for bonus exclusive podcasts, as well as early
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<v Speaker 1>slash Jim Cummings Podcast.
<v Speaker 2>Do it now?
<v Speaker 4>I think it's that time of the podcast that we
<v Speaker 4>do a voice swap. What do you think, Jim?
<v Speaker 2>I do?
<v Speaker 4>Indeed, do you want to play a little game here?
<v Speaker 4>We do a little game on this podcast. It's the
<v Speaker 4>voice swap game. I'll explain it to you. Don't worry,
<v Speaker 4>don't worry, I don't worry.
<v Speaker 2>That's right.
<v Speaker 3>God, are you familiar with it?
<v Speaker 2>Say?
<v Speaker 5>Yes?
<v Speaker 4>All right? So how the game works? Honestly, when I
<v Speaker 4>was doing research on you for this for this panel
<v Speaker 4>right here, I didn't realize how many voices you had
<v Speaker 4>done and how versatile your voice is. You know, I
<v Speaker 4>feel like we're so compenditioned. No, no, no, no, maybe
<v Speaker 4>a little bit. We'll we'll take what are your characters
<v Speaker 4>and say, for example, Jim, we'll take Winnie the Pooh
<v Speaker 4>and he'll say one of the catch phrases, you stay
<v Speaker 4>as sweet as honey. And then you'll repeat that same
<v Speaker 4>line but in one of your character's voices. So say
<v Speaker 4>I don't know tree Beard, and you'll say the same
<v Speaker 4>line in that voice, and then we'll do vice versa.
<v Speaker 4>How does that sound don't look so concerned.
<v Speaker 2>Wait. Wait, he does Winni the Pooh with his version
<v Speaker 2>of Winnie the Pooh, and then tree Beard it does
<v Speaker 2>the last the same line. Okay, out when does this second?
<v Speaker 3>The pain is almost over?
<v Speaker 1>But I have a question for the audience, because I
<v Speaker 1>should I bring out Bonkers or Windy the Pooh or.
<v Speaker 4>Dark Wing or.
<v Speaker 1>Okay, well that was good, so you have it then, Okay,
<v Speaker 1>I don't remember how that one sounded. No, okay, say
<v Speaker 1>Pooh Tigger?
<v Speaker 3>Okay, which one?
<v Speaker 4>Dark Wing? You say? Yes?
<v Speaker 3>Okay, dark Wing?
<v Speaker 2>Wow?
<v Speaker 8>Okay, all right, that was easy. It's it's it's a
<v Speaker 8>bloody duck. Okayd's going Okay, Who the hell is dark Wing?
<v Speaker 8>I was anticipating foul play.
<v Speaker 7>Yeah, good night, everybody.
<v Speaker 3>Thank you for that.
<v Speaker 1>Okay, all right, so dark wing ducks catchphrases. Anybody know it?
<v Speaker 2>That's not bad?
<v Speaker 3>Okay, yeah, okay, all right, here we go, dark wing duck.
<v Speaker 2>Let's get dangerous. Indeed, let us get dangerous.
<v Speaker 4>That's we'll do vice versa, vice versa. So you pick
<v Speaker 4>a character, I pick a yours. Yes, I've got it
<v Speaker 4>all the work hat I Yeah, that's why we brought
<v Speaker 4>you all right, all.
<v Speaker 1>Right then, no Shakespeare. Now he's gonna what a piece
<v Speaker 1>of work is man? And I'll be sitting there going
<v Speaker 1>I'm doomed.
<v Speaker 2>The happens themselves, the planets in the center. No, okay,
<v Speaker 2>maybe not, okay, I'm all right then, pardon me? Yea right? Yes, okay, okay,
<v Speaker 2>nobody tosses.
<v Speaker 1>A dwarf, man, that's that's good stuff.
<v Speaker 3>Who do you think nobody tosses a dwarf? As well
<v Speaker 3>as John Rey S. Davies's kind of thinking?
<v Speaker 2>It is?
<v Speaker 3>Nobody tosses a dwarf because they're good at gathering? Honey?
<v Speaker 2>Wow?
<v Speaker 4>Should we do one more? One more request? Every request?
<v Speaker 4>Because it's one of my favorite characters in SpongeBob. Yes,
<v Speaker 4>can we do?
<v Speaker 2>Man?
<v Speaker 3>Ray?
<v Speaker 2>This is your wallet?
<v Speaker 3>Is your wallet?
<v Speaker 2>Okay? I know, I think I've got that long tony.
<v Speaker 2>Is this your wallet? That's even worse? I mean better? No, honorable,
<v Speaker 2>go on, okay, do it?
<v Speaker 4>Do it?
<v Speaker 3>Just do it and shut up and do it?
<v Speaker 1>Who should have been bunkers tigger?
<v Speaker 2>Okay?
<v Speaker 3>Is this your wallet?
<v Speaker 2>Oh my gosh.
<v Speaker 3>I can't thank you enough, sir.
<v Speaker 2>You were best?
<v Speaker 3>You are?
<v Speaker 2>Are you amazed? Oh?
<v Speaker 3>You were best? You are amazing. Bless you John R. Davis, Ladies,
<v Speaker 3>thank you ever ever so much. Is there anything you
<v Speaker 3>want to brag it out before you leave? Runny?
<v Speaker 2>Oh anything? Oh gosh as well?
<v Speaker 3>Well, the whole world is watching, you know.
<v Speaker 2>Well. I there's there's a new horror picture that I've
<v Speaker 2>I've just done. I think it's called The Bone Collector,
<v Speaker 2>which is rather good. There is another movie that's.
<v Speaker 3>Not a porno, right, I've made that up, of course,
<v Speaker 3>I'm sorry.
<v Speaker 2>Go ahead, oh dear, the soft le vulgarity of and
<v Speaker 2>and and there is Oh yes, there's a film that
<v Speaker 2>we actually shot in just before COVID twenty sixteen, which
<v Speaker 2>is about to come out, which is called Oak Starbright,
<v Speaker 2>which is a fantasy see and uh, a lovely romantic
<v Speaker 2>adventure story in which I play the archangel Raphael. Wow.
<v Speaker 2>Really And oh there's a there's a little NASA thing
<v Speaker 2>that I voiced the other day as well, which is
<v Speaker 2>which is about Oh it's about Nasa, isn't it? And
<v Speaker 2>the space and stars and and support Nasa. One of
<v Speaker 2>the boys.
<v Speaker 1>An absolutely fantastic God bless you sir.
<v Speaker 9>No, No, what do you what? What are you going
<v Speaker 9>to pumpt I don't know. I'll be at my table
<v Speaker 9>in a while. Oh that is true.
<v Speaker 1>I've got a Nancillo Meet the Planet coming out with
<v Speaker 1>a fledgling actor, Ryan Reynolds. I'm trying to help the
<v Speaker 1>kid out, do you know what I'm saying, And so
<v Speaker 1>be there. Tune in, stay tuned. Speaking of tuned in, hey,
<v Speaker 1>producer Chris, Thank you, sir, and thank.
<v Speaker 4>Thank you guys all so much for watching and supporting,
<v Speaker 4>I mean, doing this, doing this live tour at fan
<v Speaker 4>Xpo has been so cool to see everybody out in
<v Speaker 4>support and if you don't, you know, follow on YouTube.
<v Speaker 4>I mean, we have a great time and we really
<v Speaker 4>do it for you guys, Like it's really really been
<v Speaker 4>an awesome journey for me. It's such a privilege to
<v Speaker 4>have this job. Thank you so much, Jim. It's has
<v Speaker 4>just been awesome. And if you if you want to
<v Speaker 4>hear more of John there, you can look up an episode.
<v Speaker 4>He was on an episode about a year ago, so
<v Speaker 4>you can find that. As he's interrupting me, oh the bell,
<v Speaker 4>I mean.
<v Speaker 2>I told you not to call me when I'm up.
<v Speaker 4>But sincerely, thank you guys all so much. We really
<v Speaker 4>appreciate it. And why don't you guys go pay visits
<v Speaker 4>of these guys at their boos as well. Thank you,
<v Speaker 4>God bless