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Finding Your Voice with Samara Bay · Dos Amigos

• 0:04
  Speaker 1: Hey, everybody. This is Freddie Rodriguez.
• 0:07
  Speaker 2: And I'm Wilmer Valderrama. Welcome to the DOOS podcast. I'm
• 0:11
  Speaker 2: Michael Tuda Podcast Network. I heeart our partners and fearless
• 0:17
  Speaker 2: leaders and disruption of podcasting.
• 0:20
  Speaker 3: But we're nearing, We're near Indiana.
• 0:22
  Speaker 1: We're here in the end.
• 0:23
  Speaker 4: That's right, that's right. We've had a plethora of wonderful guests. Yes,
• 0:28
  Speaker 4: and today our guest is someone very personal to you, right.
• 0:32
  Speaker 2: Yes, very very personal. And this is a very vulnerable,
• 0:36
  Speaker 2: very vulnerable place for me. Yes, because we know how
• 0:41
  Speaker 2: that turned out, by the way I sound explained, by.
• 0:46
  Speaker 3: The way it is. But Samara Bay, you know, you.
• 0:54
  Speaker 2: See, you know we always explain this to our guests
• 0:56
  Speaker 2: when they're here, and that our guests are quite intentional.
• 0:59
  Speaker 3: Right, Like we're we don't, we don't.
• 1:01
  Speaker 2: This is not one of those shows we're like, oh,
• 1:02
  Speaker 2: you know this book so and so, like we have
• 1:04
  Speaker 2: to have some type of connection tool or guess whether
• 1:09
  Speaker 2: it's in mutual respect or whether it's like a specific
• 1:12
  Speaker 2: subject or that so and in this specific subject.
• 1:16
  Speaker 3: You were many hats. Best author is one, Yes, and
• 1:19
  Speaker 3: you have a book. What is the name of your book?
• 1:21
  Speaker 5: I have a book called Permission to Speak.
• 1:23
  Speaker 2: That's right, And I asked that many times in time
• 1:28
  Speaker 2: you were you likesion, But tell everyone who's listening a
• 1:34
  Speaker 2: little bit of uh, you know what your career is,
• 1:37
  Speaker 2: what you've done, and I know you're onto other things too,
• 1:40
  Speaker 2: and we love to hear that as well.
• 1:41
  Speaker 5: Yeah, okay, So two main things. One is how we
• 1:44
  Speaker 5: know each other and the other is how it has
• 1:46
  Speaker 5: evolved very organically in the many many years since we
• 1:51
  Speaker 5: work together. But basically, in a nutshell, I have a
• 1:53
  Speaker 5: background as a dialect coach and that is.
• 1:56
  Speaker 1: A rare, weird, niche job in.
• 1:59
  Speaker 5: Hollywood that no one even thinks about it until they're like, wow,
• 2:02
  Speaker 5: that actor sounded really amazing and not like themselves at all,
• 2:05
  Speaker 5: and that one didn't.
• 2:08
  Speaker 4: I'm sorry, how do you how do you wake up
• 2:10
  Speaker 4: one day and say I want to become a dialect coach?
• 2:12
  Speaker 4: Because you're right, it is a very niche It is
• 2:15
  Speaker 4: a very unique occupation.
• 2:17
  Speaker 1: What made you become a dialect coach?
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  Speaker 5: I'll tell you. I think the absolute heart of it
• 2:21
  Speaker 5: is loving actors, like really having like a deep loving
• 2:24
  Speaker 5: respect for what the process is of taking words written
• 2:27
  Speaker 5: by it usually not you and putting them into your
• 2:30
  Speaker 5: mouth and making them a whole ass human. And if
• 2:35
  Speaker 5: there's an accent on top of that, because either English
• 2:37
  Speaker 5: is your second language and the producers, directors, whatever want
• 2:40
  Speaker 5: a different sound coming out of you, or you're playing
• 2:43
  Speaker 5: a very specific role that requires like oh, I'm from
• 2:48
  Speaker 5: Boston and I'm playing somebody from West Texas, then there
• 2:51
  Speaker 5: is a respect also for like, well, what's that culture's
• 2:54
  Speaker 5: what are we doing with this? How story are we talent?
• 2:56
  Speaker 2: And it's quite and it's quite a collaboration, but really
• 3:00
  Speaker 2: a partnership. You know, you you both have to go
• 3:04
  Speaker 2: on this journey to discovery what does this guy sound like?
• 3:07
  Speaker 2: Like I've had not like coach in Spanish because I
• 3:10
  Speaker 2: was like, okay, where in Mexico is my character is
• 3:13
  Speaker 2: supposed to be from? What is the Spanish? Because it
• 3:16
  Speaker 2: can't just be like any generic Mexican accent. There's like
• 3:20
  Speaker 2: there's like twelve different Mexican accents, right, you know. So
• 3:23
  Speaker 2: I think that's one of the things, like I think
• 3:24
  Speaker 2: it's really important is when you partner I was home
• 3:26
  Speaker 2: like Samara, It's like you really are like, Okay, we're
• 3:29
  Speaker 2: going to have to figure this guy out.
• 3:31
  Speaker 5: And often when I'm pulling like audio tracks from the internet,
• 3:34
  Speaker 5: from YouTube to be like, is this what we're going for.
• 3:37
  Speaker 5: It's not just like the sounds like vowel sound, consonant sound.
• 3:40
  Speaker 5: It's like the it's like the vibe of the person.
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  Speaker 5: Does this match the vibe of the character you're playing?
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  Speaker 5: Is this going to help us tell that story of
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  Speaker 5: this person in this you know, maybe in this emotional
• 3:50
  Speaker 5: state or maybe in this like aspirational moment of their
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  Speaker 5: life where they're getting out from where they were, you know,
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  Speaker 5: like these are the stories that we tell with our voice.
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  Speaker 3: So you're talking about your love with actors. Where did
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  Speaker 3: that start?
• 4:01
  Speaker 6: Oh?
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  Speaker 5: You guys. I was just home this weekend in northern
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  Speaker 5: California and I went to this Shakespeare festival that is
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  Speaker 5: some version of the one eighties Santa Cruz. Santa Cruz,
• 4:12
  Speaker 5: there's a University of California campus there. My dad started
• 4:15
  Speaker 5: as a professor there in the seventies teaching astrophysics, and
• 4:20
  Speaker 5: so I grew up there and was brought along with
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  Speaker 5: them to this Shakespeare stuff.
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  Speaker 4: When I was like ten, well, your dad used to
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  Speaker 4: you bring it to this?
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  Speaker 7: Yeah?
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  Speaker 5: My parents were like, I think we have a precocious
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  Speaker 5: kid on our hands.
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  Speaker 6: Let's see if she can handle this.
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  Speaker 5: And then it was like these beautiful, very modern imagine
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  Speaker 5: like you know, like bos Lhrman, Romano, Juliet type of Shakespeare.
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  Speaker 5: It just made me feel like, Okay, A, I feel
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  Speaker 5: very alive. Whatever's happening. B. I'm looking around everyone else
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  Speaker 5: does C. We're like breathing together. D. I don't know.
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  Speaker 5: Whatever's happening on the stage feels like it's like something
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  Speaker 5: about the human condition. Right. All that was happening. And
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  Speaker 5: obviously when I was ten, I wasn't like a bathet,
• 4:59
  Speaker 5: but I was It's like this, whatever this is, this
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  Speaker 5: is what I want to do, and it's I mean,
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  Speaker 5: it's cracked me up over the you know, intributing at
• 5:07
  Speaker 5: thirty whatever years to be like, oh I my definition
• 5:10
  Speaker 5: of this has changed a lot. The other half of
• 5:13
  Speaker 5: what you were getting at is dialect coach, dialect coach.
• 5:16
  Speaker 5: And then this sort of pivot happened when I got
• 5:20
  Speaker 5: brought into coach women who are running for office in
• 5:23
  Speaker 5: the twenty eighteen midterms just totally pro bonoun right, and
• 5:26
  Speaker 5: it made me realize that so many other times I
• 5:28
  Speaker 5: hadn't really totally put it together. But like my actors
• 5:31
  Speaker 5: would ask me to help them with like a speech
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  Speaker 5: at the United Nations or a speech for an awards
• 5:36
  Speaker 5: ceremony or something where they're playing the character of themselves.
• 5:39
  Speaker 1: But that's different than dialect.
• 5:41
  Speaker 5: This is different, but it would bring up the ways
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  Speaker 5: in which, like dialect work was always and I don't know,
• 5:47
  Speaker 5: like you know, you get to tell me from the inside,
• 5:50
  Speaker 5: But for me, as as I worked with all these
• 5:52
  Speaker 5: different clients, was always about half like sounds and let's
• 5:58
  Speaker 5: get this right and let's get it in your body
• 5:59
  Speaker 5: and whatever, and half let's create an environment where you
• 6:04
  Speaker 5: can like play and get and be bad at something
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  Speaker 5: before you're good, which I think is like not enough
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  Speaker 5: of us have that safe space in our lives ever,
• 6:12
  Speaker 5: And like what is it to breathe as someone else?
• 6:15
  Speaker 5: Or what is it to breathe while doing something new
• 6:17
  Speaker 5: that is making us get all activated? But like stay
• 6:21
  Speaker 5: in it anyway, And that's public speaking as much as
• 6:24
  Speaker 5: it's dialectoral.
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  Speaker 2: You know, it's I love you trigger something that I've
• 6:28
  Speaker 2: done a bunch of keynote stuff. And what's really helped
• 6:32
  Speaker 2: me is comedy.
• 6:34
  Speaker 3: Because being funny in it and not just being funny.
• 6:37
  Speaker 2: And it's like when you do comedy, you understand the setup,
• 6:41
  Speaker 2: you understand the build.
• 6:42
  Speaker 3: Up, you understand the punchline, the execution.
• 6:44
  Speaker 2: But in real life that's not how you tell stories.
• 6:47
  Speaker 2: You don't tell stories to the massage. You to a
• 6:49
  Speaker 2: story to your friends. So you're not really thinking about
• 6:52
  Speaker 2: which is the operative word, which is the you know
• 6:54
  Speaker 2: that's what.
• 6:55
  Speaker 5: So love you just an operative word.
• 7:00
  Speaker 1: You're using correct terminology and uh, you.
• 7:02
  Speaker 3: Know, well I was coached by.
• 7:06
  Speaker 5: That was trademarks.
• 7:10
  Speaker 2: It's resonated, something stuck around. But but I think it's
• 7:16
  Speaker 2: a very very fascinating thing when you think about, Okay,
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  Speaker 2: an actor has to speak of the U N. He
• 7:22
  Speaker 2: has to do a couple of things, and that sound
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  Speaker 2: like an actor who's just faking it, right, But most importantly,
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  Speaker 2: if you you know, if you're the United Nations, you
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  Speaker 2: have a certain passion for what you're about to speak about,
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  Speaker 2: and the right pronunciations of the technical terms and most
• 7:37
  Speaker 2: importantly the operator words is probably going to be really
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  Speaker 2: important when you say that, Like in storytelling, the level
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  Speaker 2: of urgency, the level of I don't want to say theatrical,
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  Speaker 2: because nothing about that speech is fake. But but there
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  Speaker 2: is there is a performance in order for it to
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  Speaker 2: transcend beyond the ping of that.
• 7:56
  Speaker 5: I made up this term in my book because I
• 7:58
  Speaker 5: just didn't it didn't exist for what you're talking talking
• 8:00
  Speaker 5: about called carrying out loud. And the idea is not
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  Speaker 5: just that we care about shit. We do often when
• 8:05
  Speaker 5: we're speaking on a stage or in any kind of
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  Speaker 5: a metaphorical stage. This it's because we care, but many
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  Speaker 5: of us, all of us, are socialized to hide when
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  Speaker 5: we care because it's terrifying to me, Like I care
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  Speaker 5: about this, right, this is the vulnerability that actors are
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  Speaker 5: like used to doing.
• 8:21
  Speaker 4: Yep.
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  Speaker 5: But so the idea with carrying out loud is just
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  Speaker 5: to offer like some language for what this process is
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  Speaker 5: that any of us can engage in where we're like, Okay,
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  Speaker 5: I care about this thing. I'm not gonna have to
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  Speaker 5: talk about it like I care about it?
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  Speaker 3: Right?
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  Speaker 5: How do I do that without like either pushing too
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  Speaker 5: hard overcarrying acting like we care and then it feels theatrical.
• 8:41
  Speaker 2: Over carrying over carrying. Yes, So there's two things. Right,
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  Speaker 2: you're very passionate about the subject. When you're too overly
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  Speaker 2: passion you lose people because people are like you're preaching
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  Speaker 2: to me.
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  Speaker 5: Now, Yes, I like to think of it as a spectrum.
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  Speaker 5: So on the one hand, over here, you're like, I
• 8:57
  Speaker 5: care about this a lot. We lovingly call this pushings
• 9:00
  Speaker 5: poa I mean metaphor. Yeah, yeah, yeah, I care about it.
• 9:08
  Speaker 5: But you know, we can tell when someone's pushing and
• 9:11
  Speaker 5: it's it's not that they don't even it's not it's
• 9:13
  Speaker 5: not that they don't care. Maybe it's that we can't
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  Speaker 5: read anymore because there's so much messy going on in
• 9:17
  Speaker 5: front of them. And then on the other end of
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  Speaker 5: the spectrum is I care a lot, but I'm going
• 9:20
  Speaker 5: to pretend like I don't because and often this is
• 9:22
  Speaker 5: like going into our throat and just being like, yeah,
• 9:24
  Speaker 5: I mean it's cool whatever, like this is kind of
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  Speaker 5: my my life's work. But like if you don't like it,
• 9:28
  Speaker 5: it's fine, right.
• 9:30
  Speaker 4: So it's like it's like overacting in a scene almost right,
• 9:33
  Speaker 4: put it out there.
• 9:34
  Speaker 3: If you're in, you're in. If you're not, it's cool.
• 9:36
  Speaker 5: I mean, it's such an obvious like defense mechanism. It's
• 9:38
  Speaker 5: so it's so like survival based. It's in a way,
• 9:40
  Speaker 5: I just want to like love on anybody listening who's like, oh,
• 9:43
  Speaker 5: should I do that?
• 9:43
  Speaker 3: Right?
• 9:44
  Speaker 5: Of course we do that. It's an incredibly valuable learned
• 9:47
  Speaker 5: skill to be like I care, but like not really
• 9:49
  Speaker 5: if that's inconvenient for anybody here. But if there's a
• 9:53
  Speaker 5: spectrum and over here is over and overhears under, then
• 9:56
  Speaker 5: what is the sweet spot in the middle. If we're
• 9:58
  Speaker 5: getting up on a stage and we're time, what matters
• 10:00
  Speaker 5: to us? How do we access consistently so we can
• 10:03
  Speaker 5: trust ourselves that level of care so that that that
• 10:06
  Speaker 5: word passion you used right comes out and it isn't
• 10:09
  Speaker 5: like this thing that pushes people away because it's too much,
• 10:13
  Speaker 5: or this thing that makes people not totally seem interesting.
• 10:16
  Speaker 4: Yeah, so you're almost like a good director is what
• 10:19
  Speaker 4: I'm what I'm going massaging the Yeah.
• 10:22
  Speaker 5: That's a lot of it because I'm now I'm almost
• 10:24
  Speaker 5: entirely now doing public speaking coaching, and often it's for
• 10:27
  Speaker 5: business leaders. It's right, it's not Hollywood anymore. And you know,
• 10:32
  Speaker 5: it's a huge mm applies because.
• 10:35
  Speaker 3: It's just you or like, wow, these are the crazy question.
• 10:37
  Speaker 2: Yeah, when you get to that level of coaching, Yeah,
• 10:42
  Speaker 2: to coach individuals that are at that sea level, do
• 10:45
  Speaker 2: you feel two questions one is are they more introverted
• 10:51
  Speaker 2: and they're not good with their words because they're just
• 10:53
  Speaker 2: geniuses what they have in front, so they can operate,
• 10:56
  Speaker 2: but they just don't publicly speak, or they're just credible
• 11:00
  Speaker 2: communicators that they're just like they know how to delegate
• 11:05
  Speaker 2: in an interesting way because they're that leadership, or like,
• 11:09
  Speaker 2: you know, you don't what I'm trying to ask. If
• 11:10
  Speaker 2: there's two there's two different powers and there are two
• 11:12
  Speaker 2: different people you're gonna get at that.
• 11:14
  Speaker 5: Yeah, yeah, I think it's I Yes, I think those
• 11:16
  Speaker 5: are the two categories too. For me, it's like either
• 11:18
  Speaker 5: folks who were thrust into the CEO role and the
• 11:22
  Speaker 5: public side of it, or even just the like all
• 11:24
  Speaker 5: hands like meetings with their.
• 11:26
  Speaker 3: Or like they are gray CEO but they never thought
• 11:28
  Speaker 3: there was.
• 11:28
  Speaker 5: Hot and they and they self identify as an introvert,
• 11:31
  Speaker 5: or they self identify as I hate public speaking, which
• 11:35
  Speaker 5: of course does like so much allbody. I hate speaking
• 11:39
  Speaker 5: is a job and then and then it's a story
• 11:42
  Speaker 5: we tell ourselves, and then we look for evidence and
• 11:43
  Speaker 5: right like this is a brain's word beautiful, but you
• 11:46
  Speaker 5: need somebody to like disrupt that, or yeah, they just
• 11:50
  Speaker 5: want to be like absolutely, like Olympic level pig performance
• 11:55
  Speaker 5: and I love that too, right where they're like there's
• 11:57
  Speaker 5: more to learn, or I'm continuing to challenge myself and
• 12:00
  Speaker 5: speak on bigger stage. Maybe like I'm used to speaking
• 12:02
  Speaker 5: at the conferences for my industry, but now I want
• 12:05
  Speaker 5: to speak to the press. Now, I want to speak
• 12:07
  Speaker 5: to the public. Now I want to be a thought
• 12:08
  Speaker 5: leader and like really claim my thought leadership and that
• 12:11
  Speaker 5: kind of up level.
• 12:13
  Speaker 6: You know.
• 12:13
  Speaker 5: Again, it's story, like the stories we tell ourselves and
• 12:15
  Speaker 5: how we can change them.
• 12:16
  Speaker 2: To make They're just fascinating when you see like attorneys
• 12:20
  Speaker 2: or you know, the head of the sheriff's department or
• 12:22
  Speaker 2: whatever and they have to you know, talk a by
• 12:25
  Speaker 2: the gravity of a situation at a press how do
• 12:29
  Speaker 2: you convey to the public, you know, public urgency or
• 12:34
  Speaker 2: emergency or just a regular update on an ongoing case.
• 12:38
  Speaker 3: Like what are your thoughts? You're saying you have so
• 12:40
  Speaker 3: many thoughts.
• 12:41
  Speaker 5: My main thought is it's not what anybody prioritizes when
• 12:45
  Speaker 5: they're when they're becoming that position. And then you see
• 12:49
  Speaker 5: in those moments of public crisis where the audience is
• 12:52
  Speaker 5: just like watching I'm thinking, for example, of the fires
• 12:56
  Speaker 5: here in La right when the audience is like watching
• 12:58
  Speaker 5: being like I need some thing, like I need to
• 13:00
  Speaker 5: be cared.
• 13:01
  Speaker 4: For like.
• 13:05
  Speaker 7: Microphone than you, you know, but like either one, it's
• 13:11
  Speaker 7: either I want to flight attendant who makes me feel
• 13:12
  Speaker 7: really comfortable or I want just like no bullshit, like
• 13:15
  Speaker 7: just literally.
• 13:16
  Speaker 4: And everyone's relying on this cop or this whatever to
• 13:20
  Speaker 4: like comfort them right, to like convey that emotion this right,
• 13:24
  Speaker 4: and so like all of a sudden, they're thrust it
• 13:26
  Speaker 4: in that position, is what you're saying.
• 13:27
  Speaker 5: And do you think in their throat at those moments
• 13:30
  Speaker 5: and they're like, I mean blast but if and they're like,
• 13:33
  Speaker 5: we're all on the case and we really got your back.
• 13:36
  Speaker 5: We're all in the audience being like there's I don't
• 13:38
  Speaker 5: I can't name it, but that's not enough.
• 13:41
  Speaker 2: Right, bringing us back a little bit to the beginning,
• 13:53
  Speaker 2: and so of at all, I want to just drop
• 13:55
  Speaker 2: a few names that you've worked with, because I saw
• 14:00
  Speaker 2: this list here and I saw my name there, and
• 14:02
  Speaker 2: I'm just gonna go impressive, Yeah, Galgadot, right, Pierce Prossman,
• 14:09
  Speaker 2: an Olympic Cruz, Ricky Martin, Terry Crews, Terry Crews.
• 14:13
  Speaker 5: I thought he was just on here.
• 14:14
  Speaker 2: He has so many questions. Rachel mccadams, Wilmer Valdorama, that.
• 14:20
  Speaker 1: Guy, that guy.
• 14:21
  Speaker 2: Guy o'donno and Angelica Houston Wilmer abod Orama.
• 14:27
  Speaker 3: Was that like the low in your career you did
• 14:30
  Speaker 3: not get that.
• 14:32
  Speaker 1: Have you listened to that guy lately?
• 14:33
  Speaker 3: Not the guy? Yeah, that's the one that got away.
• 14:37
  Speaker 5: I mean the production Like what if that had gone
• 14:40
  Speaker 5: we would have like been together for years.
• 14:43
  Speaker 1: I don't know if he sounds like he went through
• 14:44
  Speaker 1: a dialing coach.
• 14:46
  Speaker 2: At some point in the game, was like, look, you
• 14:49
  Speaker 2: either either you want wilmermo Dorama or you want you
• 14:53
  Speaker 2: don't want Wilmerdama, you know, and then eventually it worked.
• 14:56
  Speaker 3: But I have so many questions. So you were saying
• 14:59
  Speaker 3: two thousand in seventeen, is that no? No, I'm like that.
• 15:04
  Speaker 3: You guys are.
• 15:06
  Speaker 2: Yeah, so really really far away in the landland far away.
• 15:10
  Speaker 2: Yeahre Hollywood was a little different, right, So if you
• 15:16
  Speaker 2: were of any dissent somehow, if you're on network TV,
• 15:19
  Speaker 2: you need to sound American because people thought if you
• 15:22
  Speaker 2: had an accent on primetime television, no one was going
• 15:25
  Speaker 2: to understand.
• 15:26
  Speaker 5: You, right, I mean, I joke although obviously it is haha,
• 15:30
  Speaker 5: not funny that half of my work was actually just
• 15:33
  Speaker 5: soothing the nervous system of producers like they were just like,
• 15:38
  Speaker 5: oh no, Middle America will be turned off by X
• 15:41
  Speaker 5: y Z. And I'll be like, we got you.
• 15:43
  Speaker 3: And I wanted what was the you want to share?
• 15:46
  Speaker 3: What project was that we did?
• 15:48
  Speaker 5: Well, it was a pilot that never went so no
• 15:50
  Speaker 5: one will ever know. But here's this is the specific
• 15:53
  Speaker 5: part about what's the pilot.
• 15:54
  Speaker 3: I would know about the pilot. Ye, I mean it's
• 16:00
  Speaker 3: so annoying because no annoying. They didn't get picked up
• 16:04
  Speaker 3: because it was it was lovely.
• 16:05
  Speaker 5: But I will say here was the challenge on that one.
• 16:07
  Speaker 5: Tell me if this is your memory, you were it
• 16:10
  Speaker 5: was a family drama to families.
• 16:12
  Speaker 2: Military is a military show called four Stars, and he
• 16:16
  Speaker 2: was about two four star general families, right, So it's
• 16:20
  Speaker 2: like a four star general and a four star general.
• 16:22
  Speaker 2: They you know, they they went to war together and
• 16:24
  Speaker 2: all that stuff whatever, and now their families are in
• 16:26
  Speaker 2: the family and business there in the military. And one
• 16:29
  Speaker 2: is a reporter you know, and in Washington and all
• 16:34
  Speaker 2: that stuff, and the other one is a young colonel
• 16:35
  Speaker 2: played by the always Greade will and uh and you
• 16:40
  Speaker 2: have Stephen Bauer played my dad and Bruce Greenwood played
• 16:44
  Speaker 2: I mean, it was like the cast was just phenomenal
• 16:47
  Speaker 2: and it's a beautiful I just saw the pilot again.
• 16:48
  Speaker 3: Because I was thinking of that idea. It was so good.
• 16:52
  Speaker 5: And we filmed in deep in like Seami Valley for Iraq,
• 16:56
  Speaker 5: which was fascinating.
• 16:57
  Speaker 3: Which was amazing. That scene was crazy.
• 16:59
  Speaker 2: So it was so the It was a beautiful family
• 17:01
  Speaker 2: drama that also had international turmoil type of.
• 17:06
  Speaker 3: You know, a compliment to the story.
• 17:09
  Speaker 2: You know, there was also there was also like an
• 17:11
  Speaker 2: action you know aspect to it, but it was also
• 17:14
  Speaker 2: about the core of the families and all that and
• 17:16
  Speaker 2: it fell into the whole. Around this time, CBS would
• 17:20
  Speaker 2: on cancer shows. There was no slots, so it was like,
• 17:23
  Speaker 2: no matter how great your pilots were, if things were performing,
• 17:26
  Speaker 2: you might not only get one slot a year, two
• 17:28
  Speaker 2: slots a year to put in something new. They still
• 17:30
  Speaker 2: were making pilots though, so but I was supposed to
• 17:35
  Speaker 2: be someone who had just kind of you know, grown
• 17:38
  Speaker 2: up service, you know, whether universe.
• 17:41
  Speaker 5: It was cast with a brother and maybe a sister
• 17:44
  Speaker 5: and a mom and a dad who all had American accents.
• 17:47
  Speaker 3: Yeah. Right, so then.
• 17:49
  Speaker 5: So the question is, would be the story of this
• 17:52
  Speaker 5: guy who just has this little bit of a leftover
• 17:55
  Speaker 5: right venezuelan sound like, no problem except if it confuses
• 17:59
  Speaker 5: the audience, which in this case it might actually have.
• 18:02
  Speaker 3: And so hard he cooked it up. He's like, you
• 18:06
  Speaker 3: know what did you know this? Like at some point
• 18:09
  Speaker 3: did you want to write write in the line?
• 18:10
  Speaker 2: He just decided, you know what, I'm gonna have a
• 18:13
  Speaker 2: little bit of a slight accent.
• 18:15
  Speaker 1: Oh he did that for you?
• 18:17
  Speaker 3: Oh wow, Yeah, because because.
• 18:19
  Speaker 2: The truth is like the performance, like they'd be like,
• 18:22
  Speaker 2: the performance is great, but that one word, so I
• 18:24
  Speaker 2: would end up doing like you can.
• 18:26
  Speaker 5: Talk about the process of a guy like coach on
• 18:28
  Speaker 5: set is like like creating, how do I have no
• 18:33
  Speaker 5: idea how to put this? Creating a this like a
• 18:36
  Speaker 5: protective this for my actor where I am completely honest
• 18:39
  Speaker 5: with them, but I'm also not prioritizing a tiny bit
• 18:42
  Speaker 5: of sound over the like emotional truth of the scene.
• 18:45
  Speaker 5: Like we're on the same team. But if they're hearing
• 18:48
  Speaker 5: sounds and they're telling me to go in and give
• 18:50
  Speaker 5: him this note, he knows and I know that we're
• 18:52
  Speaker 5: playing this game and it's a dance.
• 18:54
  Speaker 4: But you were involved, and even though she was involved,
• 18:56
  Speaker 4: Steven still felt like he had.
• 18:58
  Speaker 2: The Well, I just I was ruggling with very specific words,
• 19:04
  Speaker 2: a lot of military formal stuff that I just have
• 19:06
  Speaker 2: never said out there.
• 19:07
  Speaker 5: And literally they wanted to miss sound American overnight and
• 19:09
  Speaker 5: like you sound you know you are the most American's
• 19:14
  Speaker 5: very excited, but like you know what I'm saying. My
• 19:19
  Speaker 5: agent would call this a dialect emergency and it always
• 19:22
  Speaker 5: cracked me up.
• 19:22
  Speaker 6: But the idea of a dialect.
• 19:23
  Speaker 5: Emergency is like the night before, the producers are like
• 19:26
  Speaker 5: Ohan over there.
• 19:28
  Speaker 3: Wa, but heres what was really interesting?
• 19:30
  Speaker 2: So kind of going back and I want to explain
• 19:32
  Speaker 2: to audiences a little bit more of how this works,
• 19:35
  Speaker 2: right because I think everyone's like, wait, somebody teaches you
• 19:38
  Speaker 2: how to talk like an American accing like you know,
• 19:41
  Speaker 2: so I just want to, you know, so specifically, what
• 19:44
  Speaker 2: happens is when they're they're actors that are not either
• 19:49
  Speaker 2: born and raised here or they have a crazy New
• 19:52
  Speaker 2: York accent, but they need to sound like they're from
• 19:55
  Speaker 2: La or you know, or they have a Puerto Rican accent,
• 19:59
  Speaker 2: but they got to sound Mexican can like, there are
• 20:01
  Speaker 2: certain tools that you have to kind of acquired, but
• 20:04
  Speaker 2: beyond those tools, you have to have some kind of
• 20:07
  Speaker 2: coaching because if you've never been exposed to that type
• 20:10
  Speaker 2: of communication, I mean that that type of uh you
• 20:15
  Speaker 2: know of dialect, then you know it's going to take
• 20:17
  Speaker 2: a second.
• 20:18
  Speaker 3: It's going to take a lot of repetition, it's going
• 20:19
  Speaker 3: to talk a lot of rehearsal.
• 20:20
  Speaker 2: But sometimes they don't realize this thing until like you're
• 20:23
  Speaker 2: in rehearsals and you're shooting next week.
• 20:26
  Speaker 3: And they're like, would you be open? This is how
• 20:28
  Speaker 3: they come to you. Would you be open like maybe
• 20:32
  Speaker 3: having someone bring.
• 20:34
  Speaker 2: And they ask your agent because they don't ask the
• 20:36
  Speaker 2: producers never want to be the bad guys. They ask
• 20:38
  Speaker 2: your agents and they'll call your agent and they're like, hey,
• 20:42
  Speaker 2: so has a little bit of an accent. Is it
• 20:46
  Speaker 2: is it? Does he can he lose his accent and
• 20:48
  Speaker 2: make it more American? And my agent calls me and
• 20:51
  Speaker 2: says like, hey, they really want.
• 20:52
  Speaker 3: You to lose your action a right? Cool?
• 20:54
  Speaker 2: And for a lot of times what happens is I
• 20:57
  Speaker 2: can do it to the script, but the moment mean
• 21:00
  Speaker 2: that I'm flowing and I have to add live something.
• 21:04
  Speaker 3: That's why I start drawing outside the lions.
• 21:05
  Speaker 2: That's what my accident, absolutely, because you've worked on those specifics,
• 21:09
  Speaker 2: so those things that you know, and then all of
• 21:11
  Speaker 2: a sudden, I'm feeling and I'm vibing and I'm flowing,
• 21:14
  Speaker 2: and all of a sudden, I'm making something a little
• 21:17
  Speaker 2: saucy aired And.
• 21:18
  Speaker 5: Then we start with your the magical moments that we
• 21:20
  Speaker 5: in the audience want to see. So now we're cross
• 21:22
  Speaker 5: purposes because because he's like, shit, don't do those. Oh wait,
• 21:26
  Speaker 5: but no, do those.
• 21:27
  Speaker 2: And that's one of the reasons why I said this
• 21:28
  Speaker 2: is such a it's very fun for me. This is
• 21:31
  Speaker 2: also one of these very vulnerable moments for actors where
• 21:34
  Speaker 2: they have to kind of take the ego aside.
• 21:37
  Speaker 3: And this is not like it has nothing to do
• 21:39
  Speaker 3: with you.
• 21:40
  Speaker 2: It has everything to do with the vision and the
• 21:43
  Speaker 2: structure of what a filmmaker or a writer or a
• 21:45
  Speaker 2: producer wants for their project, right, right, And they know
• 21:49
  Speaker 2: you're the guy for the job, right, they know you're
• 21:51
  Speaker 2: the guy for the role.
• 21:52
  Speaker 5: By the way you got the job.
• 21:54
  Speaker 2: Yeah, and by the way, like they there were you know,
• 21:57
  Speaker 2: they were very excited, and I think you know, and
• 21:59
  Speaker 2: CBS excited to work with me, and it's the first
• 22:01
  Speaker 2: time I worked with CBS, and you know.
• 22:04
  Speaker 3: So we're like, let's go, you know.
• 22:06
  Speaker 2: And they wanted this family to be to have a
• 22:09
  Speaker 2: Latin descent, you know, they wanted to but you know,
• 22:11
  Speaker 2: they wanted to be American Latinos, which means like they
• 22:13
  Speaker 2: don't have an accent, you know.
• 22:15
  Speaker 3: That'd being said. We started thinking like what if it
• 22:17
  Speaker 3: was I know, he.
• 22:18
  Speaker 2: Was on a base you know, in South America for
• 22:22
  Speaker 2: like the first his infant years. We started like, you're
• 22:24
  Speaker 2: coming up with all these storylines in the background that
• 22:27
  Speaker 2: that gave him kind of the ability to say, hey,
• 22:29
  Speaker 2: you know, he has an accent because he was kind
• 22:30
  Speaker 2: of raised on the base with locals from a different
• 22:33
  Speaker 2: Latin writing country or something.
• 22:35
  Speaker 5: You know.
• 22:36
  Speaker 2: But the point I'm making is that eventually they'll make
• 22:38
  Speaker 2: a phone call and they say like, hey, would you
• 22:40
  Speaker 2: be open and working with the coach, And the answer
• 22:42
  Speaker 2: is always yes, right, because let's let's go, let's do it.
• 22:45
  Speaker 3: And that's how we met, and we had a you
• 22:49
  Speaker 3: know a lot of these great.
• 22:50
  Speaker 2: Conversations, Like I it was funny, it is like my
• 22:52
  Speaker 2: vocaulary for English is really good, but my my pronunciations.
• 23:00
  Speaker 3: Just like that, like who I am? You know, it's
• 23:02
  Speaker 3: just like what you.
• 23:03
  Speaker 2: Know how it sounds like now I now I have
• 23:05
  Speaker 2: any easier time because I've been working for a lot
• 23:07
  Speaker 2: longer and like you know, I've been speaking English for
• 23:09
  Speaker 2: a lot longer, you know. But at those times when
• 23:11
  Speaker 2: I when I had to do something that was not
• 23:14
  Speaker 2: necessarily calling for someone like me, someone to be something
• 23:18
  Speaker 2: like you know, like a military guy or something, we
• 23:21
  Speaker 2: would have to do the coaching and then we started
• 23:25
  Speaker 2: the exercise. But like, but you can talk a little
• 23:36
  Speaker 2: bit more about the process. So then you arrive on
• 23:38
  Speaker 2: stead and here's the actor.
• 23:40
  Speaker 3: Were you, Here's here's your here's your actor, and okay,
• 23:46
  Speaker 3: let us know when it when it's fixed.
• 23:49
  Speaker 4: Were you part of Like were you like on CBS's
• 23:52
  Speaker 4: list of dialog Like how did you.
• 23:53
  Speaker 1: To you tell me?
• 23:55
  Speaker 5: We never know? I mean I had an agent and
• 23:59
  Speaker 5: and I had a reputation frankly right, like it's often
• 24:02
  Speaker 5: word of mouth, and I know I was I think
• 24:05
  Speaker 5: still am. It's just I'm saying it in past tense
• 24:06
  Speaker 5: because I'm not doing this work as much anymore. But
• 24:08
  Speaker 5: like I think I was on the top of the
• 24:10
  Speaker 5: list for CIA, the big agency. You know, it's like
• 24:13
  Speaker 5: it's like they would just be like, go to her,
• 24:14
  Speaker 5: she you know literally with I think that they think
• 24:18
  Speaker 5: is she doesn't fuck up her actors, because so much
• 24:21
  Speaker 5: of the work is not just the vowels and consonants.
• 24:23
  Speaker 5: It's making sure that you don't lose your your confidence
• 24:26
  Speaker 5: and your sense of play.
• 24:27
  Speaker 3: And compliment to you.
• 24:28
  Speaker 2: Like a lot of acting coaches that are brought as
• 24:33
  Speaker 2: an emergency to said because someone is having a tough
• 24:36
  Speaker 2: time getting there.
• 24:38
  Speaker 3: You know, also is a really that you.
• 24:40
  Speaker 2: Kind of share a very similar kind of structure. You know,
• 24:45
  Speaker 2: you kind of have to really. I always this is analogya.
• 24:49
  Speaker 2: I've used it a few times, probably on the show too,
• 24:51
  Speaker 2: but in life in general, it's it's like a picture
• 24:53
  Speaker 2: and a catcher.
• 24:55
  Speaker 3: The catcher is a psychologist. He's a therapist to the picture.
• 25:00
  Speaker 2: He's got to come in massage the pitches out of
• 25:03
  Speaker 2: your picture. Because in baseball, if that picture is the
• 25:10
  Speaker 2: stress or he gets in his head, can get out
• 25:13
  Speaker 2: of it.
• 25:14
  Speaker 3: There goes the game. Right, He's like he's gonna blow
• 25:17
  Speaker 3: it at the mount right.
• 25:19
  Speaker 2: So the catcher comes up with a smile when he's like, hey, good, good, good,
• 25:22
  Speaker 2: that's really good. Good speed on that ninth curve on that. Now,
• 25:25
  Speaker 2: let's give me a straight because in this one we're
• 25:27
  Speaker 2: gonna do blah blahah you know, or like, hey, you're
• 25:29
  Speaker 2: coming in a little low on this, don't be afraid
• 25:31
  Speaker 2: to go through it a little harder.
• 25:32
  Speaker 3: Let's go, baby, let's go.
• 25:33
  Speaker 2: We got this right, So that gets the picture. Okay, cool,
• 25:38
  Speaker 2: it's me and him playing catch.
• 25:39
  Speaker 3: Right, right, but catch. But pictures are like actors.
• 25:45
  Speaker 2: There is I don't the word is not delicate, but
• 25:47
  Speaker 2: there is sensive. There is a sensitivity to the to
• 25:52
  Speaker 2: the finesse.
• 25:53
  Speaker 3: Yeah you know.
• 25:54
  Speaker 2: And that's why when we had our episode about directors, yeah,
• 26:00
  Speaker 2: uh huh, the sensitivity of how you address your actors. Yeah,
• 26:04
  Speaker 2: it's very very important.
• 26:06
  Speaker 3: Yeah you know. But the point is you have to
• 26:08
  Speaker 3: have like the picture catcher mentality.
• 26:10
  Speaker 5: But often it happens in these tiny, little like ninja
• 26:13
  Speaker 5: moments where you know, in between takes, like cut, we're
• 26:18
  Speaker 5: going again, hair and makeup, come in and do like
• 26:20
  Speaker 5: a little whatever, dab dab, and I whisper in your
• 26:23
  Speaker 5: ear and then we all go together. If I'm whisper,
• 26:26
  Speaker 5: if I wisp like a good whisper. Maybe is like
• 26:29
  Speaker 5: it's the just that you know, you know, you're you're
• 26:32
  Speaker 5: almost there, You've.
• 26:33
  Speaker 1: Got this, You've got this.
• 26:34
  Speaker 5: A bad one is why do you keep messing that up?
• 26:37
  Speaker 5: Or like eighty billion other right, we could go with
• 26:39
  Speaker 5: eighty billion other game?
• 26:40
  Speaker 3: You were you've nailed it ten times. I don't know
• 26:42
  Speaker 3: what's happening?
• 26:43
  Speaker 5: Yeah, what the fuck are you doing?
• 26:44
  Speaker 3: Yeah?
• 26:46
  Speaker 5: And literally like I I often you know, have like
• 26:49
  Speaker 5: have like the number one on the call sheet, like
• 26:52
  Speaker 5: in a way I hold there. I have so much power, right,
• 26:56
  Speaker 5: like it's important not to use that. It's really really
• 27:00
  Speaker 5: what that moment is.
• 27:01
  Speaker 2: That we're trying to She's like a yeah, so the
• 27:03
  Speaker 2: director comes to give you a thought and then oh
• 27:07
  Speaker 2: yeah she has a mad thing to do. So like
• 27:09
  Speaker 2: you have two Now you have two people and sometimes
• 27:13
  Speaker 2: a writer coming at you.
• 27:15
  Speaker 3: So now you have your dialary coach, Now you have your.
• 27:19
  Speaker 2: Director, and now you have the writer that just wants
• 27:21
  Speaker 2: to tell you why it's important to leave it as written.
• 27:25
  Speaker 5: And the director just gave a note of like try
• 27:27
  Speaker 5: a different ways. So now you're really you know, processing,
• 27:30
  Speaker 5: and then I'm there. Often what happens actually for a
• 27:34
  Speaker 5: good dialect coach who like reads the room. Is that
• 27:37
  Speaker 5: I'm holding back, right, You got to let obviously, you
• 27:38
  Speaker 5: got to let them give their note first, and then
• 27:40
  Speaker 5: I decide a if my note is worth going in
• 27:43
  Speaker 5: after that be if my note is going to help
• 27:45
  Speaker 5: what the director just said or heard it?
• 27:47
  Speaker 1: So are you are you listening to what the director?
• 27:49
  Speaker 5: If I can? Right, Yeah, it matters right because I
• 27:54
  Speaker 5: am there for them, like I really am. Not as
• 27:56
  Speaker 5: much as my job is to protect the sound, get
• 28:00
  Speaker 5: those zunes right, My real job is tell a good story.
• 28:04
  Speaker 5: My real job is like make the director's vision. Make
• 28:07
  Speaker 5: your heartbeat to the speed of the audience, you know,
• 28:11
  Speaker 5: like we're here to make arts.
• 28:13
  Speaker 2: I'll tell you something some an actor probably has never
• 28:15
  Speaker 2: told you, but maybe it has, and you tell me
• 28:17
  Speaker 2: if it did. There's a time where your nerves get
• 28:23
  Speaker 2: so you're I've been doing this for twenty years quite
• 28:25
  Speaker 2: by the time that you know, then I've done it
• 28:27
  Speaker 2: for almost seventeen years or something in my career.
• 28:29
  Speaker 3: Right, So I trust my instinct as an actor.
• 28:32
  Speaker 2: I know that I'm about to kill it like I
• 28:34
  Speaker 2: come in as a killer. I'm coming in on the
• 28:36
  Speaker 2: set and I'm prepared and I'm ready, let's go, you know,
• 28:40
  Speaker 2: and then you have this other layer. She's like, Okay,
• 28:44
  Speaker 2: I got what I need to do for the character.
• 28:46
  Speaker 2: I know who the character is. Now he has to
• 28:48
  Speaker 2: sound this way, which is not who I sound like, right,
• 28:53
  Speaker 2: And so you end up doing a take and immediately
• 28:57
  Speaker 2: you look over to video village and the actor stuging
• 29:01
  Speaker 2: to producer is fine. The actor is talking to SCRIPTI
• 29:05
  Speaker 2: that's fine because I know I know those two things.
• 29:08
  Speaker 2: But the moment the actor the director talks to the
• 29:11
  Speaker 2: dally coach, he.
• 29:15
  Speaker 1: Has a problem.
• 29:16
  Speaker 3: I know.
• 29:16
  Speaker 2: That's when I know, here comes the fucking note. And
• 29:21
  Speaker 2: I'm sititting there like I see the lean over or whatever.
• 29:24
  Speaker 2: And sometimes what happens is the directors like did they
• 29:29
  Speaker 2: nail it or not know it because he's not looking.
• 29:31
  Speaker 2: He's not here in the accent right. And by the way,
• 29:33
  Speaker 2: sometimes the directors don't even hear it.
• 29:35
  Speaker 5: Or sometimes what we're actually working on is like a
• 29:37
  Speaker 5: really specific like I said West Texas earlier. You know,
• 29:39
  Speaker 5: it's like the director doesn't know I'm the keeper.
• 29:41
  Speaker 3: Of the sound, yes exactly.
• 29:42
  Speaker 5: And the actor and I are like in our own
• 29:44
  Speaker 5: little dance because we're the ones who've been listening NonStop
• 29:46
  Speaker 5: to clip that tells us how these people sound, you
• 29:49
  Speaker 5: know whatever, and the director, Yeah, it is just looking.
• 29:52
  Speaker 4: Do you ever just let do you ever just go
• 29:54
  Speaker 4: Well that wasn't one hundred, but it'll but it'll fly.
• 29:59
  Speaker 3: You ever do that?
• 30:00
  Speaker 4: And so like the action is maybe eighty percent?
• 30:03
  Speaker 5: Yeah, I mean I joke that. Like, as with any
• 30:06
  Speaker 5: crew member, by the way, the dialect coach's job is
• 30:08
  Speaker 5: to be super obsessed with the one thing I'm there
• 30:10
  Speaker 5: to do and also simultaneously deprioritize it the instant it
• 30:14
  Speaker 5: doesn't matter. Yeah, and so I like, my makes my
• 30:18
  Speaker 5: heart be like my job wait, no, chill, no, my job,
• 30:20
  Speaker 5: but chill and like that. But that is the thing, right,
• 30:23
  Speaker 5: We have to be able to deprioritize it when it's
• 30:25
  Speaker 5: just not what the moment's about.
• 30:26
  Speaker 4: Have you ever done that and then watched the thing
• 30:29
  Speaker 4: that you were coaching on and then and then like
• 30:32
  Speaker 4: the thing that you were like, it's like eighty percent,
• 30:35
  Speaker 4: it's okay, and then you see it on TV and
• 30:37
  Speaker 4: you're like.
• 30:37
  Speaker 5: Ah, here's the inside.
• 30:39
  Speaker 1: I hear it.
• 30:39
  Speaker 5: Third way, There is a third way, which.
• 30:41
  Speaker 2: Is ABR alright, Also, then is it an ADR that's right.
• 30:46
  Speaker 1: So then is it your call to go, hey, he
• 30:48
  Speaker 1: has to eight rs?
• 30:49
  Speaker 5: I mean with my dream producers, yes it is. They're like,
• 30:52
  Speaker 5: let me send you the rough cut and you give
• 30:54
  Speaker 5: us notes, right, or like tell us what scenes we're
• 30:56
  Speaker 5: gonna need to go in on. Usually I'm thrown in
• 30:59
  Speaker 5: at the last second for d R. But yeah, I
• 31:00
  Speaker 5: mean that's so that's happened. I mean I got my
• 31:04
  Speaker 5: start doing ad R.
• 31:06
  Speaker 1: That's happened.
• 31:06
  Speaker 4: Where you see the actors performance and you're like, you gotta,
• 31:10
  Speaker 4: you gotta.
• 31:11
  Speaker 5: Okay, the actress performance is a dramatic way of putting Yeah, yeah,
• 31:15
  Speaker 5: a few waywards sounds.
• 31:17
  Speaker 3: Performing the sound the only perform this network.
• 31:35
  Speaker 5: You're exactly right. Well, also, wait, since you said that,
• 31:38
  Speaker 5: I just feel like it's it's important to say that
• 31:41
  Speaker 5: so much of the job when you're when I am
• 31:43
  Speaker 5: on a set is like, yes, these are the guardrails,
• 31:46
  Speaker 5: let's stay within that. This is the sound we need
• 31:47
  Speaker 5: to do for the story. We're talking so much of
• 31:49
  Speaker 5: real life and accent work is messier than that. And like,
• 31:52
  Speaker 5: I don't even accent work. I should just say accents, right,
• 31:55
  Speaker 5: And you know, and we know that so much of
• 31:58
  Speaker 5: what is beautiful about how each of us sounds and
• 32:02
  Speaker 5: how literally every one of us sounds different from everyone else.
• 32:06
  Speaker 5: Is that the sounds coming out of our mouth reflect
• 32:08
  Speaker 5: the life we've actually lived, the places we've lived, the
• 32:11
  Speaker 5: people we've spent the most time with, the people we admire,
• 32:14
  Speaker 5: the people we want never to sound like like that's
• 32:17
  Speaker 5: our life coming out of our mouth. So you know, yeah,
• 32:21
  Speaker 5: my job on set is like, this is the right
• 32:22
  Speaker 5: sound and this is the less right sound, But in
• 32:24
  Speaker 5: real life that's not that's not the thing, right. And actually,
• 32:28
  Speaker 5: part of my job has been my job that I
• 32:30
  Speaker 5: made up, the part where I'm like, actually just coaching
• 32:32
  Speaker 5: and consulting folks is often to help them see their
• 32:34
  Speaker 5: own inner biases around sounds and be like, can we
• 32:38
  Speaker 5: what if we backed off on that? What if we
• 32:40
  Speaker 5: check that bias and we're like, you sound exactly right
• 32:44
  Speaker 5: for the message you're going to give on that stage.
• 32:46
  Speaker 3: It's you.
• 32:47
  Speaker 5: And that's why literally gain. The book is called Permission
• 32:50
  Speaker 5: to Speak, and the cover has the word permission six
• 32:52
  Speaker 5: times on it. It's like, that's because the permission matters
• 32:54
  Speaker 5: more than the.
• 32:55
  Speaker 3: Speaking, right, right.
• 32:57
  Speaker 4: I know you fell in love with actors when you
• 32:59
  Speaker 4: were ten watch Shakespeare.
• 33:00
  Speaker 1: But what was this specifically.
• 33:02
  Speaker 4: About accents that made you go into into dialect codes?
• 33:06
  Speaker 5: Okay, I have two quick answers. One is I got
• 33:08
  Speaker 5: an MFA in acting, so I really was trying to
• 33:09
  Speaker 5: pursue acting. Oh cool, if you ever like have I
• 33:12
  Speaker 5: or whatever like like I'm available.
• 33:23
  Speaker 6: You sound like likely sealball. That is the most random question.
• 33:26
  Speaker 1: Yeah, I see it.
• 33:27
  Speaker 5: Yeah, I mean, let me do some preser.
• 33:31
  Speaker 2: What's a little video, we'll circle back, let's we'll talk
• 33:33
  Speaker 2: about that after the episode.
• 33:36
  Speaker 5: But the other answer is, if I'm being like a
• 33:39
  Speaker 5: totally honest dork about this, I loved impressions when I
• 33:44
  Speaker 5: was little. I love Marilyn Monroe and I would do
• 33:47
  Speaker 5: her voice. I would do British voice right, like there
• 33:50
  Speaker 5: was I wasn't getting them right. But I was so
• 33:53
  Speaker 5: curious even then about the relationship between how we sound
• 33:57
  Speaker 5: and how we get treated in life. Oh, that's interesting,
• 34:00
  Speaker 5: and the idea that we could change how we sound.
• 34:02
  Speaker 5: I mean, my fair lady. This classic musical is literally
• 34:06
  Speaker 5: about somebody with a lower class, like a coded for
• 34:09
  Speaker 5: class lower class British accent, who, because of a like
• 34:13
  Speaker 5: social experiment by a mean dialect coach learns how to
• 34:19
  Speaker 5: sound fancy and her life opens up. And I watched
• 34:23
  Speaker 5: that as like a ten year old being like I
• 34:25
  Speaker 5: am learning something about the world from this. Wow, not
• 34:28
  Speaker 5: necessarily something that I want to emulate, right, I'm not like,
• 34:30
  Speaker 5: let me please be that asshole dialect coach. It came one,
• 34:36
  Speaker 5: but that idea that when we change how we sound,
• 34:39
  Speaker 5: our world changes for better and for worse, like really
• 34:44
  Speaker 5: really like.
• 34:45
  Speaker 2: Feels like it feels like an interesting code, like a
• 34:48
  Speaker 2: key to different different.
• 34:51
  Speaker 5: Under And now I've done you know, I did a
• 34:53
  Speaker 5: lot of research on like social linguistics, which is like
• 34:56
  Speaker 5: literally how the sounds that come out of our mouth
• 34:58
  Speaker 5: happened because of the society we're because of the room
• 35:00
  Speaker 5: we're in, because right, like we all know we sound
• 35:02
  Speaker 5: different when we talk to like a three year old
• 35:04
  Speaker 5: then we talked to a grandmother than we did when
• 35:06
  Speaker 5: we talk to a lawyer who's mad. Then we like,
• 35:08
  Speaker 5: is one version real and the other ones are fake?
• 35:11
  Speaker 5: Or are humans made to have these different versions of
• 35:14
  Speaker 5: ourselves that come out in different rooms? And you know
• 35:18
  Speaker 5: that's complicated and there's you know, aspects of that like
• 35:21
  Speaker 5: code switching that feel really heavy. But also like we
• 35:24
  Speaker 5: can celebrate it because obviously this is like an evolutionary
• 35:28
  Speaker 5: trait in.
• 35:28
  Speaker 1: Humans, right, And what was that? The most interesting thing
• 35:32
  Speaker 1: you found when you when you when you took up
• 35:34
  Speaker 1: social linguistics was was that.
• 35:37
  Speaker 5: You know, I'll tell you one other thing. Thank you
• 35:40
  Speaker 5: for giving me like permission to be like a nerd
• 35:41
  Speaker 5: about social But here's here's the heart of it. And
• 35:45
  Speaker 5: it's in a way, it's kind of what I just said,
• 35:46
  Speaker 5: but I'm saying it differently because I love this. I
• 35:48
  Speaker 5: love this. It's like a gift for me. Maybe all
• 35:51
  Speaker 5: of us social linguists will say that every habit any
• 35:55
  Speaker 5: of us have ever picked up our arms and us,
• 35:58
  Speaker 5: the acts and stuff, the ways in which we sound more,
• 36:02
  Speaker 5: you know, like our hometown and we've just talked to
• 36:04
  Speaker 5: our mom and we don't when we haven't. Every habit
• 36:07
  Speaker 5: any of us have ever picked up in how we sound,
• 36:09
  Speaker 5: we've picked up for a reason. It has served us
• 36:12
  Speaker 5: in some way.
• 36:14
  Speaker 1: In a bad or a good way.
• 36:16
  Speaker 5: It has served us. It has like helped you know,
• 36:18
  Speaker 5: somebody will say, oh, I can't I hate that, I
• 36:21
  Speaker 5: say like so much. Make me stop saying like, and
• 36:24
  Speaker 5: I'll be like, we can get a little more bit
• 36:26
  Speaker 5: more conscious about your likes and what those are, what
• 36:28
  Speaker 5: those like hedging terms are doing. But also can we
• 36:31
  Speaker 5: just love on that? Like where did we pick it up?
• 36:33
  Speaker 5: Who do you love that? Sounds like that? Who are
• 36:37
  Speaker 5: you reflecting back? How has that helped you to connect
• 36:40
  Speaker 5: with people in those other rooms, in those other relationships,
• 36:43
  Speaker 5: in those moments before this one?
• 36:45
  Speaker 1: Right?
• 36:45
  Speaker 5: And like if there's shame wrapped up in that, can
• 36:47
  Speaker 5: we deshame that?
• 36:49
  Speaker 7: Right?
• 36:49
  Speaker 5: Right?
• 36:50
  Speaker 4: But they're obviously raising that question because although it may
• 36:53
  Speaker 4: have helped them, they feel that it's actually hurting them
• 36:56
  Speaker 4: as well.
• 36:56
  Speaker 5: Right.
• 36:57
  Speaker 1: Yeah.
• 36:57
  Speaker 5: Often it's like I'm trying to up level. I'm now
• 37:00
  Speaker 5: you know, in this more professional context.
• 37:02
  Speaker 2: And they're watching themselves give the speech or they get
• 37:05
  Speaker 2: really self conscious. Yeah, and they're just like, oh my god,
• 37:07
  Speaker 2: I said like like a million times. Yeah, I think
• 37:11
  Speaker 2: but the old our producers do that, does.
• 37:14
  Speaker 3: That a lot?
• 37:15
  Speaker 1: Yeah?
• 37:15
  Speaker 5: I mean, are you calling someone out?
• 37:16
  Speaker 3: Ye's he says, my lot.
• 37:19
  Speaker 2: But he's just because he's so smart, he's just like
• 37:21
  Speaker 2: he thinks about so many different ideas.
• 37:23
  Speaker 3: He has had a tough time. Hello, I was talking
• 37:26
  Speaker 3: about a producer that we work with.
• 37:27
  Speaker 2: Yes, you know, you're just so smart.
• 37:32
  Speaker 5: I'm as a great example. I'm as a great example.
• 37:35
  Speaker 3: I am the king of But you know what an is?
• 37:39
  Speaker 5: I mean, linguistically speaking, it's just a little like you're
• 37:42
  Speaker 5: dropping a little sign post that says a not quite
• 37:44
  Speaker 5: donely processed, and often it allows your audience to process too.
• 37:48
  Speaker 3: Can I tell you what I think in like his?
• 37:50
  Speaker 2: Because I have the same issues myself when I do
• 37:55
  Speaker 2: when I speak in the uh I'm saying, So what
• 38:01
  Speaker 2: I'm doing is I'm buying myself time to piece together
• 38:04
  Speaker 2: a sentence that I want to sound smart.
• 38:08
  Speaker 5: So do you mean that you don't do it when
• 38:10
  Speaker 5: you're feeling more loose?
• 38:11
  Speaker 2: When I feel more confident and I'm running with my stuff,
• 38:15
  Speaker 2: I rarely used to like or.
• 38:18
  Speaker 5: So this is thank you for that example, because this
• 38:21
  Speaker 5: is like the old timey and I'm like insert irol.
• 38:24
  Speaker 5: The old timy approach to public speaking is count your
• 38:27
  Speaker 5: ums in us. Stop doing that, like police yourself, stop it.
• 38:30
  Speaker 5: And my approach is like, what's going on in the
• 38:34
  Speaker 5: inside psychologically that's making you feel like you have to
• 38:36
  Speaker 5: prove yourself right because all of us have a version
• 38:40
  Speaker 5: of ourselves. That's like, how do I prove myself well,
• 38:42
  Speaker 5: I should, I should like shave off all the parts
• 38:45
  Speaker 5: of me that.
• 38:45
  Speaker 6: Are super weird, but you should bring that.
• 38:47
  Speaker 5: I should say that my biggest words that I have.
• 38:50
  Speaker 5: And then there's the other version of ourself that's with
• 38:51
  Speaker 5: our favorite people, and how do we bring that version
• 38:54
  Speaker 5: of us?
• 38:54
  Speaker 4: But you may be right, but like the perception that
• 38:58
  Speaker 4: the overall perception is that if you do too many
• 39:01
  Speaker 4: elms or too many likes, that it's there's a negative
• 39:03
  Speaker 4: perception behind that, right, But you're saying, although there's a
• 39:06
  Speaker 4: negative perception behind that, you should embrace it anyway.
• 39:09
  Speaker 1: Is that?
• 39:09
  Speaker 4: Is that?
• 39:09
  Speaker 5: What? No, I'm actually saying, Yes, And you know what
• 39:12
  Speaker 5: I'm really saying is what Wilmer said, which is which
• 39:14
  Speaker 5: is brilliant, just reflecting your brilliance, which which is what
• 39:24
  Speaker 5: you said, which is what actually happens in the human body,
• 39:28
  Speaker 5: is that when we are feeling more relaxed, more confident,
• 39:30
  Speaker 5: like we have less to prove, like we're around our
• 39:33
  Speaker 5: favorite people and they get us even if we're not.
• 39:37
  Speaker 5: If we give ourselves permission to show up that way, yeah,
• 39:40
  Speaker 5: we am the end a less.
• 39:42
  Speaker 4: Yeah, that's incredibly fascinating. But before we continue on, we
• 39:47
  Speaker 4: are going to take a pause.
• 39:48
  Speaker 2: This is the end of episode one of two. Because
• 39:52
  Speaker 2: you're giving us so much time. That's so thank you
• 39:55
  Speaker 2: for listening and watching. Uh those some egos and wim
• 39:59
  Speaker 2: with I'm Freddi Rodriguez. See you on the next one.
• 40:05
  Speaker 4: Dose Amigos is a production from WV Sound and iHeartMedia's
• 40:09
  Speaker 4: Michael through That podcast network, hosted by Me, Freddie Rodriguez,
• 40:13
  Speaker 4: and Wilmer Valdorama.
• 40:14
  Speaker 2: Those Amigos is produced by Aaron Burlson and Sophie Spencer Zabos.
• 40:18
  Speaker 4: Our executive producers are Wilmer Valdorama, Freddie Rodriguez, Aaron Burlson,
• 40:23
  Speaker 4: and Leo Klem at WV Sound.
• 40:26
  Speaker 2: This episode was shot and edited it by Ryan Posts
• 40:28
  Speaker 2: and mixed by Sean Tracy and features original music by
• 40:31
  Speaker 2: Madison Devenport and Halo Boy.
• 40:33
  Speaker 4: Our cover art photography is by David Avalos and designed
• 40:36
  Speaker 4: by Deny Holtz Clau and.
• 40:38
  Speaker 2: Thank you for being at Third Amigo today. I appreciate
• 40:41
  Speaker 2: you guys always listening to Those Amigos.
• 40:43
  Speaker 4: More podcasts from my heart, visit the ir heart Radio app,
• 40:46
  Speaker 4: Apple podcast, or wherever you listen to your favorite shows.
• 40:49
  Speaker 3: See you next week.