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Voice A Versa From Cartoon Voice Actor Billy West Its Not Just A Microphone · Arroe Collins Like It's Live

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  Speaker 1: How many times have you wandered into Barnes and Noble
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  Speaker 1: or even onto Amazon dot com and you see this
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  Speaker 1: incredible book right there in front of you. In fact,
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  Speaker 1: Audible is guilty of this as well. You have this
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  Speaker 1: incredible book, but you know nothing about the author. Oh
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  Speaker 1: it might be their voice on Audible, but is it them?
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  Speaker 1: That's why we created view from the Writing Instrument on
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  Speaker 1: ero dot net a r r oe dot net. Don't
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  Speaker 1: just read the words from the author, get to know
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  Speaker 1: them a r oe dot net. Enjoy your exploration. Billy,
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  Speaker 1: I gotta tell you, I love the title of this
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  Speaker 1: because it says everything to so many different people. Voice
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  Speaker 1: a versa, because I gotta know it because everything that
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  Speaker 1: you go through in order to bring a character together,
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  Speaker 1: is it the body language first or is it the
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  Speaker 1: breathing because you've got to switch between voice a versa
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  Speaker 1: and you do it so smoothly and so quickly.
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  Speaker 2: Let's see that that is the rewards of a mispan youth.
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  Speaker 3: This is what that is.
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  Speaker 1: So are you telling me that you're like me? You
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  Speaker 1: were up in your room or you were in a
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  Speaker 1: place and you were just talking to yourself, inventing these
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  Speaker 1: characters and somebody would say, will you stop it, and
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  Speaker 1: you would go, no, I'm exploring.
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  Speaker 3: That's about the size of it, really.
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  Speaker 2: I mean, you know, you you got inspired by what
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  Speaker 2: you saw and what you heard. I listened to radio
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  Speaker 2: when I was a kid in the nineteen fifties. I
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  Speaker 2: listened to you know, rock and roll was just being
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  Speaker 2: invented when I was a kid, and all the disc
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  Speaker 2: jockeys were so excited about this music that was coming out,
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  Speaker 2: and you know, and I listened to those guys in
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  Speaker 2: the big announcers I heard all the time, and you know,
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  Speaker 2: and I loved trying to sound like them and everything
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  Speaker 2: except I had this little kid voice, of course. But
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  Speaker 2: you know, I would sing and I would watch TV,
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  Speaker 2: and it was like to escape a really nasty childhood,
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  Speaker 2: you know, horrific.
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  Speaker 3: All my little friends in the world lived in a
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  Speaker 3: little box.
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  Speaker 2: In the corner of the living room, you know, in
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  Speaker 2: the TV set, and it was three channels back then,
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  Speaker 2: that's it and black and white, and it went off
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  Speaker 2: at eleven o'clock at night and didn't.
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  Speaker 3: Come back on until six in the morning.
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  Speaker 2: And so I would just like sit and absorb everything
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  Speaker 2: and anything I could, because back then there was no
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  Speaker 2: way you could preserve something. You could see the coolest
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  Speaker 2: thing in your life and it was going to be
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  Speaker 2: over in five minutes and you might never ever see
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  Speaker 2: it again.
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  Speaker 3: That's the way TV was.
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  Speaker 2: You didn't know like if something would be shown again,
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  Speaker 2: it would just come and go hit and run.
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  Speaker 1: How did you know that you mastered impersonating? And the
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  Speaker 1: reason why I bring that up is because there was
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  Speaker 1: one time that a station wanted me to come out
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  Speaker 1: to San Francisco, but then they broke it down at
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  Speaker 1: the final moments and said, no, you're just an impersonator.
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  Speaker 1: I need somebody who's going to give me original, and
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  Speaker 1: so I want to talk with you about that. Billy.
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  Speaker 1: How did you just say, you're right, I am an impersonator.
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  Speaker 1: I am going to bring your characters to life, and
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  Speaker 1: I'll be original when you need me too.
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  Speaker 2: I I think that that was a good place to start.
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  Speaker 3: Is you.
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  Speaker 2: You you wanted to be like your heroes, you wanted
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  Speaker 2: to sound like them, and then you realize, Okay, I can't.
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  Speaker 2: That's not my identity because there already is a DAWs Butler.
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  Speaker 3: There already is a.
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  Speaker 2: Mel Blank and a June Forae, and this one and
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  Speaker 2: that one Don Messick, And it dawned on me later
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  Speaker 2: on that you'd just be a footnote in voice over
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  Speaker 2: history if you were an impressionist. I mean, I appreciate
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  Speaker 2: them and I love them. Some of them are real,
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  Speaker 2: really damn good. But for me, the attraction was to
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  Speaker 2: be asked to create something from the ground up based
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  Speaker 2: on descriptions and you know.
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  Speaker 3: Character renderings, you know drawings, and.
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  Speaker 2: It was a chance to just find out what you
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  Speaker 2: were made of, you know, what you could do in
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  Speaker 2: a pinch, Like you know, how inspired were you?
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  Speaker 3: What do you have any.
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  Speaker 2: You know, emotion that you could throw into this and
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  Speaker 2: powerpacket with heart and soul, because you've got to give
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  Speaker 2: people something that makes them resonate. You know, it can't
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  Speaker 2: be you know, this high pitched, cloying, annoying, genderless voice
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  Speaker 2: every time, and you know, and putting truth and soul
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  Speaker 2: into it. Yeah, that was a big deal to me.
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  Speaker 1: Please do not move. There is more with Billy West
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  Speaker 1: coming up next the name of his book vice versa.
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  Speaker 1: We are back with the unbelievable Billy West. So in writing,
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  Speaker 1: I know that as an author there's always that voice
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  Speaker 1: inside our head, But what accent or what impersonation did
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  Speaker 1: you do in order to bring vice versa back to life?
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  Speaker 1: Because I mean, it's like that voice in your head
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  Speaker 1: that nobody else but you gets to hear it.
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  Speaker 3: Hmm, Well, I I remember trying, you know, I had.
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  Speaker 2: To record the book too, Yes, and I I just
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  Speaker 2: read it in my own, plain, vanilla, unvarnished voice.
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  Speaker 3: And people will go, why didn't he get Tom Kenny
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  Speaker 3: to read it or something.
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  Speaker 2: You know, it wasn't the idea that it would just
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  Speaker 2: not seem authentic or genuine in any way.
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  Speaker 3: If I just said, I'll never forget the time I
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  Speaker 3: went down to Peru with a few.
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  Speaker 2: Chucklehead friends of mine and it was basically a drug vacation,
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  Speaker 2: you know.
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  Speaker 3: I mean they say, you know, it sounds phonny cheesy, but.
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  Speaker 1: What you do on a microphone, you've got to build
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  Speaker 1: up that relationship. And that's been one of the things
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  Speaker 1: that I try to get to more future broadcasters that
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  Speaker 1: if you're just using it as just something that you
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  Speaker 1: have to do talking to mic, it is a relationship
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  Speaker 1: and I can hear that and everything you do and
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  Speaker 1: even what you put inside the book voice a Versa,
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  Speaker 1: it is about a relationship and knowing where you're going
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  Speaker 1: to grow.
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  Speaker 2: Yes, well, because your world is that no one can
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  Speaker 2: see you, and so there's you've got to create heavens
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  Speaker 2: and hells and universes. And you know with a little
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  Speaker 2: flesh read that's about two inches in your throat and
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  Speaker 2: the rest is a microphone with a diaphragm and electronics
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  Speaker 2: and everything.
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  Speaker 3: And and it's funny because.
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  Speaker 2: You know, the fourteen year old girl up the street
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  Speaker 2: has a microphone and a show and an audience, and
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  Speaker 2: they all want to be broadcasters.
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  Speaker 3: They're cosplaying radio.
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  Speaker 2: They put on headphones when they don't need them, and
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  Speaker 2: you know, have a microphone when people can hear you
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  Speaker 2: if you're being recorded, of course they can hear you,
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  Speaker 2: but they want to, you know, it's all part of
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  Speaker 2: the costumes. But they don't understand what broadcasting really is about.
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  Speaker 2: And it's that it's a one to one medium. It's
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  Speaker 2: not hey world, you know, it's like all the podcasters like.
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  Speaker 3: Hey guys, hey everybody, I can subscribe, you know.
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  Speaker 2: And it's not about that, talk about talk about and
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  Speaker 2: talk about no relationship at all with a microphone or
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  Speaker 2: an audience.
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  Speaker 3: You know, they got it.
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  Speaker 2: I don't know I don't know well these kids today.
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  Speaker 1: But yet I need people like you as well as
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  Speaker 1: this book because I use it as a tool. And
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  Speaker 1: not only that, but it also it's almost like you
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  Speaker 1: are our Hulk, Hogan. You are our superhero in so
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  Speaker 1: many different ways because and you'll take us there. You
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  Speaker 1: just have this about you.
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  Speaker 3: Oh, thank you so much that.
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  Speaker 2: You know what, as long as people are happy and
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  Speaker 2: and they're laughing, if I could have been a frontline worker,
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  Speaker 2: a guy that invented cures for diseases or people who
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  Speaker 2: you know, somebody who saved lives, I would have opted
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  Speaker 2: for that. I would have loved that, of course. But
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  Speaker 2: I think making people laugh is up there.
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  Speaker 3: It's noble and it's healing, you know.
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  Speaker 2: I mean it healed me all my heroes that were
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  Speaker 2: funny people, Sid Caesar, Jonathan Winners, all those people. They
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  Speaker 2: were so so funny and it rescued me. It was
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  Speaker 2: very healing.
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  Speaker 1: You got to come back to this show anytime in
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  Speaker 1: the future. The door is always going to be open
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  Speaker 1: for you, Billy, because I want to break it down
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  Speaker 1: with you and help understand what it is that you're
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  Speaker 1: doing so that we can share it with others.
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  Speaker 3: Well. I threatened to come in there. How about that.
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  Speaker 1: I love that. That's beautiful. Well, you'd be brilliant today. Okay, sir,
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  Speaker 1: Thank you so much.
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  Speaker 3: I really appreciate it.
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  Speaker 1: We'll chat again, yes, sir,