What's up, everybody?

Johnny brod to here friendly neighborhood moderator for Potter Rebellion.

Here comes part two of our chat with Deep Bradley Baker Enjoy.

I don't know thinking about it for me, if I was coming in, I would already it would already be daunting to do more than one character, but I would probably be like, can I just do it?

Passes this character, then it passes this character?

You were doing scenes because I also watched that third episode of the second season, and I didn't realize how back to back it was you if I mean my memory is correct, you just went through it on your own, and yet no I got it, like I can I can swap between it.

It was like, I mean, you were you were just having a conversation with yourself a whole time.

But it was unbelievable how there was like a nuance to what you were bringing to each character, but you were switching in and out of it, Like I mean, the closest seener is this Andrew Scott Uncle Vanya thing where he's playing all the characters of buckle Van.

Yeah, but he's it's just as soon as you want to drop the others picked up and it's not missing a second and you were doing the same thing, which was it was very cool for me to watch.

Yeah, thanks, it's it's it's just if you see the characters in their full specificity, then it's just like an old television dial where you just just snap between one and the other and they're because they're different people, and that's that's it's, it's it's it seems more of a magic trick with the Clones because they they look more similar and they seem more similar visually as opposed to like the Bad Batch, which you know, they look very different and and so yeah, I mean, my the the thing that's that that it hinges upon is that I have to see them as different people and they have to have a different character, a different tone, a dynamic that I can just jump to whatever part of the dynamic is is talking right now.

And it's it's actually a little a little more nuanced and trickier with just with with Clones, with REGs as opposed to the Bad Batch, which it's actually easier with the Bad Batch because they're they're more distinct from each other.

It's actually easier to jump there.

Yeah, that's so interesting.

So with that, like, how how do you keep track of all that?

Because I know the bad batch, like you know visually, like what record would sound like, what he what tech would sound like, what echo would sound like?

But then what the rags as you just alluded to, because those physical similarities are you know, they're all physically similar.

How did you keep track of all that as you're literally voicing all of the clones?

Well, it starts with a good script and and and the characters, and the dynamic is there of what's playing out.

And then the thing that you learn as a voice actor is that you're not reading words.

You're playing a movie in your mind and bringing that to life.

And so for me, the way it feels is that I'm watching the movie or I'm doing different runs at scenes, but I can see it.

And because I can see it, I can just I can jump from that character to this other character.

It's not it's not about words or or vocal placement or anything like that, even though that's involved.

But the way it plays out for me as an actor is I can see it, and and it's like with it, it's the same with doing something like like with an animal where they don't know what this creature looks like or sounds like, but they can tell me what it's doing, and I can imagine.

I've got the rest of the scene there, and so I'm it's like i'm, i'm, I'm, I'm projecting it and then performing along with the movement and the behavior and the acting that needs to that you need to make the story live so it feels visual to me.

Yeah, thank you to you.

I feel like we haven't given JC enough.

And here's the one for JC to come in at the end.

It's a two part because then I have the question for you DP.

But the clones, because I don't really know the origin.

Were they all cloned as the same person and then they put on the same uniform or clearly not if you played these different characters, I guess JC, let me know a low the clones came to be that individual type of person where they're all unique but also the same, and they Yes, there you go, JC a little brought up.

And then with D I remember because you were just talking about now with animals early on, I was just like Antenna's up trying to be a sponge, just into everything everyone's saying.

I remember you saying, I think you were talking to Freddy or someone and it was a downtime behind the booth.

They were talking about the scene and we were just shooting the shit, really, and you're doing a bunch of diff animal voices, and you said that you would go to the zoo and like record animals and sit there listening to them.

Am I fully making this up?

And then you until you could recreate their sound?

And I always thought that was like the most interesting funny thing.

Yeah, I would do that.

I when I when I finally kind of thought that this is something I want to drill down into.

After I moved to Hollywood, It's like I wasn't like, oh, he's the he's the weird sound guy or the animal guy.

I wasn't that I would just I like doing weird, weird stuff vocally, but I like doing weird stuff as far as characterizations and everything else.

But but when I when I started working in animation in Hollywood, it's like half my life ago, which is like I think, over thirty years ago at this point, I'm sixty two, almost sixty three, that I realized that they need monsters and animals and you know, familiars and pets and in a lot of cartoons, did a few sessions, got to see what the brilliant Frank Welker does.

Fell of Colorado one.

I don't know why it is that we're both from Colorado, but I started.

I started by well, I already I always liked science biology, watched a lot of Jacques Cousteau and Wild Kingdom and you know, animal shows documentaries in the seventies.

When I was a kid, I studied a number of classes of biology.

Cell bio and invertebrate zoology were two of my favorite classes in college.

And so I like animals, and I know a pretty good amount about animals already, and I like improv, and Hollywood needs animals, and they need monsters.

And I love monster movies.

I've seen a lot of monster movies.

So I started.

I bought CDs.

I'd go to the zoo.

I'd also watch documentaries.

I'd also buy animal sound effects CDs and just listen through them and try to find sounds and kind of vocal behavior that I could use that I could wield vocally as an actor, not just a sound, but like something that can be modified to sound like a sentence or an expression that that that an actor can use, so then it's of use to me, not just merely a sound.

And but yeah, I started I started drilling into it and and exploring that and kind of finding you know, chambers and places, essentially assembling a kind of orchestra so to speak, that I can reference and direct.

That's just kind of available now.

And I kind of fleshed that out and set that up and hung everything on the wall inside my brain, and it's available.

So it took a while to kind of amass that.

But uh, you know, the more the further along I get, it's like, oh, that's that's a weird sound, and then inevitably it's like I can next week.

I'm using that sound already, and then it's like that's a new thing to add to the orchestra, so I keep adding to it.

John, I think you asked us earlier, like and I don't think we ever answered, just kind of went off on a tangent.

But about like our first I don't know if you said first impressions or how how it was when you know, we started working with Dan.

Yeah, the first interactions.

I love to hear that.

Well, I I don't know if this was like the very first interaction but I just remember, you know, we've talked about many times on this podcast that Taylor and I were very new to voiceover Land, and I was already you know, working with the likes of Vanessa and Steve and Freddie, Steve being and Vanessa being like, you know, another one of those talents who just can make any sound, any accent, any you know.

It's just it was so not intimidating because I mean, yes, maybe a little into beating because I'm like, what's happening?

How this this is incredible, but also just like so on inspiring.

And then d comes in and I tell you, like, I really truly believe that there isn't any sound or combination of like creature in this circumstance.

Like you need someone to be a flounder, not a grouper, not a cart but a flounder that's being electrocuted underwater deep Bradley Baker can do that.

And yeah, and then he'll.

Do it, and you're gonna go, that is what a flounder being electrocuted underwater would sound like.

That's amazing, and it's it is true, like as just a fan of raw talent and ability and facility, I mean it's sorry.

D.

I'm like totally just hopefully I'm not making you uncomfortable because I'm gushing over how you know, uh great, I think you are, but I think you know that already.

But anyway, it's just truly uh inspiring and just also just like mind blowing to watch, you know, D, Vanessa and Steve just like kind of going back and forth and making these crazy sounds.

I think in the very first time that you came and joined us, there was a cricket.

You guys, there was a cricket in the studio in the booth, and it was it was like chirping, and then it would stop, and it was chirping and it would stop.

When we were like, where the hell is this cricket coming about?

How is there a cricket in the booth?

It was D.

And I'm telling you you would have no idea that a human being was making that sound.

That is when I knew I was in the presence of grade now.

Very useful drives drives sound engineers crazy, and I learned never to use that.

When a joke falls flat at a table read, oh I love that turns out you don't.

Want to do that.

I don't want to do that.

How about you, Taylor, some of your first interactions with d and you know, because I love the episode, it's you.

You and Tia talk a lot about how you know, your naivete for lack of better word, into the voiceover world and being new to Star Wars.

Really especially you, Taylor.

You talked about you didn't really know much other than what Dave was telling you, and a lot of that comes off so well with like I guess the arrogance and confidence of youth sort of thing with the way Ezra talks to Rex, And I'd love for you to talk a little bit about that, just like were you just kind of letting it go the same way d was just kind of letting it go with Daffy Duck?

Like were you just I would love to just hear a little bit more about that because we're about to get into that episode in the coming weeks for the listeners.

Yeah, I think my sort of style on life is sort of just let it go.

So that's I don't know when that one's going to stop.

But meeting d I was blown away, Like I was saying, I remember he was playing multiple characters in everyone else, there was like an air like D's coming in to day, which I was like, oh sick, I want to meet D.

And then when he started doing this, I was blown away.

But then you also have the personal side that's outside of the characters, because I didn't We've said I didn't know any characters.

I was still figuring out Ezra and so you're sort of moving through it trying to be a sponge cheverone.

But then the conversations you're having.

I just loved talking to D so much.

And I remember I had just started university.

I guess that's the age of was in and I was in philosophy one on one because I was going to be my major, and I had read I was doing it online because they couldn't go to school, and I was like, Camu is my favorite philosopher, Dez.

I can remember this, but I had a conversation just how sweet DEAs.

I kept calling him Camus because I haven't heard anyone say I've just.

Read about it.

And then he's he's.

Talking about this guy.

Camu was just like this guy canvas and I'm not connecting the dots at all, and I was like, god, de he's a genius.

And I go home to then realize that he was so kind that he's not making me feel like a moron to this, And I always think about funny, it is like that people who aren't going and hearing and having conversations doing stuff online, you have no idea, You're just reading a thing, which long story.

I then am thinking younger people need more time, myself included, to just go and imagine and go listen to things and put together thoughts and ideas that no one else is going to do them.

If you're just if you're just sitting on your phone all the time, it's going to be fed to you.

But having time to just sit and be like, I wonder what that sounds like when it's in distress and there's a hook in its mouth and then we're also in space.

Like that's a good way to live life.

Because then the next thought is like, I wonder how it's cool to be kind to someone I've never met in this place who's living through that like one thing, that's the next thing, and I feel like we're kind of losing that a bit, and with d this is all coming back around.

So that's what I feel from you so much.

I feel like a humanity.

That makes sense why you are so talented and prolific in your career, because they go together.

And that's what I always feel towards the and yeah, I think it's really cool.

It was always for me.

I appreciate your kind words all of you very much, But for me, when I was earlier in my career, the most effective and the most efficient learning for me was to be in a room with the Titans that I got to meet, who had been doing this for decades and we're so much further ahead in terms of you know, I think everybody has talent, but they have confidence and an ease of wielding what it is they have.

And to see that in a way that in one sense it's like it's terrifying to see someone who is so good that it's effortless, and it's it's it's like they have an Adam Baum kind of power at their disp which may be it may be different colors and different flavors of atom bomb, or it may just be one atom bomb, but my gosh, that thing.

It's amazing.

And and to be able to be around that and to see that that this is what you need to find within yourself, that this this is what you need to to discover and to harness and then to put out there like you're just throwing it off and everyone in the room wants that for you.

Nobody is here against you, everybody is supportive, and that your job is to find that of yourself.

And that's what becoming an actor is.

That's what becoming an artist is, is to find that within yourself.

And one of the best ways to to realize that is to be around those who are further along than you or or that are in this own specialized path and to say, oh, it's like, man, I cannot do that.

I can never do that.

But but the what they're bringing to it, what they bring to the room when they enter, the generosity that that's in between the takes, the energy that they use to keep the fun going, the way that they're always active, that they're always listening, that they're not tuned out, that they're connected to this process.

These are all things that you can't learn in a class.

You can't learn it from a book.

You can learn it by being around somebody who just knows better than you.

Because you're young and you're innocent, and you're inexperienced, and you just don't know that yet.

That's that's one of the great you know, privileges of my career is to be able to have that experience, like you're talking about, just to walk in with your talent and your abilities, and to not be too freaked out by it, to stand your ground and to do your thing, but to be able and open to learning from those who are a little further along.

I mean, that's it's you know, everybody's included.

We're all in the session.

We're all session players, and that's that's part of what's wonderful about acting.

And I just wish that everybody who's coming online to this, who aspires to it, can find ways to be around people who are further along than you.

You want to play tennis with someone who's better than you are.

That's the only way you're going to get better at tennis.

And you want to be you know, in the room, not threatened by it, but to learn from it.

You know, I feel like we're at the Temple of Apollo, you know, getting all this ancient Greek philosophy wisdom's this is incredible and do I want to you know, step away a little bit from I mean from the voice acting thing and the acting thing in general, because like U T a little too earlier, like thousands of characters IMDb needed extra code just to do ring to be paid, because that's how long your resume is.

But with all that and all these different characters you play, and how full the investment you always are in each and every single one, how does D take care of D?

How does D make sure he keeps check of who D is?

Because you're just talking about no thyself again going ahead to the Temple of Apollo, and we love to talk about mental health and self care on this podcast.

We want to create a safe space and if you be so kind of, you know, give us insight in terms of like how do you make sure D is okay?

Uh?

Even if Rex is not?

You know right, that's well, that's an interesting Uh.

That's that's an interesting lecture in and on itself, isn't it?

Yes?

Uh?

For me?

You know, well, look, I'm I'm in the last third of my life, best case, and so I'm paying more attention to such things, you know, reading the Stoics, reading Nietzsche, reading Buddhism.

It's like what can I grab onto you?

Here?

A lot of it comes down to I think this is that you've got to look at yourself as an artist and a human being, right, and I think your artistry comes from you're being a human which is partially I think kind of a spiritual thing or a psychological thing, and partially a physical thing.

You've got to take care of yourself by getting enough sleep, You've got to eat well, you've got to have good relationships.

You've got to constantly be cultivating things that you care about that that give you fuel, and not just being an actor, but it's things that that are creative and that bring fire and availability of yourself to your work.

And and so I mean a lot of it these days is just trying to try to teach myself how to take a nap and how to sleep, get enough rest, and then to eat the right foods, and then to work out, and and then to meditate a lot I do.

I do regular meditation because a lot of a lot of my job, the way I look at it now, is not to it's not to people please, it's not to make people like me.

It's to make something that's irresistibly good and it's so good that they have to hire me.

That's my job.

So in order to do that, I have to have a full tank in terms of my energy, in terms of who I am, in terms of how I feel about my life and myself.

And so I'm constantly feeding myself with reading.

I journal a lot, I'm following my curiosity.

I'm doing things that are creative that don't bring me money.

Sometimes I'm helping out other creatives who are working on projects and I just want to help them out and I don't want money for it, because I think it's important to remain an amateur and to have that kind of habit, because being a creative person, being an artist, I think, is it's as much habit as anything.

It's not an aspiration, it's not having a good idea.

It's actually making something and then making it again and again and again in a way that feeds you, that brings you enthusiasm, that brings you a kind of of fertilized readiness that you bring with you around in your day and not just to your work but into your life.

But when you walk into a session or address an audition, which is now unfortunately in isolation, you come not necessarily prepared for anything, but you come ready.

You come with your full self.

The soil is tilled, the worms are dug up.

You've put the potting soil there, you've thrown some seeds, you've been cultivating these others.

You're watering it, and you've got this readiness to bring to whatever the project is, so that you have lots of ideas, good ideas, and you're your focused energy available, and and you have the energy and the connection to care enough to do a good job.

Because a lot of people they're just especially especially now, they're distracted, they're drained, they're atomized, they're isolated, they're siloed, they're alone.

What we do is we come together and we tell stories that means something that matter, and so it has to matter to you, and you have to have yourself available to bring to that mission as a professional artist and as a human being.

Amen.

I love that, And I can't wait to read your book on all that, because you know, because I would read the heck out of that, and what you just said is so valuable, so valid that we should all take in.

Thank you.

I put a lot of this actually on my website, I want to be a Voice Actor dot com, where I go on on and on and on about about you know, becoming a creative and becoming a voice actor, and I have a lot of other little sprinklings of insight, you know.

Yeah, I wanted to ask you about that and the other thing I was going to say.

What you were just saying about not being an isolation remind me of like the READYR.

Kipling quote the strength of the pack is the wolf strength of the wolf of the pack sort of thing.

You need to have your own inner strength, but also that the strength of others will uplift your inner strength and vice versa.

But with how I want to be a voice actor because I love that you had this free website which is a free resource.

What was the genesis of you starting this?

Because it's like Captain Rex helping the other clones, you know, find their way.

You're providing this resource that sometimes people guard these secrets, but you're like, no, no, here they are.

Can you just talk us through that a little bit, because I I don't think anyone that comes to me because they know I know voice actors like hey, what's your advice of like go to I want to be a Voice actor dot com or go to Boebox Studios.

Those are the two places you go to.

And I would just love for you to shine a light on I want to be a voice actor dot com.

I think it's so incredible and and it'd be great for others to look at them.

Well good, right, Well, one thing I learned doing theater for free as an amateur theater person is that theater is a voluntary family and that everyone's valuable and you need everybody on the stage otherwise you're not gonna have a show.

And as a as a session voice actor, it's very much a session gig, you know, like the Wrecking Crew of that really cool documentary about those musicians.

Is that it's not an excluding ethic, it's an including You want.

You want good players up on the band stand with you.

That that not only make you look good, but it makes the band look good, It makes the music sound good.

It makes you know, in our case, the story look good.

And so I want others up on the stage with us.

And if that, if that, somebody else auditions and gets the gig and I didn't, There's lots of other gigs out there.

It's fine.

I'm more concerned with the quality of the story result and the fun of the making of it.

And so with that in mind, Why would I sell good information that would only inhibit people Because because a lot of creative so those who are curious, maybe those who are are completely worthy and ready and they have the talent, but just don't have the knowledge.

It gives a barrier to them getting up on the stage with me.

And so it's like, then I'm not going to sell it.

I'm going to give it away.

Plus I like to pontificate and inflict my opinion on all kinds of things, so that's fun.

So I have complete control, so I'm not beholden to a publisher.

It's not frozen in a book.

If I write a book, I'm gonna want to rewrite the book next month.

That'd be that would suck.

So it's this book that I can continually update and and keep adding to and it's just helping people.

Like with COVID, I was, you know, I've got a few pages on how to build an inexpensive recording booth in your home, because it's like, we got to get this going, folks.

Otherwise this career is done for a year or two or however long this COVID lasts.

So it's like I'm going to show everybody how to do it, and I'm going to show them.

I'm going to walk them through it.

I'm gonna take pictures.

I'm gonna list all the all the items, how much they cost, where you can order it.

It's like, it's like I cannot take you any closer to building it in your own closet, you know, with my own hands.

And I think in the end, a creative person, when you find your your traction, that you also have to find a generosity of what it is you've found, because yes, it's your talent, yes you've earned it, but yes you've been really lucky and you're very privileged and fortunate to have all this come together for you.

So you don't need to hoard this and and you know, meet it out for money or to say it's all mine or it's all me, or it's like it doesn't now some of it is, but not all of it.

So why not be generous?

Why not why not put out the good information that helps people?

It helps those who are curious, It helps those who who are experienced but just want don't want to spend three hours talking about what you do to get into voice acting, which usually falls on deaf ears because most people are just idly curious and they're not really serious.

But the thing is, you don't ever know if a person who's asking that question has the talent, or it might be buried in there, or or maybe they're really serious about it.

You don't know.

I don't know.

So if it's all on the website for free, everybody's happy and I have a lot of fun doing it, and I find it interesting, and I just I wish there were more of that in the world.

I think creative people should have that.

I mean, we're a capitalist society, and yes, I'm a capitalist person.

You know, how can I not be?

We all are to an extent, But there's a generosity and a helpfulness I think, to a creative mindset, and especially a collaborative creative mindset, which is what we are.

We're not someone who's you know, making sculptures in the basement that we're showing to no one.

That's our precious art.

It's like, no, this is collaborative art.

That is for the public.

It's very out and open and collaborative.

And and so bring everybody in.

Why not?

Why not bring everybody in?

What?

Why?

Why?

Why?

Why degrade that and impede that with a paywall, So that's I mean, money's fine, but I just want to I just want a good movie screen and some books, some good snacks and yeah, bottle hit in someplace and I'll remember it is at some point because I'm so old.

Do we could talk to you for hours and and will you come back for a small because we would love to just have you back and just keep continuing the conversation.

I am, I am your mister blah blah.

You bring me on and I will blah blah blah all day long.

Okay, Well, well, Powder Rebellion Presents blah blah blah with Deeprendtley Baker coming soon.

But before that, we have our guy jac who you met in the pre recording conversation, Jac, Do we have any fact checks today?

I know Taylor three one, but knowing you, I know school is in session and with the desk start being built in the background of your house, that.

Is what we.

Yeah.

I have a few things, mostly just providing some contexts and some facts and figures.

Early on in the episode, you guys talked about Starwars celebration and the season two trailer of Star Wars Rebels for people like me, who have been to many many Star Wars celebrations.

Just to anchor you a bit.

That was Sowar Celebration Anaheim in twenty fifteen, which happened on April sixteenth to April nineteenth, and then Season two of Star Wars Rebels premiered on June twentieth of that same year.

Twenty fifteen, you guys talked a lot about D's IMDb.

Currently as an actor, he has seven hundred and twenty one things listed.

I don't know if that includes the upcoming projects or not.

De mentioned Avatar, The Last Airbender Taylor.

You were like, that's not Blue Jim's Cameron stuff, is it?

It's not.

It was a Nickelodeon cartoon that aired from two thousand and five to two thousand and eight, currently has a live action TV series on Netflix.

Dante, who was on on season one of our show, was a voice in that show, which is where his podcast comes from, and d you mentioned that it was a Dave Filoni show.

Dave was not the showrunner of that show, but he did direct eight episodes of season one, including episodes one and two of the series, and I think he didn't continue because George hired him away from Avatar to kind of do Clone Wars.

Space Jam talked a lot about space Jam.

For the uninitiated, it was a two thousand and six movie where loonis sorry, nineteen ninety six movie Apologies, where Looney Tunes play basketball with real life basketball players like Michael Jordan.

Space Jam did two hundred and fifty million dollars globally at the box office on an eighty million dollar budget.

And just a personal note, we have the space Jam soundtrack on at my restaurant on the playlist and whenever it comes on, half the bar, like Taylor was saying, gets super super into it.

I'm on the fire track of that soundtrack and they screwed me out of royalties.

Justice for Dan.

Look, we pay all of our BMI and ascaps, So the the few pennies I'm sure you're not getting from us, I can nail you.

And then Taylor, the last thing I have.

Taylor, you asked about the clones.

All the clones are genetically cloned from the Bounty Hunter Django Fat from Star Wars episode two.

The clones are Django Fet.

Yes, accept and they're all altered to like grow faster, age faster, things like that except for Boba Fett, who was a genetically identical to his father.

And do you can correct me on this, But in terms of why the clones have different voices and different I think part of the idea is that, like life, experience impacts who you are as a person.

In addition to like Ian Malcolm says in Jurassic Park, life finds a way so even a perfect clone in a laboratory setting doesn't actually come out exactly the same as the thing that it is being blown.

From, right, and you see that like with twins for instance, where it's like you look at those two, it's like, so, you guys are twins because but in that case, the way I always thought of it is that, in particular, like with a bad Batch, that they weren't just born with with these traits or abilities.

They were they were cultivated and trained into this, and I imagine that the people that they that were most exposed to in this training would also bend their their their vocalization uh in in this way, or that at least that that's the way I've always explained it to myself, because the bad Batch is like, yeah, that's not just the same uh accent or nationality or whatever you want to call it, not I mean, which doesn't really apply because it's in a galaxy far far away, but there's so far apart.

I just took it to their to their training and their upbringing by different specialists that were brought into enhance their their genetic enhancements, so to speak.

Certainly all Mandalorians, then all clones.

Well technically yeah, whoa.

And then I do want to before the internet ad adds me, because I'm sure there's going to be somebody out there, I do want to point out that there is one one clone that d you did not voice, which is Omega from the Bad Batch is the only one.

Younger clones, uh Dan, Daniel Logan.

Those some instances as well, and there may be other instances, like in video games where I didn't voice clones at all.

They just hired some other guy to do it.

But you know, those things kick around and that's that's just how it is.

Yeah, But the big, the big one is Omega from Bad Batch.

You did everybody else pretty much in Bad Batch.

And I do want to say that Omega is, aside from having two X chromosomes, also is an exact copy of Boba fet with no genetic modifications or not fet jango fet apologies really m Omega and bad Batch was had no genetic modifications other than that the chemin Owens made her a her.

Huh as well as uh who was the kind of turncoat clone female at the end of bad Batch She's she was also a clone I believe.

Ah, I'm sorry, I can't remember her name.

Yeah, so there's there's one other I believe that's one other clone there, female who I did not voice.

Also, if there are seven hundred titles that De's done, usually they get three voices per episode.

So so we're talking over two thousand characters.

Yeah, conservatively, potentially more.

Yeah, yeah, if it were a running series, well, additional voices can cover at least three so per episode.

M hm, not always, but it could be.

So I'm saying like conservatively one thousand and probably more like three thousand.

But the seven hundred and twenty one tie that's just titles, not episodes.

So for Star Wars rebels alone, I've heard.

You play a bunch of different Yeah.

Yeah, so sprinkle me in for a lot of stuff, SpongeBob or you know whatever it's it's by the way, a complex carbohydrate.

What does that sound like?

Because that was a venture time, was what I was referring to.

Yeah, you're talking bonn.

I'm not so complex.

It's like if Walter Mathow was a cinnamon bun.

But do you see how You're like, what could that possibly sound like?

And then he does it and you're like, that is what that would sound like?

Sweet and gooey.

I think I may be to blame for the crickets in our session, because every time I saw you for a long time, I would.

Do the crickets.

Guilty as charge.

Sorry, how many mysteries being unfolded?

The bourbon, the crickets.

And this has been a very inside I just heard a cricket, I heard it, jac anything else?

That's all I got from here?

Excellent, excellent, Well thank you as always, Uh do you?

Thank you again for joining us.

This was such a blast, man, and we can't wait to have you back again coming to and blah blah blah with with Dee Bradley Baker.

So stay tuned for that.

I appreciate it so much.

I really I had such a it's such a thrill to work with you guys, and it's it's always great to see you and I really appreciate.

Your kind words well, so love having you on.

Each week, Taylor gives us our outro and he says, cue the music to JC.

But when we have special guests like yourself, come on, we'd like to throw that to the special guest.

So will you do us the honor?

And it's up to if you want to be your own ensemble cast like you have been throughout your career and say hit different voices, you can no pressure.

If you want to do it as a cricket, you can do that too, But would you do us the honor and get us out of here and tell JC to cue the music.

Jac, thank you the music.

That is incredious.

I felt need new music for that one.

Potter Rebellion is produced in partnership with iHeart Podcasts Producing, Hosted by Vanessa Marshall, Tia Surtcar, Taylor Gray and John may Brody executive producer and in house star wars guru slash fact.

Checker J C.

Reifenberg.

Our music was composed by Mikey Flash.

Our cover art was created by Neil Fraser of Neil Fraser Designs.

Special thanks to Holly Frey and Aaron Kaufman over at iHeart, Evan krask Or of Willie Morrison, Devor, Tresa Canobio, George Lucas for creating this universe we love so much, and of course all of our amazing listeners.

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