A Quote by Tom Kenny
Obviously as a kid, for probably anybody who chose animation voiceover as a career in their adult life, Mel Blanc was the touchstone for everybody. He kind of invented the job and was the first voice actor to get onscreen credit.
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When I was a kid, I wanted to emulate Mel Blanc, who is arguably one of the most legendary voiceover recording artists of our time. I used to watch all the cartoons where he would voice Daffy, Elmer Fudd and Porky the Pig. I knew one day I wanted to do that.
I've always said that you can't be the new Mel Blanc by doing Mel Blanc's voice.
I always used to sit next to Mel Blanc when we'd do the shows. When you have Jack Benny on one side and Mel Blanc on the other, you're not going to go far wrong.
Mel Blanc is a hero because of what he could do with his voice for all the Looney Tunes, the Warner Brothers cartoons, to be the voice of Bugs Bunny, Daffy Duck, Elmer Fudd, Porky Pig. To me, he's a great actor.
I learned so much from my life as an actor, as a kid actor through being an adult actor, and then becoming a writer and producer and doing animation.
Mel Blanc passed away in '89, and they held auditions, and I did my first job [as Porky Pig] in 1990.
Oh, here comes Mel Blanc, the voice of Bugs Bunny and Jimmy Smits!
Mel Blanc is a hero because of what he could do with his voice for all the Looney Tunes, the Warner Brothers cartoons, to be the voice of Bugs Bunny, Daffy Duck, Elmer Fudd, Porky Pig.
I worked with some of the best actors I've ever worked with: Mel Blanc and Don Messick. They could play a scene against themselves. Think of the characters that Mel created, and they're as good or better than any performance anyone has ever given. I mean: Daffy Duck! Think of the specific voice Mel gave Daffy Duck or Bugs Bunny or Porky Pig... It's just astonishing.
As a kid, I just loved cartoons. And as the credits went by, I'd study those names and then try to figure how I could get hired to do what Mel Blanc and Daws Butler did. Create all of these great voices for animated characters.
When you're working as an actor, you don't think that when you get out of school, it's going to be so hard to get a job. Just to get a job. Any job. Whatsoever. You don't think that people are going to see you in a certain way. Uta Hagen said this, "In my life, I see myself as just this, you know, kind of flamboyant, kind of sexy middle-aged woman. And then I see myself onscreen, and I go 'Oh my God.'" And it's the same thing with me. I didn't see myself any different from my white counterparts in school. I just didn't!
When I get hired as an actor as opposed to a writer, one of things that's exciting for me is doing stuff I wouldn't normally do myself. So whether it's a kid's movie or a voice in animation or in this case - where I just get to be silly, it's a different kind of comedy for me. As a performer, it's a different pleasure than when you're writing or directing. As a performer, you're just in the hands of the director and you go with whatever they want to do.
This is a story about four people named Everybody, Somebody, Anybody and Nobody. There was an important job to do and Everybody was asked to do it. Everybody was sure Somebody would do it. Anybody could have done it, but Nobody did it. Somebody got angry because it was Everybody’s job. Everybody thought Anybody would do it, but Nobody realized that Everybody wouldn’t do it. It ended up that Everybody blamed Somebody when Nobody did what Anybody could have done.
I remember as a kid watching TV and seeing Mel Blanc doing his voices and Paul Winchell doing his ventriloquism and thinking, 'Those guys are having a good time. I want to do that.'
I wanted to do what Mel Blanc did, and that was cartoons.
When I was growing up, I was so fascinated by Mel Blanc and all of the different voices that he did for 'Looney Tunes' and watching Robin Williams record voice-over for the genie in 'Aladdin.' It always seemed to be a major honor - something you have to earn. Like people trust you when they want to have you there without seeing you.
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