This Keylog dedicated to VOICES would be incomplete without inclusion of an alumnus who has devoted his life to that subject. Bob Berger (Cincinnati/Los Angeles 75-77) is a prolific voice actor, having lent his talents to hundreds of cartoons, movies, commercials, promos, and interactive video games. He has earned three Emmy nominations, has performed in a one-man show, has served as the grandstand announcer for the Hollywood Christmas Parade, and has taught animation voice-over workshops for 35 years. At one time or another, he has voiced characters ranging from Luke Skywalker to Tweety to Marvin the Martian.
Even before Bob (he is “Bob Bergen” professionally) roamed Camp Nebagamon for three summers, he was drawn to one voice in particular — one of the most iconic voices in animation history. He realized his dream (and has been realizing it for nearly three decades now) as the voice of Porky Pig. In fact, you can watch how Bob has perfected Porky’s voice here.
The Keylog caught up with Bob and asked him a few questions before it was time to say, as only Porky can, “Eh-thuh-the-eh-that’s all folks.”
The story goes that when you were five years old you told your parents you wanted to grow up and be Porky Pig. Why that character? Why that voice? Why not Bugs Bunny or Mickey Mouse or Popeye?
I get asked that all the time. Honesty, cuz I could do him. I found his voice and personality charming and funny, even at 5. Now, I also do a mean Popeye…jussayin! But there was something about Porky that I just found endearing. I guess it’s kind of like a kid who is drawn to a favorite baseball player, or favorite musician, etc. I was drawn to Porky! (no pun intended!)
You are a dedicated Looney Tunes historian. Was that true as a child, and how did your interest manifest itself and grow?
I was obsessed with cartoons as a kid. In school, when a teacher asked me a question, I would answer as Porky Pig. I remember in a 9th grade math class I was asked to come up to the blackboard and figure out some problem. I looked at the blackboard for a few minutes, put the chalk down, and told the teacher, “Ya know, I’m going to be Porky Pig someday. I don’t need to know this.” Growing up, in the days before VCRs and DVRs, I had a tape recorder next to the TV at all times. I would record cartoons. I would record interviews with animation professionals, from animators to voice artists. Anything I would see in TV Guide that said cartoon or animation, I would record. I wanted to learn the history of the business and the people behind it.
You’ve pointed out that Porky Pig has evolved over the years, depending on the director or producer’s interpretation of the character at the time. Is there a particular era that you model your version after?
If I’m not told by the producer what they are looking for in Porky for a project, my sweet spot is mid–‘50s. The Duck Dodgers, Drip Along Daffy, Robin Hood Daffy era. This is when I feel Mel Blanc really honed the character. And each of these were directed by Chuck Jones, who was one of the best in driving Porky’s humor and personality. Blanc passed away in 1989, and I did my first Porky gig in 1990. Since then, the world has changed a lot! From home computers to cell phones to Uber, there are current pop culture references that Blanc never experienced. The hard part for me is to keep the integrity of the character with today’s pop culture references. Every show, every director is different. My process is to always honor and respect the writing. That said, if I ever take creative issue with a line or scene, I have no problem asking, “Hey, can I try one take just for me?”
You were a camper at Nebagamon in the mid-1970s. Was there someone there at the time — or some event or experience — that inspired you or your chosen career path?
He probably doesn’t know how much of an impact he had, but Adam Bezark was a huge influence. His GTC evenings were a blast, and he had me participate a few times. Not long before I graduated high school, Adam was working as a tour guide at Universal Studios. I contacted him and we had lunch at the commissary. A few months later, I also became a guide. Adam had already left Universal, but he made a huge impact. Nardie and Sally were big influences! Just terrific people! Another influence was Larry Cartwright, whom I heard recently passed away. I was born without a right foot, and kids can be, shall we say, a tad cruel at times. Larry was there for me. He was my champion. From a shoulder to cry on to a life coach who pushed me to get over it/back on the horse. At times he was pure tough love, which I think all kids need. I’m sad he’s gone. I’d tried for years to find him on social media, just to let him know what an important impact he had on me.
How did you break into the voice acting business? And did you ever meet your idol, Mel Blanc?
The day after we moved to L.A. when I was 14, I called Mel Blanc after finding his number in the phone book. During that call, he mentioned the name of the studio he was working at that week. He didn’t say the day or time, just the name of the studio. So when I hung up from him, I called that studio pretending to be Blanc’s assistant and got the day and time of his recording session. When we got to the studio, I told the receptionist we were guests of Mel Blanc, and she showed me where he was working. I got to watch him in action recording Looney Tunes. I was in heaven! I only met him one more time a few years later when he was signing his autobiography.
I started studying voiceover and acting when I was 14. At 18 I was introduced to my first agent by Casey Kasem. I hit the jackpot with my first agent, who represented everyone from Mel Blanc to Orson Welles. In fact, my first audition was with Orson Welles. For the first five years, I had day (and night) jobs to pay the bills. At 23 I was able to quit my last day job and have worked as a full-time actor ever since.
Is there a certain challenge to being a voice actor — versus an on-camera actor — that most laypeople don’t realize?
You only have your voice to rely on. An on-camera actor can use a look or expression to emote during a moment in film. Every emotion in voiceover is vocalized. In theater or on-camera, you have your body and space to work with. For voiceover, you must stay on mic. You still use your body to bring out the performance. But you must always stay on mic. Acting is reacting, and you have your fellow actors to work with. Often in cartoons, and especially an animated feature we record solo. I did a film called The Emperor’s New Groove where I voiced a squirrel. All of my scenes were with Patrick Warburton, who played Kronk. We have terrific on-screen chemistry, but we were never in a recording session together.
What has been your favorite moment of your career?
The guy who animated Bucky the Squirrel in The Emperor’s New Groove was working on an animated project with Paul McCartney. He asked me to voice a character in a pitch reel to try to get the film financed. This gig was not even a big money maker for me, but it was a chance to work with Paul McCartney. I don’t think the film ever got made, but it was a fun and surreal life experience I will never forget. When I walked into the session, the producer said, “I’ve been looking forward to this: Porky Pig, meet the Beatle. Beatle, Porky Pig.” I mean, it doesn’t get any better than that!