My people are Jews - we’re a very minor key people. He has a very specific sense of music (to the narrative). He might just, for instance, remind me that this is a grave moment. Maybe he hears my voice in there as he’s editing… I don’t know. So I know that there’s some elastic in there. He never tells me that I have to bring a line in at 28.9 seconds. The film, though basically locked… the text is edited around my performance. We can do an episode and a half a day.”… On day three, he jumped out of his chair and told me that he would never use anybody else.Įach of you figured out how the other works. He said that he would rent a studio for a month and we would have a go at it. I’ll see you in the studio.” There was a kid of a gelled pause, after which he said that would never work, that I didn’t realize how impeccable he was to, which I told him that he didn’t know how good I was. I said, “What is that?,” upon which he answered how all this would allow me to take notes of the script and such. When Ken came to me to record “The National Parks,” he came in carrying a stack of yellow legal pads, a stack of highlighters, a box of pencils, and CDs of each episode. Well, I’ll tell you, and I think is a funny story. He said that he’s going to keep me busy into my late 90s.Īre you narrating to the picture? How does it work with Burns? It’s quite a long run you’ve had with Burns, with no sign of stopping.