Choice Voices
For one month, The Dot and Line is publishing essays, interviews, and discussions about each episode of Cowboy Bebop, which turns 20 this April.
Steve Blum is renowned in animation circles for his deep, iconic purr of a voice as well as his prolific output as an actor. You probably recognize him as Wolverine on Wolverine and the X-Men, the samurai Mugen on Samurai Champloo, and as TOM, the legendary host of Toonami. He also voiced Spike Spiegel when Cowboy Bebop was adapted for English-language audiences to air on Cartoon Network’s Adult Swim. And even though he’s had a long career—complete with a Guinness World Record for having more video game voice acting gigs than anyone else—his role on Bebop in particular was a special one, as he discusses in a new interview with The Dot and Line. He worked alongside his future fiancée on the show, contributed to an artistic effort that’s been called a gateway drug to the rest of anime, and, of course, voiced a character that affected the fans in personal and surprising ways.
“Every episode resonated differently,” Blum says. “Each one was its own magical thing.” Here’s what he remembers of working on the show, in his own words.
How often do people ask you about Spike? What was so special about the character?
At least once a week on a regular basis, a couple hundred times during each convention weekend. He’s cool, elusive, insanely badass, and cares deeply about his crew whether he’ll admit it or not.
A lot of people praise the English dub as a particularly well-done English language adaptation of an anime screenplay. Why do you think that is?
1. Mary Elizabeth McGlynn. Her passion for the project, expert direction, and dense nerd knowledge gave us context and inspired us to do the best we could. 2. Marc Handler’s writing. His script adaptation was fantastic. 3. The show itself was a beautifully orchestrated (literally and figuratively) piece of art that was a love letter to everything cool in American and sci-fi culture. The visuals, storytelling, music…every element made it the perfect crossover/gateway show to entice an English-speaking audience to give anime a try. And 4. the casting. I believe it was Kevin Seymour who cast us based on our past work with him. He trusted us with these roles and we didn’t want to let him down. It’s a true testament to great casting when a cast that never worked together in the same room became friends for life.
What was the process of recording the English dub from beginning to end?
I can only speak of my experience. I walked into the studio, Mary would give me a synopsis of the episode’s story arc. I’d hear three beeps and start reading the dialogue. She’d guide me through the (almost always isolated, out of context) scenes and course correct as needed. Just like any other show. Except that occasionally we’d get to hear the music and we had more time than on most shows to do multiple takes until we were all happy.
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In the process of dubbing it for a Western audience, did you meet or interact at all with Shinichirō Watanabe or anyone else who made the show in Japan?
Sadly — terribly sadly, no. I’m in awe of what that man created. I was supposed to meet him for lunch once, but work wouldn’t allow me to get there in time. Something I’ll always regret. I did meet the amazing character designer Toshihiro Kawamoto. Sweet, humble guy who makes magic. One of my bucket list items is to someday meet Yoko Kanno. Genius. I listen to her music all the time. Raj Ramayya — singer and writer of “Ask DNA” and many other Bebop songs has become a dear friend.
Did you build relationships with your fellow voice actors on the show? Do you keep in touch?
Yeah — we ARE that family. We see each other at cons once in a while, rarely get to work together, but I’d take a bullet for any one of them. Mary Elizabeth (voice director and voice of Julia) became my fiancée last year. We’ve been friends for 20 years. And my earlier comment had nothing to do with that! She’s one of the most respected directors in the industry. Had no idea the love connection would happen, but so glad it did, and yeah, Bebop is definitely the show that keeps on giving.
Were there any specific character choices or nuances that you made when you approached voicing Spike? How do those compare to your approach for other characters you’ve done like TOM on Toonami, or Shishio on Rurouni Kenshin, or Wolverine in X-Men?
It’s simply my voice, with a much cooler attitude and giving 60% less F’s . The writing, visuals, and direction dictated the performance. I’m an organic actor. The approach is always the same. Do what feels right for the character and adjust to do what feels right for the people in charge. Acting really doesn’t have to be complicated by too much theory and process.
What was your favorite line to read, or the line that resonated most with you?
“I love the kinda woman that can kick my ass.” From the Cowboy Bebop movie. Not sure if it’s grammatically correct, but I respect the message. I believe and trust in the power of women and I believe they’re all too often underrepresented or misrepresented in film and TV as victims. Until recently, it was rare to see that strength recognized — even if Spike was being a shit about it at the time. And if you knew Jennifer Hale, you’d know that line is true.
Who’s your favorite Bebop character, and why?
Edward. Melissa Fahn gave her brilliant, joyful innocent music and added so much fun on top of an already ridiculously lovable weirdo.
What about a one-off Bebop character?
Pierrot Le Fou. Terrifying, Brilliant and super rare performance by our beloved Kevin Seymore. That episode haunted me for a while.
What’s your favorite Bebop standalone episode and why?
I hate the “favorite” question. There is no single ep. The movie is way up there (complete on its own), then “Toys in the Attic” (because WTF and Alien), and “Mushroom Samba” (also because WTF and fun factor). Tomorrow the answer could be different. Every episode resonated differently. Each one was its own magical thing.
Do you think there’s a lesson to learn from Spike’s character arc that some watchers might miss?
No. I’m the worst person to ask. I’ve only see the show once — out of order — nine years ago, so the arc is a little foggy. I think a person’s experience of this show should be a personal one anyway — and I wouldn’t want to influence it with my own.
She told me that ‘Bebop’ came on the night she was preparing to end her life. Something about her connection with the show and our characters stopped her.
When Toonami wrapped, TOM used Spike’s classic one-liner “Bang.” Was that your idea? Someone else’s?
Nope. My dear friends at Toonami are big Bebop fans. As painful as that day was, I thought it was a beautiful thing to do. They sent me the script and I read it. Then cried.
Do you have a Julia in your life — someone you’d give everything for?
As I mentioned, I am now with THE Julia. She’s one of the best humans I’ve ever known. She cares deeply about always doing the right thing, helping others, that joy and laughter matters, plus she’s a wildly talented, brilliant nerd who makes me feel loved every day. How’s that for starters? AND I’m incredibly blessed to be surrounded by amazing people. I’d give anything for any one of them!
Last question: What’s your favorite piece of fan mail you’ve ever received?
Again with the favorite thing!? I won’t say it’s my favorite, but years ago I received a letter from a girl who was autistic, had been abused and betrayed by family, friends, and partners, and was contemplating suicide. She told me that Bebop came on the night she was preparing to end her life. Something about her connection with the show and our characters stopped her. She reached out, got help, and last I heard, she’s fully functioning, has tools to deal with her demons and is working toward a life she loves. If I have anything to do with something like that — it gives me purpose to continue to do this work to the best of my ability every day.
Steve Blum teaches the art of voiceover twice a month live at his teaching website BlumVox Studios, where he offers two-hour masterclasses, plus Q&As, for $27, including the cost of newsletter subscription with video, audio, and articles on voice acting.
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