If you think you haven’t heard these two before, think again. There’s a reason people joke that Nolan North voices everyone not voiced by Troy Baker. Aside from just an astounding amount of voice acting work, both North and Baker have been involved with motion capture acting. In Uncharted 4, North plays Nathan Drake or as North describes him, himself. Baker plays the main character’s brother, Sam Drake. Other notable roles for North are Deadpool, Doctor N Gin (from the Crash Bandicoot series), and Desmond Miles (The Assasin’s Creed series). Among Baker’s impressive credentials are Joel from The Last of Us, Vincent Brooks from Catherine, and Abel Nightroad from Trinity Blood.
Interview with Nolan North and Troy Baker
Now that you have a son who may grow up to play video games, how do you feel? Do you want him to, or not want him to [play video games]?
I do yeah, like we’re going through all these old games right now doing this show called Retro Replay. Because the reason we play games is because its overcoming adversity, overcoming a challenge, getting a little frustrated-
[North: A little frustrated?]
A LOT frustrated. Spiderman? And finally understanding what it means to earn an achievement. If he can learn that from games then I will be a very proud father. If he finds another way to satisfy that goal then he can teach me something. I had a huge unlock last week where I was so concerned about the kind of father I want to be, but I've surrendered that to be the kind of father he needs me to be. Cause I could think I’m the coolest father I think he wants but he could have a completely different need than what I’m prepared for. So I’ll be the kind of father he needs me to be.
[North: You know he doesn’t know you exist right?]
[North: He will!]
But now I’m a shape
[North: ‘He smells different’ ‘What you got? No boobs!’]
What was it that first made you take an interest in acting?
Uh… process of elimination. I’ve done everything. I joke with people especially about voice over stuff, it’s things I got in trouble for in high school. Our new show Retro Replay is literally nothing scripted, we just jump into a voice and that’s exactly how we are in our real lives. We’ll be at lunch or something and slip into a voice and we just can't help it. It’s part of our nature. I think after college or grad school I was gonna be a reporter. Did that for a year in New York, New Jersey. Too much horror, I saw terrible things, I just went back to stand up. And I've always kinda performed. I think I was a performer that just learned how to be an actor. I think I was in NY and I realized I wanted to entertain people, it’s what I did with my friends and my family. I had nothing to lose and everything to gain. I’d rather be broke and doing what I love to do and see what happens. And here I am!
There’s something that happened just two weeks ago. A video surfaced of you when you’re 19 years old, he’s on college-
[North: On college? I'm IN college, ON campus. You need help?]
I’m goooood. There’s a camera crew, they’re shooting for “America’s Funniest People”. It’s an old show. Complete improv, he formulates a bit, and he does Robert DeNiro, Casey Kasem. Johnny Carson, like 5 different people and gives them a perfect button at 19 years old. He goes and he’s a final contestant to win the whole big shebang, and then-
[North: I won nothing.]
You won nothing, but like 10 years later…!
[North: Well they flew me to LA and I was just looking to make some money and gosh, 7 years later I was on a soap opera called “Port Charles”. I walked out this other door to go to the commissary for lunch and then I saw this gate we don’t come in then it hit me… That show “America’s Funniest People” was shot on stage 57 where we shot “Port Charles”. I was actually on the stage I was flown to in college. 7 years later, now I’m an actor, had no idea I was on the same set on the same lot. And somebody found it and put it on Twitter the other day, me doing impressions at 19. My kids thought I was a dork. ]
What kind of advice would you give the next generation of voice actors who look at you as both idols and heroes and who would hope to work with you someday?
I would say no matter what happens, no matter what the platform becomes, (we’re seeing a huge shift in that) no matter what the content looks like, it always comes down to acting. It always comes down to performance and people will always seek out substance. There's nothing that beats being properly trained in some way or another. Like I wasn't an academic, that was not my thing, and I've learned more by making mistakes on set and having people that were willing to be patient with me than I probably would have learned on college. IN a college… oncology.
But I would say no matter where you are, Atlanta has a ton of opportunities for production. There's almost more production happening here than there is in L.A. You could stumble upon a set easily here, and there are open casting calls. But there's some form of theater community in every city. Find a teacher or a director that's willing to be patient with you and walk you through it and understand what it's like to break down a script and build a character from the ground up. And take direction cause even if you have the coolest wish in the world but you can't do a lot with it your career is gonna be a very short fuse.
I would also like to say, you know people ask me all the time "How did you know you were successful?" And I remember the day I just jumped into this. I remember I think I read for FRIENDS, I was on the Warner Bros. lot. And I called my buddies back in New York "Hey, I ready for FRIENDS!" "Whoa, you got cast on FRIENDS??"
“No! I didn’t get it! But I’m on the Warners Bros. lot but I was painting a house this morning, then I had the audition, and I gotta bartend tonight!" And I don't want to sound corny, but if you can find the success in the doing and not the destination that will really help your state of mind knowing that it's like ‘Wow, I'm doing this.' and again, I tell people who are starting out especially on camera, Atlanta is a great place to be. There are so many shows. I flew down here as a guest star for a television show. I couldn't believe it at the time, they were doing the new Avengers, had Iron Man, at the time [there were] 22 television shows in production and several major motion pictures were shooting down here. They have to by rule cast local casting and it’s easy to get smaller roles until you just kinda get to know people and really, it’s that networking thing. If you’re Canadian go to Toronto or Vancouver, it’s not as expensive, you can get some good food, and it’s a good place to be.
I had one person say “I don’t know if I could take the humidity” oh, you’re gonna do really well… You're worried about the humidity, you want to be an actor? There’s a lot hotter things.
So, you have all those things. Find the success in the doing, do theater, do improv, watch things you like, and find the best you in every role, every opportunity you’re given.
You guys have done a lot of voice roles over the years, do you have any particular favorites?
Soldier A REALLY spoke to me, just his arc of showing up, immediately dying.
[North: I loved thug 3!]
Yes, thug 3 was super work for you, actually, they teach it in some colleges. Oncolleges.
[North: I didn’t get the opportunity to learn about thug 3. I thought 2 was a little bit out of my range but I thought the odd number thugs…]
And again in those early roles, you’re never gonna get the big… you’re not gonna get thug 2. And then you do mafia 2 and you play-
[North: Then I’m everybody]
Then you’re everybody.
Nathan Drake was a decided turning point in my life and in my career, no doubt. My favorite character, it's me, just the motion capture and everything, we talked about theater and on-camera stuff, it's the same thing.
Voice-wise? Either Richtofen or Deadpool, things like that, those crazy, zany characters are some of my favorites just to sit in a booth and talk to a script. That’s fun.
I don’t know how I choose a favorite because it sounds like I’m punting to an answer but it’s true, because I don’t know how I’d choose. I’ve been fortunate to play, like him [North] so many really cool characters and be a part of some games that were like Watershed moments in gaming. Games like The Last of Us, the conversation shifted after that game came out. And it wasn’t just The Last of Us, it was every game leading up to it. I joke that Bioshock Infinite was John the Baptist and The Last of Us was Jesus which Ken Levine would HATE that analogy. But there was this shift that happened in 2012-2013 as far as what gamers really really wanted. We had a lot of shoot-em-ups and a lot of boom-booms and then for a second we needed to breathe, we needed to really attach ourselves to characters.
But I try to find my favorite thing about every character I've done. And the second I got to play the Joker, the humility that taught me because I turned it down twice. Finally, the vice president of DC who was over games at that time brought me into his office and played my audition and said: "That's really good." And I said, "Thank you, I really appreciate that." And he said "No, if WE think it's good, we're really smart, if WE think you can do it, who do you think you are? You need to get over yourself a little bit." And I said "Ok!" and he was right, I just needed to trust. Rodger Craig Smith and I both walked out of every session thinking “Wait, they gotta fire us.” Until we got to London at the premiere going, “Are you sure Kevin and Mark aren’t gonna show up just in case?” And you just kinda learn that it’s your own ego and it’s your own arrogance typically that will get in the way and if you just get out of your own way, you can find your favorite thing about that character.
[North: Troy’s arrogance usually gets in my way.]
Can you tell us anything about The Last of Us part 2?
I can, I can tell you a lot!
[Audience: Like, what can you tell us about the game]
Well you said CAN you, I CAN tell you a LOT, but will I? HELL NO I’m not telling you nothing about that game. I had a long conversation with Neil Druckmann, I was like "Dude what do I tell them?" and he said "Don't tell them anything" and I said, "Yeah but people ask questions.” And he goes “So?” If you ask Niel Druckmann he goes “I’m not gonna answer any story questions.” And I’m like “Dude that’s easy for you to say with your curly hair and your what-not”
Ok then, in your opinion, how does part 2 compare to the previous game?
I will say this. The conversation about The Last of Us part 2 or even if there was going to BE a part 2, has been obviously a 5-year-long conversation. It started at the BAFTAs one year in London outside of a bar late at night and Neil said: "I think I have an idea." And at that point, we didn't know if we were going to do one or not. When we shipped The Last of Us, we shipped that game saying this may be the last thing we ever do, that is ever done. They were ready and willing to shutter the doors because they put everything behind it, and if people hated it, people hated it. But Neil just didn't want people to be ambivalent towards it. Now it's successful, it's winning all the BAFTAs, they cant come home through customs with all the BAFTAs that they have, D.I.C.E. awards, video game awards. So we start talking about it then cut to you know just two years ago and he goes "I want you to come over to the house and I want to walk you through the story." And an hour and a half later he walks me through, an hour and a half just to go ‘this happens and this happens then this happens' you know, just a recitation of the events and arcs. At first, I was being a diligent student and taking notes, ‘oh that's very funny', ‘I have questions about that', and by the end of it, I'm just leaning forward listening to my friend tell me a story that completely enraptured me.
It doesn’t compare, it can’t compare. If we start comparing that’s when we fail, so it in no way compares to The Last of Us part 1, it is Part 2. It I a continuation of a story, it is not a comparison. If that answers your question at all.
[audience: Yes it does]
UH! Nailed it! I’m sure I’m still gonna get in trouble somewhere along the way. I’m gonna get a text from Neil going ‘dude, again, really?’.
[North: I’ll give you a spoiler, he turned down my prequel idea, ‘David knows best’. And… we’re not talking.]
People wanted to know the plight of the cannibal.
Of all the characters you’ve played, if you could just have one stand beside you, maybe sit on your shoulder, and they can’t hurt anybody, who would your little buddy be?
[Baker: What a fantastic question I’m completely unprepared for! Go, Nolan! You think best on your feet.]
[Baker: But you’re sitting?]
But there’s so MANY. Wow. Well if he couldn’t hurt anybody I wouldn’t pick Deadpool because he’d be my first. Well, but he’s funny, Deadpool’s up there. If I actually needed something maybe Sigmund from Ratchet and Clank. That was a cute little one, he’d be helpful. There’d be so many different things… not Nate, cause his voice is so annoying. Richthofen? No, you don’t put Nazis- *Richtofen voice* Germans don’t stay on your shoulders. You know what? I put Deadpool up there because he’s got 3 different voices and they can think, you know it’s like having the angel and devil, you have them both in one.
If I could throw in an audible and say not on the shoulder but like literally a buddy can hang out with maybe like a companion character, I would either go Sam Drake or I would go Rhys from Borderlands.
[North: You could get into a lot of trouble]
Right? Those are just guys I want to have a beer with. Those are guys I just want to hang with. Delsin from Infamous would be a lot of fun though, cool ways to get around the city. Dang dude, that’s a really good question. Get outta here.
We recently got the opportunity to talk to Laura Bailey and she hinted a little about the character interactions between you and her. What voice actor or actress have you had a special chemistry with?
Laura Bailey, hands down, 6 days a week, twice on Sundays. She’s just… she’s so good, and she makes me better because she’s so diligent. She’s one who’s properly trained and even though she can roll with my punches, the way that I operate drives her crazy. So when we play oppositional characters it works really, really well because my natural process is just a bit more devil-may-care and just shoot-from-the-hip, drives her crazy because she’s very methodical. Even though she can improv and go off the range super easy, she’s a very diligent, dedicated actor. We were going in for an audition one time and she walked in and she was just going over her script and I literally looked at it and put it down. And she just “Are you gonna look at that?”
“I just like to see if there’s any weird words I don’t understand or say and other than that I’m just gonna *blep*, see what happens!” Drove her nuts. Drove her nuts. But I would say of any female actress that I've worked with, Ashley Johnson, it's just always an interesting dance with Ashley because of us just trying not to step on each other's toes, and all we want to do is make sure we're doing the best dance that we can. But if you put me in a room with Laura Bailey and tell us nothing about the characters and put scenes in front of us, there's instant chemistry because of our personal relationship. It's instantly like ‘I know where you're going, you know where I'm going, and we can roll with that.' She's awesome.
Emily Rose, you know, Elena, I mean ten years together. Actually, on her show "Haven" on SciFi Channel, they wrote an episode for me and I flew up to Nova Scotia. It's called The Last Goodbyes and it was season… 4? It was great. And it was like, you know it’s kind of a “Twilight Zone” type show, and so we got to play on camera together. And people saw the live Nate and Elena. I went up there and sometimes, especially on the on-camera jobs I’ve been on, as a guest star you’ve got to feel out in a few short days what the climate of the cast is and how everything kind of works and even a big mouth like me has to kinda keep quiet and see how everything goes. I walked in there and felt like I was a cast member because she’s there and it was just like, ‘oh yeah!’. It was just that solid chemistry you know. It should be, after that long together.
You guys have so many characters and do so much dialogue when you’re motion acting and everything, do you get lines to memorize or do you get a chance to kind of elaborate off of the characters and take it to different places?
Yes to both. There’s a full script that we’re given and it’s, ‘alright, here’s this 6-page scene’, and it’s not only just the lines, but you know the scene and you know where you’re going in this. We block it out just like you would shoot a movie. A lot of times they’re shooting their cameras the same way.
Ideas occur to you.
[Baker: ‘Try this!’]
I mean I think a couple of times we’ve done things where it’s scripted and I go “Hey, you should take my line and I’ll take your line. It just seems more like he would say that.” Fortunately, we've worked with really a lot of people who are good writers that are also humble enough to go ‘yeah, that's a good idea.'
Jen Cohn mentioned it was hard to work with directors that have a vision, especially if you feel it’s not hitting that beat.
A good director and actor relationship, in my opinion, you give them what’s on the page, what they want, then they’ll allow you to go ‘Can we try something’? And they’ll go ‘Yeah! Let’s roll one’ and they can decide later in editing. But for them to be cool enough for them to go ‘You gave me what I need, show me what you’re thinking. It might change my mind.’ It’s a collaboration when it comes down to it.
A good director will allow themselves to be surprised and allow their vision to be fluid but, and again I bring up Neil Druckmann, Neil always will ask what you think, but he always has an answer in his back pocket. But his goal is not to lead you to his answer, his goal is to understand your answer. And that fundamentally I think is what makes him a really really good director because he’s truly open to your interpretation of his idea. But a precious writer is only precious because they're afraid that that line is the last good line they'll ever write. If they're a really good writer, they don't care, they're literally having to flush the good ideas out like ‘I don't care if you have to change that line cause I’ve got a thousand other ones behind it.’ So be wary of precious writers. Like ‘No, really! That clown needs to be there!’ Because they’re literally afraid they’re not gonna be able to come up with something else. And they get challenged when you come up with something that is better so again, it’s all about collaboration.
Do you have any crazy audition stories?
It wasn’t even like an audition, it was more the director just wanted to see me and put me on tape for it cause they wanted me there to pitch it to Ubisoft. So we meet in this little meeting space in a hotel or something and they set up a camera and there was a scene there and we ended up going off cause I didn’t want to be locked down to this so it was just a conversation like this. In the middle of it, some assistant came in to like refresh the teas and coffees and I just didn’t break. I was just like “Who is she, what is she doing here? I’ll probably rip off her face. Excuse me, what is your name?” And I just kept going and they just let me go. And she just froze and I went “You may leave! Make sure you burn her in her sleep tonight.” Cause why not? And they were like that’s what we want! It had nothing to do with voice, nothing to do with anything else because in full performance capture, can you riff? Can you adapt? Because invariably, especially in a game, because of design, because of changes, because it’s a multi-faceted thing, it will invariably change. There was so many things in The Last of Us that changed. ‘Oh, that character’s gone, that character no longer exists. Actually these two characters are now one, and by the way we are NEVER going to that place that we mentioned.’ You have to be able to adapt and you have to be able to find- players go ‘Got it!’, instantly as you etch-a-sketch and create something all fresh for you. So again, it’s not about the voice. Especially when it starts coming to performance capture, it’s about can you think fast on your feet? Can you dance? Cause we’re gonna play jazz.
There should be a selection for that in the Academy Awards, why isn’t there-
Girl don’t get me started. How about-
[North: We don’t need no stinkin’ awards]
How about we start with the SAG awards, how about our own union recognizes we do these features. And the beauty of it is, and I will tell you a very personal story.
[North: Uh-oh. Y'all got time for this?]
I learned the hard way that it can’t be about the accolades. It has to be about, did you leave it on the stage? Because the last thing I would want is to receive an award for something that I knew was adequate, that wasn’t exemplary, that wasn’t remarkable. The accolades are great, they’re about to nominate my boy, they’re making up an award for him because what he’s done has truly affected the industry. And he hates it when I say-
[North: Ugh, that’s just them saying I’m old. GET OUT]
You’re a Lifetime Achievement Award, take the HINT.
[North: No more games.]
But it really isn’t about the awards. And if that’s what you’re going for, man you’re short changing yourself. Because for me, it sounds so trite but it HAS to be about the work and there are scenes and there’s work that I've done that I don’t need someone to go ‘and here’s a medal.’ I’m proud of that because of the way that it affected me. And when we’re down there and we’re signing stuff and people go ‘this moved me’, that’s my award.
I would add that one of the nice things about conventions, not just here but all over the world now because we've been blessed to go a lot of places. I was in Kuwait! It's amazing when you hear the fans come up to a table to shake your hand and they say ‘This was so much fun!' or you know ‘I was going through a rough time and I played that game.' ‘I was going through law school and I had to play my game!' Probably not a very good lawyer. But I mean, you affect people and that's really cool. I grew up in Rhode Island which IS a state, but I mean I had no idea I’d be doing something like this… and this most recent award it’s one of those things where you kinda go ‘wow’ cause this business, right? You got keep your foot on the pedal and ‘what’s the next one, what’s the next thing?’ and you always want to get better. And when you slow down and you get a weekend away from home and you’re in Atlanta or Kuwait or London or Glasgow, Scotland wherever, people say ‘we really appreciate what you did.’ And it’s really cool knowing that you affected somebody same way a teacher should feel affected that you helped somebody with their education or a doctor saves someone you know a veteran saved the country and someone says ‘Thank you.’ It’s really gratifying and seriously he and I've talked about this and we don’t want to sound hokey but it’s not about the accolades. That’s accolade enough when you get it from the people who matter, it really is.
[Baker: Cause the second you get the award people are like ‘you shouldn’t have gotten it.’]
Oh yeah, I’m waiting for that storm coming. ‘I didn’t ask for it!’ ‘Yeah, but you took it, didn’t you?’
What’s something each of you is passionate about outside of performing?
My family. Got two great kids, I’m leaving tomorrow morning cause it’s my youngest’s 15th birthday so I want to fly home. I don't want to miss it. In fact, the other one's 18, this one's turning 15, that's 33 birthdays and I've missed 1. I was here in Atlanta shooting that TV show and I was supposed to be home but it rained for 4 straight days and it was an outside shoot so I missed his birthday. This is our job and it can be glamorous at times or it can just be a t-shirt, hat backward with just a microphone or on set at a TV show which is not as fancy as it looks. But what's real is your family, if everything else fell apart. It's part of this, I call it a healthy bit os self-loathing that every actor should have, where I’ll be pulling into the driveway and I swear part of me is waiting to see a big moving truck and the family’s not even crying, they’re just looking going ‘they say we gotta move. Yeah, we have to go.’
‘Where are we going?’ I don’t know!
‘We found out. You’re a big phony. Get in the truck’
‘Yup. Thanks! Thanks for the money, the recognition, it’s been great! I’m out!’ And we just get on the freeway and start heading somewhere. Probably east cause otherwise the ocean… but a part of you just kinda waits for that to happen.
Someone told me a long time ago that your life is a three-legged stool. Your personal life, professional life, and your spiritual life and if one of those is off, you don’t sit right. And I’ve seen a lot people throw everything behind their career and they don’t sit right. It’s about being able to find a balance of being able to go ‘what else am I passionate about, what else am I invested in?’ So that I sit balanced. Cause even if you just have a one-legged stool, like that monopod *point to stand balancing camera* Good luck balancing that forever. I called it a monopod, ya like that?
That’s a different thing. That’s a very offensive term.
[North: A single-legged pod!]
For me, with music, all I want to do is tell a story. Wherever I find a way to tell a story, whether that’s on set, behind a mic, sitting in front of you guys, with a guitar, in a band, I don’t care. I just want to tell a story and I want to have a story to tell. In order to tell a story, you must be living it first so I try to expose myself to as much as I can. Sometimes people need a comedy, sometimes people need a dramedy, sometimes people need a horror, sometimes people need a thriller, it’s just about finding a mix. Cause if your story is all uplifting, that’s just saccharine, boring. I want those low, I want those highs. I want the tragedy, I want the accomplishment, the achievement.
So I’m passionate about telling stories. Right now I’ve got a really awesome story and it’s the fact that everyday this new life in our house is writing his story and I get to read something I’ve never read before. It’s with every sound, every burp, every fart, I’m like there’s a life that’s so open and requires so little. SO little. All he needs is a fresh diaper, a place to sleep, and a boob every once in awhile and he is SOLID. Pretty much like his dad. But that keeps me humble and focused, we don’t really need all of this-
[North: But all of this is pretty cool]
It’s pretty cool. And there’s hats!
[North: He buys a lot of hats]
I buy a lot of hats. Jordans are my new obsession.
[North: As you’ll see in the new Retro Replay. SEE! Tied it back in! We’re really just here to plug that]
How do you go about creating your own interpretation of established characters?
Trust. Trust. Don’t try to make it better, again I think it goes back to that comparison thing. Then you’re in competition with yourself as opposed to just honoring the character. There’s a lot of people that have played Richard III and Martin Freeman, they laughed at him when he set foot on stage to play Richard III and they’re like ‘no no no, he's this big and boisterous character.' But Martin Freeman played him super small and every review was rethinking the character. And this is a 400-year-old character. So that is to me, a great thought process.
Someone asked me “How do you feel about somebody else playing Joel in the movie?” I’m like “All I care about is that it’s someone who cares about the character.” Because if he fails? Awesome! Nobody can do it but me. But if he’s good then I get to learn something about Joel that I didn’t know before. So when I step into a role like the Joker, yes there’s the Arkham universe and you gotta believe that this guy becomes the version that Mark Hamill’s played for 25 years. But it’s not an impersonation, it’s not an impression. It’s like ‘I buy that. I believe this guy grew up to be that’. The way you can believe that River Phoenix grew up to be Harrison Ford in the Last Crusade. It’s that kind of believability. There’s a character that exists outside of the actor playing them, so do that character, not the actor.
Yeah and impart your own sense of who you are. I tell any actor, the only thing that makes me different from him, you, if we all audition together, is-
[Baker: Lack of talent]Well sure yeah, I have none. But you're playing a character named Mark. Don't go in saying how does Mark walk and think? Ok, it's Nolan that happens to be Mark. Nathan Drake was just me, and for some reason, they just happened to choose me. My 18-year-old son is an actor now and one of the things I've taught him is, people ask how you handle rejection. You're never rejected. You're never bad. I go into a room knowing I'll never be bad at an audition. But I just may not be that right fit for that character. And you have to be good with that. I'm going to do my version, and my take, it's the only thing that's different about me, my take on the character.
I never go ‘I’m gonna give them what I think they want.’
[Baker: No, they want to know what that character looks like]
I’ll give them me and if you don’t get the role, and you don’t get the role more often than you do, you gotta sit right with that. And if you do your take and you're happy with what you’re presenting them you’re like ‘good. I’m gonna go get lunch. This is great’
‘Hey you didn’t get it’
‘They really liked you’
‘Great! Maybe there’ll be another role someday’
That’s how you do it. That’s part of the process. You enjoy that, you work at it, and you prepare the character whether if it’s established or not. You [Baker] were the one who had a great line, I read about with the Joker, ‘we never own these characters, we inhabit them for a while’ and that’s a cool way to look at it. Like ‘Oh good, I’m gonna give it my version and people like it or they don’t,’ My favorite is I got to do the Prince of Persia. And Yuri Lowenthal our friend did the first one and then they went to our other friend Robin Atkin Downes, and then the third game they went back to Yuri. And then I did it, and then they finally went back to Yuri and then they were gonna do another one and I said ‘why don’t we just let Yuri do it?’
[Baker: Clearly, we need to keep going back to that guy]
Somebody just keeps going ‘eeeeeh’. He’s really good, just-
[Baker: And then Jake Gyllenhaal, and now there’s no more Prince of Persia.
No more! Done!
While completely engaging enough on their own, the dynamic duo of Nolan North and Troy Baker make for a fun interview. They love to dig at each other and they almost seem to have a contest going of who can make the other laugh. Many times, North’s deprecating humor had Baker laughing loudly while Baker’s quick quips had North smiling wide with large eyes as if he couldn’t contain himself. While they clearly enjoy having fun with their work, their passion for everything they do and the admiring way they talk about each other makes them admirable as professionals and as friends.