And that’s what I mean by me becoming Squidward, or actually, Squidward becoming me, because I wasn’t doing this monotone thing. And then, as the show went along, the other writers found different things to do, and so I was able to spread my wings and actually become more and more me, more expressive in many different ways. That was the thing I focused on when we first started. When we first started, Squidward was very monotone, almost like Oscar Madison in The Odd Couple, but he was “blah-blah-blah-blah-blah.” That was the signature. Anything this long, there’s an evolution. Now, when it comes to voicing Squidward, has your approach to voicing the character changed at all over the past 20 years? It’s great to be a part of a human being’s translation into pessimism. But then, as they got to be adults and saw what the real world was like and all its frustrations and anxieties, and they all tell me, well, they became Squidward. Very formative years, and they all identified with SpongeBob to begin with, the youthfulness, the innocence, the enthusiasm and all that. When we premiered, most of our audience, our young adult audience, was somewhere between three and six. I was just going to say this is perhaps the most common story that I am regaled with at Comic-Cons and wherever. Do you have a lot of fans coming up to you and relaying similar sentiments? I watched the first episode, and 20 years later, whereas in the past I more so identified with SpongeBob, when I watch the show now I find myself more so identifying with Squidward. It’s interesting that you said you feel yourself becoming more like Squidward. With the possible exception of The Simpsons, we’re pretty much up there, as far as longevity for animation, and it’s a very honored position to occupy. It really is a very interesting thing and quite unique. As the years have gone on, I have become more Squidward, so I shoo people off my front lawn a lot more than I used to. Rodger Bumpass: It becomes a second skin.
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