Pod Meets World: "Phil Glasser Meets World"

iHeartPodcasts | December 1, 2025
Hosts: Danielle Fishel, Rider Strong, Will Friedle
Special Guest: Philip Glasser

Overview

This episode of Pod Meets World revisits the '90s TV landscape through an in-depth interview with Philip Glasser, known for voicing Fievel in An American Tail and for his guest appearance as Ubaldo on Boy Meets World. The hosts and Glasser discuss his unique journey from child actor to accomplished producer, childhood milestones, backstage stories, and how early experiences shaped his creative approach today.

Key Discussion Points & Insights

1. Philip Glasser’s Childhood Hollywood Origin (21:45–27:55)

• Getting Started: Philip credits his older brother and mother (a casting director) for sparking his career. At only four, he landed his first acting job by following his brother’s footsteps.

  • Quote: “I was that kid who was always ‘pick me, pick me’. My brother’s agent said, ‘Oh, he’s got a good personality.’” (21:45, Glasser)

• First Big Gig: Landed his second job as the voice of Fievel Mousekewitz for Steven Spielberg’s An American Tail at just six.

  • Spielberg and animation legend Don Bluth personally guided his performance.
  • Early industry realities: Children actually voiced child characters, a practice lost and now returning in animation.

• Recording Process: Sessions involved reading script lines with iconic performers (Madeline Kahn, Christopher Plummer) and having his mouth movements videotaped for animation authenticity.

  • Quote: “They’d video your recording sessions ... so they could animate the intonation of your mouth.” (28:10, Glasser)

2. The Lasting Impact of “Somewhere Out There” (35:25–37:17)

• Recording “Somewhere Out There”: The song required authenticity; his first take, voice crack and all, was used in the film.

  • Quote: “My voice cracked, and that’s the one they ended up using… Steven [Spielberg] absolutely loved it.” (35:52, Glasser)

  • The song became a cultural touchstone, especially meaningful for military families during the Gulf War.

  • Quote: “People always come up to me saying that song was so important to me during the war when my mom or dad was deployed.” (36:25, Glasser)

3. Stage to Screen: Les Misérables & Full House (27:39–41:19)

• Les Misérables: Glasser moved from animation to musical theater, performing as Gavroche in the LA company.

  • He and Rider Strong both played Gavroche in different productions and compared memories of the rotating barricade staging, which made the iconic on-stage death both terrifying and a point of pride as kids.

• Full House: Played young Danny Tanner. Both Glasser and the hosts recall child actors being asked to adapt rapidly to live, multi-camera sitcoms and the camaraderie (or lack thereof) on set.

4. The “Boy Meets World” Set and Guest Experience (43:24–45:15)

• Auditioning for Ubaldo: Glasser recalls a typical audition process but highlights that BMPW was different in the welcoming atmosphere provided by the cast.

  • Quote: “[You] do a lot of these shows, and when you’re a guest, sometimes the stars don’t even talk to you … you guys weren’t like that at all.” (71:30, Glasser)

• Friendship with Ben Savage: Continued off-screen, with anecdotes about shared living spaces (Oakwoods Apartments, a hub for young actors in LA).

• Life at the Oakwoods (46:01–48:19): Glasser shares wild stories of living with other young actors—mentioning Jessica Biel, Ben Foster, and even Devon Sawa as apartment-mates, painting a vivid picture of Hollywood youth culture.

  • Quote: “It was like Island of the Lost Boys … the Thunderdome. It was great.” (48:14, Will Friedle)

5. From Acting to Producing: Career Evolution (58:14–61:59)

• Transition: After acting, Glasser’s brother advised him to start in international sales to really learn filmmaking—a pragmatic path to producing.

  • Quote: “[My brother said] the most important thing about being a producer is making your investors their money back.” (59:50, Glasser)

• Producing Style: Glasser insists on being hands-on, meets with lead actors to understand their needs, and builds a collaborative environment—values shaped by his acting background.

  • Quote: “I have to be there to get my hands dirty … I’ll meet with my top five or seven leads, just to have a conversation and say, ‘What kind of set do you like?’” (61:59, Glasser)

6. Producing Major TV and Film Projects (63:17–65:46)

• Current Work: Producing Mobland (Paramount+) with Tom Hardy, Helen Mirren, and Pierce Brosnan.

  • Describes the demanding schedule and influence of streaming on the industry—movie stars now prefer TV productions due to better schedules and compensation.

  • Quote (on working with Helen Mirren): “I mean, Helen Mirren blows my mind. I think she’s so talented.” (69:44, Glasser)

• Other Credits: The Illusionist, Hang Time, and more—spanning indie and studio systems, adapting as the business changed.

  • Quote (about “The Illusionist” vs. “The Prestige”): “The Illusionist got to the box office first, and that’s why it crushed The Prestige.” (64:46, Glasser)

7. Philosophy & Advice (70:11–71:28)

• Looking Back: If he could’ve done one thing differently, he jokes, it would be to give Ubaldo thespian depth and become a series regular on Boy Meets World.

  • Quote (self-deprecating): “Maybe taking some Shakespeare classes … just really take Ubaldo over the top.” (70:52, Glasser)

• Industry Outlook: Glasser notes that while it’s harder now for indie films, streaming offers opportunities. Fears around the future center on AI, but he stresses the importance of authenticity and good working environments.

Notable Quotes & Memorable Moments

• On Child Actor Realities:

  • “There was some bullying, too. I think people were looking for a tail. You know, kids are interesting.” (25:33, Glasser)

• On Acting Advice for His Own Kids:

  • “There’s a risk you run as being parent/coach ... you blur that line.” (08:56, Danielle Fishel)

• On the Les Mis ‘barricade’ scene:

  • “You have to try to throw the bag back over the bullet bag … which was all part of competition for me as, like, an 8-year-old.” (42:24, Glasser)

• On the importance of set culture:

  • “Creating an atmosphere on set that people want to work hard to be a part of ... changes everything.” (75:35, Danielle Fishel)

Timestamps for Important Segments

• Philip Glasser’s Entry Into Acting – 21:45
• Landing ‘American Tail’ and Working with Spielberg – 22:43, 24:57
• Recording “Somewhere Out There” – 35:25
• Stage Career – Les Misérables – 27:39, 41:19
• ‘Boy Meets World’ Guest Star Experience – 43:24, 71:30
• Producing Career & Philosophy – 58:14, 61:59
• On Current TV Projects & Industry Trends – 63:17, 69:44
• Reflection & Advice – 70:11

Tone & Flow

The hosts kept the conversation light, warm, and nostalgic, often riffing together and joking about shared pasts and inside-set stories. Glasser was candid and insightful, with no pretension—open about both the magic and turbulence of growing up in Hollywood, thoughtful about the lessons he brings to his producing today, and clearly grateful for where his career path (including Boy Meets World) led him.

Final Thoughts

This episode is a must-listen for fans of Boy Meets World, ‘90s TV, or anyone interested in the journey from child star to industry veteran. It’s packed with showbiz nostalgia, practical industry advice, honest conversation about friendships and career pivots, and the kind of camaraderie that made Boy Meets World beloved.

Follow-up:
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