Voice Performance Quotes

I did a voice for Odo, but people don't recognize you by your voice.

It's an interesting and demanding art to do voices. I have been told so many times that I have a distinctive voice, but of course, I don't hear my own voice as others do, so I don't know.

I was always talking in weird voices from the time I was two. I guess I just found a way to keep doing it! I did get a degree in theater and took some voice-over classes... but most of it is just the same stuff I was doing as a kid!

When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.

It's fun to do voiceover work, although you still have to act. But it doesn't involve memorizing lines, and you don't have to dress up.

It's a different way of getting across an emotion. You're trying to get it across to the animator because the animator is inspired by the voicetrack in terms of how to animate the character.

Oh, here comes Mel Blanc, the voice of Bugs Bunny and Jimmy Smits!

But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.

I loved the opportunity to just transform my voice. I loved the idea of doing impressions and mimicking and playing around with the spectrum of your own voice. That's what I enjoy most about doing voice-overs.

I think I do too many voices in these shows. I think it's because we have trouble getting voice talent.

I always had a problem when I did the audio books myself because they weren't made to have me doing all the voices. And to hear established actors, and you think, 'Wow, that sounds like it's supposed to sound,' is great. They've got the right inflections, which is an enormous skill.

I know now that I want to do more voice-over projects. They really have the ability to transport you into the world of whatever movie it is you are working on.

I just felt like there was a world of cartoon voices that had to be discovered by me.

I read my books aloud before they were published.

I think getting something together to showcase your voice is important. You can also watch cartoons and play games and just kinda listen, and try to see how the design of the character matches to the voice.

There's a little bit more of a freedom when you're doing radio play-by-play as opposed to television. I prefer the television side of it.

As a young actor, I would be invited to the CBC radio drama department to do voices for different characters, and I found that I could do quite a few of them. I wasn't a visual presence, and I found it easier to construct a voice from the written page.

The cool thing about doing a voice-over into a different language is that you get to bring the character of your own culture into it.

I love the freedom of voice-over and the ability to play multiple characters I could never play in real life: a hot young woman, a little boy.

To be honest, until I started dubbing, I didn't realize the amount of work of a dubbing artiste puts in. Especially the artistes that dub for villains. They really stretch their vocal cords to a different dimension.

Animation is a fascinating area from an acting point of view because it's not really like anything else because you are only providing a portion of the performance. That's very inspiring and it forces you to do things in a different way - to tell stories through your voice.

Doing voices in animated movies has been one of my dreams. You get to go and act, and you don't have to put on makeup.

In 'Finding Nemo,' all of the voices were recorded separate - so I would be in a sound booth in a studio by myself reading the lines with just the director. Basically, you can just come in, and it doesn't matter what you are wearing or what you look like; it is all about how your voice sounds.

I did some professional radio acting as a teenager, and I essentially put myself through college with radio acting in Montreal. When I graduated, I got jobs in professional theatres, repertory, and stock theatres in Canada for a couple of years. And then I went to Stratford, Ontario, where I spent three years with a Shakespeare company. We took a classical play from Stratford to New York City, and I got some good notices there and essentially stayed and did live television. And that brings you to the beginning of filming.

I like voice-over in films, and most of my films have been voice-over films.