A Quote by Amy Hill

I'm really comfortable doing voice-overs, but it's really fun to do animation. — © Amy Hill
I'm really comfortable doing voice-overs, but it's really fun to do animation.
I'm really comfortable doing voice-overs, but it's really fun to do animation. Those animation talents are hysterical. They're so good, and they're so amazingly quick on their feet.
To be honest, there is a special gift for doing voice-overs, and the people who did the voices in the 'SpongeBob' cast are excellent at cartoon voice-overs, and they bring something extra to the reads.
I love doing voice-overs; I wish I could do more of them. It's a lot of fun to see how they take the voice and animate it and try to capture your own expressions and features. It's fascinating.
I used to love watching Angela Lansbury and other people when they were doing voice-overs for Disney shows. You'd see them doing these wild gestures in front of the microphone. I used to think, 'Is that really necessary?' What you realize when you're doing it is that that's the only way.
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've also learned to only write songs and melodies that really work for my voice and that I won't have issues doing live. Because you can get really, really comfortable in the comping process: out of five takes, maybe one of those high notes that you struggled to do, nailed it, and then live you're having that challenge of really having to recreate that.
When you do animation - well, straightforward animation, although it's not straightforward - the voice for a character or something, they're always singular experiences, really.
I really enjoyed doing the voice of Nose Marie on the cartoon series Pound Puppies. Fun, FUN cast.
With voice overs... you're not thinking about the camera. So your voice becomes this thing that you can manipulate. And depending on the character you're doing, it's all concentration on your voice.
The movie I'm really excited about that I had really fun doing is 'Feed the Dog.' It's with Nat Wolff and Selena Gomez. It's really fun. It's raunchy, like 'Superbad' meets 'Risky Business,' kind of. I got to be a really fun character, an out-there Mrs. Robinson-type character. I get to seduce Nat.
I really like doing television shows, and I anticipated doing a comedy, because that's the place I feel the most comfortable - those are the risks I want to take. But it was always really hard for me to find a script that I really liked.
The voice for 'Surly' is, of course, very close to my own voice, but it's informed a lot by this story, by the arc and the animation and working with the whole creative team on 'The Nut Job' in finding what really works.
Between 50 overs and 20 overs, there is a big difference, because there is 30 extra overs of fielding and six extra overs to bowl, and that can take its toll.
I earn a lot of money in England doing voice-overs, especially in documentaries. Turn on the Discovery Channel here, and you'll hear my voice a lot. It subsidizes my vice of acting in the theater.
There's the fact that animation is extremely time-consuming, tedious, labor-intensive, and therefore, extremely expensive as an art form to really do it right, to really do full animation.
I do a lot of teen shows and voice over work for animation, so when I got the part in 'The Number 23,' it was really cool because now I get to be in a movie with Jim Carrey. Acting in this movie was really a learning experience for me.
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