A Quote by Kevin Conroy
I guess the biggest challenge to doing any kind of animation voice work is that you only have your voice to tell the story.
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I love voice over work. To me, voice over and animation is such an art, because you focus solely on your voice. You do not focus on how to speak, combined with facial expressions, movement, etc. You as the actor need to convey all those things with only your voice.
It's a wonderful acting challenge to tell a story and convey emotion with only your voice.
When you're doing voice work, you're in a bubble where you just think about the story and the words. They record you on video while you're doing the voice work, so they capture how your face is moving and the gestures you make.
I love doing the voice of Batman because of the quality of the animation. The music is particularly incredible. Another bonus is getting the opportunity to work with some very respected actors who do not usually do voice work.
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 voiceovers. You can be completely unconscious with the rest of your body and just concentrate on doing something with your voice, creating an entire character with your voice.
It’s tricky when you’re doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don’t have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.
It's tricky when you're doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don't have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.
Hormone replacement therapy does not change or affect your voice. And I have no problem with my voice: I really like my singing voice, I don't feel any dysphoria with my talking voice.
No matter what happens with technology or whether you're in traditional animation or stop-motion or CG, the biggest challenge always is story. The flow of making the movie is usually determined by how your story is coming together, and when your story is straining and you can't quite get your hands around it, your entire production is straining.
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.
My only want and wish, really, was to tell a good story. I wanted to do good work, tell a good story, and give the character a voice. Those were my only expectations.
Voice acting is very different from live-action. You only have one tool to convey emotion. You can't sell a line with a look. It's all about your vocal instrument. Doing voice work is also great because you don't have to get your hair done, which I despise.
If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.
I think everyone has a story to tell. Part of what I do is help artists find their voice, not only their vocal voice, but their writing voice. Every artist that I worked with who has those records that everyone talks about, they are also writers. I like to say I helped support whatever their writing was so people heard the song clearly.
There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
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.
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