A Quote by Kevin Conroy
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.
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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.
I guess the biggest challenge to doing any kind of animation voice work is that you only have your voice to tell the story.
You don't have a face to work with, so your voice has to do all the work until you see the animation. So, a lot of it I had to pull back because it was too big.
What really brought out the voice that I have, my soul voice and true voice, was really not getting any work and being very sad and being poor and having to sit with that. I think that's where the blues comes from.
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 started doing comedy with no plan to do voice work. Voice work came as a function of doing comedy and meeting people who eventually develop shows like that. I didn't seek out from an early age to be on cartoons.
Like Hemingway and Faulkner, but in an entirely different mode, Fitzgerald had that singular quality without which a writer is not really a writer at all, and that is a voice, a distinct and identifiable voice. This is really not the same thing as a style; a style can be emulated, a voice cannot, and the witty, rueful, elegaic voice gives his work its bright authenticity.
There are no words and there is no singing, but the music has a voice. It is an old voice and a deep voice, like the stump of a sweet cigar or a shoe with a hole. It is a voice that has lived and lives, with sorrow and shame, ecstasy and bliss, joy and pain, redemption and damnation. It is a voice with love and without love. I like the voice, and though I can't talk to it, I like the way it talks to me. It says it is all the same, Young Man. Take it and let it be.
We cannot have peace on Earth until we learn to speak with one voice. That voice must be the voice of reason, the voice of compassion, the voice of love. It is the voice of divinity within us.
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 been very lucky because I've gotten to work with some incredible actors.
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.
I always wanted voice over to be part of my career. Even as a child, I'd watch cartoons and know that someone was doing the voices. When I moved to L.A., my hope was that I'd do on-camera work and voice over. I've ended up doing both, but the voice over side took off in a way that I didn't expect!!
It is a culture voice, but it is a very American culture voice, and I am very used to English culture voice. So I had to work like hell to flatten those R's.
I had a blast doing it. I mean, I love, love, love my work as a voice over actress and I've been doing it for 15 years, but I've trained as a singer and I am a singer and this is what I've always wanted to do. To get the opportunity to marry these two things that I love so much, it's been a dream, without a doubt. I'm sort of pinching myself still.
I find it's very confusing when one critic tells you one thing and one tells you something completely different. Unless all the critics agree on parts of the play that just didn't work. I have stopped reading reviews, because I find writing is all about courage. You must have courage when you start writing a play and you cannot have the voice - you must write things out. You cannot have the voice of a critic telling you, "That didn't work in that play, you cannot make it work in another play." Every time you do a production, it's an experimentation.
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