A Quote by Tye Sheridan
As an actor, I always wondered what it would be like to watch an animated character with your voice behind it and see if it seems seamless or if it seems like your voice is isolated from the animation.
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It's a little weird accepting your voice coming out of an animated character. You don't buy it at first because it's your voice and none of us like our voices when we hear them recorded back.
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.
In animation, no one gets to see your face, so you can really mess up with your voice like I did 'ParaNorman;' I was a bully in that, which was so much fun to do. In 'How to Train Your Dragon,' I'm a little Viking character. So, it's kind of exciting to play these roles that you normally wouldn't get to play in a live-action movie.
I got good at trying to throw a voice on a character from the very beginning as opposed to like reading it and sitting with it and mulling over it and stuff like that just try to read what it is and then try to put a funny voice to it like as soon as possible and stuff like that. Once you get laughs with your voice then you can start thinking about, you know the physical characteristics and how they might walk or if they stick out their buck teeth or if they wear an afro and stuff like that. I think like finding the voice of the character helps to like build the wardrobe and everything else.
The minute you watch your voice back with its proper animated character saying the words, that's when you learn exactly what you need to do next time.
Write like you write, like you can't help but write, and your voice will become yours and yours alone. It'll take time but it'll happen as long as you let it. Own your voice, for your voice is your own. Once you know where your voice lives, you no longer have to worry so much about being derivative.
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.
You have to understand that when you're a voice actor on an animated film, you're really just a tiny little piece of this huge process. And when you finally get to see the finished product and see all of the wonderful work that the animators & the designers & the writers did to make your character stand out, it's just so touching, so humbling.
My voice has always been kind of distinct - even when I was four years old, my mom told me that people would be like, 'Why does your daughter always sound like a chain smoker?' I've always had this deep, raspy voice.
I can't listen to my own voice, I don't like it. You see all your mistakes when you hear your voice. You see all your imperfections.
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.
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.
I had a very low voice for the character in the show. I said, "That's not actually my voice. That's the character's voice." I'm being such an actor.
I love it and it is a blessing to be able to have seventy-five to eighty episodes to develop a character and find your voice. You have a similar through voice, and yet you are making different decisions, and so you act differently and you make different choices, as that is what your character would do.
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.
We write to expose the unexposed. Most human beings are dedicated to keeping that one door shut. But the writer's job is to see what's behind it, to see the bleak unspeakable stuff, and to turn the unspeakable into words - not just into any words but if we can, into rhythm and blues. You can't do this without discovering your own true voice, and you can't find your true voice and peer behind the door and report honestly and clearly to us if your parents are reading over your shoulder.
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