Top 102 Voiceover Quotes & Sayings - Page 2

When you're on camera, even though you try to lose yourself in the character, you are aware that there is a camera there capturing every moment of it visually. With doing a voiceover job, you are worried about the sound of it, and you have to make all those visual colors come out with your sound.

I find it very strange doing voiceover stuff, because you find you have to enunciate and make stupid faces in order for the point to make sense, because it's playing against the deadpan Simpson face. If you're just speaking in the regular way you speak, it will sound really boring.

I did work with Ajay Devgn and Kajol, who did the voiceover in 'Makkhi'. I wanted a couple with easily identifiable voices but with an image for being family-oriented. Ajay and Kajol fitted the bill. You get a good feel about them.

My mom thought I might be good for voiceover. She thought I had a cute voice, so maybe I could do a cartoon or something. And while we were looking into that, we also thought I should get into theater acting, so I tried it and the first audition I went on, I booked it. And it kind of just snowballed from there.

I feel like a lot of times when you get signed to an agent they just send you everywhere, so I still audition for a lot for voiceover stuff. I actually don't book a lot of it, and I love doing it so I get disappointed because I want to do more voice stuff.

Like every normal person, I hate my voice. And I am not the only one who hates my voice. The voiceover gets a lot of strong reactions. A lot of people love it, and a few people truly hate it and pronounce the films are unwatchable because of my Latvian accent. But it also has a certain level of theatricality, and everything is important for a manic character.

When you're acting on camera, you don't really think of your voice. You think of the whole instrument - your body, your look, and whatever you have to do. But when you're doing the voiceover, you're thinking only of your voice. You really can't compare the two different mediums.

It's physically hard for me to work. I start to break down, physically. My joints start. I get weepy eyes. I don't sleep well. I was never a hard worker, I guess. So the voiceover work ethic is really great for me - couple days a month, two hours a day.

After 'The Wonder Years,' I ended up having a voiceover career, which was something I never even knew was possible. But after the character I was playing on 'The Wonder Years,' people said, 'Oh, would you like to do a Burger King thing? And there's a 7 Up thing...' And then I got to do 'Dilbert.' I think my voice kind of fit for that.

Voiceover work reminds me of old-time radio. When I was little I used to sneak and stay up at night and listen to Mystery Radio Theater - I loved all those old radio plays.

I never feel there's anything I can't do with comics. There are certain things in comics that you can't do in any other medium: for instance, in Mister Wonderful, Marshall's narration overlaps the events as they're going on. That would be difficult in film; you could blot speech out with a voiceover, but it wouldn't have the same effect. That's always of interest, to see what new things you can do in comics form.

Often, there is a job - say, for a voiceover or an appearance - and you think: 'Blimey!' From the outside it would seem like you are being paid a lot for a short amount of your time. It would be inappropriate to share how much they pay, but in the industry we call it 'doing a bank raid'. Unfortunately, those jobs do not happen every week.

Stand-up can take you in so many different places, man. So many doors can be opened up from stand-up comedy, and the first one that was opened up for me was acting. But you can go from acting to being a TV personality to being a radio personality to being a writer to being a producer, to just being a visionary, to voiceover work.

I did voice work for many years before I started having success as an actress. It was mostly radio and television voiceover work, but I know my way around the studio. I know how to use the cappuccino machines and the headphones.

I was always quite good with accents - I always had quite a good ear - so from the age of about 13, I used to do a lot of voiceover and dubbing for foreign films.

When I was a kid, I wanted to emulate Mel Blanc, who is arguably one of the most legendary voiceover recording artists of our time. I used to watch all the cartoons where he would voice Daffy, Elmer Fudd and Porky the Pig. I knew one day I wanted to do that.

I love Keri Russell. I watched every episode of Felicity, and Waitress is my favorite film from last year. She's just an amazing actress. And I like her voice a lot - it didn't surprise me that she would be doing voiceover work.

Voiceover excited me and terrified me. I thought I was going to be really bad at it. It was so freeing and fun to not have to wait for 10 minutes between every setup. They just throw you a direction, and you just say it.

Voiceover work definitely requires it's own specific muscle. And because you're not seeing what you're recording, and all these things are going on, you really have to use your imagination and stay focused and kind of be able to tap your head and rub your belly at the same time.

I did a bunch of commercial voiceovers in Chicago before I left. For Balducci's pizza, I did a whole series. Actually I was making a good living with voiceover before I left.

For people who seriously want to get into voiceover acting, clearly the most important thing is that you must be a good actor. That comes first. That's why celebrities get so much work in voiceovers - we've seen their work, we know they're good actors.

It's a fun show, BoJack Horseman to do, and that gets around. It's easy, especially for a lot of actors who don't do a lot of voiceover. No makeup, no wardrobe, they really just come in, the lines are right there, we goof around for a half hour, and I think it feels like, "Oh, yeah, this is why I got into this business: to play around and have some fun." There's no paparazzi, most of them don't do any promotion for the show. it's the fun part of acting, without the other stuff.

I like doing voiceover work. I just like it in general, because you're constantly working on a very first-instinct level. You show up, you get in front of the microphone, you look at the lines, you say the lines, and then you move on. You work on a really primal level, is what I'm saying. You don't have to shave. You don't even have to wear pants. But, uh, that wasn't your question.

The whole purpose of screenwriting is to convey everything through action and dialogue and not explanation and exposition. To me, there are movies where voiceover works really well because it does something more than exposition; it actually becomes a tonal element of the movie.

When you're acting in front of a camera, you can really give all of your emotions with your eyes so the camera can see it. When you're in voiceover, you can't do that at all. It's a lot tougher because you have to convey this emotion, and you have to have a lot of trust in the animators.

I've been making 16mm urban landscape films about San Francisco for many years. I choose different nonfiction themes to investigate and am generally interested in surfacing lesser-known histories. I like to investigate and illuminate these histories, combining them with my own unconventional storytelling style, which is generally a stream-of-consciousness voiceover involving a steady stream of personal reflections on pining over unavailable women.

I studied voiceover, and I studied acting and I got my first series and my first agent a week out of high school. And it took me about five years of hit-or-miss auditioning and booking on occasion before I could support myself totally as an actor.

When I speak a serious subject in an informal and humorous way, it has bigger impact. So much so, when BBC made a small documentary, they first thought of having a voiceover for me. The producer liked my English so much, he said they were retaining my original voice.

I don't audition for "on-air" commercials - the ones where your face can be seen. I've auditioned for voiceover campaigns that I haven't gotten, but I don't really want to be seen in a commercial unless it's a product that I really love. Like, if Adidas asked me, I would do it in a heartbeat. But I did a Reebok commercial, one for Pep Boys, one for Dunkin' Donuts. I auditioned for commercials, but I really couldn't stomach it. It just didn't feel right.

You don't know how many celebrities I've gone into recording sessions with who first are kind of weirded out by us freaky voiceover people, then when the day is over, they want to stay. They haven't had that much fun acting in ages. It's hard to have any attitude about it.

I always looked up to great actors and great films. A lot of my family would be like, 'Come on, you should get into these plays that are going on.' I'm like, 'Nah, nah, music's my thing.' I just fell into it. I moved to Atlanta, got with an agency out there, started doing little voiceover commercials, and it started getting kind of fun.

For people who want to get into the voiceover industry, even if you want to get into commercial, you need to become a really, really good actor.

In voiceover, you have to restrain yourself when you're acting in the sound booth in front of the microphone. If you lean left or you lean right, you're going to lose the voice. Yet you yourself become animated when you're doing the part. So you'll see a lot of flailing arms, but a very still face.

I'm not brassed off, it's just it's the association of the Dalek question, this mechanical mobile object, I'm beginning to find it distracting. And they were difficult to play to, because you're not looking into human eyes. You're looking at a metal object, moving about, with a voiceover.

I use voiceover just like I use dialogue. There's a way to give out information or give out insight to the character or give out their worldview, and maybe you have to slip in exposition, but it's all about how you write it.

Doing voiceover, they bring you in, you're wearing jeans, you haven't shaved, you're wearing a baseball cap, and you go in, do it, make a lot of money and go home. It's fun. I enjoy doing it very much. So that's been really fun for me.

Voiceover work, I really enjoy. I don't get to do too much of it, but I've been doing more lately, and I like it because you get to do a bunch of options, one after the other, and you can go as big as you want or as small as you want, and you don't think about it sometimes.

I'd heard of Evergreen Care Center before. Cass and I had always made fun of the stupid ads they ran on TV, featuring some dragged-out woman with a limp perm and big, painted-on circles under her eyes, downing vodka and sobbing uncontrollably. "We can't heal you at Evergreen", the very somber voiceover said. "But we can help you to heal yourself." It had become our own running joke, applicable to almost anything. "Hey Cass, "I'd say, "hand me that toothpaste." "Caitlin," she'd say, her voice dark and serious. "I can't hand you the toothpaste. But I CAN help you hand the toothpaste to yourself.

When I do a voiceover now, there are always a few people I've borrowed bits off, whether it's their hats or facial hair, who'll say: 'That's so funny; it's obviously based on this guy.' You think, 'It ain't: it's you.' Actors never think characters are based on them.

TV show's really quick. You're in, you're out. A film usually takes a lot longer. However, a voiceover is very much like TV in the sense that it's really quick. For example, I did the movie Planes in one day.

The voiceover thing is very selfless. You go in there and they've hired you for your voice, but they know exactly what they want, and the writer's there and he knows exactly how it's supposed to be said. So you can't really argue with them, you just have to let them tell you what to do and then do it.

I don't like the strictly objective viewpoint [in which all of the characters' actions are described in the third person, but we never hear what any of them are thinking.] Which is much more of a cinematic technique. Something written in third person objective is what the camera sees. Because unless you're doing a voiceover, which is tremendously clumsy, you can't hear the ideas of characters. For that, we depend on subtle clues that the directors put in and that the actors supply. I can actually write, "'Yes you can trust me,' he lied." [But it's better to get inside the characters' heads.]