Voiceover Quotes

A lot of games and voiceover projects, they’re not giving the actor a lot of context. The actor, no matter how good they are, might not be able to deliver a performance that fits the action.

I’m not some beg voiceover. I’m a serious customer.

I thought it’s very funny that I ended up as a voiceover guy because when I started out as an actor, I had a very strong Long Island accent.

My team and I used the actual footage to create a three-act story of the life of Ayrton Senna. There are no talking heads and no voiceover. Senna narrates his own epic, dramatic, thrilling journey.

I had been very impressed with the voiceover of ‘Apocalypse Now,’ with Martin Sheen’s voice. That was a great voiceover; it really internalized the Martin Sheen character, who was essentially fairly low key and didn’t say a lot during the whole movie. But he thought a lot, so I always thought that was really great.

Thank God for voiceover work.

Sirkian films really aren’t – at least the way I see them, they’re not about identification. They don’t have voiceover. A lot of the love stories that are rooted, classic love stories rooted in point of view, use voiceover as a mechanism for locating you there.

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.

I think voiceover is an adjunct that actors have picked up that have given us some security.

When you do voiceover it’s such a fun job to be able to do. First of all, you can do it in your pajamas and you don’t have to get dressed up for it.

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.

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.

In voiceover, all you have to worry about is your voice and practicing with your voice and then being able to understand what the situation and whatnot is happening. And you have endless amounts of film to perfect the character.

I was, aged nine, the go-to kid in Minneapolis for a commercial voiceover.

With film, you have very limited tools to convey subjectivity – voiceover, the camera’s point of view, good acting – but even the very best actor in the world is crude by comparison with what you can do in a written paragraph.

I love doing voiceover work.

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.

Voiceover is probably the toughest of all the markets to get into. Everybody wants to do it because it’s again three to five hours work. You can roll in there with your bedroom slippers and robe on if you wanted to. And it’s fun.

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.

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 have a studio at my house, and there is a sister studio for Disney which is about 45 minutes away, and we haven’t dropped a beat. In the art of animation and voiceover work, you can pretty much work from anywhere.

I love doing voiceover work.

My aunt was so attuned to commercials that she could always identify the voiceover actor.

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 want to do voiceover for animation, so I am looking to do something along those lines. So, my agent is looking for something in that area, and I think that would be a lot of fun.

Normally, if I would read in a script that there’s mostly flashbacks and mostly voiceover, I would run as far away as possible.

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.

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.

One of the things that I love about voiceover is that it’s a situation where – because you’re not encumbered by being seen – it’s liberating. You’re able to make broad choices that you would never make if you were on camera.

Well, actually, I do the voiceover for Quentin Sands.

I love voiceover work – I think it’s fun.

I’ve done a handful of voiceover and on-camera jobs where I’ve been asked to ‘be blacker.’ That’s code for sassier, more ghetto, more neck rolls and snaps.

Doing voiceover is so much fun because you can play with the lines as much as you want. You can put a whole bunch of energy into it, jump up and down, whatever you got to do.