Somehow, whether I try to
predetermine it or not, it just for some reason always turns in to be a
music show. Maybe I shouldn’t make it a talk show anymore because nobody
ever emails me anything that’s so intricate nature that I would talk about
it for a whole half an hour, then again would you want to hear me talk for
half an hour? Don’t answer that!
Please note that I am NOT Steve Prince. This is a fansite only.
ALL ABOUT THE
VOICE
February 2006
QUESTION 1: How do
become different characters, eg when you have to voice someone who’s
either angry, very evil, upset, etc, (mostly scenes that are hard to do)
what’s your way of doing that? Do you really have to act, even though only
your voice is recorded?
ANSWER: As
for whether I have to really act, I'd be in trouble if I didn't. When
you're in front of the camera, you can use facial expressions and body
movements to help the audience know how you feel. When you're doing voice
overs, the ONLY thing you have is your voice. If you can't convince the
audience of the joy, turmoil, confusion, love, pain, anger, etc and
whether those emotions run deep or if they're just temporary, if while
you're doing it you're outside and it's cold, or whether you just got
finished running and are catching your breath, then you shouldn't be doing
voice overs. You have to convey all of that and more if you're going to be
believable. Add to that when you do animae, you're not creating a voice
from scratch and have to match the mouth flaps that have already been
drawn, and you have to have one very technically expert voice over actor.
Sometimes when you're meant to do this, (dare I even suggest born to do
it), a sixth sense occurs where you know the character so well, that you
don't even preview what the character says, just let the tape roll, and
are able to nail it so that what you recorded matches exactly what the
mouth flaps are. That's one reason why a lot of directors like using me: I
can't always nail it without watching, but a lot of the time I'll just do
it the first take, with all the emotions and humanity that a character
needs to make him/it believable.
One psycho thing about the way I work is that I try to think like the
character. If I try and get into his skin, these emotions I normally
wouldn't think of by rationalizing it as an actor, come to the forefront.
QUESTION 2: Is it true
that you go into this room with a huge mic and everyone watches through
the windows?
ANSWER: Yes,
it's true that people watch you through a window. 9 times out of 10, only
the director and engineer will be on the other side. Occasionally, the
producer or some guest visitors will be there as well.
