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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

I feel very lucky that when I'm burnt out of acting, I take to the pen, and I write something I want to direct. And then, when I'm tired of taking on too much responsibility as a director, I then look for an acting gig. And I've made it very clear that I'm interested in voiceover work. I mean, I'm always looking for voiceover gigs. I love that.

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