Roger Craig Smith Quotes

You make sure that there's a structure that's interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I've found what works. So I'm not wasting their time.

I did a lot of screaming in 'The Originals,' and I hurt my voice so badly that I said, 'I can't scream if you want me to be able to work for, like, the next three days.' So, what I usually do is that I scream once in the season, and we'll just use that scream, all throughout, or extend it, or do whatever we need to do.

You have the script in front of you. It doesn't involve your body. It's all about your voice. And its fast work. Its also very lonely work. You are by yourself. Very rarely are you in a group. You act with yourself, and someone else mumbles the lines back at you. If at all.

Flash, take the game off. I'll go out and do the work.

The process for doing voice work goes by much quicker as opposed to shooting a feature. You can pretty much go in and knock it out in a day or two. It feels very natural for me to express myself using only my voice, so it wasn't too difficult.

They are very good reasons why voice acting in games can be so terrible. Writers are in a great position to be able to bridge this gap.

I blew my voice out and the doctor said, don't even talk for a week.

Like most people, you listen to yourself on the phone or an answering machine and you're like, 'Ugh.' So to do something with just your voice is hard.

[You're voice acting] and you're screaming and yelling you can't help but sort of physicalize things. The next day I'm usually sore in some weird part of my body.

I dedicate myself and work hard in the weight room and treat every practice as if it were a game.

Most records, you build from the drums and bass up. This one, we started with the vocals in Nashville and recorded them live with just the guitars and tried to make that complete and lovely-sounding without any adornment at all. I really wanted to get something with the vocal that I've never gotten before Armchair Apocrypha.

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.

Let our voices be heard. I hope they will not be shrill voices, but, I hope we shall speak with such conviction that those to whom we speak shall know of the strength of our feeling and the sincerity of our efforts.

Oh, the foghorns... even the foghorns, they're all brass. It's something by Ingrid Marshal called Fog Tropes. It's not a sound effect. It's an actual piece of music. If you listen to what's going on after he has a flashback about his wife you'll hear... it sounds like the humpback whales in a way. But it's all music. And we use it again later, too.

I always say this will be my last Metal Gear, but the games in the series that I've personally designed and produced-Metal Gear on MSX, MG2, MGS1, 2, 3, 4, Peace Walker and now MGSV-are what constitute a single Metal Gear Saga. With MGSV, I'm finally closing the loop on that saga.

If you watch a stretch of TV for a few hours, there is a good chance you'll hear me on some commercial or in some documentary or on a cartoon as some voice of a character.

"God does not play games with His loyal servants," said the Metatron, but in a worried tone of voice. "Whooo-eee," said Crowley. "Where have you been?"

The secret to writing sound effects is having a room you can be alone in, trying to make the sounds yourself, and seeing what comes out. It's similar to if you're writing a character talking with their mouth full: the only way I know to transcribe that is to stuff my fist in my mouth and write down what sounds I make when I try to talk.

It's taken years for people to figure out how to make good content with a gamepad, even though they've been using gamepads for decades to make traditional games.

In my opinion, no young player can develop his or her game to its highest potential if he or she rides around the course in a golf cart.

The books I write because I want to read them, the games because I want to play them, and stories I tell because I find them exciting personally.

Game design isn’t just a technological craft. It’s a twenty-first-century way of thinking and leading.

What have you done?' he said, his voice hollow and strained. He stepped back and put his fists to his temples. 'What have you done!' With an effort, Eragon said, 'Made you understand.

When I look around and see how aged cartoonists continue to work on their manga and how movie directors create new movies all the time, I understand that they would never retire. And by the same token, I guess I will still be making games somehow. The only question is whether the younger people will be willing to work with me at that far point in the future.