Frank Welker Quotes

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.

I would love to voice an animated penguin or platypus at some point.

Acting is a plum gig, and then animation is an even more plum gig.

I used to love watching Angela Lansbury and other people when they were doing voice-overs for Disney shows. You'd see them doing these wild gestures in front of the microphone. I used to think, 'Is that really necessary?' What you realize when you're doing it is that that's the only way.

I was able to bring my process of doing improv with actors into the animation world, which was fun.

An animator is an actor with a pencil.

I lived in San Francisco for about eight years and I did a lot of improvisation there. The improvisational world ruled the voice world in San Francisco, so I became a voice talent there and did a lot of commercials and worked all the time. But I never could break into animation.

An actor definitely has to be in the past a well as the present; an actor must react to past experiences every minute, every second.

I love recording lines. It's like being an actor without having to really act.

When it comes to acting, people talk about the suspension of disbelief that you ask of the audience. Before that starts, you have to, as an actor, suspend your own disbelief.

In animation, there's silly things I get to do with my voice. I get to have a wider range, so my voice gets to dance more than it does on camera.

I loved the Disney films, and Sterling Holloway was one of their chief talents. He never had to put on a voice, and that's what Mike [Mitchell] and I encourage. I love the voices that have a unique texture, but it's their real voice.

Laurence [Fishburne] is a great example of how to communicate to the audience as you're acting with another actor.

Sometimes actors come in, you record them, and they do their role.

There's such a grand fraternity of actors who've played the Joker, not the least of whom is Mark Hamill, who voiced it for so long and was so great. I did it one time and... I've gotten some feedback on it from people who've seen it and really enjoyed it, but I don't know.

I don't watch rushes. My whole thing is to try to stay in the moment with the other actor, and to let it all hang. I'm not sure I'm right on that, though.

I'm an actor. I'm trying to be the character and do what they're doing.

A lot of actors are just like la la la - they're never really connected and then they're in the scene and then boom. They're looking you in the eyes and they're just really focused.

Mine is an actor's voice, not a singer's voice, but the part was written for an actor (Richard Burton), not a singer.

That's why there's so much bad acting out there, because you could see actors watching themselves.

The notion that acting is simply about intuitively responding to situations the way you feel couldn't be farther away from how I ask actors to work.

Going to set, every day, and working with the incredible actors I get to work with is fulfilling. I've been doing this since I was nine years old, so it's always been something that I've been passionate about. It's always fed me.

A radio play actually ended up being the first acting job I ever had. A lot of times when I'm on camera, I'm playing characters that are more like myself, and I don't get to do a lot of real character work. But when you're doing animation, you are the very epitome of colorful characters. I think I'm just really into make believe.

I love doing animation - mainly because you get to over-act. They're always saying "more," "louder," "bigger," "huger" and you just turn it lose. Plus, doing animation voiceovers, I have learned so much, and it's always good in your career to discover something you didn't know, and to learn to do things differently. So it's a fascinating experience.

Acting is bad acting if the actor himself gets emotional in the act of making the audience cry. The object is to make the audience cry, but not cry yourself. The emotion has to be inside the actor, not outside. If you stand there weeping and wailing, all your emotions will go down your shirt and nothing will go out to your audience. Audience control is really about the actor