Ashly Burch Quotes

Games are another place to find work, not only the voice stuff but in the motion capture stuff. It's exciting work.

In 'Finding Nemo,' all of the voices were recorded separate - so I would be in a sound booth in a studio by myself reading the lines with just the director. Basically, you can just come in, and it doesn't matter what you are wearing or what you look like; it is all about how your voice sounds.

I did the voice of Cyclops on 'Shrek the Third'. I don't know how I got that. They said they wanted a Michael Chiklis type, and apparently it came down to me and Michael Chiklis, so how they gave it to me, I don't know.

I think it's that if you don't have the visual, you have to infuse the full personality into the voice. Think of Daffy Duck. I mean, what the heck? I was playing around with the Daffy Duck voice today when I was coming back from driving my kid to school.

It was really fun and intimate in a way. Working with George Miller is exquisite. Gloria is different from anything I've ever played before. The first time I saw the characters in the studio I remember thinking that Mumble looked just like Elijah, with such a cute and endearing face. I don't think Gloria looks that much like me.

Oh, here comes Mel Blanc, the voice of Bugs Bunny and Jimmy Smits!

I guess the biggest challenge to doing any kind of animation voice work is that you only have your voice to tell the story.

Someone at Disney heard one of the records and called me in to do the sounds of Lucifer the Cat in Cinderella.

For film and games, there is now a fantastic method of actors portraying characters which don't necessarily look like themselves. And yet you've still got the heart and soul of the performance.

It's a different way of getting across an emotion. You're trying to get it across to the animator because the animator is inspired by the voicetrack in terms of how to animate the character.

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

I want to be an animated character. I'm also doing more writing and directing.

When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.

I have to admit that I was a little nervous when I showed up for my first official 'Wreck-It Ralph' recording session.

The really cool thing about when you're playing a comic book character is that no one knows what he sounds like.

And because performing for a game involves real acting. The way they create a game is very similar now to how they create a film. I've always wanted to stretch my acting skills, and the timing being what it is, I couldn't say no.

'Ice Age' felt like stage acting. You'd write a sequence, and sometimes you'd submit pages, but other times, I would actually perform it for the directors and producer in my office.

Voice acting is very creative, especially 'Star Wars' voice acting, because there's so much you have to imagine.

I did take some voiceover classes. I always loved the idea of doing a voice for a cartoon character. I just voiced the character of Suzi X in the upcoming 'The Haunted World of El Superbeasto.'

People say that the Beavis voice doesn't sound like me or some other voices. Butt-Head I think sounds like me.

From what I've understood, it's an entirely different world, and it's a tough world to get your foot in the door, but I've always wanted to be a voice of a Disney character.

When you do animation - well, straightforward animation, although it's not straightforward - the voice for a character or something, they're always singular experiences, really.

I did a voice for Odo, but people don't recognize you by your voice.

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

If you look at the Disney Villains, I think you'll find that they do have mass appeal in some way, and it usually has to do with a voice quality that also matches very well with the animation.