Grey DeLisle Quotes

I loved the opportunity to just transform my voice. I loved the idea of doing impressions and mimicking and playing around with the spectrum of your own voice. That's what I enjoy most about doing voice-overs.

It's an interesting and demanding art to do voices. I have been told so many times that I have a distinctive voice, but of course, I don't hear my own voice as others do, so I don't know.

To be honest, until I started dubbing, I didn't realize the amount of work of a dubbing artiste puts in. Especially the artistes that dub for villains. They really stretch their vocal cords to a different dimension.

My dad had such a cool job. When you're a voiceover actor, it's a whole different skill - you're bringing these huge, larger-than-life monsters and characters to life. And, also, you have to learn accents.

I always just want to do non-typical voices for some reason.

For 'Barnyard,' I did the voice of a 'chick,' which was really a blast because I had to manipulate my voice to another pitch.

I've done literally 100, 150 different characters. Some of them have only appeared for a line or three. But the point is, every sound I can make has been harvested.

There's something in my voice tonally that's like a boy, so I started being able to do boy voices and to be known as having a naturalistic boy tone without pushing it.

I think I'm going to be taking some voice lessons because I'd like to do a voice in a video game. Something like 'Call of Duty.'

I enjoy voicing even though I am not a voice-over artist.

It's a wonderful acting challenge to tell a story and convey emotion with only your voice.

With voice overs... you're not thinking about the camera. So your voice becomes this thing that you can manipulate. And depending on the character you're doing, it's all concentration on your voice.

Sometimes when you do voices next to each other, especially when you're first starting out, they tend to bleed into each other. Working on a show like 'Futurama,' we do multiple characters there, but we've been doing it for a while, so the voices are really well-defined in our heads.

I always had a problem when I did the audio books myself because they weren't made to have me doing all the voices. And to hear established actors, and you think, 'Wow, that sounds like it's supposed to sound,' is great. They've got the right inflections, which is an enormous skill.

Start as early as you can. Make tapes of your characters.

As a young actor, I would be invited to the CBC radio drama department to do voices for different characters, and I found that I could do quite a few of them. I wasn't a visual presence, and I found it easier to construct a voice from the written page.

I've not been called on to do a lot of accent work.

I've auditioned for animation stuff for a long time; that's a tough field to crack into. I don't think I have the strongest voice. I don't have a theater-trained voice or a radio voice, but I think I make good character choices.

I look at some of the old villains in the Disney movies. If you really listen, you can hear some of the villains or some of the supporting characters, they use the voices over and over because they were so versatile in the way that they performed on voiceovers.

Voice actors I used to know who were starting out in comedy were guys who did a lot of voices. They were usually comedy actors who developed their comedy by doing tons of impressions and voices that were usually very funny. And I never did any of that, so that's, I guess, why I don't consider myself a voice actor.

I went to drama school in England, and you spend your first year working on the muscles surrounding the vocal mechanisms. You learn how you support it and create characters through your voice so that became an obsession. So I went to Hollywood thinking, 'Oh, I'm going to be one of the great voice-over artists.'

Doing voices is like singing and remembering songs.

I like that, in voice acting, you can play different characters than you can when you're on camera and you're limited by your physical being.

I played a very complex, multidimensional character - Piglet in 'Winnie-the-Pooh' - at age 7 in England.

It's part of an actor's equipment to project a voice.