Andy Serkis Quotes

I didn't change my voice for 'The Boondocks.'

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.

I've played American characters so many times now, it's so natural to me. But when I play American, I stay in the American accent from the minute I get the job till the minute I wrap.

You should hear the guy who dubs me in Japan. I like him the most. He has a high squeaky voice.

The voice is always the starting place for me with a character.

Voices have always been my way into a character. I usually approach the voice first.

If I'm doing a voice-over session, like animation or something, and I'm doing three different voices, you've gotta separate them. You've gotta find the different places and do your different things.

An accent always helps me ground a character. It also helps to remind me what age I'm playing.

Voice acting is very interesting, I've done several animated projects, and you have to make the voice reflect the character and try and do as much with a word as you can with a look in a live-action film.

I think when you have to train an accent, it just takes you absolutely into another spectrum of the character.

Many people think voice over artists just read, there's much more to it. Without acting beats, scene study and improving skills, you won't make it.

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

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.

I always enjoy impersonating my characters in the first-person singular.

I had to change the shape of my own voice. It was quite hard to pull off and so once I had it, I stayed in Hitchcock's voice all day on set.

To me the voice has always been the way to start any character. Once I find that, I'm good to go.

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

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 like to mumble when I act, 'cause I think it's more realistic. For some reason, the impediment has given me the accent of a Mexican gangster.

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

One of the things I learned in animation is that you never, ever want to start doing a voice that you can't sustain for four straight hours.

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

I kinda lose my mind in 'Fringe,' or at least my character does. Whenever I'm acting, I tend to accidentally become unable to switch off the character. I'm a little bit of a method actor, but without really wanting to be.

But the throat just kind of falls into line once you realize in your head what it is. You got to remember the musicality of a character you're going to do.

There's different ways of getting into character. There's what's called 'the outside,' in which is finding the physicality of the character first. To give an example, in 'Gettin' Square' - Johnny Spitieri - that's how I found that character. I knew those people that I'd seen up at Kings Cross. I knew how they sounded.