John Leguizamo Quotes

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.

One day, I was taken into a room with 25 animators, all working on Sadness. They asked me a lot of questions, and they got something of the way I move into the character.

There are very few VR games with really strong characters and voice acting.

Going from 'Dexter' to 'Powerpuff,' there was a lot of dialogue, there was a lot of... you know, we did action, of course, but I was getting burned out on the words, and both shows had this big, thick black outline.

I'm a musician, and I'm fascinated with the effects of sound, and tone, and pitch and melody and all that sort of stuff. It's the first thing I have to solidify whenever...I get into a character. The first thing I need to get sorted out before I can then move forward, before I can feel any confidence whatsoever, is the voice.

I got good at trying to throw a voice on a character from the very beginning as opposed to like reading it and sitting with it and mulling over it and stuff like that just try to read what it is and then try to put a funny voice to it like as soon as possible and stuff like that. Once you get laughs with your voice then you can start thinking about, you know the physical characteristics and how they might walk or if they stick out their buck teeth or if they wear an afro and stuff like that. I think like finding the voice of the character helps to like build the wardrobe and everything else.

I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like.

The wonderful thing about the talking dog collars in 'UP' is that we were able to hear the thoughts of the dogs without moving their mouths or emoting like a human. The dogs could pant, scratch, and move the way dogs truly do. The animators studied the movements of many dogs, and we had a dog specialist come in and talk to us about dog behavior.

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.

I try not to think too much about where my voice comes from. I'm channeling characters and emotion to come up with beautiful words that tell a story.

I'll come up with an idea for a character, and I'll write some jokes and make sure that that character is going to have some legs to it - that it's really going to work. If I can come up with jokes and material that I think will work, then I make a cheap version of the doll. Achmed started out just being this little plastic toy from the store.

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

My job was to give 'The Secret Life of Pets' production team lots of options when it came to Duke. So that's what I always tried to do.

When Tim and I first discussed the part in 2003, he told me, 'I'd love for you to play five Oompas.' But five Oompas quickly turned into 165 - and they're not computerized; I did each one individually myself.

It's been an ambition of mine, before I even wanted to act, to be involved in animation.

On an animated television series, you pretty much read the script as written. Whereas on an animated feature, you'll sometimes record the same scene multiple times over the course of a year as the filmmakers continue to tweak that part of the movie.

The way a character sounds is so important to how you're going to play him.

The nice thing about animation, you don't even really have to account for yourself. All of the physical stuff that you work on as an actor, you just throw away.

I had no idea what 'Life is Strange' was going to be when I auditioned. I had no idea what 'Horizon' was going to be when I auditioned.

From the moment we started working on the first 'Wreck-It Ralph,' we knew there were so many possibilities with these characters.

Through the years, I've developed a style or a language that I like, even when it applies to action. All my action principles are very similar to my cartoony principles, because all the poses want to be really strong.

Doing an animation is nothing like anything you could ever experience. You get to be a kid again and just play dress up in a movie studio.

It was actually after I saw 'Pinocchio' that I thought I might try and work in that industry in some way.

I really wanted to create some of my own characters, then it became wanting to act the parts, then it sort of grew from there because I really enjoyed doing it.

Giving the voice and expressions to a character is giving it a soul.