Josh McDermitt Quotes

In animation, no one gets to see your face, so you can really mess up with your voice like I did 'ParaNorman;' I was a bully in that, which was so much fun to do. In 'How to Train Your Dragon,' I'm a little Viking character. So, it's kind of exciting to play these roles that you normally wouldn't get to play in a live-action movie.

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

Originally when I went off to work on 'The Lord of The Rings' I got a call from my agent saying that I was just going to do a voice. But I couldn't really approach it like that. To get Gollum's voice I had to play the character.

There's always an anxiety about playing literary characters because one of the great joys of reading books is that you can create your own vision of things.

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

The process of finding my voice as SpongeBob was to start by watching what Tom Kenny did, trying to do an impression of sorts, and then forgetting all about it and letting the voice become a second-nature thing.

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.

I prefer to be handcuffed at home. The idea of voice work to me is great fun, especially when it's a chance to do two different voices.

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

We've all read, I'm sure, a Superman book where we didn't really feel like we knew the character. Where the writer, often with the best of intentions, has tried put a personal stamp on the character, whether it be to try and make him more current, or cool, or have a broader appeal, etc.

George has only got to ring me. His imagination is so wonderful, I'd do any character he might create.

When I got the part, I tried to remember Batman as I knew him when I was a kid - with emotional recall.

I never noticed my voice. I did become aware as a little kid at camp that I liked doing accents. We'd do plays and skits, and I realized I loved speaking in voices that weren't my own.

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

The cool thing about reading is that when you read a short story or you read something that takes your mind and expands where your thoughts can go, that's powerful.

I love the freedom of voice-over and the ability to play multiple characters I could never play in real life: a hot young woman, a little boy.

It's fun to do accents; it's fun to do different periods - that's why you become an actor. Because it's fun to be a storyteller and play make-believe.

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

As an actor, whether I'm playing Othello on stage or David Estes on 'Homeland,' that ability to give into your imagination is something that I enjoy.

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'm happy to do voice-overs. I always have a good time doing them. I like to explore vocal nuance and accents and different people, different personalities. In a way, it is a lot more freeing than having your face up there.

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.

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.

When I'm playing an American, I don't play Lennie with an American accent. They're American characters who look like me, but they have different voices.

I probably became an actor because of my vivid imagination, and doing voice-over really sort of takes me back to that.