Deep Roy Quotes

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

I really enjoy watching animation films and I have always been curious about how such well-established actors in Hollywood lend their voices to animation films.

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.

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.

What we do sometimes when we're in the sessions recording the dialogue is we'll set up a video camera and we'll video the whole session. So then the animator, if he wants, can draw upon those tapes to pull expressions, mouth shapes, maybe some gesturing that happens.

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.

My very first professional job was a cartoon, doing voices for the Mr. T cartoon in high school.

I love animated movies in general. I like making them.

I'm interested in animation. I actually feel like I've learned so much about the process how to make an animated movie.

As an actor, I always wondered what it would be like to watch an animated character with your voice behind it and see if it seems seamless or if it seems like your voice is isolated from the 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.

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.

The most challenging roles were Disney's 'A Christmas Carol' and 'Mars Needs Moms' because they were both motion capture, so there was a lot of physical work involved.

When I was a kid, I wanted to make movies. In particular, I loved animation and would love to have been an animator.

One of the things that motion capture and/or voice acting does is allow you to continue your career, change it, or bring a new aspect to it.

Because Naughty Dog relies on their facial team to hand animate the faces of each game character and they do such a remarkable job, I think you can be more realistic with your acting. It gives the story and what's happening to you the feeling that it's a game.

I seem to voice a lot of sweet, kind of dumb yellow characters for some reason.

I have agreed to lend my voice to Nature's Guard, an animated series which hopefully will go into production in the near future. The characters are all animals. My voice will be for a character named Longtail.

I remember when John Lasseter called me back in the late 1990s to personally invite me to come be the voice of Barbie in 'Toy Story 2.'

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.

Well, you know, I played Mufasa in the workshop of The Lion King.

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 think with animation there's a certain freedom that you're given. You don't have a thought at the back of your mind, that worry that you'll have to cut and go back to the top of the scene. You're not working with anyone else from the cast. It's just you.