I don't sing the way I used to, so I'm doing everything I can to put the word out that they shouldn't expect that.
I had to get the voice back, the precise pitch of Sid's voice and I'd forgotten that I'd pitched him higher than my regular voice, so that was a little difficult to begin with. It was especially hard because we started recording in the morning so I had to warm up a lot and my usual voice is a little more gravelly.
I actually ended up going through a vocal change. It started about two years ago, and it's only been recently that I found my balance again. Vocally, I couldn't figure out what was going on. My lows were getting lower, and my highs were getting higher; everything felt weird.
I'm in a lower register because I'm not trying to shout out over a wall of amps. Singing lower sounded very pleasing to my ear, and it made it easier for me to emote.
Firstly I did it in this huge theatre in Avignon, then to smaller places, then bigger places. You have to change the volume of the voice, give more or less. The way you have to relate to space makes it like sculpture.
When we first started making videos, we didn't have a boom mic, so we had to talk really loud. And then we got a boom mic and were like, 'Wow, we're shouting,' and had to learn to bring it back.
Honestly, if the public still wants to hear me in some works, I have to go down a half step.
As long as you have a director, that's your feedback. It's the director telling you, "Okay. That was great! Okay. Can we add a little? Can you tweak it like this? Can you make it more high pitched? Can you give it a little growl?"
