![]() Sometimes, when you’ve done an animated movie and you’ve done the voice, you’re very aware it’s your voice. It was not only a surprise, you completely lost yourself. So it must have been a big surprise, then, to see the finished film. So there was an element, I think, with Tim, to show us a little bit to inspire us, but he doesn’t want to say, “This is how it’ll be.” You’d rather say, “Wait, and you’ll see what it is.” Especially with this kind of stop-motion. ![]() But there’s a tendency, when people are working… like, I’m doing a play in New York, and I don’t want friends to even come to a preview. And then they’d show you, yes, maybe a minute. I mean, the first thing I saw was the sketch, and then maybe later on I saw the doll. And it’s conviction without being open that can be more ominous than just cliché evil.Īnd that brings an extra dimension to the character, too, that justification in their heads.ĭid you get to see any of the footage as the film was being made? Did that help with building the character? As we later found out, a lot of people suffered for that decision, and it wasn’t necessarily right. It doesn’t make them evil – it makes them convinced. There were people in your country and mine that were convinced that if you invade Iraq, then this is the smartest decision that could be made. And Mr Burgermeister is convinced, I think, that what he says is right. Those people are maybe the bad guys, but they’re not evil. A lot of people are so convinced they’re right, that they think differing opinions represent an adversary as opposed to just a differing opinion. I think what you’re trying to find is an original way to be angry. Is it quite difficult to generate that kind of anger? ![]() It’s just a different routine.įor a character like Mr Burgermeister, for example, he’s quite an angry man. And maybe, for the situation you’re in, you do a big smile, so your voice can convey a little smile. Someone might say, “Can you do that line again, and put more of a smile on it?” Well, if the camera’s on you, you just kind of smile. And if you’re alone in a studio, you’re creating what you need to create around you. One might say, “That’s much harder than being in a movie, because in a play you have to cheat out to the audience, but you can’t look like you’re cheating out.” If you’re an actor, it’s a different muscle, it’s a different situation you find yourself in. But I think it seems more like that than if you’re an actor doing it. Is there a potential for voiceover work to be quite sterile, if you’re on your own in a sound booth? ![]() ![]() They’ll say, “Do you want to try something else?” and if you say, “Can I try something?”, no one’s going to say no. It’s not like if you’re shooting in the mall, you have to be out by noon and you have to pay triple extra. But I can’t… you know, I think you’re encouraged to improvise if you’re an improviser. So you’re encouraged to improvise then, within the boundaries of your characters? But when the trust is there, you feel empowered. You have to have that trust there, I suppose. Even when they say, “That’s great!” you’re kind of going, “Is it? I’d better think before I speak.” As I say, if I’m censoring myself, it’s not the best way. When you’re worried about a director, then in a way, you’re censoring everything that you’re doing. Anything that comes out, any thought comes out, and someone’s catching the best moments, and wisely letting the bad ones go. Because I love acting and creating with someone in charge where you’re in an uncensored situation. I mean, when you get to work with an artist, you’re just very happy. ![]()
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