November 7, 2024 • 29 mins
Ever wondered what it takes to break into the voice acting biz? Or how Stephanie and Lin Manuel Miranda made her role as Mirabel in Encanto come alive in the recording booth? All the funny voices Mel and Steph did during their downtime on the set of Brooklyn 99? Well, thanks to a special voice note from More Better listener Archie this week, our talented hosts are sharing all that there is to know about voice acting. Let’s go!
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Episode Transcript
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Speaker 1 (00:01):
Like, lately, I'm doing like you've seen me do it.
I used to do it on set all the time.
I like pretend I would like and I'd like, do
a cigarette out of my mom. I'm like, yeah, that's
show business, kids.
Speaker 2 (00:11):
More and More Better, More and More, Got a little
bit more Better More.
Speaker 3 (00:27):
Welcome to More Better, a podcast where we stop pretending
to have it all together and embrace the journey of
becoming a little more better every.
Speaker 1 (00:34):
Day, or at least trying to. That's Stephanie Beatrice and
that's most of a Merrow. Welcome back you guys, hilcome back.
How you doing, mel You know.
Speaker 3 (00:46):
Girl, remember a few weeks ago when I was like,
I'm on point, man, I'm doing all these things.
Speaker 1 (00:54):
I'm the again Bandy Believe and I'm killing it and
you were like You're gonna get burned out. And you
were like, I don't know what I mean. And guess what.
I'm sick. Oh, you're sick.
Speaker 3 (01:06):
I'm not that sick. I just have like a cold
or it's like bad allergies. I also got sick last
week too, with either like a stomach bug or food poisoning,
so obviously my body's like chill.
Speaker 1 (01:18):
The fuck out, the fuck out? Yeah, did you get
the poops or just the bombs? I just had the nausea.
Actually no output, no output, just the best case scenario, truly,
except I felt like throwing up all day. Oh yes, ah, yes, yes,
the first three months of my pregnancy. Yes, yes, that's
(01:40):
no output, just the feeling of a feeling all day. Yeah,
tried to make myself throw up. Didn't happen. No, that's source.
I'm sorry. Yeah, I'm sorry to get graphic listeners. Hey,
how are you? You know what they're doing? They know
who we are at this point, I'm fine, Uh we are.
I'm packing up to leave Toronto. We leave tomorrow. We
(02:05):
wrapped season two of Twisted Metal. Thanks so tired. I
spent most of my day in pajamas the last two
days trying to get stuff done on my laptop or
on my phone. And uh yeah, I feel what a
great time to wrap though. I was just thinking, like
(02:27):
wrapping right before the holidays, when like things are slowing
down anyway, and there's usually not like a lot of
work starting at this time of year, Like, yeah, probably
we'll get a nice break, which I'm happy. I love
that for you. I better I was looking through my
pictures trying to find some photo of something, and you know,
(02:48):
your phone really acts like a scrap book of time.
And I was looking at stuff, going like, I just
need to stop, like it, I need to actually physically
yeah moving, and you know, and I'm in a very
lucky position where I can stop. I don't have to
work for the next month maybe, and that's wonderful. But
(03:12):
what happens is my brain goes like, what if you
run out of money? What if you die? What if?
What if? What if the worst possible thing happens and
your family is stranded about you. It's like my brain
just goes like work, work, work, work, work, you know. Yeah, no, no, no,
no no. So and you can take forward to hunkering down.
And you can hunker down. You just did two shows
(03:34):
in a row. You can hunker down. Yeah, it's time
for me to let go a little bit and take
the break. So that's what I'm doing. It's more better. Actually,
transition into my segue. Wow, my segues are getting really good.
What are you doing? It's more better lately.
Speaker 3 (03:48):
I am staying afloat.
Speaker 1 (03:54):
That's good. That's good. That's all I got. All it
sounds like maybe you're recognizing that you do need to
slow down a little bit. Maybe you can't. Yes, that's true.
Speaker 3 (04:03):
I am I think No, I yes, I and I
have slowed down the last week or so. I think
getting sick last week sort of forced me to and
then I was like, okay, let me like listen to
my body a little more.
Speaker 1 (04:17):
So Yeah, I'm listening to my body a little more,
more better. That's good. That's good. I like it more better. Okay,
So this week's topic, go ahead. Oh no, you you go, No,
you go, Mossa, Stephanie, Okay, we have a fun one today.
We have a voice note from a listener. Finally, if
(04:42):
you need help with something in your life listener and
have a suggestion for a future episode, please email us
at Morebetter Pod at gmail dot com and include a
voice note. This is our first voice note and I'm
really excited. Let's listen to it.
Speaker 4 (04:56):
Okay, Hey Stephanie, Hey Melissa. I just wanted to thank
you guys for have an ariel on the episode. It
was really awesome to hear from like a cool Hollywood
stylist type person that wearing sweatpants and a T shirt
or jeans and a T shirt is just okay. Especially
as an artist myself, I've always felt like I needed
(05:16):
to have these sort of oftentimes like uncomfortable but really
elevated outfits when really I just want something really clean, simple, practical.
And to hear that from Ariel was just like great.
It just made me feel so much more confident and
not weird, like in the style that I like. So
thank you Ariel. And one more question that I just
(05:40):
have is that I know both of you have had
voice acting experience, and I was just wondering what that's
like because I haven't really seen people talk about that
a whole lot. I've seen a lot of voice actor interviews,
but I've never seen them actually talk about the actual
like act of doing it. So I was just wondering.
Thank you, guys, and I hope you continue the More
(06:02):
Better podcast. It's really made me feel more better. Thank you.
Speaker 1 (06:05):
That's so cute. Oh my god, I I love it.
I'm so I that's adorable and I want to be friends.
Speaker 3 (06:14):
Yeah, that was such a good one. Thank you Archie
for that voice note. So yeah, we're going to talk
about voice acting today today's episode, which we've both done. Uh,
you've done a bit more, a lot more than I have.
I don't know about that.
Speaker 1 (06:28):
We've both done quite a bit. We're very again, we're
very lucky, hash.
Speaker 3 (06:32):
Very lucky, bless What how how about you? Because I
don't know that I know this? What how was your
What was your journey with voice acting?
Speaker 2 (06:44):
Like?
Speaker 1 (06:44):
What was first time you did?
Speaker 2 (06:46):
Was it?
Speaker 1 (06:47):
During Brooklyn? When I was a kid, I had this
Fisher Price. It was brown and it was It had
a handle on the top and you could put a
blank tape in it and you could press record, could
play fast, forward, rewind and stop, obviously, but there was
a record option, and I would eat up blank tapes.
(07:07):
My dad would buy like a bunch of blank tapes
and give them to me, and I would pretend to
do like radio shows, like old style radio shows, and
I would do different characters. I would interview myself, I
would do commercials like I At one point I remember
taping over music that I had bought, or my dad
(07:28):
had bought, or somebody had bought music, and I was
taping over the music because I'd ran out of blank tapes.
But like, I remember wanting to do it from the
time that I was a little kid, little kid, so cool.
Speaker 3 (07:39):
I don't think I even had like really an awareness
about it, which is so weird because it's such a
heighten awareness around acting.
Speaker 1 (07:48):
Theater and acting lead and TV.
Speaker 3 (07:50):
But like for some reason, not radio necessarily, or animation
or just voice acting, I think in general, until I
was older, I think that's so cool that you did
that as a kid.
Speaker 1 (08:03):
I mean, I watched so much animation when I was
a kid. I watched those animated Disney movies like I
can quote them. I can. I mean, it's very annoying
to listen or watch those old ones with me, because
it is. It's a lot. And I watched a lot
of cartoons as a kid, too, like I watched the
old like. I mean, I just watched. I consumed a
(08:26):
lot of that stuff. And I knew in the way
that I didn't really understand acting as was like a
job until I was a little bit older, probably like
middle school, kind of understood it more. But because I
wasn't I didn't grow up on the East Coast. I
didn't see plays, it wasn't, you know, I didn't have
access to that world that way. But cartoons I understood
there must be somebody doing that voice. I didn't exactly
(08:46):
know like all the parameters around. I didn't know there
was Mike's and booths and stuff like that, but I
knew and and I think I had seen some kind
of special on TV that was like, you know, the
Magic of Disney or something, and they showed some of
the actors in the booth. So when I remember seeing
(09:07):
video of Jodie Benson in the sound booth singing part
of your World, and I was like, oh, well, that's
that's for me. That's clearly what I was. I also
like remember Mulan, particularly the the who is That Girl?
(09:29):
I see what is the song that song called? You
know what I'm talking about? Oh yeah, yeah, yeah, yeah Reflection.
I would go inside our bathroom, close the door, turn
the lights down, and sing reflection to myself in the
mirror until I cried, like I was fully having like
acting like so I was unbeknownst to myself. I was
(09:52):
like training for it from the time that I was
a kid. I would just I just loved it. I
loved it. And then what was your first thing? Like
how did you break in? You know? I think it
was because of Brooklyn nine nine. I think some people
saw that show and saw that you're doing the voice well,
or that that was the voice that I had, and
(10:12):
so I got hired to do stuff with maybe that
in mind. And then when I was in the booth
finally like actually doing like first recordings and stuff, I
would like, you know, I'd show up and be like hi,
so they knew it was very different than Rosa, and
then I would sort of try to plant seeds of like,
(10:33):
you know, I do a lot of other stuff, like
I can do a lot of other stuff, like I
could do this or that or whatever. So they call
me whenever you need Mouren Bouchard was actually one of
the first people that gave me a break on Bob's Burgers,
and I had watched his animated show Home Movies, and
I loved, love, loved their stuff. That was the first
(10:54):
I think that was the first one of the first
things I did, Yeah, was that. And then you know
what kind of what it hard about voiceover work is
that it's hard to start, Like it's hard to get
ye first one. But then once you have that first one,
it's easier to get because people go, oh, it's just
like directing, like yeah, once you do it once people
are like, oh, you know what you're doing. Yeah, totally, yeah. Agree.
(11:27):
What was your first?
Speaker 3 (11:28):
Do you remember my So, my very first was in
my early twenties with my first the first agency I
was with in New York. They were mostly a commercial agency,
but they had a theatrical department, so they did get
me for acting, but their commercial side was really big,
(11:51):
and so they sort of just it was like automatically,
I was, you know, in the commercial thing, and they
just like put me in voiceover and sent me out
on auditions like off the Bath. Uh, and I booked
a couple I think I wanted to say I booked
a commercial. And then I did book an animated show,
(12:11):
but it ended up being non union.
Speaker 1 (12:14):
Oh.
Speaker 3 (12:14):
And so then I got that weird call where they
were like, hey, I don't know how this one slipped through,
but like you can't do this because it's non union.
Speaker 1 (12:24):
And I was like, oh no, oh, no, I got it.
I can't do it.
Speaker 3 (12:28):
And I was really bummed because I was really yeah,
I was like somebody fucked up or something.
Speaker 1 (12:31):
I don't know, somebody missed something.
Speaker 3 (12:34):
And I was bummed because I was really excited to
do an animated show. And then I realized, oh, my god,
this is I really like this. Yeah, And then I
switched agencies and then I moved to LA and then
I couldn't get I would tell them, hey, I was
doing voiceover in New York with this other agency and
(12:56):
I really liked it, and I booked a couple things,
and what kind of at the run around a little
bit of like okay, and then like nothing, and I
was just like what.
Speaker 1 (13:09):
I submit. I don't know. I don't know if it's
like maybe it's hard to get us submitted for things
when we've never done it before. Maybe I don't know.
Speaker 3 (13:17):
But nobody even was like Okay, make a reel or
like maybe I had to also just like have more
gumption at that time and like take things more into
my own hands and like I kind of made a reel.
I could have like pursued it more, but I was
just sort of like Marry, like I was sort of
annoyed by it weirdly. And then I remember when we
(13:38):
did Brooklyn. I actually remember Andy a couple of times
being like, do you do voiceover like you should do,
because you know I would just mess around, fuck around
on set Wallwood, you and I both would we do
our stupid voices.
Speaker 1 (13:51):
And uh.
Speaker 3 (13:54):
And then I think after like the second or third
time that he asked me, I was like, you know what, I'm.
Speaker 1 (13:58):
Gonna say something to my age. Sometimes you just need
that encouragement for your friends. Yeah. That was like when
you were like, you better audition for in the Heights,
I was like, I'm not a singer, and you like,
you better fucking audition for shit. You're so pushy about it.
Speaker 3 (14:14):
I really was listener, She's not actually exaggerated, but that's
the reason I got it.
Speaker 1 (14:18):
I kind of yelled at her. I wouldn't never have
auditioned for us. Sometimes you just need that friend. It's like, hey,
you're actually good at this, you need to should do it.
You should do that. Yeah, and then yeah, that's what
Andy did for you, and that that's what Andy did,
and it was it was really great. And then the first,
I think, I want to say, Modoc was the first
I feel like bigger thing that kinda then got me
(14:39):
all these other jobs. And that was pat Oswald and Jordan.
That was a big deal. That was a big deal.
Speaker 3 (14:46):
Yeah, and they later told me that they sort of
like had me in mind for it, But I still
like I auditioned I had to send in like a
bunch of tapes.
Speaker 1 (14:57):
And it was just really fun.
Speaker 3 (15:00):
Yeah, that's awesome and so and now I love that
it's become Yeah, another thing that I do, and I
feel like, but I also feel like I've learned so much.
I love my favorite thing, and I want to know
if this is one of your favorite things. My favorite
thing is when I book something and they have a
few of the voice actors in the booth at the
(15:20):
same time and there's someone who's done it forever, because
those are the people I learn from the most. They
have all these like weird, cool tricks that they do,
you know, like like some of them will like make
sounds before they say a line, or some of them
will like you know, really use their body, which was
(15:42):
something I definitely like picked up for myself.
Speaker 1 (15:45):
Or like right, like, they have all these kind of things.
Speaker 3 (15:50):
Depending on the line, they might do something to like
gear up into it that isn't necessarily something you would
do for on camera, but for voice acting.
Speaker 1 (15:58):
Really helps and I just I love watching those guys.
Speaker 3 (16:02):
They're like two masters of that particular craft and it's
really cool to watch.
Speaker 1 (16:07):
Yeah, I feel like, you know, I haven't gotten the
experience to do much in the same room with people.
Although the first the first maybe two times that I
did Bob's there were people that we were all in
the same room together, all on mice, and that was
really nice because the improvisation that was happening, we could
just overlap a little bit and like it didn't matter.
(16:30):
You weren't just alone sort of, you know, most of
the time, if you don't know anything about voice over acting,
most of the time you are by yourself in a booth.
It could be very small, but it's you and a
music stand with your script and a microphone and headphones,
and then everybody else is in another room that's like
(16:50):
across from you through a window, and you're kind of
isolated in there. So it's really lucky when, like you're saying,
there are other actors in the same space with you,
because you can visually learn from them and see what
they're doing, and you can like play off their performance
and you can, you know, like you said, learn from them.
I have spent more time, I think alone in the booth.
(17:12):
But because I'm alone, my child like and I say
childlike because like I think childlike, child pretend is so free.
It's ultimately way freer than any pretend that we will
ever be able to do as adults, because we're just
looking at it through the mesh of adulthood and our
(17:34):
insecurities and our vulnerabilities, and people are watching me and
they're listening to me. And so when you're alone in
the booth, and maybe you're lucky enough to have, you know,
a booth that isolates you in a way that you
can still obviously you can still hear everybody through your headphones,
but you really are alone in the space, then I mean,
(17:56):
I think I recorded most of a Gunho with my
eyes closed, because I saw so many of the images
they would show me, you know, like this is the
part we're recording today, and then they would show me
the storyboards, and so I could see it in my mind,
and I would close my eyes and I could see
the characters, and I could see the world, and I
could see everybody that was talking to me. And so
I inhabited it physically in a way that helped me
(18:19):
free my voice into that character, into that fifteen year
old girl, you know. Yeah, And there was this camera
what they call it, but like there's this big bar
that it looked like an upside down you okay, And
(18:42):
it had these like it was very heavy. I think
at one point they might have bolted into the floor,
but it was the poll like a pull bar, and
so like for all of the the stuff you know,
like where you're like, oh like that, like I would
actually pull up on the bar or like yank on
the bar. It was so helpful. Oh my god, yeah,
that's so helpful. It was incredible, Like and now it's
(19:04):
easier for me to do that stuff. But like it
definitely sounds more real when you're actually when you're trying
to yank something right, and then like you know, stuff
like you just feel so free to do stuff like
when you're running, you know, running in place and not
feeling dumb about being like you know, like breathing into
(19:25):
the you know, like it you just go for it
in a way that I think at least I try
to pull some of that into my work on film sets,
TV sets and stuff. But sometimes you really do need
to look you know, elegant or put together or you
know whatever in the moment, and you you maybe the
(19:48):
physical thing doesn't really match like what you need to
look like on screen. So like does that make sense?
You know what I mean.
Speaker 3 (19:54):
Yeah, yeah, yeah, yeah, yah yeah it does because I
think in voice acting everything is like a tiny bit
heightened because trying to convey so much more through your voice,
and so you will do something. Sometimes it is something
physical that you have to do that doesn't necessarily match
what you're saying or the intention, but like that's what
you need to do to get the right sound or
(20:18):
emotion through and on set you would just feel really
fucking dumb doing it. Kind of yeah, that's there is
something about when you're in the booth by yourself.
Speaker 1 (20:29):
You know, and sometimes it is about sound, right, Like
sometimes it's like, yeah, I remember one of our directors
from Angantha was trying to get me to make this
sound and he was like, you know, like like make
He was specifically trying to get me go like that,
and I was like, oh, in my mind, I thought like, oh, okay,
so make a sound sort of like that, make a
(20:52):
make the expression of like exhaustion or like frustration kind
of like tired of it, over it. And I tried
all these things and he was like, literally, I just
want you to put your lips together and then like
like let the breath out, right, because in his mind,
he had something very specific that he wanted and you
can see it. It's that take in the film where
she sits down in her bed and like leans back
(21:13):
and goes like, it's that take that he wanted. And
I tried like a million things. Sometimes it's just the
sound that they have in their mind matched to an
image that they've been working on. You know, they know more.
Speaker 3 (21:26):
A little more intimately than they do sometimes because they've
been working on it for five years and you have
to trust them that.
Speaker 1 (21:33):
Yeah.
Speaker 3 (21:33):
Thing is like I find this a lot with like
sound effects, like sounds like you just described where it
gets very technical and.
Speaker 1 (21:41):
It's very technical.
Speaker 3 (21:42):
Yeah, even if you do one that in your mind
feels right right intention it doesn't sound right. It doesn't
write to them like the thing to them, and you
have to like just figure out the technicality of that
specific sound.
Speaker 1 (21:57):
And it's interesting. Lynn said something similar. Linn Manuel Miranda
said something similar about Welcome to the Family. Madriuel. He
was like I kept doing like let's go, you know,
Like I was like, let's go. He was like no, No,
like let's go. Like, yeah, you really wanted a very
(22:18):
specific thing, and it becomes your job as a voice
over actor, and you get hired more and more if
you can give the thing that they want, right, Like,
if they have a very specific thing in mind, it's
your job to go, how can I give them that
very specific thing while still remaining like feeling honest about it. Yeah, yeah,
And so like that becomes your job. Is like marrying
(22:40):
those two things and kind of trying to find you know,
and also it's your job. On the other the flip
side of that is also to bring things that maybe
they hadn't even thought about, you know, like to bring
your own creativity and to bring stuff that they would
never have done until you were in the room you specifically,
that's yeah, that's the other thing about voice overacting. It's
really fun because like people can sound like each other
(23:02):
for sure, But I do think it's like a combination
of the fingerprint of your individual personality and the voice
that you're doing and the script. It's like all those
things combined makes them for a very like specific performance.
Speaker 3 (23:20):
Have you had because this has happened to me a lot,
and it's always embarrassing every time, and it's hilarious to me. Uh,
where you like come in for something and usually I
mean usually this is like an offer situation, so a
very nice offer situation where like you did an audition
and so you just kind of like go in.
Speaker 1 (23:39):
You're like, oh my god, it's so nice.
Speaker 3 (23:40):
They want me to be here, and you like get
your your audition, your sides or whatever, and you get
an idea and like I've gone in and like done
a voice and they go, oh no, no, no, no, we
just we just want your voice.
Speaker 1 (23:59):
Most of the time. Actually, no, I get your answer.
Was I honestly get like, oh, can you do like
a more like a gravelly or like like a tougher
you know, like oh.
Speaker 3 (24:11):
Like closing, yeah, like that's so funny, like grittier or
like I think honestly could show.
Speaker 1 (24:19):
Those kind of lower voices a lot in your stuff.
I think the first time that somebody was like I
think it was in Ganto where they were like, you know,
you know, like sometimes it would have to tell me
like don't let it go into your lower register, like
try not to let it go there, but like mostly
do your own voice, like do you do you don't
(24:41):
try to get it up higher or anything like that,
Like just sit in the place that's normal for you.
And I was like, really show my reaction? Really sure
that because I've heard it and it's pretty nasal.
Speaker 3 (25:00):
Is there anything about voice acting that you want that
you think you like, specifically want to get better at
more better?
Speaker 1 (25:07):
Oh my god, Yeah, I want to get better at
having a more Like I think I want to get
better at having a bigger library of voices to choose from,
you know what I mean, Like like lately I'm doing
like you see me do it. I used to do
it on set all the time. I'd like pretend that
(25:27):
I would like and I'd like do a cigarette out
of my I'm like, yeah, that's show business kits. Like
I want more like in my repertoire, Like yeah, and
I probably just need a little time by myself with
my voice note recorder on my phone to like dick around.
But I don't have time, you know. Yeah, but I
wish I had more of a repertoire. What about you?
Speaker 3 (25:46):
Yeah, I think similarly. I think, Yeah, I think I
just want to do more of it, And yeah, I
have have more of a range. I feel like there's
right now just kind of like a few voices that
have been go tos.
Speaker 1 (26:02):
You know, it helps a lot weirdly reading books to
my kid. Yes, you know what I mean, Like you do,
you do a lot of I do a lot of accents,
shitty accents. She doesn't know. You know that it's a
shitty accent. And then they want it every fucking, every
fucking time, and then that sometimes I'm like, I don't
want to read the books tonight because it's like a
one woman show for an hour and a half of
(26:24):
reading books. Same.
Speaker 3 (26:26):
I always wonder if other actors feel like this. I'm
not getting pale. Sometimes I delay this all day today.
I don't want to do it to perform for you.
Speaker 1 (26:36):
I'm just so tired right now. I'm so sorry. Yeah.
I think most parents feel that way, but the actors
specifically have a like we feel the need to like
do the voices or do the you know, before the
sudden sets. On her sixteenth, we're reading Sleeping Beauty and
I did the whole poison. Now ros is like, do
(26:56):
it again. I'm like, my god, okay, but I mean,
like that's the stuff that like stuck in my mind
as a kid. Though it really affected me, those like
those voices that were like whoa, that is a scary bitch,
like she's scary. Yeah, yeah, I love that.
Speaker 2 (27:13):
More Better.
Speaker 1 (27:15):
This was fun to talk about. This was fun to
talk about.
Speaker 3 (27:18):
Thanks for the suggestion, Archie, Oh, Archie, we hope this
helped make a bunch of voice notes.
Speaker 1 (27:23):
Archie. Just fuck around.
Speaker 3 (27:25):
Yeah, just get creative, find your voice. You can always
make there's places you can go. I mean, I think
you have to pay money, but also if you're tech savvy,
you can make your own real a voice stuff. Yeah,
if you're trying to break in, most.
Speaker 1 (27:40):
Laptops come with the garage band already in them, and
you can just stick on a little mic that you
get from Amazon and start to dick around and see
what you come up with. Yeah.
Speaker 3 (27:53):
So we hope you enjoyed it. Yeah, we'll see y'all
next time.
Speaker 1 (27:58):
Yeah, bye bye, More Better. Do you have something you'd
like to be more better at that you want us
to talk about in a future episode.
Speaker 3 (28:07):
Can you relate to our struggles or have you tried
one of our tips and tricks?
Speaker 1 (28:10):
Shoot us your thoughts and ideas at Morebetter pod at
gmail dot com and include a voice note if you
want to be featured on the pod. Ooh, More Better
with Stephanie Melissa is a production from Wvsound and iHeartMedia's
Mikultura podcast network, hosted by Me, Stephanie Beatriz, and Melissa
KUMERA More Better is produced by Isis Madrid, Leo Clem,
and Sophie Spencer Zabos. Our executive producers are Wilmer Valderrama
(28:34):
and Leo Clem at wvsound. This episode was edited by
Isis Madrid and engineered by Sean Tracy and features original
music by Madison Davenport and Hey Loo Boy.
Speaker 3 (28:44):
Our cover art is by Vincent Remis and photography by
David Avalos. For more podcasts from iHeart, visit the iHeartRadio app,
Apple Podcasts, or wherever you listen to your favorite shows.
Speaker 1 (28:54):
See you next week. Saga Bye, Allan Tokitomas Mayhor
Like, lately, I'm doing like you've seen me do it.
I used to do it on set all the time.
I like pretend I would like and I'd like, do
a cigarette out of my mom. I'm like, yeah, that's
show business, kids.
Speaker 2 (00:11):
More and More Better, More and More, Got a little
bit more Better More.
Speaker 3 (00:27):
Welcome to More Better, a podcast where we stop pretending
to have it all together and embrace the journey of
becoming a little more better every.
Speaker 1 (00:34):
Day, or at least trying to. That's Stephanie Beatrice and
that's most of a Merrow. Welcome back you guys, hilcome back.
How you doing, mel You know.
Speaker 3 (00:46):
Girl, remember a few weeks ago when I was like,
I'm on point, man, I'm doing all these things.
Speaker 1 (00:54):
I'm the again Bandy Believe and I'm killing it and
you were like You're gonna get burned out. And you
were like, I don't know what I mean. And guess what.
I'm sick. Oh, you're sick.
Speaker 3 (01:06):
I'm not that sick. I just have like a cold
or it's like bad allergies. I also got sick last
week too, with either like a stomach bug or food poisoning,
so obviously my body's like chill.
Speaker 1 (01:18):
The fuck out, the fuck out? Yeah, did you get
the poops or just the bombs? I just had the nausea.
Actually no output, no output, just the best case scenario, truly,
except I felt like throwing up all day. Oh yes, ah, yes, yes,
the first three months of my pregnancy. Yes, yes, that's
(01:40):
no output, just the feeling of a feeling all day. Yeah,
tried to make myself throw up. Didn't happen. No, that's source.
I'm sorry. Yeah, I'm sorry to get graphic listeners. Hey,
how are you? You know what they're doing? They know
who we are at this point, I'm fine, Uh we are.
I'm packing up to leave Toronto. We leave tomorrow. We
(02:05):
wrapped season two of Twisted Metal. Thanks so tired. I
spent most of my day in pajamas the last two
days trying to get stuff done on my laptop or
on my phone. And uh yeah, I feel what a
great time to wrap though. I was just thinking, like
(02:27):
wrapping right before the holidays, when like things are slowing
down anyway, and there's usually not like a lot of
work starting at this time of year, Like, yeah, probably
we'll get a nice break, which I'm happy. I love
that for you. I better I was looking through my
pictures trying to find some photo of something, and you know,
(02:48):
your phone really acts like a scrap book of time.
And I was looking at stuff, going like, I just
need to stop, like it, I need to actually physically
yeah moving, and you know, and I'm in a very
lucky position where I can stop. I don't have to
work for the next month maybe, and that's wonderful. But
(03:12):
what happens is my brain goes like, what if you
run out of money? What if you die? What if?
What if? What if the worst possible thing happens and
your family is stranded about you. It's like my brain
just goes like work, work, work, work, work, you know. Yeah, no, no, no,
no no. So and you can take forward to hunkering down.
And you can hunker down. You just did two shows
(03:34):
in a row. You can hunker down. Yeah, it's time
for me to let go a little bit and take
the break. So that's what I'm doing. It's more better. Actually,
transition into my segue. Wow, my segues are getting really good.
What are you doing? It's more better lately.
Speaker 3 (03:48):
I am staying afloat.
Speaker 1 (03:54):
That's good. That's good. That's all I got. All it
sounds like maybe you're recognizing that you do need to
slow down a little bit. Maybe you can't. Yes, that's true.
Speaker 3 (04:03):
I am I think No, I yes, I and I
have slowed down the last week or so. I think
getting sick last week sort of forced me to and
then I was like, okay, let me like listen to
my body a little more.
Speaker 1 (04:17):
So Yeah, I'm listening to my body a little more,
more better. That's good. That's good. I like it more better. Okay,
So this week's topic, go ahead. Oh no, you you go, No,
you go, Mossa, Stephanie, Okay, we have a fun one today.
We have a voice note from a listener. Finally, if
(04:42):
you need help with something in your life listener and
have a suggestion for a future episode, please email us
at Morebetter Pod at gmail dot com and include a
voice note. This is our first voice note and I'm
really excited. Let's listen to it.
Speaker 4 (04:56):
Okay, Hey Stephanie, Hey Melissa. I just wanted to thank
you guys for have an ariel on the episode. It
was really awesome to hear from like a cool Hollywood
stylist type person that wearing sweatpants and a T shirt
or jeans and a T shirt is just okay. Especially
as an artist myself, I've always felt like I needed
(05:16):
to have these sort of oftentimes like uncomfortable but really
elevated outfits when really I just want something really clean, simple, practical.
And to hear that from Ariel was just like great.
It just made me feel so much more confident and
not weird, like in the style that I like. So
thank you Ariel. And one more question that I just
(05:40):
have is that I know both of you have had
voice acting experience, and I was just wondering what that's
like because I haven't really seen people talk about that
a whole lot. I've seen a lot of voice actor interviews,
but I've never seen them actually talk about the actual
like act of doing it. So I was just wondering.
Thank you, guys, and I hope you continue the More
(06:02):
Better podcast. It's really made me feel more better. Thank you.
Speaker 1 (06:05):
That's so cute. Oh my god, I I love it.
I'm so I that's adorable and I want to be friends.
Speaker 3 (06:14):
Yeah, that was such a good one. Thank you Archie
for that voice note. So yeah, we're going to talk
about voice acting today today's episode, which we've both done. Uh,
you've done a bit more, a lot more than I have.
I don't know about that.
Speaker 1 (06:28):
We've both done quite a bit. We're very again, we're
very lucky, hash.
Speaker 3 (06:32):
Very lucky, bless What how how about you? Because I
don't know that I know this? What how was your
What was your journey with voice acting?
Speaker 2 (06:44):
Like?
Speaker 1 (06:44):
What was first time you did?
Speaker 2 (06:46):
Was it?
Speaker 1 (06:47):
During Brooklyn? When I was a kid, I had this
Fisher Price. It was brown and it was It had
a handle on the top and you could put a
blank tape in it and you could press record, could
play fast, forward, rewind and stop, obviously, but there was
a record option, and I would eat up blank tapes.
(07:07):
My dad would buy like a bunch of blank tapes
and give them to me, and I would pretend to
do like radio shows, like old style radio shows, and
I would do different characters. I would interview myself, I
would do commercials like I At one point I remember
taping over music that I had bought, or my dad
(07:28):
had bought, or somebody had bought music, and I was
taping over the music because I'd ran out of blank tapes.
But like, I remember wanting to do it from the
time that I was a little kid, little kid, so cool.
Speaker 3 (07:39):
I don't think I even had like really an awareness
about it, which is so weird because it's such a
heighten awareness around acting.
Speaker 1 (07:48):
Theater and acting lead and TV.
Speaker 3 (07:50):
But like for some reason, not radio necessarily, or animation
or just voice acting, I think in general, until I
was older, I think that's so cool that you did
that as a kid.
Speaker 1 (08:03):
I mean, I watched so much animation when I was
a kid. I watched those animated Disney movies like I
can quote them. I can. I mean, it's very annoying
to listen or watch those old ones with me, because
it is. It's a lot. And I watched a lot
of cartoons as a kid, too, like I watched the
old like. I mean, I just watched. I consumed a
(08:26):
lot of that stuff. And I knew in the way
that I didn't really understand acting as was like a
job until I was a little bit older, probably like
middle school, kind of understood it more. But because I
wasn't I didn't grow up on the East Coast. I
didn't see plays, it wasn't, you know, I didn't have
access to that world that way. But cartoons I understood
there must be somebody doing that voice. I didn't exactly
(08:46):
know like all the parameters around. I didn't know there
was Mike's and booths and stuff like that, but I
knew and and I think I had seen some kind
of special on TV that was like, you know, the
Magic of Disney or something, and they showed some of
the actors in the booth. So when I remember seeing
(09:07):
video of Jodie Benson in the sound booth singing part
of your World, and I was like, oh, well, that's
that's for me. That's clearly what I was. I also
like remember Mulan, particularly the the who is That Girl?
(09:29):
I see what is the song that song called? You
know what I'm talking about? Oh yeah, yeah, yeah, yeah Reflection.
I would go inside our bathroom, close the door, turn
the lights down, and sing reflection to myself in the
mirror until I cried, like I was fully having like
acting like so I was unbeknownst to myself. I was
(09:52):
like training for it from the time that I was
a kid. I would just I just loved it. I
loved it. And then what was your first thing? Like
how did you break in? You know? I think it
was because of Brooklyn nine nine. I think some people
saw that show and saw that you're doing the voice well,
or that that was the voice that I had, and
(10:12):
so I got hired to do stuff with maybe that
in mind. And then when I was in the booth
finally like actually doing like first recordings and stuff, I
would like, you know, I'd show up and be like hi,
so they knew it was very different than Rosa, and
then I would sort of try to plant seeds of like,
(10:33):
you know, I do a lot of other stuff, like
I can do a lot of other stuff, like I
could do this or that or whatever. So they call
me whenever you need Mouren Bouchard was actually one of
the first people that gave me a break on Bob's Burgers,
and I had watched his animated show Home Movies, and
I loved, love, loved their stuff. That was the first
(10:54):
I think that was the first one of the first
things I did, Yeah, was that. And then you know
what kind of what it hard about voiceover work is
that it's hard to start, Like it's hard to get
ye first one. But then once you have that first one,
it's easier to get because people go, oh, it's just
like directing, like yeah, once you do it once people
are like, oh, you know what you're doing. Yeah, totally, yeah. Agree.
(11:27):
What was your first?
Speaker 3 (11:28):
Do you remember my So, my very first was in
my early twenties with my first the first agency I
was with in New York. They were mostly a commercial agency,
but they had a theatrical department, so they did get
me for acting, but their commercial side was really big,
(11:51):
and so they sort of just it was like automatically,
I was, you know, in the commercial thing, and they
just like put me in voiceover and sent me out
on auditions like off the Bath. Uh, and I booked
a couple I think I wanted to say I booked
a commercial. And then I did book an animated show,
(12:11):
but it ended up being non union.
Speaker 1 (12:14):
Oh.
Speaker 3 (12:14):
And so then I got that weird call where they
were like, hey, I don't know how this one slipped through,
but like you can't do this because it's non union.
Speaker 1 (12:24):
And I was like, oh no, oh, no, I got it.
I can't do it.
Speaker 3 (12:28):
And I was really bummed because I was really yeah,
I was like somebody fucked up or something.
Speaker 1 (12:31):
I don't know, somebody missed something.
Speaker 3 (12:34):
And I was bummed because I was really excited to
do an animated show. And then I realized, oh, my god,
this is I really like this. Yeah, And then I
switched agencies and then I moved to LA and then
I couldn't get I would tell them, hey, I was
doing voiceover in New York with this other agency and
(12:56):
I really liked it, and I booked a couple things,
and what kind of at the run around a little
bit of like okay, and then like nothing, and I
was just like what.
Speaker 1 (13:09):
I submit. I don't know. I don't know if it's
like maybe it's hard to get us submitted for things
when we've never done it before. Maybe I don't know.
Speaker 3 (13:17):
But nobody even was like Okay, make a reel or
like maybe I had to also just like have more
gumption at that time and like take things more into
my own hands and like I kind of made a reel.
I could have like pursued it more, but I was
just sort of like Marry, like I was sort of
annoyed by it weirdly. And then I remember when we
(13:38):
did Brooklyn. I actually remember Andy a couple of times
being like, do you do voiceover like you should do,
because you know I would just mess around, fuck around
on set Wallwood, you and I both would we do
our stupid voices.
Speaker 1 (13:51):
And uh.
Speaker 3 (13:54):
And then I think after like the second or third
time that he asked me, I was like, you know what, I'm.
Speaker 1 (13:58):
Gonna say something to my age. Sometimes you just need
that encouragement for your friends. Yeah. That was like when
you were like, you better audition for in the Heights,
I was like, I'm not a singer, and you like,
you better fucking audition for shit. You're so pushy about it.
Speaker 3 (14:14):
I really was listener, She's not actually exaggerated, but that's
the reason I got it.
Speaker 1 (14:18):
I kind of yelled at her. I wouldn't never have
auditioned for us. Sometimes you just need that friend. It's like, hey,
you're actually good at this, you need to should do it.
You should do that. Yeah, and then yeah, that's what
Andy did for you, and that that's what Andy did,
and it was it was really great. And then the first,
I think, I want to say, Modoc was the first
I feel like bigger thing that kinda then got me
(14:39):
all these other jobs. And that was pat Oswald and Jordan.
That was a big deal. That was a big deal.
Speaker 3 (14:46):
Yeah, and they later told me that they sort of
like had me in mind for it, But I still
like I auditioned I had to send in like a
bunch of tapes.
Speaker 1 (14:57):
And it was just really fun.
Speaker 3 (15:00):
Yeah, that's awesome and so and now I love that
it's become Yeah, another thing that I do, and I
feel like, but I also feel like I've learned so much.
I love my favorite thing, and I want to know
if this is one of your favorite things. My favorite
thing is when I book something and they have a
few of the voice actors in the booth at the
(15:20):
same time and there's someone who's done it forever, because
those are the people I learn from the most. They
have all these like weird, cool tricks that they do,
you know, like like some of them will like make
sounds before they say a line, or some of them
will like you know, really use their body, which was
(15:42):
something I definitely like picked up for myself.
Speaker 1 (15:45):
Or like right, like, they have all these kind of things.
Speaker 3 (15:50):
Depending on the line, they might do something to like
gear up into it that isn't necessarily something you would
do for on camera, but for voice acting.
Speaker 1 (15:58):
Really helps and I just I love watching those guys.
Speaker 3 (16:02):
They're like two masters of that particular craft and it's
really cool to watch.
Speaker 1 (16:07):
Yeah, I feel like, you know, I haven't gotten the
experience to do much in the same room with people.
Although the first the first maybe two times that I
did Bob's there were people that we were all in
the same room together, all on mice, and that was
really nice because the improvisation that was happening, we could
just overlap a little bit and like it didn't matter.
(16:30):
You weren't just alone sort of, you know, most of
the time, if you don't know anything about voice over acting,
most of the time you are by yourself in a booth.
It could be very small, but it's you and a
music stand with your script and a microphone and headphones,
and then everybody else is in another room that's like
(16:50):
across from you through a window, and you're kind of
isolated in there. So it's really lucky when, like you're saying,
there are other actors in the same space with you,
because you can visually learn from them and see what
they're doing, and you can like play off their performance
and you can, you know, like you said, learn from them.
I have spent more time, I think alone in the booth.
(17:12):
But because I'm alone, my child like and I say
childlike because like I think childlike, child pretend is so free.
It's ultimately way freer than any pretend that we will
ever be able to do as adults, because we're just
looking at it through the mesh of adulthood and our
(17:34):
insecurities and our vulnerabilities, and people are watching me and
they're listening to me. And so when you're alone in
the booth, and maybe you're lucky enough to have, you know,
a booth that isolates you in a way that you
can still obviously you can still hear everybody through your headphones,
but you really are alone in the space, then I mean,
(17:56):
I think I recorded most of a Gunho with my
eyes closed, because I saw so many of the images
they would show me, you know, like this is the
part we're recording today, and then they would show me
the storyboards, and so I could see it in my mind,
and I would close my eyes and I could see
the characters, and I could see the world, and I
could see everybody that was talking to me. And so
I inhabited it physically in a way that helped me
(18:19):
free my voice into that character, into that fifteen year
old girl, you know. Yeah, And there was this camera
what they call it, but like there's this big bar
that it looked like an upside down you okay, And
(18:42):
it had these like it was very heavy. I think
at one point they might have bolted into the floor,
but it was the poll like a pull bar, and
so like for all of the the stuff you know,
like where you're like, oh like that, like I would
actually pull up on the bar or like yank on
the bar. It was so helpful. Oh my god, yeah,
that's so helpful. It was incredible, Like and now it's
(19:04):
easier for me to do that stuff. But like it
definitely sounds more real when you're actually when you're trying
to yank something right, and then like you know, stuff
like you just feel so free to do stuff like
when you're running, you know, running in place and not
feeling dumb about being like you know, like breathing into
(19:25):
the you know, like it you just go for it
in a way that I think at least I try
to pull some of that into my work on film sets,
TV sets and stuff. But sometimes you really do need
to look you know, elegant or put together or you
know whatever in the moment, and you you maybe the
(19:48):
physical thing doesn't really match like what you need to
look like on screen. So like does that make sense?
You know what I mean.
Speaker 3 (19:54):
Yeah, yeah, yeah, yeah, yah yeah it does because I
think in voice acting everything is like a tiny bit
heightened because trying to convey so much more through your voice,
and so you will do something. Sometimes it is something
physical that you have to do that doesn't necessarily match
what you're saying or the intention, but like that's what
you need to do to get the right sound or
(20:18):
emotion through and on set you would just feel really
fucking dumb doing it. Kind of yeah, that's there is
something about when you're in the booth by yourself.
Speaker 1 (20:29):
You know, and sometimes it is about sound, right, Like
sometimes it's like, yeah, I remember one of our directors
from Angantha was trying to get me to make this
sound and he was like, you know, like like make
He was specifically trying to get me go like that,
and I was like, oh, in my mind, I thought like, oh, okay,
so make a sound sort of like that, make a
(20:52):
make the expression of like exhaustion or like frustration kind
of like tired of it, over it. And I tried
all these things and he was like, literally, I just
want you to put your lips together and then like
like let the breath out, right, because in his mind,
he had something very specific that he wanted and you
can see it. It's that take in the film where
she sits down in her bed and like leans back
(21:13):
and goes like, it's that take that he wanted. And
I tried like a million things. Sometimes it's just the
sound that they have in their mind matched to an
image that they've been working on. You know, they know more.
Speaker 3 (21:26):
A little more intimately than they do sometimes because they've
been working on it for five years and you have
to trust them that.
Speaker 1 (21:33):
Yeah.
Speaker 3 (21:33):
Thing is like I find this a lot with like
sound effects, like sounds like you just described where it
gets very technical and.
Speaker 1 (21:41):
It's very technical.
Speaker 3 (21:42):
Yeah, even if you do one that in your mind
feels right right intention it doesn't sound right. It doesn't
write to them like the thing to them, and you
have to like just figure out the technicality of that
specific sound.
Speaker 1 (21:57):
And it's interesting. Lynn said something similar. Linn Manuel Miranda
said something similar about Welcome to the Family. Madriuel. He
was like I kept doing like let's go, you know,
Like I was like, let's go. He was like no, No,
like let's go. Like, yeah, you really wanted a very
(22:18):
specific thing, and it becomes your job as a voice
over actor, and you get hired more and more if
you can give the thing that they want, right, Like,
if they have a very specific thing in mind, it's
your job to go, how can I give them that
very specific thing while still remaining like feeling honest about it. Yeah, yeah,
And so like that becomes your job. Is like marrying
(22:40):
those two things and kind of trying to find you know,
and also it's your job. On the other the flip
side of that is also to bring things that maybe
they hadn't even thought about, you know, like to bring
your own creativity and to bring stuff that they would
never have done until you were in the room you specifically,
that's yeah, that's the other thing about voice overacting. It's
really fun because like people can sound like each other
(23:02):
for sure, But I do think it's like a combination
of the fingerprint of your individual personality and the voice
that you're doing and the script. It's like all those
things combined makes them for a very like specific performance.
Speaker 3 (23:20):
Have you had because this has happened to me a lot,
and it's always embarrassing every time, and it's hilarious to me. Uh,
where you like come in for something and usually I
mean usually this is like an offer situation, so a
very nice offer situation where like you did an audition
and so you just kind of like go in.
Speaker 1 (23:39):
You're like, oh my god, it's so nice.
Speaker 3 (23:40):
They want me to be here, and you like get
your your audition, your sides or whatever, and you get
an idea and like I've gone in and like done
a voice and they go, oh no, no, no, no, we
just we just want your voice.
Speaker 1 (23:59):
Most of the time. Actually, no, I get your answer.
Was I honestly get like, oh, can you do like
a more like a gravelly or like like a tougher
you know, like oh.
Speaker 3 (24:11):
Like closing, yeah, like that's so funny, like grittier or
like I think honestly could show.
Speaker 1 (24:19):
Those kind of lower voices a lot in your stuff.
I think the first time that somebody was like I
think it was in Ganto where they were like, you know,
you know, like sometimes it would have to tell me
like don't let it go into your lower register, like
try not to let it go there, but like mostly
do your own voice, like do you do you don't
(24:41):
try to get it up higher or anything like that,
Like just sit in the place that's normal for you.
And I was like, really show my reaction? Really sure
that because I've heard it and it's pretty nasal.
Speaker 3 (25:00):
Is there anything about voice acting that you want that
you think you like, specifically want to get better at
more better?
Speaker 1 (25:07):
Oh my god, Yeah, I want to get better at
having a more Like I think I want to get
better at having a bigger library of voices to choose from,
you know what I mean, Like like lately I'm doing
like you see me do it. I used to do
it on set all the time. I'd like pretend that
(25:27):
I would like and I'd like do a cigarette out
of my I'm like, yeah, that's show business kits. Like
I want more like in my repertoire, Like yeah, and
I probably just need a little time by myself with
my voice note recorder on my phone to like dick around.
But I don't have time, you know. Yeah, but I
wish I had more of a repertoire. What about you?
Speaker 3 (25:46):
Yeah, I think similarly. I think, Yeah, I think I
just want to do more of it, And yeah, I
have have more of a range. I feel like there's
right now just kind of like a few voices that
have been go tos.
Speaker 1 (26:02):
You know, it helps a lot weirdly reading books to
my kid. Yes, you know what I mean, Like you do,
you do a lot of I do a lot of accents,
shitty accents. She doesn't know. You know that it's a
shitty accent. And then they want it every fucking, every
fucking time, and then that sometimes I'm like, I don't
want to read the books tonight because it's like a
one woman show for an hour and a half of
(26:24):
reading books. Same.
Speaker 3 (26:26):
I always wonder if other actors feel like this. I'm
not getting pale. Sometimes I delay this all day today.
I don't want to do it to perform for you.
Speaker 1 (26:36):
I'm just so tired right now. I'm so sorry. Yeah.
I think most parents feel that way, but the actors
specifically have a like we feel the need to like
do the voices or do the you know, before the
sudden sets. On her sixteenth, we're reading Sleeping Beauty and
I did the whole poison. Now ros is like, do
(26:56):
it again. I'm like, my god, okay, but I mean,
like that's the stuff that like stuck in my mind
as a kid. Though it really affected me, those like
those voices that were like whoa, that is a scary bitch,
like she's scary. Yeah, yeah, I love that.
Speaker 2 (27:13):
More Better.
Speaker 1 (27:15):
This was fun to talk about. This was fun to
talk about.
Speaker 3 (27:18):
Thanks for the suggestion, Archie, Oh, Archie, we hope this
helped make a bunch of voice notes.
Speaker 1 (27:23):
Archie. Just fuck around.
Speaker 3 (27:25):
Yeah, just get creative, find your voice. You can always
make there's places you can go. I mean, I think
you have to pay money, but also if you're tech savvy,
you can make your own real a voice stuff. Yeah,
if you're trying to break in, most.
Speaker 1 (27:40):
Laptops come with the garage band already in them, and
you can just stick on a little mic that you
get from Amazon and start to dick around and see
what you come up with. Yeah.
Speaker 3 (27:53):
So we hope you enjoyed it. Yeah, we'll see y'all
next time.
Speaker 1 (27:58):
Yeah, bye bye, More Better. Do you have something you'd
like to be more better at that you want us
to talk about in a future episode.
Speaker 3 (28:07):
Can you relate to our struggles or have you tried
one of our tips and tricks?
Speaker 1 (28:10):
Shoot us your thoughts and ideas at Morebetter pod at
gmail dot com and include a voice note if you
want to be featured on the pod. Ooh, More Better
with Stephanie Melissa is a production from Wvsound and iHeartMedia's
Mikultura podcast network, hosted by Me, Stephanie Beatriz, and Melissa
KUMERA More Better is produced by Isis Madrid, Leo Clem,
and Sophie Spencer Zabos. Our executive producers are Wilmer Valderrama
(28:34):
and Leo Clem at wvsound. This episode was edited by
Isis Madrid and engineered by Sean Tracy and features original
music by Madison Davenport and Hey Loo Boy.
Speaker 3 (28:44):
Our cover art is by Vincent Remis and photography by
David Avalos. For more podcasts from iHeart, visit the iHeartRadio app,
Apple Podcasts, or wherever you listen to your favorite shows.
Speaker 1 (28:54):
See you next week. Saga Bye, Allan Tokitomas Mayhor
Hosts And Creators
Stephanie Beatriz
Melissa Fumero
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