Let's Talk Voiceover - Episode003

Today on Let's Talk Voiceover with BT and Randy Ryan, voice actress Cindy Robinson joins us against her better judgment. She talks about moving from life onstage to life in a small dark audio booth. We talk characters, voice matching, finding the essence of a voice to be able to sound like someone else. We pose the question is motion capture becoming part of voice acting for games or is voice acting simply a different skill? And, we talk about looping -- who are all those other voices on screen that aren't coming from the actors? So, settle in my friends. Let's talk voiceover. (Music) Let's talk voiceover. Hey, we have a very special guest today we have Cindy Robinson. hi hi Cindy hi hi how are you doing great and of course Randy is here along with me as I do as he does as he often does and we're just we're really excited and thrilled to have Cindy Robinson here Cindy and I go back a long long long long time ago back in 2005-2006 we worked on a game called *** my ride the video game and oh my gosh it was an experience it was and the best part about that was early on because I was supposed to be directing on that and early on I went mm-hmm I am going to kill somebody if I get on this game hey I'll call my good friend Brian Talbot who's most laid-back person I know and he'll be just fine going out and doing this game so that's how Brian got to direct you oh my gosh it was it was an interesting and actually so so what we did is we had the the lead actor exhibit from the TV show right because this is a good another IP property and so exhibit was the start of the TV show and he came in and it took him about a week maybe two weeks to record his parts and then we had like no budget in no time left so we had literally 20 characters that we had to shove into a two-day recording session at the famous mark growl recording in Burbank indeed yeah we literally had 10 voice actors come in each of two days in a row that was an experience I forgot that you did that at month oh I didn't I even I can I can picture the studio I know I mean I know exactly the moment yo um I remember that because it was one of my first my first gigs my first big gigs actually here in Los Angeles very fun fascinating yeah yeah so you were doing that was one of your first video games what were you doing before that like you started your career actually is a stage actress right I did I was a Broadway gal I was out in New York and I did Stephen Sondheim put me in into the woods when I was 19 years old my gosh and yeah and I did that and then I did Wendy in Peter Pan I toured the country without and went back to Broadway with it and then I worked with the brilliant Nicholas Hytner at Lincoln Center doing carousel and then in between all of that I did regional theater I did national tours I did international tours that was the that was actually where I thought my life was gonna be settling and it turns out that I had an injury I had a really nasty back injury thank you Peter Pan and the harness and I couldn't keep up with eight shows a week physically anymore so when you know I've told Randy this but when you're 4 foot 11 but your voice is 6 foot 2 what do you do cartoons or video games or you know voice acting and so I came out to Los Angeles my sister was out here at the time so it kind of seemed like you know I wanted to be near her and it was a good transition and it turned out to be I always said I kind of have the best worst luck you know it was like something that you go this is not a good this is not a good thing you're too injured to do what your dream was and then you go yeah but look what happened instead and so that's how I ended up out here I always take that as the universe trying to send you a message right in my case I'm usually so thick-headed that I can't hear it until I get beaten over the head by something like that they had to break my back to do it literally yes literally Wow yeah so that's how I ended up out here and the cool thing I mean I think musicians do really well in voiceover because they hear they hear cadence and they hear timing and they hear a pitch you know I am a rotten voice match but I can match your cadence you know I can imitate you in that way so it's it's it's something that I think is a natural transition especially for a lot of musical theater it's really interesting that you say that you you're a rotten voice match because well but from my perspective because you know you and I have obviously worked together all you yeah you know one of the things that you are is you have a very malleable voice you can create you are not somebody who is like oh my god we got to create three characters for Cindy this is going to be a real problem it's not a problem so no I'm arranged right I'm rangy and that I get but there is this unique I like to say unique that that masks the fact that I can't control it there's this this unique quality about my voice that even when I'm trying to voice match someone it just there's always a little bit of me that much is through it just doesn't ring yeah I can well what's really interesting to about trying to do impersonations or voice matching or or any that kind of stuff if you listen to the people that are really well known for that it's not as much about being an exact voice match but instead it's about picking out certain characteristics of someone's voice and being able to emulate those characteristics very well so when you said part of your voice is always in there of course it is but where where it becomes a real good skill and a talent to be able to do that is to be able to identify a couple of key identifying factors and then bring that into the character as you're trying to do a voice match sure I mean like I I was hired to do this isn't this is a story I was hiring to do the voices of Nancy Pelosi and Hillary Clinton for a project and it was exactly that they wanted the essence and sometimes I feel like that's the way people feel about accents too particularly Americans they want the Lucky Charms Irish accent they don't care what block you're from you know they want to hear the essence and that's what gives them the flavor so that they can tune into it but I was I I don't think I'm spot-on for either Nancy Pelosi or Hillary Clinton but they wanted the essence of it turns out it was completely against my political views and I when I saw the project I was like oh oh no no no no no I didn't do that and then you know so hey kids out there you know be careful what you audition for yeah right but yeah that's that really I mean Hillary I've been asked to do a couple of times and I think it's because I I do kind of already sound like her but I do get her cadence the other one I mean I did Betty Boop for a long time because I naturally sound like Mae questell but if I had to say that I was a voice match for either one of them I would say really it's just naturally already what I've got going on well you know and that's really interesting because in voiceover and voice acting especially on the commercial and narration side people tend to look for the hot voices right I know on the guys side and everyone wants you to sound like Morgan Freeman Sam Elliott George Clooney evening all those kinds of people who who on the female side are those voices that you're always asked to be and then when you actually go there what happens you know how do you become the voice of some someone like Betty Boop which is an iconic voice that everyone knows yeah um I think everyone thinks they know Betty baby they know they know what their childhood version of it is generally um because you know oh honey it's Betty both they they like the cadence again and they and they like the crack so if you've got that any but kind of the same pitch people don't especially people currently they don't really know what Betty sounds like originally sure and also the thing about Betty that was easier for me is that Betty wasn't always dialogue-driven she was a one-liner character if you look at all the old cartoons she spoke every once in a while but it was really animation heavy rather than dialogue heavy so as long as you can give that essence you know then that's that was something that I think I I kind of tapped into and again I already sounded like her it wasn't something that was a huge stretch there yeah now do you do what about mcchrystal voices yeah mean olive-oil sounds very much like her but no I don't I have a tendency to not first of all I don't like to voice match that characters been done that job spins then from cast sure and you're never ever gonna make your name being somebody else's second so unless you are amazing at it which I am not then that's not where I think my career needs to go because why try to emulate something that's already been done beautifully let me I would rather work on something creating what I sound like yep completely agree that's so one of the things that I wanted to ask you about because this is something that's starting to come up in my world and because of your theatre background and you know the flying and tumbling and all that kind of stuff sure we're seeing a lot more requests for voice actors to do mocap so instead of there's there's a trend of instead of hiring two separate actors one person who is going to do the mocap and one person who is going to do the voice acting they're wanting people who do both and I can see both sides of this and I see voice actors I've got voice actors on one side who think this is awesome and they're taking tumbling classes and they're working with doing mocap they were working with mocap coaches they want to do this and then I hear other people who say that's no I don't want to do that I am a voice actor and that actually has nothing to do with mocap I'm just kind of wondering not for yourself necessarily but just as a trend in general I mean what are kind of some of your thoughts on that cuz I you probably have people who are in both camps that you know as well oh sure first of all if you can do it good for you I don't match what I look like my sound does not match what I look like so that's not really a thing for me the other thing is that what is happening with with mocap is that they want some stunt performers right and a stunt performer is not necessarily an actor you know it's like the triple threat with musical theater can they sing Canadians can they act can they tumble and they act can they can they also I mean voice acting it's a different skill it is it's just a different skill and people joke about that I saw this this Timberlake Colbert thing I was just gonna bring that up that wasn't hilarious it was hilarious but I like you know and then there's Chris Rock the Oscar is going I want to go when I make my million dollars the same I'll and I make my million dollars and it's like dude I wish I could do that right but but it's it's a different situation oh wait keep me on track mocap in video games if you can do it good for you I know a handful of people that can I also know some people that are sent performers that are now saying oh hey oh no I don't want to do this anymore because I want to be able to walk when I'm 35 right and that's no joke 35 Wow and as being somebody who was in a harness for three years and who paid for it last year I was in a walker for six weeks I had a cane for eight months because the the injury that I had from stage work person eight years ago came back to haunt me so I totally and completely understand that the other thing that is interesting about that aspect of it is that I recognize the need to make a real sound so a physical actor and somebody who is doing the vocab situation which is you know just the voice with the movement not just even motion but the headgear that they put on it makes a difference because you get the efforts you get the breaths you get the exerts you get all of that stuff in it and it all is part of the performance because I think video games which and I don't know a whole lot about where video games are going I am NOT in you know in the know about that stuff because they are so secretive about things um but I do know that they're going to a very cinematic and realistic style and their animation is so clean now it's like holy crap I I guess I was watching the latest Call of Duty because my guy Chris Smith is it doesn't voices in it so we were listening all of that the other day in his kid his kid plays video games and it was it was amazing to me how realistic they've gotten with it and I understand now what what the different styles are it's not all just you know line dialogue line dialogue line dialogue it's it's it's really enhancing what the performance is in the experience that the gamer has based on what we could do yeah and you also bring up something else that I think is it's in the same ballpark but it's it's slightly different and to me the facial capture stuff now that to me is a lot more sense because you know when you're talking when you're when you're voicing a character yeah we all know that voice actors can sometimes do some some crazy things as you know our good friend Dave fennoy says you use your body and it to make it come out of your mouth but you would never do that if you were doing stage or screen however your face does if you whatever you're saying and whatever you're doing you capture what's going on in your face that makes a great deal of sense to me and I'm just wondering if the technology ultimately is where it shakes out like you still do have CGI or you have stunt people who do the full-body mocap you know is this an experiment that's going to be it's all the rage for a while and then people figure out that maybe that's not the best way to do it I like facial capture it's I think it informs a lot I think it also inhibits a lot when people know they're being recorded they behave differently and so unless you have somebody again I'm a stage actor so perhaps my movements are a little too big mm-hm film actors you're talking about you are you talking body you know I'm talking facial movement I mean if you look if you look on screen it's at stage actors sometimes they come across is way too big right because they're used to performing for you know 5,000 people right or 2500 people and having to get that across the footlights it's not the same when you're working on screen it has to be tucked in however a lot of and I will say you know a lot of this celebrities that have gotten on board with animation and all of that are not necessarily good animation actors because there isn't any movement so I think that there's a balance and again you know going back to the old joke about you know voice acting is a different skill I think that facial capture is a different skill I think that you have to be aware of how to use your voice and also how to use your face and we've talked a lot about that in other episodes as well I I think if I had sensors on my face it does change the way that you feel free to do whatever you need to in a studio right if you're just doing voice acting yeah because it brings in a different element to your performance so I can very much see yeah it does and I've heard some things you know some rumors around town about the opposite about taking the original dialogue and having people just have facial capture and and doing a lip sync to wait because that person again that person has the look that person has the dots they can they can track it and they're gonna make your face kind of look like that character but the person that did the original voice match or did the original voicing of the character didn't perhaps look like that so I think we're seeing it kind of mirroring I think that people are really experimenting with what motion capture really means and where it's going to lead to the next step of development and games so that's a really interesting question you talked about your transition from stage to voice acting do you still do any stage or any on-camera work at all I haven't first of all I don't know that I can remember my lines I did I do short films just to be able to keep those skills fresh yeah recently I did I get a series of one acts and here in LA I did two nights of it and I had not been on stage in almost seven years and I did not invite anyone because I was like I don't know if I can remember my life because when Yuri it's just again different skill was our thing is a different skill when you're reading all the time you lose the ability to just memorize it I used to be able to look at a script right off the bat and I would read through at one time and I'd be like I'm done with that and and off I was on my feet it is not that way anymore man it is not that way and it was a terrifying experience so no I have not kept up on that but I am actually going back to music kind of in the next month so okay so you got us interested go no no I'm I'm just singing again I am singing again I'm going back into voice lessons I'm going and a lot of that actually is starting because I'm seeing the need to care before my instrument what my career has kind of evolved into is monster II stuff yeah and and the low rumble and the screams at boy I screamed for so many horror flicks and I you you guys have no idea and so I do so many monster things and I am noticing now that it's starting to really take a toll on my upper register hmm so I have a terrific coach out here his name is Jeffrey Allen and he is the the Dean of pop music at USC and I've been working with him for almost 10 years and I had I had ceased going to class you know it's like oh I got this but it's time to go back into training and really take care of the of the top part of my register so that I don't lose it and that I don't start to sound cartoony because I can fake it again being a stage actress and being a mimic I can fake it but it is starting to sound on the cartoon edge instead of the natural edge and I don't see the trend of natural sounding voices going away any time soon no probably not especially with in video games where characters are getting less towards the animation side yeah and even more even in cartoony kind of games are getting more towards realistic deeper characters in some respects even in animation I mean look at look at what's going on there's Bojack horseman you know the things that are really big right now clearance we bare bears those are those are real voices mm-hmm even in animation there's those are real voices you're always gonna have you know the Phineas and Ferb's and you're always gonna have you know that that sort of situation over there and it's great to be able to tap into that but longevity and also I do a lot of looping I do a lot of looping for television and for feature films and that has to be real and you have to be able to have the range I've already seen myself losing out on some jobs because they don't sound as young as I used to there's a there's a thing that people say when there's like get it younger means raise the pitch right now I disagree with that because if you listen to Jennifer Lawrence if you listen to Emma Stone these are 20-something women that have that low raspy voice but people are still not tuned in to that people still think that a bit a higher voice means a younger person and so that's something that I have watched myself miss out on oh it's a high school show Cyndi you're not right for this you know you don't sound that young so that's something I want to work on a big part of that too though is because as a male voice actor that does tend to be a differentiator when you're younger you tend to be more higher pitched you don't have the Rumble you don't have the the bottom and as you get older you do and as you get really old that's kind of all you have left in a lot of cases right and so I think that that kind of spilled over and it's not necessarily an equivalency between male voice actors and female voice actors you know there's an age differential but it's not it's on a huge pitch change mmm it's a delivery there is a delivery change I think the other thing when you talk about somebody like Jennifer Lawrence or Emma Stone if you were going to pick them it's probably because of who they are but their voice is kind of belie their age a little bit and the other thing that will probably happen to them as they get older what and what they lack right now and say lack some of that depth and that's a difficult thing I think to take out of your voice so you're right that the de facto thing for a director especially if they're on a short time period might be raise your pitch right because that's the time we've got and we got to get this third character in or you know whatever it may be but I wonder if there's a way to work with your voice where you can actually thin it out a little bit without raising your pitch more like this and that can give you a little bit more youth to it as well well um okay so here's it maybe I'll just take some air out of it yeah exactly now right but and again that is just something that is knowing your instruments and knowing what you can do with it right so taking it all the way back around I'm going back to voice lessons and going back to music because it's all musicality it really is I think voice acting it has a lot to do with musicality most of the best ones I know are good musicians and I think that you really hit on something there how many if you had a nickel for every time someone said oh you know that person has a great voice they should be in voiceover and it's like that has some of the least amount to do with anybody's success it really is about knowing your instrument and knowing exactly how to use it and knowing exactly how to get to a place that you need to be yeah yeah that's actually one of the first things that I said whenever I do workshops or whatever it's like I want to just say something to you right off the bat please don't ever ever say my aunt cousin neighbors sister teacher girlfriend says I have a great voice and I should be in voiceover that labels you as an amateur right off the bat and people will refer you to a book they will say great go read this they will never talk to you at that book none of us will talk to you at that point because that shows us that I mean it's you might as well wave the amateur flag and I don't mean to be offensive and I don't mean to hurt anybody's feelings but stop with that stop with that and stop with I wish I could be in voiceover so I could go to work in my pajamas right no no no no nobody wants to work with anyone in their pajamas and it influences how you perform if you're sitting there you know in in your robe or whatever you speak differently than you know it there was a I had a promo coach one time who said bring in several pair of shoes and when you're reading stuff if it's not going well change his shoes and I thought that was the dumbest thing I've ever heard at the time and then I did it and I went oh no that's that is such brilliant advice it really is it's it that is a thing I heard a Edward Norton interview one time and he said that's the way he starts every character when he gets cast it's the very first thing he does is he figures out what the shoes are going to be that's a tone yeah there are so many different things that influence the sound that comes out and the read that you give I got busted so hard for doing a promo for a judge a judge show I will not name which one it was because I don't like the word judge and that came out in my read and they just kept going nope nope nope why are you judging her and what have you do you know this person do you know what her stance is by the way you know she actually is incredibly fair but you read your spin on it because of where I because of my background and who I am and they liked my voice but they didn't they didn't care for the read we had to really really adjust that and work on that and it was all because of one word judged Wow sing yeah it is amazing to think about all the things that influence the way you can make the voices out yeah there's so much and the read that you can deliver and and you know you going back a little bit you were talking about what are the what are the names that I hear I hear Angelina Jolie I hear Tina Fey I hear Jane Lynch and I hear Allison Janney all the time those are the references why do you think it what do you think it is because you know I look at I look at myself I'm not I'm not the writer so you know this may be a very easy thing for me to say because that's just not my role but at no point when I'm looking at a character or reading a character and I understand that people do like reference and maybe it's just me as me I generally don't look at other actors to say mimic this or if I do it's a quality that is the closest that I think I would ever get to referencing an actor because you know and again I'm also more in video games than I am in commercial although we do commercial but but we're creating characters right so you don't want to create an existing character it's kind of what you were saying about voice matching it's you want to create something different you would be surprised about that and I'll tell you what my take on it is my take on it is that sometimes the people that are in charge are not talent so they don't understand the difference between somebody creating something and a sound that they hear in their head right I think that there are some people that can only hear one thing and the only way that they know how to do it is to reference a celebrity right and then then you you as the actor have to determine do they want a direct replication of what that celebrity would sound like for instance you know the Kaiser Permanente ads which that was Allison Janney right I got that yeah so many times and it's like do you want that Reed is that what you're looking for or do you want something that's that's gonna be our version of the Allison Janney Reed right you know and you have to kind of and you have to worry about whether or not way you don't worry about it I just toss it away I do they like it great if they don't you know they can somebody else but do you want that or do you not want that and so you kind of just have to take that as it comes day-to-day and hope that that somebody will have a little bit of vision it really goes back to that old saying people don't know what they like they like what they know and I think I think that's a huge influence right yeah I used to work with a with a loop group on a network show and the sound piays would do a temp line and the producers had heard that so many times as they were watching the episode that that was we had to like mimic what the bad reading was yeah I've had that happen so i-i've had we wanted to sound like that we wanted to say you know and it's like but that's bad then why are you even and a lot of times they would give that PA a contract a sag contract because they ended up using that line because they liked the temp more than what the regular actor could bring to it because they had heard it already so many times I have the worst horror story on that a friend of mine I was working for a pretty big gaming company and they had this really interesting little cooperative game that they were doing and because it was cooperative and it was kind of cartoony they put they got a text-to-speech just to put in all the temp lines and you know the idea that we're gonna replace this later on with real actors because you know it's cartoony and so we need to have people who can be over-the-top and you know do this kind of stuff started doing the auditions for them and the powers that be same thing had heard the robot voices so long that they actually said yep we're not gonna pay actors and they went out and they left it all as text-to-speech through the entire game and I hired not actor one because they'd heard the temp voices so long that's what they did and predictably the game did not sell well and one of the things that they were being panned for you guessed it yep yeah hey Cindy you've talked a couple times about looping that's a real fascinating aspect of voice-over and voice acting and it's something that very few people ever get the opportunity to do can you tell us a little bit more about that and how you got involved and how that works for you sure I got involved because I get a free project and this is no joke somebody a studio asked me to come in and do something gratis for them and a lot of people are like I don't see that um and I'm it was me and one other guy he was directing he did all of the adult males I did all of the females and the little boys and we just did a tester for a studio for a little promo and at the end of it he introduced himself and shook my hand and said I'd like to work with you and I went okay and then I get a phone call from him about a week later and he's like would you come over to my house and I want you to screen this this thing and I'll tell you what I want to do and I was like boy that has so much more powerful meaning even today right I know right anyway so I called a friend of mine who was you know the guy that kind of started me in the business and I'm like this just happened what's going on and this is this you know some we should watch out for and he's like yeah I mean I've heard of this guy don't worry about it well it turns out that this guy was creating a loop group and this was he wanted to do it differently than a lot of people did he really put an emphasis on quality and so I went over to his house and there were a bunch of other people there that were also in the group for this episode we watched the episode down we all took notes he's like I need you to do this I need to do that see see how this is going see how this is going and he taught me basically how to loop so what I like to describe looping as is that all the pretty actors on screen we put all the pretty voices to all the pretty actors because they're not allowed to talk only the principals are allowed to talk but we have to create the ambient sound vocally so we went in and we did the episode and again because I'm musical and because I can see sync we have to look up and see what people are saying in the background and put words in their mouth based on lips lot so we basically have to read lips and we have to hit it and then we have to create any time that you hear a news report or a dispatch officer or a lot of times an extra you know if you see the waitress put a plate down on the table but you don't see the waitress so she's like here you go or I'll be right back with your coffee that's a loop roof situation that actor doesn't say that right for the first like two or three years we spotted every single episode before we went in so man we were on our toes and we were on it and we knew what was going on and that was different than a lot of groups did at the time and now he has kind of put this team together and we do we do Gotham a series of unfortunate events we did The Good Wife for years we did Entourage we did Californication I mean I did all here well you want to go off off-topic for a second I did all this sex noises for those two shows those last two shows for a long time that's a whole other show but you know that's what I'm saying there are a whole lot of skills involved in voice acting people or you're lucky oh you just need to talk yeah there's a little more involved in just that I can talk and I get paid to write I mean that's like I have had virtual sex with most of my friends but seriously I mean a lot of the actresses won't come in and do their own stuff for the lot of the actors don't have time to come in and do it and the loop group can get it done you know in a heartbeat and and it's just funny it's not it's anything creepy or weird it's just funny so but that has that's a lot of that's that's the beginning that's like a real quick primer hmm as to what looping is yeah and what I do about three or four days a week I've always been fascinated by your loop stuff because of course I you know that for me is not anything I've ever yeah been involved with I mean the closest is is doing ADR type of stuff yeah and it's strange it's like how to be really good at your job and be completely not interesting because you can't we call it nd nondescript you you can't pull focus from dialogue mhm and you have to also understand mic technique and how to deal with your engineers because you can't be talking like this and then all of a sudden do a peaky thing and scream right because that will that'll blow your take because your sound engineer is not ready for that so there are so many elements and levels to the technique that you have to have in order to do that correctly and to do it well so that it's expedient mm-hmm it because it it's just a different skill altogether oh my god leaving as a separate skill yes how do you how do you guys typically I mean looping how are you typically approaching things like wala because you've got usually what like six ish people in a loop group I mean I know I've done shows with with four I've done shows with 14 adventures I've done movies with 20 hmm you have to listen I mean it's just like being in a chorus you listen to the chord if you want to do it musical terms then you you you think of everything as a chord you think of because they do multiple passes mm-hmm but you can't just make it sound like this you have to really listen and if it's super busy like a party scene then yes we generally don't talk to each other we talk to ourselves talk to an imaginary friend because that gives you the impression that there are a whole lot more people in the room mm-hm right so there are little things like that there are things that are just oh good lord the the screaming fan stuff hmm you know in a concert or whatever that's just wall the walls sound that's just keep going make it loud don't stop yeah there are things like a park where you will have people doing pass buys the mic so like you'll double up and two people will walk by and talk then two people walk by and talk when two people walk by and talk we have rooms that some people like us to be on the back side of the mic it gives it a different set of depth sure there are some things that we move we take it in a big clump and if we're outside you don't want any room on the mic so you get really clustered close to the mic and you you you really create a sense of intimacy with that so that you don't get room on it so you're actually doing that as opposed to an engineer and post fading you in fading you out for a pass by you actually are physically visible doing it yeah we are physically doing it then we do specifics you know it's like you you start with a bed generally and depending on the scene where the scene takes place and and how many people are in it you start with a bed or iPad actually I have some supervisors that like to start with the specifics because that might be full enough for them right there are some people that play everything there are some people that play very very few things so it just depends it depends on who you're working with and it's just like a director or just like an actor you know what their skill set is and you know what their preferences are right and and that's how we that's how we be having a session for episodic TV what is your typical length and I know it can change from show to show but is there a typical depends on this on the supervisor we are allowed they are allowed to keep us for eight hours based on Union rules so it depends there are some people that go well we got you for eight hours we're gonna keep you for eight hours there are some that go I got other things to do a man let's get this knocked out right I do some really busy shows that are hour-long which on network television it's actually only 42 minutes so and we're in there you know anywhere from two to four hours tops and then I've done 30 minutes shows entourage was one of them entourage was a 30 minute situation that we were there for the full eight hours every time because the it was so busy yeah it was just so busy mm-hmm hey Cindy this has been absolutely fabulous we really appreciate taking the time thank you thanks for calling me and asking me and I hope I didn't chat your ears off I can be a little no you're fabulous we really appreciate it anything coming up you can talk about real quick or no okay there you go you know talk to me in a year and a half and I can tell you about it I was actually just informed last last week that there's one particular game company that I work for that does not want you to talk about the process they will they are starting to like hold this NBA thing really seriously we can't talk about the process of the creation of characters we can't talk about the process of the work we can't talk about the recording session nuttin honey yeah yeah it was like oh that kind of you know I thought you know once it was out there in the world that we could speak about it that is that is people are coming toward us and saying now we don't want any of that out and that's that's traits yet still trade secret and intellectual property sure yeah is there anything from your perspective the you go okay I can see that or is it kind of like whatever you know it depends on the time of day that you catch me with that particular question sir no there's one that just goes oh my god you know I you want us you want us to have nine million Twitter followers so that we can help promote your project but you don't want us to talk about anything yeah so you know and they're starting to that's another that's something that you guys should actually think about too they're starting to do some hiring based on following rather than on talent you know it's all about the are you an internet sensation and you know and I opened a con recently and I said hi I'm not an internet sensation but I've been replaced on one by one on TV because that's that's what they're because if you have a good director generally they can get a readout of them with it and that within reason yeah within reason it's a whole new world out there with this this internet thing is that the Internet's is the other way right it's what all the hip kids are doing the interwebs yeah I mean like okay Lord we could talk for hours guys but thank you and good luck you're so easy Robinson thanks for joining us today thanks for having me Randall as always BT all right guys we'll talk to you soon bye all right let's talk voiceover is hosted by Randi Ryan owner of hamster ball studios voice music and sound design and Brian Talbot actor and all-around creative guy if you have comments questions ideas for other show topics that you'd be interested in hearing or you just want to let us know what you think you can reach us by sending an email to BT at let's talk voiceover com or go to our website at www.att.com/biz over comm subscribe to us on iTunes stitcher or your favorite media app so you don't miss an episode and follow us on Facebook and Twitter we just might post something there no promises thanks for listening to let's talk voiceover we'll talk again real soon