Exciting News from the Producers of Shelf Life!

This is one of those great webseries I really wish more people were watching. A fantastic collection of writers, actors, and crew delivering a funny show week after week. Think South Park meets live action Toy Story. Now this award winning series is stepping up its game!

On July 18th, the cast of Shelf Life (including animation heavy-weights Tara Platt, Yuri Lowenthal, and Travis Willingham) will be kicking off their Season 4 IndieGoGO campaign with a live interactive web party. Fans will be able to ask the cast and crew questions while going behind the scenes of how the show is produced.
The party will be live streamed at www.TheStream.tv/LIVE

If that weren't enough, those of you heading down to SDCC this year, make sure to drop by room 26AB on July 13th at 7:30pm. Members from the Shelf Life Gang including Steven Calcote, Tara Platt, Yuri Lowenthal, Stephanie Thorpe and Phil Morris will be on a panel to hang out and answer your questions! Everyone who attends that panel will also receive a limited edition Shelf Life comic book (I already got mine cuz I'm special like that), and I'm SURE they would be happy to autograph it for you.

More details at: http://www.shelflifeseries.com/

Please help spread the word on this fantastic series!

Chris Pine and Zachary Quinto to Reprise Roles of Kirk and Spock for Star Trek Video Game

Rad.
For these kinds of franchises, I really do feel locking the film actor who played the role can help a video game feel more immersive and realistic. That and I'm not ashamed to admit that I'm bro-crushing pretty hard core on Pine, who is also tearing up the new BMW commercials.

In addition to Pine and Quinto, the game will also feature the rest of the JJ Abrams film cast including Zoe Saldana, Simon Pegg (another bro-crush there), Karl Urban, John Cho, and Anton Yelchin (you should SERIOUSLY watch Fright Night).

Well done Namco Bandai!
Full PR after the jump.

About That Time I Met Tom Bodett at a Taping of Wait Wait Don't Tell Me...

Last week I spent a little time in Chicago, and one of the highlights of the trip was getting to watch a live taping of Wait Wait Don't Tell Me!

Of course the VO gods were looking out, and one of the panelists was none other than Mr. Motel 6 himself, the legendary Tom Bodett. While I'm a big fan of this show, I had a really hard time not geeking out all over Tom, but thankfully he indulged me a few pictures.

If you're not familiar with Wait Wait, it's a really funny NPR show which takes a comedic look at current events while masquerading as a games show.


Here's the episode I got to watch (with special guest star Bobcat Goldthwait).

From a Producer: We’re Not Getting What We Need

Had an interesting and enlightening chat with a producer over the weekend. He wished to remain anonymous, but is established in television and feature film production.

Recently working on a commercial package for a zoo he ran into an interesting challenge while trying to cast the voice of an animal.
By “interesting” I mean “difficult”.

“Not having a lot of VO relationships, and a lean budget, we went with web-casting hoping to throw a wide net.”

They got a lot of responses.

“That became a major hurdle to completing the project and making our delivery deadline. Funnily enough, with all of the options, a few patterns emerged very quickly. About a third of the auditions were bad, distractingly bad. Poor audio quality and performances. Noticeable edits, some on every single line of the copy. Audio levels too low or too high, and there was a lot of background noise. Of those “really bad” performance auditions, there were several with talent that could barely be understood due to accents (the copy called for a “regular American” read) or a couple that were having actual difficulties reading the copy, adding and subtracting words, stuttering.”

The rest weren’t much more helpful.

“We ran into odd issues with the rest of the auditions which weren’t outright awful. One of two things would happen. Either the actor would try to mimic [Famous Actor] who last portrayed a [Type of Animal] in [Recent Movie], or the read was just sort of a generic read. We absolutely didn’t want a [Famous Actor] read (the copy didn’t specifically mention the actor, but the direction indicated a very different personality than what the actor is known for), so those were out too. Of the plain reads, a lot of them came from talent agents. You’d hit a stretch of auditions from an agency, and the five or six guys we’d get would all kind of feel the same. A similar rhythm, or vibe. One agency sent half their guys using the same “ad-lib”. Nothing really felt honest or unique about the process. A lot of the reads felt like just that, someone reading them off the page.”

It’s not all on the actors of course.

“The production did get away from us. Deadlines were looming. Budgets were tight. Honestly, with the fast turn around, fatigue set in really quickly. Trying to listen through dozens of auditions at a time was exhausting. We thought our script was hilarious working with the writer. Trying to listen to over two hundred interpretations of it, it became noise...”

Their solution was one we’ve seen before.

“The writer we were working with had us cracking up describing the character, so we used him for the spot. We knew he wasn’t the best actor, but we knew exactly what we’d be getting.”

Where do we go from here?

“We have more spots to do with more voices to cast. Our budget and turnaround wont get any better, and after this experience I doubt we’d get more money or more time to improve the situation.”

I of course offered my services...

If you're looking to step up your VO game, I'm offering a four week commercial intensive online!

Stop Talking to One Person

No really. Stop it.

I know I spend a lot of time on this blog talking tech. Honestly it’s easier to discuss than the art of performance. At the end of the day mics, mixers, preamps, compressors, booths, software, and MP3 delivery can all come be boiled down to some kind of math. We’re comfortable with that. We understand it.

However, this lopsided discussion is leading us to train voice actors who are less actors and more editors. They sound great! After a little software...

Open a discussion online about mics, and you’ll get a ton of varied responses from people trying out all kinds of gear. Open a discussion about the performance they’re trying to capture, and you’ll mostly get:

“I try to talk to one person.”

I hate this trick.

There. I said it. This is probably the most bullshit piece of advice we give new voice actors. It’s a lazy, overly simplistic, one size fits all nugget, and it’s a coin flip whether or not it’ll work in an actual casting or booked session.

On it’s face it sounds like good advice, but the main problem I have with it is we rarely equip voice actors to understand the “why” of it.

Why do we want you to speak to one person?

I’ll tell you, it’s because we want you to create an emotional response or relationship with the person listening to the performance. That’s why, but you’ll rarely hear anyone articulate that. To sell soap, you have to get someone to care (primary reason I hate the direction “throw it away” and NEVER use it). From a performance perspective, it’s a feel-good, method-y way to get newbie performers to think about their performance. Great.

It is not in and of itself a performance foundation. It is a trick. We’re trying to distract voice actors away from the words on the commercial copy page, and trick them into delivering an emotionally connected read. In my opinion this approach (free of experience and a background in other methods of performance) will fail more often than it succeeds.

First off, I often find that the actor’s audience selection is usually wrong.

During a recent one on one coaching, I was working with an actress on a piece of health care copy, about getting preemptive screenings. Each read was more antagonistic than the last, and all were at odds with the copy’s direction of “caring”, “concern”, and “empathy”. When I asked what was motivating her reads, she said she was talking to her sister. On playing back her takes, she was shocked to hear how nagging-ly she had delivered the copy, when in her mind (and heart) she genuinely cared about the audience she had selected. I think it was also a telling psychological peek into the nature of their relationship...

The idea that we each honestly have a unique person in our lives that we can pick as an audience for every piece of copy we read is unrealistic at best, and self-destructive at worst. The idea that we have to walk into every audition carrying THAT level of personal emotional baggage is exhausting.

The other problem suffered is the copy.

We don’t speak to each other “commercially”. If you’ve ever had to audition a wall-to-wall 60 second radio spot, we just don’t relate to each other that way as humans (and I’m ALREADY writing the follow up to this piece on “monologuing”).

Face it, you’ve never been motivated to share a brand’s message in an energetic and entertaining way (without sounding announcer-y) while using language like “introducing” or “presenting”, so why do we still hide behind the conceit that an audience of one is going to help?

I get it. It’s a way to shut up a question on performance, without the person feeling like their concerns were disregarded, and leaves the actor feeling like they’ve received some kind of sage advice.

But the truth of the matter, the peek behind the curtain, most of the successful commercial voice actors I work with don’t do this. They simply don’t consciously pick one person they know in real life to talk to during a commercial read. It. Just. Doesn’t. Happen.

So what advice do I have for informing a commercial read?

You’re probably not going to like it.

It takes time. Seriously. Use the trick as a starting point if you must, then over a period of time abandon it. Inform your own technique with experience, but run away from the audience trick as soon as you’re capable.

I’m a big fan of Malcolm Gladwell, and I genuinely do believe in his 10,000 hours to mastery hypothesis posed in his book Outliers.

The master voice actors I’ve worked with, those seasoned by time, effort, and experience, have all adopted a far more intuitive approach to their individual reads. Often it seems they’re developing an idea of their delivery before they’ve finished reading the copy, before they’ve even bothered to read the producer’s direction, and before they’re rationally analysing the copy.

They’ve been exposed to so much copy that the script analysis and performance sections of their brains can function almost autonomously. It’s a “feeling” based approach to VO we rarely discuss with up and coming VA’s.

They’ve also taken the time to calibrate their instruments. Again, an intuitive sense of:

“When I feel like THIS, people listening will feel like THAT.” 

They are never guessing as to the emotional impact they’re creating. They aren’t having to reference their reads after the fact to see if they’ve achieved the proper tone. They feel it when it works, and they know when they’ve missed it.

Rather than perfecting a trick, we should want to get to this emotional short hand. We want to cut out the middle man, and that can only be achieved with time and practice. Give it 10,000 hours of intense study (give or take a year or so).

For all the people I’ve taught, coached, and worked with, especially those only a couple of years into their voice over journey, this is almost always the leading issue I find with people who feel like they’ve plateaued.

Techniques, methods, and tricks are just the beginning. They are training wheels. Use them to find your balance, but eventually you must forge your own path.

Nolan North - "Is Voice Acting in Games Different Than Other Projects"

Caught this over at The Resnick Interactive Group blog, and I'm happy they shared it. Nolan delivers a fantastic answer to this question, and having worked with him on commercial castings, I can tell you, he knows what he's talking about.

Crispin Freeman's Interview With Voice Over Legend Jack Angel

My buddy Crispin over at VoiceActingMastery has a fantastic sit down interview with legendary voice actor Jack Angel (a man I'm proud to say I've worked with as well). Broken into three parts, Jack takes us back to the roots of VO, and delivers a tremendous oral history of the Hollywood game.

Voice Acting Mastery Jack Angel Interview 01
Voice Acting Mastery Jack Angel Interview 02
Voice Acting Mastery Jack Angel Interview 03

Though I do need to send Crispin a little tsk-tsk for not knowing who Gary Owens is...
:-P

Kyle Hebert (Voice of Gohan) Pretty Much Sums Up How I Feel About That Bandai Situation

It's seven and a half minutes of honesty and reason. Enjoy.

Chris Emerson Showing Off Some Accent Work

Voice actor extraordinaire, and pal of mine, Chris Emerson is starting to produce some fantastic vids.
Here's his most recent endeavor, an accent & dialect study using a monologue from Much Ado About Nothing.
Enjoy!

The Art of the Pick Up

No. This is not a post on dating advice. You can stop reading now if that's what you thought it was...

You guys have heard me rant a lot on my opinion of voice actors recording themselves. In short, I think it trains voice actors to be better editors than performers. Nowhere is this more evident than when I record a new talent for the very first time.

The established VA will have an innate ability to digest and analyze copy which will border on the intuitive. They've read words out loud to such a degree that they'll already have formed an idea of what their performance should consist almost before the rational thought sectors of the brain have kicked in. Watching a seasoned professional like Clancy Brown or Mark Elliot read through a piece of copy cold is a fascinating experience. They quite literally "feel" their way through the read, and largely before decision making skills have kicked in, their instinctive cold read is often better than most other "rehearsed" reads I will encounter.

Making Mistakes

Everyone makes mistakes. Fact. No way around it. Doesn't matter how good you are, most days you will flub a piece of a recording. What we're discussing here is the disparity in tactics for recovering from a mistake. In my opinion, this is related to two elements of experience, reading comprehension and relationship with the director/engineer. The former the performer has total control over, the latter needs to be developed over the course of a session.

Reading Comprehension

You have to read out loud every day.

I've harped on about this before, but it is still the primary tactic one has to developing the skills necessary to be competitive in this field. You need to train like a pro athlete. You need to be in shape. It's part mental, part muscular, but it HAS to be done. The benefits are cumulative, and until you're receiving session and audition copy every day, it's the only way one can bridge the gap between those entering the craft and those established.
The pure immersion in language will make an individual far more flexible at finding their place on the page, a skill as necessary to the VA as "finding your light" is to the stage actor. As one progresses beyond simply reading aloud, eventually the amount of information one can retain will begin to increase as well, which will aid in making decisions within a piece of copy, absorbing punctuation and formatting as a secondary method of informing delivery.
At later stages of experience, the eye's ability to scan, the brain's ability to interpret, and the mouth's ability to mechanically deliver will seem to work independently of each other. This level of proficiency is most readily witnessed in ADR and anime dubbing, where the performer is reacting to multiple stimuli simultaneously (makes it an even greater shame that dubbing doesn't pay better).
Before you think that you're already pretty good at reading, know that I've worked with dyslexic VA's, blind VA's, and even a couple VA's afflicted with demyelinating diseases that routinely crush otherwise "able-bodied" people. You've got to be good. VERY good.

Relationship

Here the VA has far less control over the experience, as largely they will not be able to set the rules for the session, but there are still habits and behaviors which can aid in copy delivery.
Flexibility will be key. Listening to and interpreting direction is insanely important to developing a rhythm early in the session or audition. The better the director and actor communicate, the better the session will go.
Questions are important (within reason), especially to inform booth etiquette. Every director has different rules for how they like copy delivered, how they like takes organized, how they like pick ups to be delivered. Asking:

"Would you like me to say 'pick up' or do you just want me to take the line over again?"

is a simple way to know what is expected of you when it comes to correcting a mistake. Of course this is where flexibility will be important. If you're used to noting your pick ups, and they ask you NOT to note pick ups, then that might distract you from your usual method of delivering copy.

At no point is it acceptable to make a mistake and just continue reading. I typically encounter this from the newest and greenest VA's entering the craft, but every now and then I'm surprised by someone who should know better. If you know you've made a mistake, picking it up or asking for help is preferred. Just continuing to plow through a piece of copy (in a take we can't use because of the mistake) is a really bad habit to cultivate, and will probably cause friction during sessions.

How do I handle pick ups?

I'm a CRAZY purist when it comes to pick ups. I will not acknowledge a mistake during a take. I find it rude, invasive, and interruptive to the process. Hitting the talkback is often a shock, so I only jump in when I know the take will not be serviceable or usable to avoid wasting time.
I do not want my actors to note pick ups. I don't want to hear them say "pick up" or "sorry" or anything else.
First it is distracting. For that instant, the VA is no longer their character, but themselves, and potentially frustrated. Immediately following the pick up acknowledgement, it typically takes a few words to get back into the flow of a piece of copy, which makes a clean edit slightly less likely.
Secondly, it's largely unnecessary. I often know a VA has made a mistake before they will. It's my job to listen and facilitate.
If the vibe can be maintained, simply taking the line over again is the best way (again, my opinion) to maintain both the emotional and technical consistency of the performance should a mistake be made.
A personal pet peeve is the performer who leaves the mic between every pick up, or every take. It means the proximity to the mic is constantly changing, which means it becomes increasingly difficult to make sure audio from different takes will match.

Tackling Frustration

This is the easiest topic to discuss, but the hardest to execute.
You can't get frustrated, not with a high powered acoustically sensitive piece of equipment RIGHT UP IN YOUR FACE and cranked to eleven.
You must treat the mic as a film actor would treat a lens that intimately close. We can practically hear every nuance of the performance on your face, every tick, frown, smile, blink, everything. This is often illustrated by what I call "the grind", where one small passage will stump or tongue twist a VA. In trying to pick the piece up you'll hear a series of re-takes, each getting louder, more urgent, and faster than the re-take before it as the VA tries to power their way through the challenge.
Voice actors are generally some of the most passionate performers I've ever had the pleasure of working with, and often some of that passion will manifest in their eagerness to please. I routinely encounter VA's who will mercilessly punish themselves over mistakes. It's not necessary. As both a casting and session director, if you're in my booth I want you to succeed. Simple as that. I'm on your side because you are solving a problem for me. You aren't letting me down. You aren't letting yourself down.

I fully expect mistakes to be made. I'm there to help if they are, but how the voice actor responds to making a mistake is far more important than whether or not a mistake is made.

A couple pics with Tom Kenny and Jill Talley

Just had a really fun morning session with two GIANTS of voice over Tom Kenny and Jill Talley.
Just for fun I thought I'd share a couple pics!


First off Jill looking natural (I got some wacky takes, but maybe she might not like me posting them here): And of course Tom, who's already a human cartoon!

Review: The Brita Water Filtering Bottle

So, I don't normally review "lifestyle" products, clothing, that kind of stuff, but if you read my last article about staying healthy, an important component of that is staying hydrated. I consume a tremendous amount of water during the day, mainly because of the amount of talking I have to do while directing.

From a political perspective, I'm also very much against any kind of single-use disposable plastic product. I try not to use or buy ziploc bags or bottled water, whenever I can help it. Just seems like a waste of perfectly good oil and energy to throw stuff away like that.

Combine those two needs, and I've tried out several solutions to try and stay hydrated. The biggest problem (admittedly a "First World" problem) is I often don't like the taste of water whenever I fill up my bottle from taps or sinks. L.A. water often has a slightly sour taste.

For the last week I've been using a Brita Water Filtering Bottle. I'm very pleased with it. The plastic is BPA free, dishwasher safe, and includes a mini filter which connects directly to the sport nozzle. This helps guarantee that all water leaving the bottle is filtered. It's one of those "why didn't I think of that first" kind of ideas...

I can't speak to the claims of filtering contaminants (I don't have a lab handy), but it does significantly reduce the sour taste from my kitchen faucet. The filter should also function for about two months under normal use, though I'll probably need to replace it sooner than that.

In the brief period I've used it, the Brita has already kept me from reaching for bottle water at two of the studios I work for. If you're in need of some kind of water solution I would recommend checking one out. At most retailers it can often be found for about the same price as a comparable (but filter-less) Nalgene bottle.

After Four Years, My Voice is Starting to Come Back

To be a successful working voice actor pretty much means at some point you'll need to become a complete germ-a-phobe.

At some point you'll have to get a little obsessed with your health. Depending on your market, you'll likely be forced to encounter MANY people in enclosed, poorly ventilated spaces, using equipment that's been biologically abused by other people.

Staying in shape, eating well, getting plenty of rest, these behaviors become important tools in the small business arsenal of the working voice actor. You have to count on your instrument, even when you're not at 100%. The human body can be surprisingly fragile, especially at those times we need to count on it most.

Almost four years ago, during the WGA strike, I had just left the talent agency I was working at. A genius piece of timing on my part, but I was getting some decent freelance work, and we were making ends meet. I can't say for certain if I picked it up from the agency, or if I acquired it from one of the studio gigs I did immediately after, but I somehow managed to come down with a case of whopping cough.

If you've never had whooping cough (Pertussis), I would highly recommend avoiding it if you can. For about five weeks I was racked by coughing fits that would so inflame my throat, that I would often be unable to respirate. Trying to breathe normally would often result in just swallowing air (being redirected to my stomache instead of my lungs), and getting air into my lungs often meant painfully slow, shallow breaths were neccessary. This creates the "Whoooofing" zombie-like sound associated with the name of the disease.

Recovering from the cough also had another consequence, it wrecked my voice.

Where I used to be able to play and shout with my actors all day, after the cough it only took a couple minutes of talking to completely wipe out my ability to speak. My character voices were gone. My chest resonance was gone. My nasal resonance was difficult to find. My voice lost most of its tone, and I was left with an airy facsimile of what I used to have.

I probably rushed my recovery, but I had just become a freelancer, and we needed the cash. It also doesn't help that I had MISERABLE health insurance during that transition. I'm still thankful that the infection was a mild one...

Returning to the present, over the last several days, I've been experiencing something of a return. Traces of my old voice are starting to come back, the vibration in my chest, the buzz in my face when I nail a good tone. I can push the volume a little harder. I can throw a little texture on it.

I really thought these features of my speaking voice were gone forever.

It's exciting, invigorating, and scary all at the same time. I don't want it to leave again. I want to protect it. It's like I got a little piece of my life back. Almost four years later...

So actors, stay healthy, eat well, get plenty of rest, and wash your damn hands.

Fun ISDN Session at The Voicecaster (photo blog)

So even though most of my work comes from directing voice over casting and production sessions, I also do a bit of engineering on the side. ISDN sessions can be kind of dull, as once you've set everything up, you're pretty much just babysitting.

Well yesterday I had a really fun day of ISDN-ing. I got to work with a great bunch of actors for a series of radio spots.
First up I had the LEGENDARY Carlos Alazraqui (Reno 911, voice of the the Taco Bell dog and Rocko from 'Rocko's Modern Life). Not only is he a talented animation actor, but he crushed a dozen spots full of natural conversational announcer work. He's producing his own animated web series "Off the Curb" which looks like it'll be RIGHT up my alley.

Next up I had Larry Cedar, who happens to be a personal hero of mine. LONG before I was ever in this industry, I was a HUGE fan of Square One, which Larry was a part of. Most recently you might have seen him in the re-make of The Crazies. He's the one with the pitchfork...



And what session would be complete without a funny gal? Enter the lovely and witty Julie Wittner, who you can catch in the web show "Two Hot Girls in the Shower" starring opposite Kim Evey (producer of The Guild).

The session required her to eat cookies for sound effects. Thankfully she kept the mess of crumbs to a minimum...




Thanks for a great session guys!

Daran Norris in Live Action Fairly OddParents Movie

It's easy to forget that The Fairly OddParents have been on the air for ten years now, and to celebrate this impressive run, Nickelodeon is producing a live action, made for TV movie about Timmy Turner.

Of note is actor Daran Norris (Veronica Mars, Team America), who voices Cosmo and Mr. Turner in the series, and will be portraying the live action Mr. Turner in the movie. In speaking with Daran about the role, he mentioned something interesting. This may be the first time that an actor has originated an animated character and ALSO played a live action version of that same character.

I'm racking my brain trying to think of another time that might have happened.

Daran is a pal of mine, and was even kind enough to join us on Movies You May Have Missed for our one year anniversary episode. Fairly OddParents has had an incredible run, and I'm very excited for my friend's success!

For more info on the movie check out Nickelodeon's promo: 'A Fairly Odd Movie: Grow Up Timmy Turner' - Coming This Summer.

Jim Cummings and Tom Kenny Talk 'Winnie the Pooh'

I've had the pleasure of recording both of these legendary voice actors. Just knowing they were involved makes me MUCH less apprehensive about a new Winnie the Pooh movie.

Crispin Freeman Announces 'Durarara!!' - A New Show on Adult Swim

Crispin Freeman is an incredible voice talent, and if you've watched an animated series, anime, or played a video game in the last ten years, then there's a really good chance you've heard some of his work.
In this video he has the honor of announcing a new show on Adult Swim, and I'm really looking forward to checking it out!
Enter 'DURARARA!!'



Also, Crispin is an impressively accomplished media scholar, and will be teaching a sci-fi and fantasy  mythology class at the Vidiots Annex  in Los Angeles starting June 22, 2011. For those of you who get into a little film study style analysis, it should be a fantastic course.

For more info on Crispin's class head over to the Vidiots Annex!
For more info on  'DURARARA!!', head over to the Durarara USA site!

Seeing Your Work on TV: Anti-Smoking Edition

We went multiple rounds casting these PSA's, and out of all the final versions, this one is my favorite.

Titled "Don't Stop Fighting", we watch someone struggle (with themselves) to quit smoking, and speaking as someone who hasn't lit a cig in over seven years, I know exactly where this spot is coming from...

Voiced by actor/writer extraordinaire Brian Bloom (A-Team, The Avengers Animated, Dragon Age II), he is genuinely one of my favorite people to direct.

You can watch the PSA on the official site here:
http://www.TobaccoFreeCA.com

A Fun Evening At The Voice Over Work Out Lounge!

I was honored when Roy Samuelson invited me to be a guest speaker/director for his Voice Over Workout Lounge. The VOWOL mission is to provide actors a safe place to play and workout, with guest speakers, in a fantastic recording/production facility.

I had a blast!

I’ve often found Thursday night workout groups to be a little problematic (quick tangent: why do so many actor workout groups take place on Thursdays?), it’s so late in the week that people are often already set to check out for the weekend, and I completely understand. After working during the day, it’s sometimes a bit much to ask someone to further challenge themselves at night.

I’m really glad that the VOWOL folks were game. It makes the evening flow so much more smoothly. They were curious, asking questions, taking notes, ready to play, and ready to be directed.

They kept me on my toes too. I fielded questions on mic/recording technique, casting expectations, script analysis, and performance method.

Big thanks to Tony, Craig, Iris, Susan, Stephanie, Wendy, Dean, and of course Roy for a fun night, and major shout out to Soundelux in Hollywood for the use of their fantastic facility and providing Justin the Engineer who was great to work with!

Can’t wait to do it again!

The Many Faces of Jim Ward - Voice Actor Extraordinaire

Jim was kind enough to indulge me a few candid shots during a video game session I recently engineered. The man is ridiculously talented, and I hope to work with him many more times in the future!