So if you are recording a line with a space or beat or breath, take that space. It’s not just the voice and acting we’re looking for, but the timing. I know people are recording on their iPhones these days, but still, aim for a quiet place not outside or with kids in the background. Record in a place that’s quiet and has as high quality as you can get. If it’s not labeled correctly, they are slacking off and lazy and that turns me off. Jen: What are your top three tips for an actor sending in an MP3 audition? Saul: This may sound superficial, but it’s important: Properly label the audition. It’s always refreshing when an actor has an attitude of openness when they come in and ask the director what is it that they want. They should let go and really enjoy the process and let it flow. Jen: What does an actor need to possess to be successful in the voiceover booth? Saul: It’s really important for an actor to be relaxed and not overthink what is it that the director wants. He made everything on the page even better. As entertaining and exciting as it was, the most fascinating aspect was seeing him ad lib, bringing the script to life. I was amazed that one man would be doing both voices. Jen: What was your very first recording session like? Saul: It was at Disney, with the incredible Jim Cummings. After the internship, I worked on “Pocahontas,” “The Hunchback of Notre Dame,” “Mulan" and “Tarzan.” From there, I directed a show at MTV called “Spy Groove,” returned to Disney directing a bunch of movies including “Winnie the Pooh: Springtime with Roo" and “Kronk’s New Groove,” the sequel to Emperor’s New Groove. I got an internship for Walt Disney Feature Animation after I graduated the Columbus College of Art and Design. I knew by the time I graduated high school that I wanted to be a Disney animator. But when I saw the movie “The Little Mermaid,” that’s when I knew animation was for me because it combines my two passions: filmmaking and drawing. I started making movies every weekend with my siblings and kids in the neighborhood. When I saw the movie “E.T.,” I knew my dream was to be a film director and filmmaker. Jen: How did you get into animation? Saul: I grew up in New York and wanted to be an artist. I’m the proud casting director for several projects he’s directed, including “The Numberlys,” a new animated pilot on Amazon. Animation director Saul Blinkoff and I met 10 years ago when we were both on staff at Walt Disney Animation Studios. His new company HowdyBot LLC will focus on Bill’s stories in a variety of mediums and media.īill hopes to someday serve as the first "Secretary of Cheerful Endeavors" for the United Nations. His television series include the groundbreaking Rolie Polie Olie for which he was creator and showrunner. His feature films, all based on his books, include Epic, Rise of the Guardians, Robots and Meet the Robinsons. He has written and illustrated 50 bestselling children’s books and novels which have been translated into over 40 languages.īill was named by Newsweek magazine as “one of the 100 people to watch in the new millennium. In 2009, he founded Moonbot Studios, a multimedia storytelling company producing books, apps, films and video games.Īmong his many awards Bill has won 6 Emmys, 3 Annies and an Academy award for his short film The Fantastic Flying Books of Mr Morris Lessmore. He began his film career on Toy Story and has since been a producer/director/screenwriter/production designer in both animation and live action. William Joyce has achieved worldwide recognition as an author, illustrator and pioneer in the digital and animation industry.
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