40 AMERICANWAY
OCTOBER 1 2008
E N T E R T A I N M E N T
The Bourne Ultimatum
, and
Dan in Real
Life
. “It’s that talent thatmost people really
don’t have.”
There’s a reason, then, that these people
are called voice-over
actors
. They don’t just
read a script into amicrophone; they actu-
ally act, and it’s a type of acting that even
seasoned professionals may struggle with,
usually because of the compressed time
frame. “We have just a matter of seconds
to process direction and internalize it and
then deliver a performance. There is very
little time to build a character or develop
the work, other than the quickest sketch,”
saysWright. “It’swhyactors from the stage,
TV, and film often find voice-over work
moredifficult than they’d imagined.”
ThoughAllvoICE-ovER
actorsworkun-
der similar time crunches, eachhashis own
unique approaches to prepping his voice,
getting into character, and delivering an
exceptional performance. Wright and Del-
Hoyo, for instance, warm up their voices
with exercises before a gig, while LaFon-
taine lookeduponhis voiceas amuscle that
was well-trained and strong enough that
he didn’t need any prep work. Although it
might sound otherwise, none of the men
interviewed for this story drink prodigious
amounts of whiskey or smoke. In fact, La-
Fontaine avoided coffee, believing that it
couldmuckuphisvocalcords,andDelHoyo
insists that green apples can help clear his
throat andmakehis voice crispand clean.
Generally, LaFontaine would receive the
script for a trailer via fax, and he’d sim-
ply glance at it in order to know the genre
and structure of the piece. “I’ll glance at it
to get the gist of what I’m selling,” he said.
“Is it a comedy or ahorror picture or an ac-
tion film?” Once he had that information,
which guided him regarding the tone of
voice to use, he spent no more time read-
ing or studying the script, because he felt
as though doing so might take away from
the authenticity of his read. “Spontaneity is
very, very important,” he said. So, too, is ve-
racity.AndLaFontaine said thatwhilevoic-
ing a trailer script, he absolutely believed
thatevery linehespokewas true. “ThewayI
can justify that is, even theworstmovieever
made is someone’s favoritemovie,” he said.
“And I’m talking to that person, and it’smy
job tobeas convincingaspossible.”
DelHoyo is a bitmoremethodical in his
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