Andrea Romano has put together and guided some of the most iconic vocal ensembles in cartoon history. She served as both casting and voice director on “Batman: The Animated Series” and the original “Animaniacs,” and she voice directed on “Avatar: The Last Airbender” and “SpongeBob SquarePants.” Over more than 30 years, she directed more than 10,000 voice sessions and worked on over 1,600 TV episodes, more than 50 films, and 20 video games before retiring in 2017.
So it’s safe to say that few know as much about what it takes to build and direct a great voice cast as Romano does. Here, she shares some of her wisdom.
What makes for a great recording session?
There are so many things that have to happen before a recording session actually takes place. You need to cast the right people, then make sure they have read the script; and if they have any questions about their characters, they [should] have reached out to me in advance. I always preferred ensemble recordings. I know the industry has changed considerably over the years, but I loved the party that was everybody all together in one room. Because if we can’t have fun making cartoons, then we’re doing something wrong. We should be having a good time.
7 Tips for Working With a Voiceover Director What can a voice director or performer do to replicate that magic?
Even if everybody is in their own home recording studio, if they do it via Zoom or whatever, having all the actors see the other actors in little squares on their screen will help a lot. It’s not the same thing as [doing it] in person, but it’s the next best thing.
Ideally, the best way for a director to try to [recreate] that magic is to read the actor in. Maybe you can’t do the voice that the actor does for the character who says the line right before that actor, but it can still get them into the moment. If I read you in appropriately, I have a better chance of getting the proper response from you. You’re not just in a vacuum, recording lines all by yourself with no context.
[Performers should] watch a couple of episodes of the show if it’s already on the air and be familiar with the tone, energy, and style of the animation. Sophisticated 3D CGI and Hanna-Barbera 2D and flat styles require different types of energy.
Animated projects have been casting more and more celebrities in the past few decades. What can voice actors who don’t have high-profile credits do to stand out?
There is a huge demand by producers and studios to use celebrities, [but] I always was of the mind that the best actor for the role should be the one who is cast. And I will fight for the rank-and-file voice actor over the celebrity every time, unless the celebrity is truly qualified to do it. But the key is in your demo reel: Make sure it’s not overproduced. I don’t want to hear what your voice sounds like sped up or pitched or slowed down or reverbed. I want to hear what you do with your voice.
There is always a need for new voices and kid [actors], because young kids are always growing up…. Women often can do young boy voices as well. Look at Nancy Cartwright, who’s now on year 35 of playing Bart Simpson.
This story originally appeared in the July 11 issue of Backstage Magazine.