You’ve done quite a bit of voiceover work in your career. Can you tell me a bit about the difference between getting into character and getting into character for a role where you have to be on screen?
Yeah, I mean, it’s different for various kinds of obvious reasons that you don’t have the benefit of expressing yourself visually with just your voice, of course, by definition. In that sense, it takes a lot more thought, at least for me, to try to convey what’s going on in a scene just by using your voice. I’ve had the benefit of working on a lot of things that have had great writing, great writers, whether it’s a bunch of animated movies that have had great writers, including Phil Lord and Chris Miller on the LEGO movies, or Chris McKay on “LEGO Batman,” or jumping into TV, working with Raphael Bob-Waksberg on “BoJack Horseman,” just to name a few. So I’m very lucky that [I’ve had] great stuff to work with. That helps. But it is a different process.
Then doing something like this, working on “Twisted Metal,” Michael Jonathan Smith is a great fun writer. We work with [Rhett] rheese and [Paul] Wernick really came up with a great world with Michael, and then Michael went off to the races and wrote these really funny scripts about this post-apocalyptic world that’s really scary and yet somehow manages to be funny. It just makes my job a lot easier to go in and try to do what I do, because it’s really specific.