NANCY

CARTWRIGHT
Teaches
Teaches Voice
Voice Acting
Acting
1
 FOR MOR E T H A N 30
years, Nancy Cartwright has

Voice actor given voice to a spikey-headed

10-year-old boy even though she’s a

Nancy Cartwright
grown woman. She’s often been ar-
rested for truancy and vandalism, yet

brings the sound

she maintains a spotless criminal re-
cord. She’s repeated the fourth grade
dozens of times despite earning her

and the funny college degree. How has she managed

to live this double life? Read on, dude.
As the voice of Bart Simpson,
Nancy has literally breathed life into
one of the most memorable charac-
ters in entertainment history. But
she’s responsible for an array of oth-
er characters on The Simpsons, too,
making her a versatile performer
who’s proved invaluable to the lon-
gest-running scripted show of all
time. Not that her career begins and
ends in Springfield—far from it.
Nancy has lent her voice to myriad
other animated touchstones, from

2
Richie Rich to Rugrats, as well as to
live-action films, video games, audio-
books, and commercials. She’s a cul-
tural icon and a face in the crowd, a
megastar who walks the streets with-
out being mobbed. Not too shabby for
a kid from Kettering, Ohio.
That’s where a young Nancy dis-
covered her knack for voices and
sound effects. In high school, she
joined the theater program and
marching band and entered public-
speaking competitions. After winning
the National District Tournament’s
“Humorous Interpretation” catego-
ry—twice—the judges steered her to-
ward cartoon voices. By 1977, before
starting her second year at Ohio Uni-
versity, she was already doing profes-
sional voice work. Her part-time job
at WING radio in Dayton, Ohio, paid
off in full when a rep from Warner
Bros. Records visited the station and
shared a list of animation industry
contacts. Nancy zeroed in on voice-
over pioneer Daws Butler.
Butler supplied the voices of Yogi
Bear, Huckleberry Hound, Elroy Jet-
son, and dozens of other beloved
characters at the powerhouse anima-
tion studio Hanna-Barbera. So natu-
rally, Nancy cold-called him. She left a
message (in a Cockney accent) on his
answering machine, and Butler called
her right back. They spent the next
year exchanging scripts, taped read-
ings, and critiques through the mail.
“Daws never taught me how to do
voices,” says Nancy. “He taught me to
take the writer’s words [and] make
them my own.”
Nancy left Ohio in 1978 and trans-
ferred to the University of California,
Los Angeles so she could be closer to
her mentor and the entertainment in-
dustry. Settling in at UCLA, she re-
sumed honing her craft with Butler,
visiting his Beverly Hills home each
Sunday for lessons. Soon he brought
her into the fold at Hanna-Barbera,
where she met front-running voice
actors and directors. Within weeks,
she was cast as Gloria on Richie Rich,
the love interest of the show’s titular
3
She was drawn to the
troublemaker son, Bart,
and asked to audition
for that role instead.
She nailed it.
character—a genuine Hollywood
voice-acting job.
After that, the momentum picked
up. Nancy signed with a talent agency,
completed her theater degree, and
promptly landed her first feature film
role, in Joe Dante’s segment of Twi-
light Zone: The Movie. (She played a
schoolgirl trapped inside an animated
world.) More voice-acting parts fol-
lowed: Pound Puppies, Popeye and
Son, and My Little Pony, plus back-
ground voice-over work in Silverado
(1985), Sixteen Candles (1984), and
The Color Purple (1985)—to name a
few. Even minor parts represented
opportunities to expand her range. In
the hybrid live-action/animated clas-
sic Who Framed Roger Rabbit (1988),
Nancy had the opportunity to per-
form her first death scene as a voice
actor. Cast as the anthropomorphic
shoe that gets dipped in acid, she
worked diligently to capture her char-
acter’s terror and agony. To further
strengthen her performances, she
trained under acting coach Milton
Katselas, who had her read scenes
from plays and films, including the
M I C C H EC K
A steadfast supporter of education,
Nancy established a perpetual
scholarship program in her home
state of Ohio via the Nancy Cart-
wright Endowment for Forensics Stu-
dents at Ohio University.
classic Fellini melodrama La Strada.
Meanwhile, a cartoonist named
Matt Groening was working on a se-
ries of shorts, slated to run as inter-
stitials for The Tracey Ullman Show.
His concept involved a dysfunctional
animated family, several members of
whom were named for his own real-
life family (Homer, Marge, Lisa). Ho-
mer and Marge’s three kids needed
distinct voices. Initially, Nancy
planned to audition for the role of the
perfect middle child, Lisa, but she felt
unmoved by Groening’s character
description. She was drawn to the
troublemaker son, Bart, and asked to
audition for that role instead. She
nailed it. On March 13, 1987, Nancy
signed on to join the show’s cast.
It was a fine addition to her ré-
sumé. Then, two years after Groen-
ing’s original shorts debuted on Ull-
man, a breakthrough: Fox greenlit
the sketches as a standalone half-
hour animated sitcom. The Simpsons
premiered on December 17, 1989.
Early episodes centered around Bart,
and he proved to be the show’s
breakout star. His slacker antics and
catchphrases begged to be quoted—
and licensed. Less than six months
after the show’s debut, The New York
Times reported on “Bartmania,”
quoting exasperated retailers who
couldn’t get enough merchandise to
meet demand. Bart—and, by proxy,
Nancy—had officially been catapult-
ed into the zeitgeist.
 As The Simpsons universe ex-
panded, Nancy took on other char-
acter roles full-time: baby Maggie,
perpetually confused Ralph Wig-
gum, neighbor and study buddy
Todd Flanders, bully Nelson “Man-
dela” Muntz along with his crony
Kearney, and the super-nerd Data-
base. Still, even as her characters
(and voice) became ubiquitous, Nan-
cy remained largely anonymous—
merchandise for The Simpsons was a
booming business, and Fox execs
didn’t want fans knowing that their
favorite adolescent boy was, in fact,
a woman in her mid-30s. That
changed in 1992, when Nancy re-
ceived the inaugural Outstanding
Voice-Over Performance Primetime
Emmy for her performance as Bart
in the episode “Separate Vocations.”
Not that she rested on those lau-
rels. She kept working throughout
the ’90s, voicing Margo Sherman on
The Critic and Mindy in Animaniacs
as well as characters in Goof Troop,
The Replacements, Pinky and the
5
Brain, and Timber Wolf. When the
late Christine Cavanaugh retired in
2001, Nancy took over Cavanaugh’s
role as Chuckie Finster in Nickel-
odeon’s Rugrats and All Grown Up!
Her performance as Rufus, the na-
ked mole rat in Disney’s animated
series Kim Possible, received a Day-
time Emmy nomination in 2004.
In 2016, Nancy started to focus on
parlaying her Hollywood success into
other industry ventures. That year,
she founded Spotted Cow Entertain-
ment; the following year, she cowrote
and produced her first film, In Search
of Fellini, an adaptation of her own
one-woman play. The movie, which
garnered rave reviews during the run-
M I C C H EC K
For nearly a decade, until salaries
were renegotiated, the main voice
cast of The Simpsons earned
$30,000 per episode. From 2008 to
2011, they received their highest sala-
ries, roughly $400,000 per episode.
up to its release, chronicles Nancy’s
naive attempts to meet the titular di-
rector in Italy in 1985, after studying
La Strada under Katselas. (Watch it
now on all platforms.) More recently,
Nancy and her cofounder-producing
partner, Monica Gil, teamed up with
veteran Latin American development
executive team Jaime and Carolina
Aymerich to form CRE84U—a multi-
faceted development and television
production company that’s working
to bring international content to Unit-
ed States audiences.
Suffice to say, Nancy’s story is in-
imitable. Ditto her experience and
talent. But in this class, she will bring
you into her world, showing you how
to find your own voice(s), make a
demo, bring down the house at audi-
tions, work effectively with audio en-
gineers, and generally make an im-
pact with your art.
Sound intimidating? Not so much.
And Nancy knows how to keep it
light. So, you know—don’t have a
cow, man.
 The Bart Chart
A BRIEF PRIMER ON THE SASSIEST 10-YEAR-OLD IN SPRINGFIELD

Initially the Nancy says Bart’s name is Bart was the Nancy still Bart’s prank
number of Bart’s voice an anagram of only character provides the calls to Moe’s
100
100
spikes on Bart’s
head varied in
100
100
100
came naturally
to her: a blend
the word brat.
100
featured in all
48 shorts on
voice of Bart in
flash-forward
Tavern evoke
the Tube Bar
number and of her My Little The Tracey episodes. Her Tapes, a series
size. Eventually Pony, Snorks, Ullman Show. audio is elec- of recorded
it was decided and Pound He’s also ap- tronically low- prank calls to a
that he would Puppies char- peared in every ered to reflect bar in Jersey
consistently acters. She was episode of The his having City, New Jer-
have nine the only core Simpsons ex- gone through sey, circulated
spikes of equal Simpsons cast cept “Four puberty. widely among
length. member with Great Women comedians and
professional and a Mani- athletes during
voice training. cure.” the 1970s and
’80s.

100
100 100
100 100

Nancy rapped Bart was the According to Rappers Bart’s first In 2009, the
on two singles, only fictional a chapter that Gucci Mane girlfriend, U.S. Postal
“Do the Bart- character analyzes Bart’s and Lil Reverend Service un-
man” and included on character in Yachty each Lovejoy’s veiled 44-cent
“Deep, Deep Time maga- The Simpsons have chains daughter, was stamps of Bart
Trouble,” zine’s 1998 list and Philoso- with jewel- voiced by Meryl and his family.
for the double- of the 100 Most phy: The D’oh! encrusted Bart Streep. The only other
platinum 1990 Influential of Homer, Bart pieces. show to receive
album The People of the is compared to stamps while
Simpsons Sing Century. the “Nietzsche- still on the air
the Blues. Both an ideal,” which was Sesame
songs had mu- deifies the su- Street.
sic videos and perman who
topped the can master the
M I C C H EC K
charts in Aus- whole spec-
tralia, Ireland, trum of human Nancy voiced Earl Squirrel in the 2001
series Timber Wolf, the final project
PETER HOEY

New Zealand, potential.

by legendary cartoonist Chuck Jones,
Norway, and the cocreator of Bugs Bunny.
the U.K.

6
 The nation is scandalized by
Milli Vanilli’s lip-syncing fiasco.
Billy Joel, Janet Jackson, and Phil
Collins are dominating FM radio,
but a string of fresh-sounding al-
bums (De La Soul’s 3 Feet High
and Rising, LL Cool J’s Walking
With a Panther, Beastie Boys’
Paul’s Boutique, Queen Latifah’s
All Hail the Queen) signal a
changing of the guard.

Fashion-wise, everybody looks…well, they look

pretty terrible. The last vestiges of an iffy decade
for style—ripped-knee jeans, leg warmers,
Spandex, side ponytails—are still in vogue,
but at Vogue there are signs of change.

The Year Was

Naomi Campbell, age 19, has just graced the

1989
magazine’s famed September issue, produced
by its new Editor-in-Chief, Anna Wintour.

Driving Miss Daisy

will become the Acad-
emy’s pick for Best
Picture, but the rest of
us are enthralled by
Tim Burton’s Batman,
hinting at a growing
appetite for (and MUCH OF THE SIMPSONS' SUCCESS (AND
the bankability of)
ENDURING LEGACY) RESTS ON ITS ABILITY
comic-book movies.
TO ADAPT TO THE TIMES. CONSIDER
HOW FAR THE SERIES HAS COME BY
FLASHING BACK TO THE YEAR OF
Also a thing? The rebirth of Las Vegas as
ITS PREMIERE
a destination. It’s all thanks to developer Steve
Wynn, who has invested $630 million to open
the Polynesian-themed Mirage casino, the city’s
first mega resort-hotel.

The Berlin Wall, erected in 1961, has

recently come down. George H.W. Bush and
Mikhail Gorbachev have met at the Malta
Summit and officially put the Cold War on ice.

Handheld video games are now a thing.

The Nintendo Game Boy, which has arrived
in Japan and North America, is on every kid’s
(and more than a few adults’) Christmas list.

7
 Elsewhere, a British scientist
named Tim Berners-Lee is getting
mixed feedback on “Information
Management: A Proposal,” the
On a Role
HOW MANY CHARACTERS CAN ONE ACTOR PLAY?
DURING HER FOUR DECADES IN HOLLYWOOD, NANCY HAS
white paper in which he posits a
new idea: the World Wide Web. VOICED DOZENS OF CHARACTERS. BUT SHE’S SPENT
PLENTY OF TIME IN FRONT OF THE CAMERA, TOO

HEAR MARGO “FLAT STEPHANIE

NANCY’S SHERMAN FREDDY” Going Undercover
VOICE The Critic FENDER (1985)
Decades in the making, hard- (1994–1995) Galaxy High
fought efforts for social progress School (1986) CYNTHIA
are coming to fruition. Denmark BART SIMPSON, LU Cheers (1985)
has hosted the world’s first legally MAGGIE Mike, Lu & Og FX
SIMPSON, (1999) Fantastic Max ANITA JONES
recognized gay marriage; South
RALPH WIGGUM, (1988–1990) Bridges to Cross
Africa is dismantling the apartheid DAFFNEY (1986)
system; the Dalai Lama’s nonvio- TODD
FLANDERS, GILPHIN FAWN DEER
lent efforts in Tibet are being rec- Snorks Raw Toonage GWEN
ognized with a Nobel Prize; and NELSON MUNTZ,
(1984–1988) (1992), Bonkers Mr. Belvedere
KEARNEY
David Dinkins is elected New York (1993) (1987)
ZZYZWICZ SR.,
City’s first Black mayor. EARL
DATABASE ANN
SQUIRREL MELISSA
The Tracey Empty Nest (1988)
Timber Wolf SCREETCH
Ullman Show
(2001) Toonsylvania
(1987–1989), RUTH POTTER
(1998)
The Simpsons MEGAN Precious
(1989–present) ALLMAN Victims (1993)
God, the Devil
SEE
CHUCKIE
& Bob (2000)
NANCY’S RUBY
FINSTER FACE JILLETTE
Rugrats (2001– PISTOL PETE The Fresh Prince
2005, 2021) Goof Troop (1992), of Bel-Air (1995)
MARIAN
A Goof Troop
RUFUS ROSE WHITE FRANCES
Christmas
Kim Possible Marian Rose O’REILLY
(1992)
(2002–2007) White (1982) Baywatch Nights
GUSTY (1995)
MINDY JILL MURRAY
My Little Pony ’n
Animaniacs The Rules of TERRY
Friends (1986), My
(1993–1996, Marriage (1982) Vows of
Little Pony: The
2020) Deception
Movie (1986) HOLLY FIELDS (1996)
TODD DARING Tucker’s Witch
Meanwhile, Spike Lee is BRIGHT EYES
The Replace- (1982) DELL
becoming a household name Pound Puppies
ments (2006– Suddenly
thanks to his buzzy new feature, (1986–1987) LIBBY DEAN
2009) (1996)
Do the Right Thing. (College KIP KANGA-
Deadly Lessons/
students Barack Obama and GLORIA GAD High School Killer CAIMAN’S
ROO Shirt Tales
Michelle Robinson see the movie Richie Rich (1982) SECRETARY
(1983)
on their first official date.) (1980–1983) Godzilla (1998)
ETHEL
SCOOP
BILLY Twilight Zone: The JEANNIE
The Glo Friends
Betsy’s Kindergar- Movie (1983) TYLER
(1986)
ten Adventures 24 (2007)
(2007–2010) TOP WING MUFFIN
Fame SELF
Snow Geese
RUDY (1983–1984) I Know That
Silicon Valley continues (2017–2018)
MOOKICH Voice (2013)
apace despite the 6.9-magnitude Pinky, Elmyra GILDA JEAN
earthquake that hit prior to & the Brain Not My Kid (1985) COSIMA
GOSSIP
a World Series game at San (1998–1999) In Search
Galaxy High
Francisco’s Candlestick Park. KATHLEEN of Fellini (2017)
School (1986)
Flesh+Blood
(1985)

8
Sound Off
HOW TO SAFEGUARD YOUR INSTRUMENT
SLEEP
& REST
Try to main-
tain a regular
sleep sched-
ule. Train your
AS A VOIC E AC TOR , there’s one tool you abso-
body and mind
lutely, positively must keep safe under all circum-
to shut down
stances: your vocal cords. Those two bands of smooth
so you get the
muscle tissue, located in the larynx, are your moneymaker.
rest you need
Of course, some issues might be outside your control—
to recover be-
upper respiratory infections, the growth of nodules. But
fore or after a
there’s plenty you can do to optimize your vocal health. To DIET AND performance.
preserve your full vocal range, follow this regimen.
DRINK (Physical fa-
tigue will nega-
Stay hydrated. Human vocal cords
tively affect
vibrate quickly—up to several hun-
your voice.)
dred cycles per second—and proper
Rest is espe-
hydration keeps them lubricated.
cially import-
Ideally, you should drink six to eight
ant when your
glasses of water per day. Foods like
voice is hoarse
apples (or applesauce), pears, water-
or tired. Your
melon, peaches, melons, grapes,
body, like any
plums, and bell peppers also contain
machine, can
significant amounts of water. Try eat-
be overworked
ing those as a snack instead of some-
and develop
thing salty. Similarly, try to limit or
problems. Each
avoid consumption of alcohol and
day, take time
caffeine, both of which can dry out
out for vocal
your vocal cords and larynx. Alcohol
naps: Let your
also irritates the mucous membranes
voice rest. Oh,
that line the throat. So does stomach
and hush up
acid. Staying away from spicy
when you’re
foods can minimize the chance of
sick. Illness
heartburn or acid reflux and, in turn,
puts extra
damage to the esophagus—instead
stress on your
of scooping that five-alarm chili,
voice. If you’re
consider whole grains, fruits, and
VOICE vegetables. Besides being great
under the
weather, accept
CONTROL sources of vitamins A, E, and C, these
it and focus on
health-conscious foods help main-
The extreme ends of your vocal range put stress on your recovering.
tain those mucus membranes lining
voice, so try to stay in the middle (which is to say, don’t
your throat.
scream or whisper). If you do need to speak publicly to a
large crowd, use a microphone and amplification to avoid
straining your vocal cords. As Daws Butler might say (see
page 11), higher volume is not the key to an intense and vi-
brant performance. Keeping it at mid-level isn’t just for vo-
cal health—it’s a reminder to use your wits and skills in
adding emphasis. Another thing to remember: Relax your
throat. Depending on the sound you’re trying to create,
LORIS LORA

you may want to tilt your head up or down. Don’t. It can

strain your vocal muscles and possibly limit your vocal
range in the future.

9

BREATHING
Try to steer clear of
firsthand and second-
hand smoke (cigarettes,
cigars, e-cigarettes, etc.).
Smoke can irritate the vo-
cal cords and even lead to
throat pharyngeal or la-
ryngeal cancer. And while
the long-term damage
from vaping isn’t yet
known, hot vaporized
chemicals could cause
hoarseness, loss of vocal
range, voice fatigue, or vo-
cal injury. Also, use a hu-
midifier at home, as
maintaining ideal humidi-
ty (30 percent) in your liv-
ing space will help prevent
your vocal cords from
drying out. This is extra
HYGIENE
To prevent catching a sistent bad breath, called
cold or the flu, which will halitosis, which can be a
diminish your voice and possible sign of infection
take you out of commis- in your nose, sinuses, ton-
sion, start with the obvi- sils, gums, or lungs, or the
ous: wash your hands result of gastric acid re-
frequently and thor- flux from the stomach.
oughly. (Soap and warm Speaking of oral hygiene:
water, good scrubbing, 20 Don’t use mouthwashes
seconds minimum.) If you with alcohol or other
do come down with a bug, chemical irritants. Just
try to avoid dehydrating like alcoholic drinks, these
cold and allergy medica- can dry out your vocal
tions. Instead, consult a cords. If you prefer alco-
doctor for treatments that holic mouthwash, skip the
are kinder to your vocal
cords. Same goes for per-
gargling. Use a saltwater
solution for that instead.
important during the win-
ter, or if you live in a dry
climate—you know, like
Hollywood. Try to prac-
tice good breathing
techniques when
talking: deep breaths,
drawing from your dia-
phragm, since using your
throat alone can put un-
wanted strain on your
voice. And, whenever pos-
sible, avoid clearing your
throat. It’s a violent action
for your vocal cords and
can potentially make you
hoarse or, in extreme cir-
cumstances, injure your
throat. If you feel the urge,
try swallowing or taking a
sip of water instead.

EXERCISE
Whenever you’re going to perform,
do a vocal warm-up before and a
vocal cool-down when you’re fin-
ished. Just like stretching before and
after playing sports, this loosens up
the muscles and can help prevent in-
jury. Try not to strain, which can ul-
timately reduce your vocal range.
Don’t tense your neck muscles,
even as you’re pushing yourself.
Avoid cradling your phone between
your head and shoulder for extended
periods of time, too, and don’t sleep
in positions that stress and kink your
neck. Make an effort to exercise
regularly as well. Increased stamina
and better muscle tone can help to
improve your posture and breath-
ing—both of which are key for prop-
er speaking.

10
 Charles Dawson Butler
Use your whole body.
Your voice reflects the movement of
your body, so be conscious of how
the former is affected by the latter.
Experiment with your facial move-
ments—how you move your lips,
tongue, cheeks, jaw—as well as your
stance, arm movements, and shoul-
ders. Get to know how your stance or
anything else affects the sounds that
your voice produces.

Never forget to
make eye contact.
When you’re recording, imagine
you’re actually conversing with
somebody, not just reciting lines into
a microphone. This will make your
overall performance (and, in particu-
lar, your pauses) more natural. It
brings your lines, character, and the
entire project to life, allowing others
to see what you see.

Stress for emphasis.

It’s up to each voice actor to play
with emphasis, determining the de-
gree to which you emphasize words.
A light emphasis can give your voice
a more naturalistic quality, whereas
heavy characterization can be more
comedic and cartoonish.
ADVICE FROM A VOICE-ACTING DEMIGOD
Spread vowels
for emphasis.
B OR N I N OH IO, impressionist Charles Dawson Butler enjoyed a suc- How you touch on a vowel gives
cessful stint in vaudeville theater before breaking into voice acting during shape and shade to a word; it can in-
the 1940s. He voiced characters for Woody Woodpecker creator Walter Lantz— dicate an exact emotion or underline
including the penguin Chilly Willy and rival Smedley—as well as the Wolf in a larger personality trait. Experiment
Tex Avery’s seminal short Little Rural Riding Hood. In 1957, he went to Hanna- with drawing out vowels versus
Barbera and voiced title roles in a succession of cartoon classics: The Huckle- barely hitting them. Once you’ve got
berry Hound Show, The Quick Draw McGraw Show, and The Yogi Bear Show. He a firm grasp on manipulating this for
was also the voice of Snagglepuss, Elroy Jetson on The Jetsons, and many oth- certain characters or scenarios, mark
ers. Throughout his prolific career, Butler handed down a wealth of knowledge the vowels you want to tease out on
to the next generation—including Corey Burton (Chip ‘n’ Dale) and Mona Mar- your script by drawing a line over a
shall (South Park)—in workshops and private lessons. He worked closely with word. If you want to emphasize a se-
Nancy, too, and now she’s passing the baton to you. Below are Daws Butler’s ries of words equally, you can put a
tips and tricks for professional voice actors. Make the most of them. mark over all of the words.

Voice acting is acting. volved form of expression. You’re Use intensity,

Believable interpretation of the acting, period. Throw yourself into not volume.
script is essential, no matter what each line fully, just as you would Increasing volume isn’t as effective
kind of acting you’re doing. Don’t when performing on the stage in as manipulating your emphasis, vow-
think of voice acting as a less in- front of the camera. els, and certain words. Plus, scream-

11 
ing can damage your vocal cords. Re-
member: less, not more.
Don’t be held hostage by
a writer’s conception.
Part of the joy of voice acting—and
all acting, for that matter—is sussing
out ideas beyond what a writer origi-
nally conceived. It’s your job to take
the words and find meaning, a dis-
tinct point of view, consistency of
characterization, and continuity. Ide-
ally, these elements should be up for
grabs once the words are on paper.
Don’t defer to
a writer’s ego.
To that end: It’s also your job to bring
words to life and intellectualize them,
to create an identifiable character. If a
writer says to give a cosmetic, as-is
read, give one. But also try to direct
yourself to adventure and discovery
and offer new ways to say something.
Use the actor’s
punctuation, not
the writer’s.
Of course, you should have a certain
degree of reverence for the writer of
a script. But the affectation of words,
and the flow of speech (so that
speech becomes a thought), are the
province of the actor. Just because
there are periods and commas on
your script doesn’t mean you have
to…pause…right…there. You control
the dynamics of degree and sensitiv-
ity; no one else. It’s okay to breeze
right past a comma—people’s speech
is often grammatically incorrect. Ex-
citement is the key! If your character
is thrilled, feel free to tumble through
a script’s punctuation stop signs to
make a point.
Don’t overlook
the importance of
the pronoun.
When bringing your character to life,
keep in mind that everybody is
ego-driven. We all have feelings
about ourselves (and about others in
relation to ourselves). The way you
M I C C H EC K
In 2005, Nancy was selected as the
honorary mayor of the North Valley in
L.A.’s San Fernando Valley. It’s techni-
cally a public relations position, but
the community-outreach aspects
align with her charitable ideology.
deliver pronouns—“her,” “him,”
“they”—might express familiarity,
affection, disdain, confusion, or apa-
thy. Playing with those words can
showcase your character’s emotions.
Use dynamic
changes of pace.
Slight pauses, the spreading of vow-
els, sudden rapid speech, intonation,
and inflection are all useful tools in
the voice actor’s arsenal. These can
reveal how your character feels about
people and situations, and catch your
audience off guard. Experiment with
“throwaways” (quicker readings of
an end line) and pauses to elucidate
these feelings. Remember, there are
no prescribed lengths for beats or
pauses. It’s strictly on you and your
personal sense of timing.
Master your breathing.
Breath control is tremendously im-
portant. Many actors breathe only
when they come upon a comma, the
end of a line, or other punctuation in-
dicated by a writer, like ellipses or em
dashes. But you don’t have to be so
restricted. You can breathe in the mid-
dle of the line by lingering on a key-
word, a word you plan to shade, a
vowel you’re going to spread. Practice
this until the delivery sounds natural.
Use control techniques.
In everyday life, we often express
ourselves without thinking. When
something traumatic occurs, your di-
aphragm collapses and you breathe
shallowly or struggle for breath, your
legs buckle, and your voice warbles,
as if your nervous system is
short-circuiting. You need to con-
sciously control your body and use
phrasing, shaping, shading, and oth-
er tools to indicate your character’s
state. Study the physical manifesta-
tions of various scenarios and intro-
duce them into your performances.
Mark your script.
Maybe it’s drawing a line over a vow-
el to draw it out, a squiggly line over
a phrase to accelerate it, a large dot
to indicate where you plan on taking
a breath. Maybe it’s just making gen-
eral character notes. Either way,
marking up your script will keep
these nuances clear in your mind; as
you practice your lines, these notes
become part and parcel of your de-
livery. Orchestrate your copy!
12
 On the Record
TOP-NOTCH AUDIO GEAR CAN MAKE YOUR VOICE SHINE—AND IT DOESN’T NEED
TO COST AN ARM AND A LEG. HERE ARE A FEW THINGS YOU’LL NEED TO HELP YOU
GET STARTED (AND DON’T HESITATE TO REACH OUT TO YOUR LOCAL MUSIC
STORE TO LEARN MORE ABOUT THE EQUIPMENT YOU’RE IN THE MARKET FOR)

MIC STAND
MICROPHONE OR BOOM ARM
A high-quality mic makes an enormous
Depending on your setup, you might need a mic
difference in the richness of your recordings,
stand or boom arm to hold your microphone in
and generally speaking, home studio mics fall
place—crucial for home recording, especially if
into two main categories. The first is called a
you’re moving your body to achieve sounds. Scis-
cardioid condenser. These mics are a great
sor-arm mic stands attach nicely to a desk (ideal
option for voice acting because they pick up
when you’re recording and editing in the same loca-
bright, full sound, even if you speak at an an-
tion). If your recording space is separate from your
gle—remember, you might use your body to
editing setup, a tripod should do the trick.
create sounds—and have a weaker signal be-
hind the mic, minimizing background din.
You might start with a USB cardioid con-
denser, which is portable and plugs directly
into a computer, or there’s a more durable
style called an External Line Return (XLR).
The latter are routed through an audio inter-
face, meaning they pick up a better range of
sound with a stronger audio signal.
HEADPHONES
You could also consider shotgun-type OR MONITORS
mics, which feature a unidirectional polar The two means of listening to
pattern. Translation? They primarily pick up your recordings are through head-
sound straight on and phase out rear noise. phones and/or studio monitors.
Even from several feet away, shotgun mics There are tons of options for both
will pick up the sound of whatever they’re on the market, but if you go the
pointed at—that’s why they’re traditionally headphone route, avoid in-ear
used in the field for film and TV shoots. headphones and look for studio
Those same attributes can serve you well in a headphones—the kind that go over
home studio: You could back away from the your ears—instead.
mic to gesticulate and still capture high-
quality sound.

RECORDING AND
EDITING SOFTWARE
Every home studio needs software referred to as a
Digital Audio Workstation, or DAW. This allows you
to record and edit, enhance voice-overs with music
and sound effects, and cut out pauses and audible
breaths so your finished recordings sound pristine.
POP FILTER
The pop filter, a shield you attach to the front of your mi-
crophone, is essential to voice recording. The filter mini-
mizes the harsh pop noises that are produced while speak-
ing certain consonants, so you get a cleaner sound. Without
one, voicing a p or b can result in a spike (where an analog
volume meter’s needle jumps into the red). Pop filters come
in traditional nylon (cheaper, but prone to tearing) or metal
(expensive, durable, easy to clean).

13 

AUDIO INTERFACE
XLR mics require hardware that controls and translates
the signal from your mic to your computer, enhancing the
sound of your voice. Connect your mic to the interface using
an XLR cable, and boom: The sound waves are converted
into a digital format. Good interfaces have a strong built-in
preamplifier system—“preamp” in industry shorthand—that
boosts sound and drives the mic’s signal strength. It also pro-
vides direct current voltage that drives condenser mics, so it’s
compatible with any microphone. If your preamp is weak,
you will have to turn the gain up extremely high, negatively
affecting your signal-to-noise ratio.
MUSIC STAND
Some work still comes in the form of printed
scripts. It’s best to have a stand handy so you can
free yourself up for body movement during reads
without rustling the paper, but you can probably
rig your own stand with items you have lying
around the house. (Check out Instructables and
other similar websites for DIY builds.)
SOUNDPROOF
RECORDING SPACE
Equipment is useless without a suit-
able space in which to record. Dedicating
a spare bedroom might be a luxury you
don’t have, but perhaps you have a closet
or other small space that could be
cleaned out and used for recording.
Your primary concern is complete and
utter quiet. Avoid sharing a wall with a
bathroom, laundry room, or kitchen,
where appliances can make a racket. Ex-
terior noise will compromise your re-
cordings, too, so keep away from win-
dows (or seal them with high-
density foam tape or acoustic putty).
Insulation is also key. Acoustic tiles
and bass traps (absorbers designed to
dampen low-frequency sound) are opti-
mal. Alternatively, look for cork, rubber,
and foam at home-improvement stores.
Cheaper methods, like hanging thick blan-
kets or heavy curtains on walls and in cor-
ners, can lessen echo and boom. Some ac-
tors even push mattresses and couches up
against walls to absorb sound waves and
prevent them from bouncing. Clothes and
linens do the same thing—just make sure
you don’t rub up against them while per-
forming and create additional noise.
Thick carpeting or rugs on the floor
help as well. Look for those at thrift
shops, or ask a carpet store to give you
miscuts and scraps. When you think your
room is soundproof, test it by standing
inside and clapping. If the sound echoes,
insulate more.
Ready to make a real investment?
Start researching the next level of home
recording: building or installing an en-
closed booth.

COMPUTER
It may sound obvious, but you’ll definitely
need a computer to store audio files and send them
to clients. If you don’t already have one or you’re
on a tight budget, look into refurbished Macs and
PCs (ideally newer models) that can support
audio work. To back up your files and avoid bogging
down your computer, consider cloud storage.
Alternatively, use a plug-in external hard drive.

Want to learn more about setting up a home

recording studio? Head to masterclass.com.

14
Crew Cuts
WA N T TO H O N E YO U R C R A F T W H I L E B O L ST E R I N G
YO U R R É S U M É ? C O N S I D E R BA N D I N G TO G E T H E R W I T H
OT H E R VO I C E ACTO R S I N A LO O P G R O U P
LO OP G ROU P S, otherwise
known as walla groups, are a
small assemblage of voice-over ac-
tors who record audio for edited vid-
eo during postproduction. Typically
consisting of five to eight members,
these troupes provide background
noise and small bits of audio that fill
out a soundscape for films, television
shows, video games, and commer-
cials—pretty much anything that has
a visual component. Nancy joined
one, and here are a few reasons why
you should consider doing the same.
Why are loop groups
important?
Loop groups bring video projects to
life by creating atmosphere and lend-
ing a sense of authenticity. In order
to optimize sound quality on sets,
only the principal actors are allowed
to speak; the extras are miming.
Without loop groups adding “ef-
forts” (non-dialogue vocal sounds)
and occasional Automated Dialog
Replacement, or ADR (conversation
for extras), the scenes in busy restau-
rants, hospitals, subways, sports are-
nas, police stations, and city streets
would be eerily quiet. Loop groups
also fill in bits of dialogue that were
missed or screwed up, or purpose-
fully omitted—if, for example, local
actors were used in an overseas pro-
duction, a loop group might be called
in to provide accurate accents.
What kind of people
are in a loop group?
Loop groups include actors—both
voice specialists and on-camera per-
formers—of all ages and back-
grounds so as to provide the widest
15 
range of audio for clients. Group
leaders might have a versatile core
troupe or a large roster, depending
on the specific needs of a project.
How do loop
groups record?
Whereas voice-over is often done in
smaller, enclosed booths with a mi-
crophone near the actor’s face, loop
groups record inside a larger sound-
stage room with a microphone posi-
tioned high. This allows the actors to
move around, creating variance in
the depths of background sound—
they can give the illusion of move-
ment by performing a “pass-by,”
when actors talk while walking
across the mic’s pick-up area, or a
“donut,” where they form a circle in
front of the mic and speak while ro-
tating as a group. Loop groups may
also form lines and record stationari-
ly in front of the mic, performing oc-
casional “callouts” (shouts) to break
up the “walla bed” (the continuous
layer of background dialogue). To
faithfully match audio to video, the
recording space has a video monitor.
The sound editor and director play a
scene and point out all the moving
mouths that need vocalization. Oc-
casionally there is scripted dialogue
to record, but typically loop group
actors improvise the chatter.
What responsibilities
do loop group
performers have?
As a loop group member, you’re ex-
pected to study the finer points of
any voice needed for the location,
time, and tone of the scene—regional
dialect, common slang, or the vocab-
ulary of a specific profession. For ex-
ample, if your client needs Argentin-
ean auto mechanics in the
background of a scene, you’ll need to
be able to speak Rioplatense Spanish
or Rioplatense Castilian, correctly
use informal language like che and
boludo, and be versed in automotive
terms. And you’ll want to be com-
fortable improvising realistic dia-
logue for however many takes may
be needed. This may sound over-
whelming, but a good loop group di-
rector will review everything so that
you have plenty of time to prepare.
Why should I
join a loop group?
First, it’s an excellent way to sharpen
your voice-acting skills. And while
looping jobs won’t make you famous,
they do pay well—they might even
score you some royalties. Where
looping was once considered a side
hustle, the volume of video content
being produced today has allowed
some actors to turn looping into a
full-time career. Plus, the entertain-
ment industry is all about relation-
ships; these are prime opportunities
to meet directors and producers.
How can I
join a loop group?
Whether you want to join an existing
group or form your own, networking
is essential. Be social. Connect with
loop group directors, film and televi-
sion directors, producers and agents.
(If you already have an agent, ask
them for looping connections. If you
don’t, try cold-calling or emailing
loop groups that intrigue you; you
might be surprised how often you
hear back.) Strive to make a positive
impression, and sell yourself. Show
M I C C H EC K
Nancy is also a painter and sculptor.
To celebrate the 25th anniversary of
The Simpsons, she gifted Fox a
bronze Bartman statue. (It’s outside
the network's Manhattan offices.)

people why they absolutely must hire
you for looping—if you speak multi-
ple languages and can do regional di-
alects, can sound adolescent or el-
derly, or know the jargon of certain
professions, highlight those assets.
To that end, versatility is crucial.
To make your skill set attractive,
study languages and a variety of sub-
jects; if you can, take improv classes,
on-camera classes, commercial
classes, voice-over classes, and loop-
ing classes. Learn how to read copy
as if you’re a news anchor, a subway
conductor, a department store man-
ager. Examine the voices of on-
screen actors and practice replicat-
ing them until you’re a perfect match.
Master the vocabulary of looping—
terms like “effort,” “pass-by,” “do-
nut,” “callout,” and “walla bed”—to
comfortably communicate with oth-
ers in a professional setting.
Practice your
craft constantly.
LORIS LORA
At home, watch scenes where loop-
ing was used in shows and movies,
locate someone whose voice you
could fill in, and try to speak dia-
logue for the duration of the scene.
Try this across a variety of genres,
challenging yourself to deliver every-
thing from water-cooler chatter for a
comedy sitcom or the sounds of a
soldier getting pummeled in an ac-
tion flick. Record yourself for further
critique, or invite other actors to join
you and practice. Take existing dia-
logue and try revoicing it in different
ways. Just keep working at it.
When you feel confident in your
abilities, record an animation demo,
which is an important tool for land-
ing a loop group membership and
gigs. Think of this as your head-
shot—a quick way for directors, pro-
ducers, and casting directors to as-
sess if you’re right for a session.
Finally, whenever you land a gig or
get an offer to join a loop group,
make sure that you’ve prepared what
your client needs. Leave people with
a positive memory of working with
you. If you do, they won’t hesitate to
call you again in the future.
6 LOOP
GROUPS WORTH
KNOWING
(AND STUDYING)
THE LOOPING GROUP
DIRECTOR: Barbara Harris, a
voice-casting titan who has worked
with Steven Spielberg, Martin
Scorsese, and Quentin Tarantino
NOTABLE PROJECTS: Inception,
The Dark Knight, Pulp Fiction, Juras-
sic Park, The Fast & the Furious
WEBSITE: theloopinggroup.com
LOOP DE LOOP
DIRECTOR: Johnny Gidcomb, who
has performed ADR for five of the
10 highest-grossing films in history
NOTABLE PROJECTS: Avatar,
Titanic, Deadpool 2, Maze Runner:
The Death Cure, The Avengers
WEBSITE: loopdeloop.net
THE LOOP SQUAD
DIRECTORS: Mark Sussman, who
has voice-matched both Brad Pitt
and Brad Garrett, and Patty Connolly
of Beverly Hills 90210 and Charmed
NOTABLE PROJECTS: Shazam!,
Always Be My Maybe, Molly’s Game,
Mindhunter, Arrow, The Flash
WEBSITE: theloopsquad.com
PROADR LOOPING
DIRECTOR: Mary Louise “ML”
Gemmill, whose voice-over career
spans more than three decades
NOTABLE PROJECTS: Lovecraft
Country, Fargo, The Last O.G.,
Zoey’s Extraordinary Playlist
WEBSITE: proadrlooping.com
LOOP GROUP WEST
DIRECTORS: Anita Kalathara and
Wolfie Trausch, a duo with acting
credits from The Mindy Project,
Lady Bird, and Where’s Waldo?
NOTABLE PROJECTS: Ramy,
The Hunt, Vida, Gentefied, Butter,
Them That Follow, East Los High
WEBSITE: loopgroupwest.com
LOOPERS UNLIMITED
DIRECTORS: Dann Fink and
Bruce Winant, ADR specialists
who worked on Gravity and A
Most Violent Year
NOTABLE PROJECTS: Manchester
by the Sea, Revolutionary Road, Ice
Age, Boardwalk Empire, Salt
WEBSITE: loopersunlimited.com
16
 Nancy’s 6 Keys
to Success
I N 20 12 , W H I L E R EC E I V I N G A N H O N O R A RY D O CTO R AT E O F
C O M M U N I CAT I O N F R O M O H I O U N I V E R S I T Y A N D D E L I V E R I N G
T H AT Y E A R ’ S C O M M E N C E M E N T A D D R E S S , N A N CY L A I D O U T
H E R S I X K E YS TO S U C C E S S . T H E B E ST PA RT ? YO U N E E D N ’ T B E A
C O L L EG E ST U D E N T FO R T H E W I S D O M TO A P P LY

17 
 Do what
you love.
Nancy didn’t take acting or voice le-
sons at Ohio University. But that didn’t
prevent her from chasing a career in You are
voice acting. She did commercial voice- responsible for
the condition
overs for the Dayton-based radio station
WING straight out of high school, kept
educating herself, and didn’t second-
guess herself or her abilities.
you are in.
Nancy believes art and artists can
change the world. She recommends
that you decide exactly what you
want to accomplish, find your outlet,
Be a and use your platform. Aspire to cre-

professional. ate hope, and strive to inspire those

around you.
Having purpose is key, no matter your
chosen field. Nancy is adamant that,
whatever you do, you should do it with
intention and a goal. Throw yourself into
it wholeheartedly. Don’t dabble. Treat
this as your life’s work, not a hobby.
Surround yourself with
people who love you—and
believe in your dreams.
The concept of being “self-made” is often misleading.
Nancy isn’t shy about acknowledging the help she received
from people who pointed her in the right direction, made in-
troductions on her behalf, or took a chance by giving her
opportunities. And she never fails to mention her mentor,
pioneering voice actor Daws Butler.

Hitch your
wagon
to a winner.
Daws Butler was instrumental in
teaching Nancy the craft and busi-
ness of voice acting. While it might be
difficult to get a legend on your side,
she still recommends interning. Find
someone experienced, a person who
excels at what you’re aspiring to do.
Be passionate and make yourself use-
ful to them; they’ll almost certainly
share what they know with you.
Trust your
instincts.
When Nancy auditioned for The
Simpsons, she was going out for the
role of Lisa. But looking over the char-
acter descriptions, Nancy connected
more with Bart, described as “a devi-
ous, school-hating underachiever, but
proud of it.” She felt inspired, and so
she asked to read for Bart instead.
The rest is TV history.

18
 Class Credits
Footage from The Simpsons
Courtesy Twentieth Century Fox Television. All rights reserved.

Footage from Galaxy High School

Courtesy TMS ENTERTAINMENT CO., LTD.

Footage from Popeye

Courtesy Hearst Entertainment Inc.

Still of Huckleberry Hound, still of Elroy Jetson, still of Yogi Bear

Licensed by Warner Bros. Entertainment Inc.

Footage from The Yogi Bear Show, Shirt Tales, Richie Rich, and Fantastic Max
Licensed by Warner Bros. Entertainment Inc.

Footage from Rugrats

©2020 ViacomCBS Media Networks. All Rights Reserved.