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It's great to get to make something in your own voice.

Maybe I have just a younger voice than many other directors.

I always had a problem when I did the audio books myself because they weren't made to have me doing all the voices. And to hear established actors, and you think, 'Wow, that sounds like it's supposed to sound,' is great. They've got the right inflections, which is an enormous skill.

I worked with some directors, and it was really collaborative, and I was sort of writing with them. I was giving so many pieces of myself to their movies, I thought, 'It's about time I use my own voice for me, and establish my own voice.' So I knew I wanted to make films.

I haven't done a lot of voice work, but I know that a lot of shows will just bring in the actors individually, and they will just do what is on the paper. You miss out on that connection of having everyone there.

I'm drawn toward filmmakers who have a very distinctive voice. I really appreciate people who push themselves and, therefore, push the medium forward.

I think when you work with really wonderful directors who have a really strong vision, it lets you as an artist set the tone for your own career.

As an actor, you're trying to capture the nuances of real life, but voice work is almost over-acting.

Going back to my film education, I always have that voice in my head that's always screaming, 'Sell out!' And that's good: you want that, because it keeps you on your toes, and it's important to remember what's actually important.

My dad had such a cool job. When you're a voiceover actor, it's a whole different skill - you're bringing these huge, larger-than-life monsters and characters to life. And, also, you have to learn accents.