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One of the things that I love about voiceover is that it's a situation where - because you're not encumbered by being seen - it's liberating. You're able to make broad choices that you would never make if you were on camera.

This is going to sound cheesy, but with acting there are so many tools. When you're on camera, you're using all of it. You're using the voice, you're using your body, you're using wardrobe, all of it, but it's funny, once you take all of those things away, you realize how much you rely on the physicality.

You have to contort your body in a certain way to hit a low note. When you're on film, you can't. So you do, in a sense, get to hide behind your voice, which is nice.

In voiceover, all you have to worry about is your voice and practicing with your voice and then being able to understand what the situation and whatnot is happening. And you have endless amounts of film to perfect the character.

I think when you're just counting on your voice, you actually need double the energy. I find myself acting out the scenes and being very physical while I'm recording because I think you can tell when someone is just sitting on a stool.

Really, voice-over is great. If it paid as much as on camera work, it's all I'd ever do.

I know there's been a lot that's been said about animated voice work, as though it's 'you can do this in your jeans and there's no camera and no pressure there. It's no big deal. It's easy.' The truth is, it's really a great test: how deep is your ability is to access your imagination?

On-camera stuff just hit. I decided to do it to supplement my voice-over career, but I ended up falling in love with it, and it actually hit a lot harder than my voice-over career.

You don't have a face to work with, so your voice has to do all the work until you see the animation. So, a lot of it I had to pull back because it was too big.