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To try to create a character without a whole lot of information can be taxing. At the same time, it's fun to just stay on your toes and let the next bit of dialogue come in, and turn the page as you read the next script and see what they have in store for you next.

I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.

I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.

There's nothing better than voicing a character. You don't have to worry about what you're wearing; you've got the script in front of you, and it doesn't involve your body: it's all about your voice, and it's really fast work.

When I'm trying to find my way into a character, the voice and physicality are the first two things I do.

You know it's my job to visualize, what is literal or audible, so I designed all the characters, and I designed what they do and how they should do it and so on.

Robert De Niro taught me how to listen, and how to be part of the conversation. It's not just about reading your lines and saying what's in the script; you have to understand your character, along with the other characters so that you can always respond.

I find it an easy way into writing pieces is to think what the character's voice is like, and start from there.

A script narration is like watching a film, and I react to it like an audience with my own instinct. After that, I look for what is my character, what will I bring to the table in that role, how challenging will it be.

I'm in four different films this year, and I have four different accents. I sound different in every film. You have to love a character to play it well, and change in my work is what I want.