Roundtable Interview With
“In A World”
August 13, 2013,
Presbyterian Outlook: What drew you to
the idea of voiceovers?
: Ever since I was a little girl, I was
mimicking accents and dialects. Someone
proclaimed that I had a good ear, and of course any validation as a kid and
you’re like “Oh, I should stick with that…” When my family would have
people over from foreign countries, I would think, “What strange and exotic
people these are, to speak another language and have these foreign
accents…” and I started to collect them like stamps.
Fast forward to drama school in
, where you just try everything---I knew I wanted to be an actor at a young
age---and voice is the ultimate acting tool. And
voice acting is mind-boggling because you’re not judged by what you look
like…in the movie, the guy on the speaker phone is supposed to be a big,
fat, Jewish agent, and he’s played by…me. That’s not somebody I would
normally be cast as, but in voiceover you can be anybody, and that’s pretty
was interested in the way you handled the moral dilemma of your sister and her
husband, the kind of “almost affair”---is it an affair if you’ve thought
about it, and want to go through with it----but don’t?
: Is this therapy?
: What is your definition?
joke about the “therapy” comment, but I do think that writing is
therapeutic, as you probably know, also. You
can express yourself different ways, and when you’re creating characters,
they’re amalgamations of experiences or exposure you’ve had in the past,
whether it’s your own personal dilemmas or that of your family, and how it
imprinted on your consciousness. That
dynamic was something I’ve seen very close to me, so I wanted to investigate
it, and also illuminate that good people can, you know, screw up at times, and
that they can also persevere after it.
: But you wanted to be the rescuer, or
create the character that was the rescuer…
that’s the reason I have the story line, that Carol wants to be a star, but
that’s the goal of her father, so she’s attacking it in vain, versus what
she’s really good at, which is helping people, and being attuned to other
people and how they represent themselves, and trying to aid those whom she
loves. And even when she gets rejected,
which rocks her world, still, at the end, she’s trying to help people be
better versions of themselves.
: Is there a particular accent that you
always studied accents, because of conservatory training—you take it on
totally phonetically. You can get up in
there and think about where it’s placed in your mouth, like British in the
front and American in the back---whether it’s through the nose, where the
breath is supported----
: Where did you come up with that
“swallow the nose” as foreplay?
Marino came up with that idea, and we got a lot of great noses in this
movie---he is a master of weird requests. He
asked if he could French kiss my nose in that scene, and I was obviously like,
“Yes,” and while I was trying to keep from laughing, I then told him to do
it twice, so they would know he meant it, that it wasn’t just a miss.
: How do you write “funny”?
I think you do what you’re comfortable doing. I couldn’t write
sketch—it’s a different type of comedy. I
can write the type of comedy that I think is funny, that feels natural to me,
that is observational from my own exposure to the world.
“You do what you know” is a cliché for a reason.
: I was chuckling throughout.
glad. That’s its purpose.
Of course the message is there, too, but first and foremost, it’s a
comedy, and people should enjoy it.
Dr. Ronald P. Salfen, Minister, St.
Stephen’s Presbyterian Church,