Voice acting is the art of transformation. It is a form of magical alchemy. The Dark Art of allowing the “me” to make way for the “other”, and yet remain in control. I call it “Riding the Tiger”.
With over three decades of experience across every stage, screen, and studio, I can safely say this is one of my favourite fields of voice over. There is something very satisfying to me in incorporating other beings, in adopting their ways of thinking, their ways of feeling and moving, of making mine their rage, their pain, their hopes.
The process of “entry”, dare I call it “Possession”, by a character is never the same. You need a “key”, a way-in.
Sometimes, the entry point is minute: a single physical trait, a mannerism, a prop, an inflexion. Sometimes it will come from an item of clothing, a pair of shoes, a hat, a wig. Sometimes it will come through the voice quality and prosody, their way of speaking, their accent. Sometimes it is in the words they use, the grammar, the logic of their speech. Sometimes it is the memory of someone I knew, or the intensity of a stare in a yellowing newspaper photograph. For instance, I found the key voice and demeanour of Emile from the Christine Hasne’s play Les Rendez-vous d’Eva whilst watching a 1950s black and white melodrama.
Once I have found this way in, It is time to find the “me” that resonates with this new entity, to allow the soft part of me to mould to the shape of the “other”. And from that point on, to grow into the character you wrote.
True artistry lies in the transformation. Whether it’s a film set, mocap studio, or puppet theatre, the process remains beautifully unchanged – like the timeless art of chocolate making. There is no “acting for video games” or “acting for animation” – there is simply exceptional acting and, regrettably, the alternative.
It’s the permission to transform entirely – mind, body, and soul – to inhabit someone or something completely different. It’s returning to that childhood playground, but with decades of refined technique.
I tend to specialise in antagonists and final bosses – those deliciously complex characters with layers upon layers of motivation. I relish diving into their twisted psyches to find that silver thread at their core. I’ll reshape my entire physical presence, my voice, my very being to match their essence. Most of all, I savour being genuinely terrifying: dark, dark chocolate indeed.
Send me your character brief and lines – I can work from any London studio, or you can direct me live through a remote session.
Dubbing approximately two to three films monthly, plus series work, I’ve developed what I call the “lip-sync muscles” – preemptive reading, memory recall, surgical accuracy, breath control, and an obsessive attention to detail.
You can quote me on that. Every choice has already been made, every movement recorded, every breath captured. The sublime challenge lies in feeling through those existing choices, achieving the precise emotional temperature of the original performance.
Then comes the manic artistry of Triangulation – that lightning-fast dance between pre-emptive reading, studying the protagonist’s mouth and expression, capturing their essence, then diving down to find your cursor. Thirty times per minute. It’s a chocolate box of technical skills that, once mastered, becomes as natural as breathing.
Working with Band Rythmo dubbing software is like learning a new musical language – a shorthand of signs that eventually flow like a conductor’s baton, allowing the acting muscles to truly soar.
Over the years, I have been entrusted with embodying amazing, iconic characters. It was hard to select which ones to feature.
Here are a few of my favourite ones…
Playing Jean Dubois
In this tale, Jean is a failed truffle hunter living alone with Karine the pig. When he discovers the world’s largest magical truffle, he falls in love with it. A bout de Truffe: a cautionary tale of love and greed.
Playing Gman
Yet another baddy I adored incarnating… Gman is the absolute manipulating and sinister scarecrow, with a very distinctive signature voice. Still getting fan mail to this day. Keep’em coming 🙂
Playing William the Conqueror
When Corpse Talk asked me to voice William, I was ecstatic – I’m a proud Norman raised in his shadow. They wanted: ‘Deep, Quick to Anger, Proud, Cunning, Ruthless.’ I delivered three takes. Their response: ‘Great! But… less scary. It’s for kids.’
Playing Rasial the Necromancer
One of my favourite characters to date. A hint of the affected in a middle-aged voice on one hand. On the other, the wrath of one of the most powerful and evil beings.
Playing Monty
A kind and learned traveller of the world, Monty, the hot air balloon, is not always as completely in control as he would like to think he is. For preschool and a lot of fun.
Playing Fabian
Tchekov’s monologue brought to life in animation. Old, sad, disillusioned, cynical: an ageing actor reflects on his life and his career. A raw delivery.
Playing Maximilian
Maximilian is an accountant for the mafia. That explains what makes him tick: danger, glamour, well tailored suits, beautiful women, and knowing he’s probably the most intelligent being in the room. Manners matter. There is such a thing as style.
Playing Captain
Lip synch dubbing is a very technical branch of voice Acting, because all the choices have been made. You have to be true and lift it off the page, while following every movement, every breath.
Ready to create something extraordinary together? Whether you need a character voice that will haunt players’ dreams or dubbing work that seamlessly matches your vision, let’s begin the conversation.
The creation of legendary characters like Gavlan, Grey Rat, Vitalis, Liquid, and Count Raum begins with that perfect collaboration – Director meets Writer meets Actor. It starts with an audition that surprises you, where a thirty-second clip reveals precisely how this voice understands your character’s place in your story.
From there, we craft multiple takes, each one truthful, each one subtly different – layers of meaning, shades of intent, countless personality facets for your character.
The magic happens when we work together to transform your vision into our shared creation.
These industry accolades reflect my dedication to quality and my ability to adapt to diverse projects with precision and creativity.
The proof is in the ganache, so I would be delighted to help with your project and record a sample of your script to help your casting process.
More often than not, the character will come out naturally through the character description, the graphics, if any, and the script. The character is usually hidden between the lines, just waiting to be coaxed out. I start to think like the character, to adopt their way of thinking, their beliefs, to “let them in”.
Sides could be described as the identity papers of the character. They will usually fit on one or two pages. Give info on the project, the universe of the game or the animation. They will include a picture of the character, hopefully a brief background and personality traits. Then they will have either short extracts of the scripts or a short monologue which include the emotional states the character is likely to express in the performance. Good sides are a great tool for the casting director to get the best possible auditions. Here is a link to a good side. (Link to a casting side)
Feel free to get in touch with any project and questions you may have.
