Kim Roberts

Whether you're playing a good guy, a bad guy, whatever kind of character you're playing, you have to understand the truth of that person. what they believe, what they feel, what motivates them, why they think they're right. And so, yeah, so, I mean, that's kind of the work of an actor. And so I look for those things within myself. I look for what parts of me resonate with that character.

Whether you're playing a good guy, a bad guy, whatever kind of character you're playing, you have to understand the truth of that person. what they believe, what they feel, what motivates them, why they think they're right. And so, yeah, so, I mean, that's kind of the work of an actor. And so I look for those things within myself. I look for what parts of me resonate with that character.

And if I personally don't have much experience, I look for who in my life might, you know, can I reflect upon that is like that person? Or, you know, who can I associate with that character that gives me an in, gives me some understanding to how that person thinks? Yeah. You know, you just come from a place of truth and it just kind of grows.

And if I personally don't have much experience, I look for who in my life might, you know, can I reflect upon that is like that person? Or, you know, who can I associate with that character that gives me an in, gives me some understanding to how that person thinks? Yeah. You know, you just come from a place of truth and it just kind of grows.

And if I personally don't have much experience, I look for who in my life might, you know, can I reflect upon that is like that person? Or, you know, who can I associate with that character that gives me an in, gives me some understanding to how that person thinks? Yeah. You know, you just come from a place of truth and it just kind of grows.

Well, it's kind of its own thing, right? Because you're in the studio. It's you in a booth with producers and a director on the other side of that glass, right? They're just telling you what it is they want. But you get to go crazy. You get to be very free in the booth and create, you know, that character. So in terms of like Mayor Goodway, for instance, I'll go in. I've got the script.

Well, it's kind of its own thing, right? Because you're in the studio. It's you in a booth with producers and a director on the other side of that glass, right? They're just telling you what it is they want. But you get to go crazy. You get to be very free in the booth and create, you know, that character. So in terms of like Mayor Goodway, for instance, I'll go in. I've got the script.

Well, it's kind of its own thing, right? Because you're in the studio. It's you in a booth with producers and a director on the other side of that glass, right? They're just telling you what it is they want. But you get to go crazy. You get to be very free in the booth and create, you know, that character. So in terms of like Mayor Goodway, for instance, I'll go in. I've got the script.

I've read the script. I know what's going on. But I'm really just reciting Mayor Goodway's lines. Nobody's really reciting lines against me. Sometimes the director will feed you back and forth. But I get to just have fun, you know, and paint the words with my voice. And there's a real freedom in voice work because you're not really tied to anything but expressing what's on the page.

I've read the script. I know what's going on. But I'm really just reciting Mayor Goodway's lines. Nobody's really reciting lines against me. Sometimes the director will feed you back and forth. But I get to just have fun, you know, and paint the words with my voice. And there's a real freedom in voice work because you're not really tied to anything but expressing what's on the page.

I've read the script. I know what's going on. But I'm really just reciting Mayor Goodway's lines. Nobody's really reciting lines against me. Sometimes the director will feed you back and forth. But I get to just have fun, you know, and paint the words with my voice. And there's a real freedom in voice work because you're not really tied to anything but expressing what's on the page.

You know, you don't have to worry about how you look. It's not about makeup or hair or wardrobe. It's not about hitting your mark and being here under this light at the right spot, right? You know, it's just about freeing yourself up and delving into that character. So it's a lot of fun, actually.

You know, you don't have to worry about how you look. It's not about makeup or hair or wardrobe. It's not about hitting your mark and being here under this light at the right spot, right? You know, it's just about freeing yourself up and delving into that character. So it's a lot of fun, actually.

You know, you don't have to worry about how you look. It's not about makeup or hair or wardrobe. It's not about hitting your mark and being here under this light at the right spot, right? You know, it's just about freeing yourself up and delving into that character. So it's a lot of fun, actually.

I think there's a lot of truth to it. The one thing that I think I would add to it is that when you're performing in theater, when you're on stage performing before a live audience, there's an element to that that is so exceptionally beautiful that charges an actor, and that's the audience. When you're in the studio doing voice work, it's you, right? Just you.

I think there's a lot of truth to it. The one thing that I think I would add to it is that when you're performing in theater, when you're on stage performing before a live audience, there's an element to that that is so exceptionally beautiful that charges an actor, and that's the audience. When you're in the studio doing voice work, it's you, right? Just you.

I think there's a lot of truth to it. The one thing that I think I would add to it is that when you're performing in theater, when you're on stage performing before a live audience, there's an element to that that is so exceptionally beautiful that charges an actor, and that's the audience. When you're in the studio doing voice work, it's you, right? Just you.

When you're on set, it's you and the crew and the fellow actors and the director, but you don't have that feedback. When you're on stage, you hear them, you feel them, you see them. They're right in front of you. So they actually do become a part of the work. They inform the work. You know, different audiences, you know, our director would say this all summer long.

When you're on set, it's you and the crew and the fellow actors and the director, but you don't have that feedback. When you're on stage, you hear them, you feel them, you see them. They're right in front of you. So they actually do become a part of the work. They inform the work. You know, different audiences, you know, our director would say this all summer long.

When you're on set, it's you and the crew and the fellow actors and the director, but you don't have that feedback. When you're on stage, you hear them, you feel them, you see them. They're right in front of you. So they actually do become a part of the work. They inform the work. You know, different audiences, you know, our director would say this all summer long.