With film, you have very limited tools to convey subjectivity - voiceover, the camera's point of view, good acting - but even the very best actor in the world is crude by comparison with what you can do in a written paragraph.

When I speak a serious subject in an informal and humorous way, it has bigger impact. So much so, when BBC made a small documentary, they first thought of having a voiceover for me. The producer liked my English so much, he said they were retaining my original voice.

I love doing voiceover.

I did a bunch of commercial voiceovers in Chicago before I left. For Balducci's pizza, I did a whole series. Actually I was making a good living with voiceover before I left.

My aunt was so attuned to commercials that she could always identify the voiceover actor.

My team and I used the actual footage to create a three-act story of the life of Ayrton Senna. There are no talking heads and no voiceover. Senna narrates his own epic, dramatic, thrilling journey.

I had been very impressed with the voiceover of 'Apocalypse Now,' with Martin Sheen's voice. That was a great voiceover; it really internalized the Martin Sheen character, who was essentially fairly low key and didn't say a lot during the whole movie. But he thought a lot, so I always thought that was really great.

I want to do voiceover for animation, so I am looking to do something along those lines. So, my agent is looking for something in that area, and I think that would be a lot of fun.

I did take some voiceover classes. I always loved the idea of doing a voice for a cartoon character. I just voiced the character of Suzi X in the upcoming 'The Haunted World of El Superbeasto.'

It's physically hard for me to work. I start to break down, physically. My joints start. I get weepy eyes. I don't sleep well. I was never a hard worker, I guess. So the voiceover work ethic is really great for me - couple days a month, two hours a day.

My dad had such a cool job. When you're a voiceover actor, it's a whole different skill - you're bringing these huge, larger-than-life monsters and characters to life. And, also, you have to learn accents.

In prose, leaps of logic can be made while the protagonist thinks about things and arrives at conclusions. Even with voiceover, there's no real way of having an inner voice without it taking over the entire story.

When you do voiceover it's such a fun job to be able to do. First of all, you can do it in your pajamas and you don't have to get dressed up for it.

Voiceover excited me and terrified me. I thought I was going to be really bad at it. It was so freeing and fun to not have to wait for 10 minutes between every setup. They just throw you a direction, and you just say it.

There's not a fortune to be made doing voiceover work unless you're one of the main voices on The Simpsons. See, there's The Simpsons, and then there's everything else.

Well, actually, I do the voiceover for Quentin Sands.

Normally, if I would read in a script that there's mostly flashbacks and mostly voiceover, I would run as far away as possible.

I love reading novels, and I love going to movies, but I kind of hate going to an adaptation of a novel, and it starts off with a voiceover.

I love to do voiceover because, for me, if you know what you're doing, it's simple. No makeup, no costuming, none of the baloney. None of the egos - you don't have to deal with all that crap. I love voiceovers.

After 'The Wonder Years,' I ended up having a voiceover career, which was something I never even knew was possible. But after the character I was playing on 'The Wonder Years,' people said, 'Oh, would you like to do a Burger King thing? And there's a 7 Up thing...' And then I got to do 'Dilbert.' I think my voice kind of fit for that.