The process is designed for deep roles, often found in films or series where character, emotion, or identity are central to the story. Where the character holds emotional, social, or symbolic weight, whether in how they speak, how they sing, or how they withhold their voice. It’s particularly relevant when voice is tied to emotional arc, transformation, trauma or duality.

Examples where The Unveiled's process would match the role:

• Mark Scout (Severance), for the different memories, identities, motivations and fears in and out of work, and the subtle tension between two realities that bleed into each other.

• Arthur Fleck (Joker), for the fractured voice between performed laughter and internal pain, and the progressive shift into something darker and claimed.

• King George VI (The King’s Speech), for the relationship between trauma, status, vulnerability, and the rediscovery of a voice that must be heard.

• Steven / Marc / Jake (Moon Knight), for the coexistence of identities, each with their own rhythm, tone, and emotional palette, without ever relying on mimicry.

• Édith Piaf (La Môme), where the character’s singing voice must carry not just pitch and phrasing, but pain, illness, and defiance, with a sound of someone who lives more in music than in speech.

• Diana (Spencer), for the duality between public voice and private collapse, and the unbearable weight of controlled softness.

• Lydia Tár (TÁR), for the voice of control, manipulation, and power, and what it becomes when the frame collapses.

• Ally (A Star Is Born), for the tension between the voice that emerges naturally and the one that is shaped, pushed, and ultimately fragmented by fame.

• Charlie (The Whale), for the gentle and breathless voice of someone hiding a universe of emotion, shame, and hope in each sentence.

Both. I work with the full identity of the character, whether it includes speaking, singing, silence, or sound textures.

Not at all. While I have been trained in accents and phonetics and can help occasionally, my work complements theirs, and I speak their language!

I focus on the voice as an emotional and psychological tool; not on accent, not on acting choices, but on how the voice carries the character’s truth.

The most effective work, in fact, occurs when there is communication with the acting/dialect coach.

A more aligned performance.

This process helps the actor arrive on set with a voice that already feels like the character, grounded in emotion, psychology, and experience.

It allows for deeper nuance, more on-set reactivity, and quicker adjustments.

The voice carries the subtext, so the director doesn’t have to coach it line by line. You say “quieter” and the actors knows what kind of quiet. You say “broken”, and the voice shatters.

It’s like arriving on set with the costume already broken in, but for the voice. If the voice is ready, the emotion is ready. You get your scene, on time, and with truth.

Saved time. Saved takes. A performance that cuts down ADR and post-production costs, and elevates the final product.

When an actor’s voice is anchored and aligned with the role before shooting, you save time on set.

You don’t need 15 takes to find the tone. Fewer coaching interventions. Less vocal fatigue. Fewer fixes later.

Post-production gains too: no need to fight to clean up tired voices or rerecord ADR.

Sound mixers and editors don’t need to compensate, they get performances that already breathe.

One post-production sound editor told me, “Actors with real vocal prep make my job easier. I don’t have to ‘fake’ the emotion in the mix.”

And, if we invite honesty in the conversation, when a performance lands, the audience feels it. It’s word of mouth, awards and buzz.

Voice sells emotion, and emotion sells movies.

Yes I can. While most of the immersion happens beforehand, I offer on-set vocal support if the role evolves or the emotional arc deepens during filming. This is always discussed in advance.

Each immersion follows a tailored rhythm, so it depends on the project. It usually unfolds in four phases: – Remote preparation (vocal profiling, emotional mapping, script analysis) – In-person immersion (3–5 days of deep, experiential work)

– Follow-up post in-person work to keep the momentum and in-depth work / Follow-up sessions during the shoot, if needed – A closing session post-shoot, to help the actor release the role and return to their own voice.

Some projects require the full cycle. Others may adapt depending on time, budget, and intensity of the role.

I travel to the actor’s location or the filming set. This is arranged and agreed upon in advance.

For some phases, we work remotely. Vocal profiling, emotional mapping, and preparation can be done via secure video calls.

Full immersion is most effective in person, but I adapt to production realities.

If a vocal issue arises mid-shoot or just before filming, I can provide urgent coaching. This is handled case by case and may include a premium rate.

Ideally during prep, once the actor is cast and the emotional arc is clear.

The earlier we plan, the deeper the immersion can be!