Sarah Snook
speaker
137 appearances
3 recordings
2 series
first heard May 2025
last heard 22 Feb
Sarah Snook’s voice in public audio — every appearance, attributed to the second.
Trend
recordings per month · last 12 monthsRecordings per month over the last 12 months — 1 in all, peaking in Feb 2026 with 1.
Appearances
We're not where I thought we would be. The opportunities of those moments of the Me Too movement, of the Black Lives Matter movement, I hope that they are underground and that they will come back and that there will be a resurgence of the optimism and the momentum that we were enjoying.
Yeah, I feel optimistic about them.
Yeah. Get it. Right. Get it. It belongs to you. And that humor is not a way to... make a joke in a sad situation, that humor is a way to make something whole and complete and also a way to remember something better. You know, when we don't want to remember the sad times, we want to remember the good times, the happy times. And so if you can find a
There's a line from a poet that I like, the light underbelly of the dark, dark beast. You will be able to transport yourself back to those moments and relive them and be there with them. So the reclamation of humor, especially in the acknowledgement or the insistence on looking for it, on finding it, because it's there. It just needs to be found.
So the insistence on continuing to find the humor, but most of all, the pleasure, because they can't take that away from us.
Well, I was pregnant at the time. And I think I was like seven months or something. And, you know, my first baby. And so that kind of
ignorance is bliss kind of world of what is to come and the efforts of parenting at the same time as doing this particular show was um if i had seen the show i think my husband particularly if he'd seen the show he would have said this is not this is not a good idea this is not something you do if you have a newborn this is not possible i mean it's not impossible obviously but um it takes a lot of concentration and support not just from myself from from the family and from my team
How am I going to go back to just playing one character? I don't know what comes after this, what tops this sort of overstimulation of characters. To differentiate between the characters, I think lots of different things. In some ways, a blessing and a curse. We had only two weeks of rehearsals before doing the pre-recorded portion of the show at the end of 2023.
And so it really meant that I had to make... sharp and considered decisions quite early. And part of that was created out of doing a lot of voice work with Geraldine Cook, my voice coach in Australia, and working on what timbre and tone and pitch and speed, pace, et cetera, each of the characters had, and accent, as well as what physicality came from that. It's very much a physical thing.
sensation of each character sits somewhere differently in my body.
I think the process of finding it in the body with the voice and the physicality really helped because when I come to perform them you know the Basil for instance is very the tone of his voice or the The temper of his voice, perhaps, is quite brittle.
Basil Hallward, yeah. He's the artist. So he sort of sits quite on the gum ridge, just behind the teeth. And there's something centralized, I guess. Like, it's very focused down and right. It's hard to explain, actually, now that I'm thinking about it. And there's quite an obvious clue for Lord Henry where... the narrator says, said Lord Henry languidly.
So there's quite an expansive quality to Lord Henry. There's something that's very somewhat like molasses, like he's very juicy. And also something about aristocratic British men who are able to hold court and speak widely on subjects. Lord Henry has quite a deep voice, but they actually have quite a range of pitch in their voices.
And if you listen to Stephen Fry, he's talking up right at the top level of his pitch and then right down at the bottom in the same sentence. And it really holds your attention. And that was something we really wanted to find for Lord Henry.
It absolutely was. It was such a strange thing to have as a reference, like a real body reference, really, from my childhood of Roald Dahl's Revolting Rhymes, which, weirdly enough, I think Miriam Margulies
read one of the characters or one of the poems and when I met her I didn't realize this until I'd until I was thinking about the Roald Dahl's uh element of it all and went back I was like oh man I should have told her that she was such an inspiration to me as a kid through her voice through the the ability like how her storytelling and characters really spoke to me when I was a kid
Yeah, it's really strange. It's really strange because, well, what it does, particularly because I can't see myself ever, really. There's only once that I can see myself, which is the character of Alan Campbell. But otherwise, I just have to listen to the audio recording aspect of it because I'm either back of stage or I'm in front of the screen or I'm behind the screen. I can't
I can't interact with it in that way. It really forces you to listen to what the person is saying, to what I'm saying, and forces you to be really imaginative, really engage with your imagination and how that makes you feel and what. what words are springing out to you tonight and what parts of the tone or how it's been delivered are springing out.
And maybe that's come from, yeah, listening to audiobooks when I was a kid a lot and having that imagination sustained in that way.
Yeah, they'll just keep going. They're the worst kind of actors that I'm working with. They don't wait for you. They don't wait for me at all. They'll just barrel on, and if I don't keep up, it's my fault. Yeah, I mean, the hardest one of that is the Lord Henry...
Showing 41–60 of 137 · page 3 of 7
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